As the fubject of the drama is built on a confpiracy, which every one knows had not any effect, and as the author has fo conducted it as to render the pardon, Augustus gives the confpirators, an act of political prudence rather than of generous clemency, there is not any thing to intereft us, but the characters of Cinna, Emilia, and Maximus. Let us examine how far they are worthy to do fo, as set forth in this piece; for we have no historical acquaintance with them. Emilia is the daughter of Toranius, the Tutor of Auguftus, who was profcribed by him in his Triumvirate. As we have not any knowledge of this Toranius, we are no more concerned about any cruelty committed upon him, than upon any other man, so that we are not prepared to enter into the outrageous refentment of Emilia; efpecially as we fee her, in the court of Augustus, under the facred relation of his adopted daughter, enjoying all the privileges of that distinguished fituation, and treated with the tenderness of paternal love. Nothing fo much deforms the

feminine

feminine character, as ferocity of fentiment. Nothing fo deeply ftains the human character, as ingratitude.

This lady, however odious she appears to the fpectator, is made to engage Cinna her lover, a nephew of the great Pompey, in a confpiracy against Auguftus. Shakespear moft judiciously laboured to fhew, that Brutus's motives to kill Cæfar were perfectly generous, and purely public-fpirited. Corneille has not kindled Cinna to his enterprize, with any fpark of Roman fire. In every thing he appears treacherous, base, and timid. Maximus, the other confpirator, feems at firft a better character; but in the third act he makes a moft lamentable confeffion to a flave, of his love for Emilia, and his jealousy of Cinna: this Slave gives such advice as one might expect from such a counsellor; he urges him to betray his affociates, and by means of a Lie, to prevail upon Emilia to go off with him. Thus Maximus becomes as treacherous and bafe as Cinna his friend, and Emilia his mistress.

The

The Poet follows Seneca's account of this affair, in making Livia (who has no other bufinefs in the drama) advise Auguftus to try the effects of clemency, as his punishment of former confpiracies excited new ones. Auguftus tells her the talks like a wornan, treats her counfel with fcorn, and then follows it. Auguftus appears with dignity and fenfe in the other scene, and is the only person in the play for whom one has any respect. This is the plan of a work which is to prove Corneille's genius and judgment fuperior to Shakespear's. As Mr. Voltaire has given his translation of Julius Cæfar, I will just present to the reader a literal tranflation of the first scene of the first Act, which begins by a foliloquy.

CINNA, TRAGEDIE. ACTE PREMIER. SCENE PREMIERE.

EMILIE.

Impatiens défirs d'une illuftre vengeance,

Dont la mort de mon pére à formé la naiffance,

Enfans impetueux de mon reffentiment,

Que

Que ma douleur feduite embraffe aveuglément,
Vous prenez fur mon ame un trop puiffant empire
Durant quelques momens fouffrez que je refpire,
Et que je confidere, en l'etat où je fuis,
Et ce que je hazarde, & ce que je poursuis.
Quand je regarde Augufte au milieu de fa gloire,
Et que vous reprochez à ma trifte mémoire
Que par fa propre main mon pére maffacré

Du trône où je le vois fait le premier degré :
Quand vous me prefentez cette fanglante image,
La caufe da ma haine, & l'effet de fa rage,
Je m'abandonne toute à vos ardens transports,
Et crois pour une mort lui devoir mille morts.
Au milieu toutefois d'une fureur fi jufte,
J'aime encor plus Cinna que je ne hais Augufte;
Et je fens refroidir ce bouillant mouvement,
Quand il faut pour le fuivre exposer mon amant.
Oui, Cinna, contre moi moi-même je m'irrite,
Quand je fonge aux dangers où je te précipite.
Quoique pour me servir tu n'apprehendes rien,
Te demander du fang, c'est exposer le tien.
D'une fi haute place on n'abat point de têtes,
Sans attirer fur foi mille & mille tempêtes;
L'iffue en eft douteufe, & le peril certain.
Un ami deloyal peut trahir ton deffein;

L'ordre

L'ordre mal concerté, l'occafion mal prife,
Peuvent fur fon auteur renverser l'entreprise,
Tourner fur toi les coups dont tu le veux frapper;
Dans fa ruine même il peut t'enveloper;

Et quoiqu'en ma faveur ton amour exécute,
Il te peut en tombant écrafer fous fa chute.
Ah! ceffe de courir à ce mortel danger :
Te perdre en me vengeant ce n'eft pas me venger.
Un cœur eft trop cruel quand il trouve des charmes
Aux douceurs que corrompt l'amertume des larmes ;
Et l'on doit mettre au rang des plus cuifans malheurs
La mort d'un ennemi qui coute tant de pleurs.

Mais peut-on en verfer alors qu'on venge un pere?
Eft-il perte à ce prix qui ne femble légére ?
Et quand fon affaffin tombe fous notre effort,
Doit-on confiderer ce que coûte fa mort?
Ceffez, vaines frayeurs, ceffez, lâches tendreffes,
De jetter dans mon cœur vos indignes faibleffes;
Et toi qui les produis par tes foins fuperflus.

Amour, fers mon devoir, & ne le combats plus.

Lui ceder c'eft ta gloire, & le vaincre ta honte;

Montre-toi genereux, souffrant qu'il te furmonte.
Plus tu lui donneras, plus il te va donner,

Et ne triomphera que pour te couronner.

I do