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arm. The whole expression of her love should be like the breath of flowers.

MR. KEAN'S RICHARD.

Champion, October 9, 1814. We do not think Mr. Kean at all improved by his Irish expedition. As this is a point in which we feel a good deal of interest, both on Mr. Kean's account and our own, we shall state briefly our objections to some alterations in his mode of acting, which appear to us for the worse. His pauses are twice as long as they were, and the rapidity with which he hurries over other parts of the dialogue is twice as great as it was. In both these points, his style of acting always bordered on the very verge of extravagance; and we suspect it has at present passed the line. There are, no doubt, passages in which the pauses can hardly be too long, or too marked ; these must be, however, of rare occurrence, and it is in the finding out these exceptions to the general rule, and in daring to give them all their effect, that the genius of an actor discovers itself. But the most commonplace drawling monotony is not more mechanical or more offensive than the converting these 'exceptions into a general rule, and making every sentence an alternation of dead pauses and rapid transitions. It is not in extremes that dramatic genius is shown, any more than skill in music consists in passing continually from the highest to the lowest note. The quickness of familiar utterance with which Mr. Kean pronounced the anticipated doom of Stanley, “Chop off his head," was quite ludicrous. Again, the manner in which, after his nephew said, “I fear no uncles dead," he suddenly turned round and answered, “And I hope none living, sir," was, we thought, quite out of character. The motion was performed, and the sounds uttered, in the smallest possible time in which a puppet could be made to mimic or gabble the part. For this we see not the least reason ; and can only account for it, from a desire to give excessive effect by a display of the utmost dexterity of execution.

* An old gentleman, riding over Putney Bridge, turned round to his servant, and said, “Do you like eggs, John ?” “Yes, sir.” Here the conversation ended. The same gentleman riding over the same bridge that day year, again turned round, and said,

“ How?" Poached, sir," was the answer. This is the longest pause upon record, and has something of a dramatic effect, though it could not be transferred to the stage. Perhaps an actor might go so far, on the principle of indefinite pauses, as to begin a sentence in one act, and finish it in the next. (W. H.)

It is almost needless to observe that executive power in acting, as in all other arts, is only valuable as it is made subservient to truth and nature. Even some want of mechanical skill is better than the perpetual affectation of showing it. The absence of a quality is often less provoking than its abuse, because less voluntary.

The part which was least varied was the scene with Lady Anne. This is, indeed, nearly a perfect piece of acting. In leaning against the pillar at the commencement of the scene, Mr. Kean did not go through exactly the same regular evolution of graceful attitudes, and we regretted the omission. He frequently varied the execution of many of his most striking conceptions, and the attempt in general failed, as it naturally must do. We refer particularly to his manner of resting on the point of his sword before he retires to his tent, to his treatment of the letter sent to Norfolk, and to his dying scene with Richmond.

Mr. Kean's bye-play is certainly one of his greatest excellences, and it might be said that if Shakespeare had written marginal directions to the players, in the manner of the German dramatists, he would often have directed them to do what Mr. Kean does. Such additions to the text are, however, to be considered as lucky hits, and it is not to be supposed that an actor is to provide an endless variety of these running accompaniments, which he is not in strictness bound to provide at all. In general, we think it a rule that an actor ought to vary his part

as little as possible, unless he is convinced that his former | mode of playing it is erroneous. He should make up

his mind as the best mode of representing the part, and come as near to this standard as he can, in every successive exhibition. It is absurd to object to this mechanical uniformity as studied and artificial. All acting is studied or artificial. An actor is no more called upon to vary his gestures or articulation at every new rehearsal of the character, than an author can be required to furnish various readings to every separate copy of his work. To a new audience it is quite unnecessary ; to those who have seen him before in the same part, it is worse than useless. They may at least be presumed to have come to a second representation, because they approved of the first, and will be sure to be disappointed in almost every alteration. The attempt is endless, and can only produce perplexity and indecision in the actor himself. He must either return perpetually in the same narrow round, if he is determined to be always new, may

at last fancy that he ought to perform the part standing on his head instead of his feet. Besides, Mr. Kean's style of acting is not in the least of the unpremeditated, improvisatori kind : it is throughout elaborate and systematic, instead

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of being loose, off-hand, and accidental. He comes upon the stage as little unprepared as any actor we know. We object particularly to his varying the original action in the dying scene. He at first held out his hands in a way which can only be conceived by those who saw him-in motionless despair-or as if there were some preternatural

power in the mere manifestation of his will : he now actually fights with his doubled fists, after his sword is taken from him, like some helpless infant.

We have been quite satisfied with the attempts we have seen to ape Mr. Kean in this part, without wishing to see him

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himself in it. There is no such thing as trick in matters of genius. All poetical licenses, however beautiful in themselves, by being parodied, instantly become ridiculous. It is because beauties of this kind have no clue to them, and are reducible to no standard, that it is the peculiar province of genius to detect them; by making them common, and reducing them to rule, you make them perfectly mechanical, and perfectly absurd into the bargain.

To conclude our hypercritical remarks : we really think that Mr. Kean was, in a great many instances, either too familiar, too emphatical, or too energetic. In the latter scenes, perhaps, his energy could not be too great ; but he gave the energy of action alone. He merely gesticulated, or at best vociferated the part. His articulation totally failed him. We doubt if a single person in the house, not acquainted with the play, understood a single sentence that he uttered. It was inexplicable dumb show.and noise." We wish to throw the fault of most of our objections on the managers.

Their conduct has been marked by one uniform character, a paltry attention to their own immediate interest, a dis

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trust of Mr. Kean's abilities to perform more than the character he had succeeded in, and a contempt for the wishes of the public. They have spun him tediously out in every character, and have forced him to display the variety of his talents in the same instead of different characters. They kept him back in Shylock, till he nearly failed in Richard from a cold. Why not bring him out in Macbeth, which was at one time got up for him? Why not bring him out at once in a variety of characters, as the Dublin managers have done? It does not appear that either they or he suffered by it. It seems, by all we can find, that versatility is, perhaps, Mr. Kean's greatest excellence. Why, then, not give him his range? Why tantalise the public? Why extort from them their last shilling for the twentieth repetition of the same part, instead of letting them make their election for themselves, of what they like best? It is really very pitiful.

Ill as we conceive the London managers have treated him, the London audiences have treated him well, and we wish Mr. Kean, for some years at least, to stick to them. They are his best friends ; and he may assuredly account us, who have made these sorry remarks upon him, not among his worst. After he has got through the season here well, we see no reason why he should make himself hoarse with performing Hamlet at twelve o'clock, and Richard at six, at Kidderminster. At his time of life, and with his prospects, the improvement of his fortune is not the principal thing. A training under Captain Barclay' would do more towards strengthening

* Captain Barclay (1779-1854) was a noted pedestrian, his most extraordinary feat being his walking one mile in each of 1000 successive hours at Newmarket in 1809.

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