tress of a Hero. She may entertain her self, when alone, with those inward conflicts she feels in her self; she may sigh in secret for her uneasiness, and trust a beloved and virtuous Confident, with her fears and griefs: but, supported by her glory, and fortified by her reason, she ought always to remain mistress of her passions, and to animate her Lover to great actions by her resolution, instead of disheartning him by her weakness.
'Tis, indeed, an indecent sight, to see the Courage of a Hero softned by tears and sighs; but then, if he haughtily contemns the grief of a beautiful Person that loves him, he rather discovers the hardness of his Soul, than the resolution of his Heart.
To avoid this inconvenience, Corneille has no less regard to the Character of his illustrious Ladies, than to that of his Heroes. Emilia encourages Cinna to execute their design[1], and answers all the scruples that oppose the assassinating of Augustus. Cleopatra hath a passion for Cesar, and leaves nothing undone to preserve Pompey[2]: she had been unworthy of Cesar if she had not declar'd against the base treachery of her Brother; and Cesar undeservirig of her, if he had been capable of approving so infamous an action. Dirce, in Oedipus[3], vies greatness of Courage with Theseus, turning upon her self the fatal explanation of the Oracle, which he would apply to himself, out of love to her.
But, above all, we ought to consider Sophonisba[4], whose Character might be envy'd by the Romans themselves. We ought to behold her sa-
