But there is external proof which would seem to be convincing in support of his authorship. Defoe, according to the _Biographia Dramatica_,[25] in a pamphlet written about 1713 ascribed the play to Cibber; and Nichols, in _Literary Anecdotes of the Eighteenth Century_,[26] gives an extract from a memorandum book of Lintot, entitled _Copies when purchased_, according to which Cibber, on March 16, 1712 (O.S.), was paid thirteen pounds for _Cinna’s Conspiracy_. The play was first acted at Drury Lane, February 19, 1713, about a month before the purchase by Lintot. The fact that Cibber was paid for the play so short a time after its presentation would seem to be sufficient proof that it is by Cibber, even though he apparently made no public claim to its authorship. In the alteration of Corneille’s _Cinna_, Cibber has made remarkably few changes. There is only one of any moment, the account of the meeting of the conspirators in the second scene of the first act. Corneille has had Cinna give an account of this meeting to Emilie, while Cibber presents the meeting itself. This involves the omission of some narration and the creation of some new characters who have a few short speeches. Cibber throughout his adaptation seeks to gain vividness and clearness, and his handling of this incident is probably the best example of his method in this respect. The other changes consist merely in the omission and shortening of speeches. On the whole _Cinna’s Conspiracy_ is almost a literal translation, though a little free here and there. The testimony of the critics concerning the source of _Caesar in Egypt_, acted at Drury Lane,[27] December 9, 1724, published in 1725, is somewhat confusing. The _Biographia Dramatica_ finds its source in Beaumont and Fletcher’s _The False One_; Genest[28] says: “The plan of this tragedy is chiefly borrowed from _The False One_--that part of it which concerns Cornelia is said to be taken from Corneille’s _Pompée_.” Stoye,[29] while apparently oblivious of Corneille’s play, mentions Lucan’s _Pharsalia_ in addition to _The False One_; and Miss Canfield says:[30] “Taking Beaumont and Fletcher’s _False One_, Corneille’s _Pompée_, and one or two ideas of his own, he stirred them all together with such vigor, and so disguised them with his wonderful versification, that it is an almost impossible task to distinguish the different elements in the dish.... The general plan and construction of the play are undoubtedly Corneille’s, many of the best speeches are literally translated, especially some of the famous ones between Cornelia and Caesar; and the description of Pompey’s death is taken verbatim from the French.” This last statement of Miss Canfield’s comes nearest to the truth, but it leaves out of account the slight indebtedness to Lucan.[31]