an unfair translation. Mr. Voltaire desires, that by his translation all Europe will compare the thoughts, the style, and the judgment of Shakspeare, with the thoughts, the style, and the judgment of Corneille. It is difficult, perhaps impossible, to make the graces of style pass from one language to another; and our blank-verse cannot be equalled by by French blank-verse. The thoughts might in some measure have been given, if the translator had understood the words, in which Shakspeare hath expressed them. Upon the judgment of both the authors in the choice of the story, in the conduct of it, in exciting the sympathies belonging to it, in the fashioning of the characters, in the nobleness of sentiment, and the representation of Roman manners, we shall upon close examination of the Cinna and Julius Cæsar be able to pronounce.

As the subject of the drama is built on a conspiracy, which every one knows had not any effect, and as the author has so conducted it as to render the pardon Augustus gives the conspirators, an act of political

prudnece

prudence rather than of generous clemency, there is not any thing to interest us, but the characters of Cinna, Emilia, and Maximus. Let us examine how far they are worthy to do so, as set forth in this piece; for we have no historical acquaintance with them. Emilia is the daughter of Toranius, the tutor of Augustus, who was proscribed 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 resentment of Emilia; especially as we see her, in the court of Augustus, under the sacred relation of his adopted daughter, enjoying all the privileges of that distinguished situation, and treated with the tenderness of paternal love. Nothing so much deforms the feminine character, as ferocity of sentiment. Nothing so deeply stains the human character, as ingratitude.

This lady, however odious she appears to the spectator, is made to engage Cinna her lover, a nephew of the great Pompey, in a conspiracy

;

conspiracy against Augustus. Shakspeare most judiciously laboured to shew, that Brutus's motives to kill Cæsar were perfectly generous, and purely public-spirited. Corneille has not kindled Cinna to his enterprise, with any spark of Roman fire. In every thing he appears treacherous, base, and timid. Maximus, the other conspirator, seems at first a better character; but in the third act he makes a most lamentable confession to a slave, 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 associates, and, by means of a lie, [to prevail upon Emilia to go off with him. Thus Maximus becomes as treacherous and base as Cinna his friend, and Emilia his mistress. The poet follows Seneca's account of this affair, in making Livia (who has no other business in the drama) advise Augustus to try the effects of clemency, as his punishment of former conspiracies excited new ones. Augustus tells her she talks like a woman, treats her counsel with scorn, and then follows it. Augustus appears with dignity

dignity and sense 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 superior to Shakspeare's. As Mr. Voltaire has given his translation of Julius Cæsar, I will just present to the reader a literal translation of the first scene of the first act, which begins by a soliloquy.

CINNA, TRAGEDIE.

ACTE PREMIER.

SCENE PREMIERE.

EMILIE.

Impatiens désirs d'une illustre vengeance,
Dont la mort de mon père a formé la naissance,
Enfans impétueux de mon ressentiment,

Que ma douleur séduite embrasse aveuglement,
Vous prenez sur mon ame un trop puissant empire:
Durant quelques momens souffrez que je respire,
Et que je considère, en l'état où je suis,

Et ce que je hazarde, & ce que je poursuis.
Quand je regarde Auguste au milieu de sa gloire,
Et que vous reprochez à ma triste mémoire
Que par sa propre main mon père massacré
Du trône où je le vois fait le premier dégré ;

Quand

Quand vous me présentez cette sanglante image,
La cause de ma haine, & l'effet de sa rage,
Je m'abandonne toute à vos ardens transports,
Et crois pour une mort lui devoir mille morts.
Au milieu toutefois d'une fureur si juste,
J'aime encor plus Cinna que je ne hais Auguste;
Et je sens refroidir ce bouillant mouvement,
Quand il faut pour le suivre exposer mon amant
Oui, Cinna, contre moi moi-même je m'irrite,
Quand je songe aux dangers où je te précipite.
Quoique pour me servir tu n'apprehendes rien,
Te démander du sang, c'est exposer le tien.
D'une si haute place on n'abat point de têtes,
Sans attirer sur soi mille & mille tempêtes.
L'issue en est douteuse, & le péril certain :
Un ami déloyal peut trahir ton dessein ;
L'ordre mal concerté, l'occasion mal prise,
Peuvent sur son auteur renverser l'entreprise,
Tourner sur toi les coups dont tu le veux frapper
Dans sa ruine même il peut t'enveloper;

Et quoiqu'en ma faveur ton amour exécute,
Il te prut en tombant écraser sous sa chute.
Ah! cesse de courir à ce mortel danger :

Te perdre en me vengeant ce n'est pas me venger.
Un cœur est trop cruel quand il trouve des charmes
Aux douceurs que corrompt l'amertume des larmes ;