that observation was made to the present. Now two degrees are equivalent to two hundred years; consequently the astronomer who made that observation lived just so many years before me. It is certain that an astronomer who had argued in this manner would have mistook just fifty-four years; hence it is that the ancients, who were doubly deceived, made their great year of the world, that is, the revolution of the whole heavens, to consist of thirty-six thousand years. But the moderns are sensible that this imaginary revolution of the heaven of the stars is nothing else than the revolution of the poles of the earth, which is performed in twenty-five thousand nine hundred years. may be proper to observe transiently in this place, that Sir Isaac, by determining the figure of the earth, has very happily explained the cause of this revolution.

All this being laid down, the only thing remaining to settle chronology is to see through what star the colure of the equinoxes passes, and where it intersects at this time the ecliptic in the spring; and to discover whether some ancient writer does not tell us in what point the ecliptic was intersected in his time, by the same colure of the equinoxes.

Clemens Alexandrinus informs us, that Chiron, who went with the Argonauts, observed the constellations at the time of that famous expedition, and fixed the vernal equinox to the middle of the Ram; the autumnal equinox to the middle of Libra; our summer solstice to the middle of Cancer, and our winter solstice to the middle of Capricorn.

A long time after the expedition of the Argonauts, and a year before the Peloponnesian war, Methon observed that the point of the summer solstice passed through the eighth degree of Cancer.

Now every sign of the zodiac contains thirty degrees. In Chiron's time, the solstice was arrived at the middle of the sign, that is to say to the fifteenth degree. A year before the Peloponnesian war it was at the eighth, and therefore it had retarded seven degrees. A degree is equivalent to seventytwo years; consequently, from the beginning of the Peloponnesian war to the expedition of the Argonauts, there is no more than an interval of seven times seventytwo years, which make five hundred and four years, and

not seven hundred years, as the Greeks computed. Thus in comparing the position of the heavens at this time with their position in that age, we find that the expedition of the Argonauts ought to be placed about nine hundred years before Christ, and not about fourteen hundred; and consequently that the world is not so old by five hundred years as it was generally supposed to be. By this calculation all the eras are drawn nearer, and the several events are found to have happened later than is computed. I don't know whether this ingenious system will be favourably received; and whether these notions will prevail so far with the learned, as to prompt them to reform the chronology of the world. Perhaps these gentlemen would think it too great a condescension to allow one and the same man the glory of having improved natural philosophy, geometry, and history. This would be a kind of universal monarchy, with which the principle of self-love that is in man will scarce suffer him to indulge his fellow-creature; and, indeed, at the same time that some very great philosophers attacked Sir Isaac Newton's attractive principle, others fell upon his chronological system. Time, that should discover to which of these the victory is due, may perhaps only leave the dispute still more undetermined.

LETTER XVIII

ON TRAGEDY

THE English as well as the Spaniards were possessed of theatres at a time when the French had no more than moving, itinerant stages. Shakspeare, who was considered as the Corneille of the first-mentioned nation, was pretty nearly contemporary with Lope de Vega, and he created, as it were, the English theatre. Shakspeare boasted a strong fruitful genius. He was natural and sublime, but had not so much as a single spark of good taste, or knew one rule of the drama. I will now hazard a random, but, at the same time, true reflection, which is, that the great merit of this dramatic poet has been the ruin of the English stage. There are such beautiful, such noble, such dreadful scenes

in this writer's monstrous farces, to which the name of tragedy is given, that they have always been exhibited with great success. Time, which alone gives reputation to writers, at last makes their very faults venerable. Most of the whimsical gigantic images of this poet, have, through length of time (it being a hundred and fifty years since they were first drawn) acquired a right of passing for sublime. Most of the modern dramatic writers have copied him; but the touches and descriptions which are applauded in Shakspeare, are hissed at in these writers; and you will easily believe that the veneration in which this author is held, increases in proportion to the contempt which is shown to the moderns. Dramatic writers don't consider that they should not imitate him; and the ill-success of Shakespeare's imitators produces no other effect, than to make him be considered as inimitable. You remember that in the tragedy of Othello, Moor of Venice, a most tender piece, a man strangles his wife on the stage; and that the poor woman, whilst she is strangling, cries aloud that she dies very unjustly. You know that in Hamlet, Prince of Denmark, two grave-diggers make a grave, and are all the time drinking, singing ballads, and making humorous reflections (natural indeed enough to persons of their profession) on the several skulls they throw up with their spades; but a circumstance which will surprise you is, that this ridiculous incident has been imitated. In the reign of King Charles II., which was that of politeness, and the Golden Age of the liberal arts; Otway, in his Venice Preserved, introduces Antonio the senator, and Naki, his courtesan, in the midst of the horrors of the Marquis of Bedemar's conspiracy. Antonio, the superannuated senator plays, in his mistress's presence, all the apish tricks of a lewd, impotent debauchee, who is quite frantic and out of his senses. He mimics a bull and a dog, and bites his mistress's legs, who kicks and whips him. However, the players have struck these buffooneries (which indeed were calculated merely for the dregs of the people) out of Otway's tragedy; but they have still left in Shakspeare's Julius Cæsar the jokes of the Roman shoemakers and cobblers, who are introduced in the same scene with Brutus

and Cassius. You will undoubtedly complain, that those who have hitherto discoursed with you on the English stage, and especially on the celebrated Shakspeare, have taken notice only of his errors; and that no one has translated any of those strong, those forcible passages which atone for all his faults. But to this I will answer, that nothing is easier than to exhibit in prose all the silly impertinences which a poet may have thrown out; but that it is a very difficult task to translate his fine verses. All your junior academical sophs, who set up for censors of the eminent writers, compile whole volumes; but methinks two pages which display some of the beauties of great geniuses, are of infinitely more value than all the idle rhapsodies of those commentators; and I will join in opinion with all persons of good taste in declaring, that greater advantage may be reaped from a dozen verses of Homer or Virgil, than from all the critiques put together which have been made on those two great poets.

I have ventured to translate some passages of the most celebrated English poets, and shall now give you one from Shakspeare. Pardon the blemishes of the translation for the sake of the original; and remember always that when you see a version, you see merely a faint print of a beautiful picture. I have made choice of part of the celebrated soliloquy in Hamlet, which you may remember is as follows:

"To be, or not to be? that is the question!
Whether 't is nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing, end them? To die! to sleep!
No more! and by a sleep to say we end
The heart-ache, and the thousand natural shocks
That flesh is heir to! 'T is a consummation
Devoutly to be wished. To die! to sleep!

To sleep; perchance to dream! Ay, there's the rub;
For in that sleep of death, what dreams may come
When we have shuffled off this mortal coil,

Must give us pause. There's the respect

That makes calamity of so long life:

For who would bear the whips and scorns of time,
The oppressor's wrong, the poor man's contumely,
The pangs of despised love, the law's delay,

The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin. Who would fardels bear
To groan and sweat under a weary life,
But that the dread of something after death,
The undiscovered country, from whose bourn
No traveller returns, puzzles the will,
And makes us rather bear those ills we have,
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution

Is sicklied o'er with the pale cast of thought:
And enterprises of great weight and moment
With this regard their currents turn awry,
And lose the name of action-"

My version of it runs thus:

"Demeure, il faut choisir et passer à l'instant
De la vie à la mort, ou de l'être au neant.
Dieux cruels, s'il en est, éclairez mon courage.
Faut-il vieillir courbé sous la main qui m'outrage,
Supporter, ou finir mon malheur et mon sort?
Qui suis je? Qui m'arrête! et qu'est-ce que la mort?
C'est la fin de nos maux, c'est mon unique asile
Après de longs transports, c'est un sommeil tranquile.
On s'endort, et tout meurt, mais un affreux reveil
Doit succeder peut etre aux douceurs du sommeil !
On nous menace, on dit que cette courte vie,
De tourmens éternels est aussi-tôt suivie.

O mort! moment fatal! affreuse eternité!
Tout cœur à ton seul nom se glace épouvanté.
Eh! qui pourroit sans toi supporter cette vie,
De nos prêtres menteurs benir l'hypocrisie;
D'une indigne maitresse encenser les erreurs,
Ramper sous un ministre, adorer ses hauteurs;
Et montrer les langueurs de son ame abattüe,
A des amis ingrats qui detournent la vüe?
La mort seroit trop douce en ces extrémitez,
Mais le scrupule parle, et nous crie, arrêtez;
Il defend à nos mains cet heureux homicide

Et d'un heros guerrier, fait un Chrétien timide," &c.

Do not imagine that I have translated Shakspeare in a servile manner. Woe to the writer who gives a literal version; who by rendering every word of his original, by that very means enervates the sense, and extinguishes all