 In a similar fashion, Schlegel argued that in order to appreciate art productions from past cultures and remote nations, an acquaintance not only with the actual work of art is indispensable, but also with its historical and cultural background: it is imperative to understand the peculiarities of their culture and history as a whole. The profound comprehension of History is the basis for any comprehension of art and languages, which necessarily bears a direct relationship with the historical conditions circumscribing it (KS: I, x). As a consequence, Schlegel introduced in all of his lectures historical, social, and cultural observations; because for him, the aim of the critic is, primarily, to reconcile the division between theory and experience, i.e., between a philosophical and a historical approach. Such was the balance Schlegel sought to achieve in his lectures between what would be a purely theoretical comprehension of tragedy and the consideration of the theatre as such, with all the historical, architectural and cultural characteristics that conditioned the actual performance of the play.