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Por. Look not thus sternly on me; you know I'd rather die than disobey you.

Act V. Scene 1.

CATO:

A TRAGEDY,

In Five Acts,

BY JOSEPH ADDISON.

PRINTED FROM THE ACTING COPY, WITH REMARKS,
BIOGRAPHICAL AND CRITICAL, BY D-G.

To which are added,

A DESCRIPTION OF THE COSTUME,-CAST OF THE CHARACTERS, EXITS AND ENTRANCES, RELATIVE POSITIONS OF THE PERFORMERS ON THE STAGE, AND THE WHOLE OF THE STAGE

BUSINESS,

As now performed at the

THEATRES ROYAL, LONDON.

EMBELLISHED WITH A FINE ENGRAVING,
By MR. WHITE, from a Drawing taken in the Theatre, by
MR. R. CRUIKSHANK.

LONDON:

JOHN CUMBERLAND, 19, LUDGATE HILL.

PRINTD BY G. H. DAVIDSON,

IRE AND YARD, IOCTORS' COMMONS.

REMARKS.

Cato.

PorE's sublime Prologue explains in a few words all that is exhibited in this tragedy:

"A brave man struggling in the storms of fate,

And greatly falling with a falling state."

A patriot who devotes his life to the public weal, and gloriously lays it down when it can no longer contribute to the good of his country.

An example so illustrious is the finest subject that can be conceived for a tragic poem. But the drama requires something more than the exhibition of one character and of one passion. To those whose minds are familiar with the classic ages-who have been accustomed to meditate with silent pleasure and reverential awe on their images of departed greatness-this tragedy will afford exquisite delight. The virtues of Cato elevate him above humanity: his sorrows are not like those of other men; he therefore claims no sympathy from the million. His soul is as much raised above theirs, as the heavens are above the earth: it were therefore unreasonable to expect anything beyond decent endurance froin those who can neither understand nor participate in the scenes before them. Philosophy and declamation, however sublime and lofty, are but ill substitutes for passion; without which there can be no real tragedy. For the intent and aim of tragedy are to create a wild anxiety, to inspire terror and pity, and, passing the bounds of nature, to be something more. In these essentials Cato is deficient.-It has imagery and sentiment in a very high degree.-We are charmed with the elegance of the scholar, but we miss the divine inspiration of the poet. There is enough of philosophy and morais; but it is a stoical philosophy, that—

"Plays round the head, but comes not to the heart"

a morality that pursues the rule of right, and the true fitness of things, and makes virtue to consist too much in externals. What au awful beauty is the virtuous Marcia :

"The virtuous Marcia tow'rs above her sex:

But still the lovely maid improves her charms
With inward greatness, unaffected wisdom,
And sanctity of manners."

How different are Juliet, Viola, and Imogen i

This tragedy is written with strict adherence to what are arbitrarily called the unities-a plan that involves some inconsistencies. This drew down the animadversions of that furious critic, John Dennis, whose strictures, though full of invective and horse play raillery, display much ingenuity and critical acumen. Every character is subordinate to that of Cato, in whom all the interest centres. The episode of the loves of Juba and Marcia was introduced to insure the piece a favourable reception with those who must needs have a love-scene to soften the rigour of Cato's virtue. The spirit of party

never ran so high as when this tragedy was first produced. Yet it had the singular good fortune to please both Whig and Tory, who took every political allusion as compliments to themselves

"Till factions strove which should applaud it most."

It was graced with a fine prologue by Pope, and a humorous epilo gue by Dr. Garth, and supported by the talents of Bartou Booth; whose performance of Cato raised him to the highest pinnacle of dramatic fame.

But, if this drama be deficient in the higher attributes that belong to tragedy, it claims our admiration in many other respects. As a dramatic poem it is incomparable; there is nothing in the English language more elaborately elegant. The characters are distinctly, if not strongly, marked, and preserve the utmost propriety of diction. We refer more particularly to the council-scene, where the question of peace or war is successively debated. Syphax is a wild and original creation. His language ever and anon starte into poetry; and nothing can be more vigorously conceived and expressed, than the contrast he draws between "Numidia's tawny sons," and the "sovereigns of the world." Criticism itself is dumb before Cato's soliloquy on the immortality of the soul. Apart from the pages of inspiration, we have nothing more sublime and solemn-more calculated to lift the soul from earth to heaven. It is said that Addison, at the conclusion of the fourth act, placed the tragedy in the hands of his friend Tickell (a most excellent man, and pleasing poet), with an injunction to supply a fifth; but that he resumed the subject, and completed his work. What a magnificent burst of poetry would the world have lost, had Addison adhered to his original determination. The life and death of this great poet were equally calculated to instruct and benefit mankind:

"He taught us how to live-and, oh! too high

The price of knowledge !-taught us how to die!"

Tradition has handed down to us the rare merit of Booth in Cato. Pope, however, ascribes much of the applause to certain auxiliaries independent of the actor:

"Booth enters,-hark! the universal peal!

But has he spoken?--Not a syllable.

What shook the stage, and made the people stare?

Cato's long wig, flower'd gown, and lacquer'd chair.”

Quin, the pupil of Betterton and Booth, followed in this difficult character; and, after him, Sheridan A long pause then ensued, until the late Mr. Kemble revived this illustrious Roman in all his integrity and grandeur.

It were impossible to conceive a more majestic image, a countenance of more sublime expression, than this great actor exhibited in Cato. The character had engaged his deepest study, and he played it with an intensity, an entire abstraction, that can only result from the mind working itself up to the imagination of the poet, and absolutely being what it represents. His costume was classically correct. Its simple elegance was weli calculated to display to the best advantage his noble figure. He exchanged "the flowered gown" for the Roman toga; the "long wig" he discarded altogether, and was content to display the grandeur of his bust without the aid of that extraneous ornament. The anxiety of Cato to know whether his son

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