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cian who can call forth passions of any fort. If they are such as time has destroyed, or custom extinguished, he summons from the dead those fouls in which they once existed. Having sufficiently enlarged on the general, scope of our Author in this play, we will now consider it in the detail. .

The first scene is in the streets of Rome. The Tribunes chide the people for gathering together to do honour to Cæfar’s triumph. As certain decorums were unknown to the writers of Shakespear's days, he suffers some poor mechanics to be too loquacious. As it was his business to depress the character of Cæsar, and render his victory over his illustrious rival as odious as possible, he judiciously makes one of the Tribunes thus addreis himself to the people :

MARULLUS.
Wherefore rejoice? What conquest brings he home ?
Wha tributaries follow him to Rome,
To gace in captive bonds his chariot wheels ?
You blocks, you stones, you worse than senseless
nings!

Q you

O you hard hearts ! you cruel Men of Rome!
Knew you not Pompey ? Many a time and oft
Have you climb’d up to walls and battlements,
To towers and windows, yea, to chimney-tops,
Your infants in your arms, and there have fát
The live-long day with patient expectation,
To see great Pompey pass the streets of Rome;
And when you saw his chariot but appear,
Have you not made an universal shout,
That Tyber trembled underneath his banks
To hear the replication of your sounds,
Made in his concave-fhores !
And do you now put on your best attire ?
And do you now cull out an holiday?
And do you now strew flowers in his way,
That comes in triumph over Pompey's blood ?
Begoncm
Run to your houses, fall upon your knees,
Pray to the gods, to intermit the plague
That needs must light on this ingratitude.

· The next speech expresses the general apprehension of Cæsar's assuming too great a degree of power.

FLAVIUS, FLAVIUS.

Let no images
Be hung with Cæsar's trophies. I'll about,

And drive away the vulgar from the streets :
· So do you too, where you perceive them thick.

Thefe growing feathers, pluckt from Cæsar's wing,
Will make him fly an ordinary pitch;
Who else would soar above the view of men, ..
And keep us all in servile fearfulness. ... :

The second scene is the course at the Lupercal games, in which Antony appears the humble courtier of Cæsar. A Soothsayer bids him beware the Ides of March,' .

In the third scene there is a dialogue between Brutus and Cassius, in which the latter tenderly reproaches Brutus, that his countenance is not so open and cordial to him as formerly; to this the other replies, he has some inward discontent,

And that poor Brutus, with himself at war,
Forgets the shews of love to other men.

This This intimation of discontent encourages Cassius to try to incense Brutus against the growing power of Cæfar. On the shouts of the mob, Brutus expresses his fear that theyare making Cæfar king; this encourages Cassius to proceed in his design. He makes two speeches, in which he appears envious and malignant to Cæsar, of whom he speaks as men do, who, unwilling to confess the qualities that give superiority to a rival, dwell with malice on those petty circumstances, by which he is not distinguished from ordinary men. The French critic is much offended at this scene, and says, it is not in the style of great men. The language of envy is always low. The speeches of Cassius express well his enyious and peevish temper, and make him a. foil. to set off to advantage the more noble mind of Brutus. Caffius endeavours to stimulate Brutus to oppose the encroachments of Cæsar on the liberty of Rome, by setting before him its first Deliverer, the great Junius Brutus ; a name revered by

. .. every

every Roman, but undoubtedly, adored by his descendants.

This is truly Imitation, when the Poet gives us the just copies of all circumstances that accompanied the action he represents. Corneille's drama's are fantastic compofitions, void of historical truth, imitation of character, or representation of manners. Some few lines from Seneca, ingrafted into the Cinna, have given it reputation. For, however custom may have taught a very ingenious and polite people to endure the infipid scenes of l'amoureux et l'amoureuse, the fault has been in the Poets, not the spectators : all their critics have strongly condemned this mode of writing; and the public, by its approbation of this piece on account of the scenes between Augustus and Cinna, shews plainly how much dialogues of a noble and manly kind would please. Unhappily, Seneca's Augustus makes the Cinna of Corneille appear too mean and little. These borrowed ornaments never will affort perfectly well with the piece; they

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