The play Love and Intrigue has the subtitle A Bourgeois Tragedy, where the adjective "bourgeois" is placed in contrast to "aristocratic" and, of course, in its pre-Marxist connotation.

Like all his early dramas, this one is also written in prose (the first rhymed drama is Don Carlos) and this gives it a tendency towards some expansion: it is evident that there is also some stage inexperienced-ness of a very young and very new playwright.

But these small flaws are overshadowed by the torrential, passionate, intense, political discourse.

Luise Miller is a politicized, committed work; it is the articulated political voice of the disenfranchised bourgeois class against the privileged class, the titled nobility, the ruling class that abuses its rights in the confrontation.

Within the legacy of the French Enlightenment, amidst the atmosphere of the already realized American Revolution and the emerging French Revolution, the mere temporal placement of this work is significant: the feudal lords and kings are tyrants, and the bourgeois are their victims.