247–56).

Champion, 21 December 1817

Mr Kean

‘In our unimaginative days’ – Habeas Corpus’d as we are, out of all wonder, uncertainty and fear; – in these fireside, delicate, gilded days, – these days of sickly safety and comfort, we feel very grateful to Mr Kean for giving us some excitement by his old passion in one of the old plays. He is a relict of romance; – a Posthumous ray of chivalry, and always seems just arrived from the camp of Charlemagne. In Richard he is his sword’s dear cousin; in Hamlet his footing is germain to the platform. In Macbeth his eye laughs siege to scorn; in Othello he is welcome to Cyprus. In Timon he is of the palace – of Athens – of the woods, and is worthy to sleep in a grave ‘which once a day with its embossed froth, the turbulent surge doth cover.’ For all these was he greeted with enthusiasm on his reappearance in Richard; for all these, his sickness will ever be a public misfortune. His return was full of power. He is not the man to ‘bate a jot’. On Thursday evening, he acted Luke in Riches [Sir James Bland Burges’s version of Massinger’s City Madam], as far as the stage will permit, to perfection. In the hypocritical self-possession, in the caution, and afterwards the pride, cruelty, and avarice, Luke appears to us a man incapable of imagining to the extreme heinousness of crimes. To him, they are mere magic-lantern horrors. He is at no trouble to deaden his conscience.

Mr Kean’s two characters of this week, comprising as they do, the utmost of quiet and turbulence, invite us to say a few words on his acting in general. We have done this before, but we do it again without remorse. Amid his numerous excellencies, the one which at this moment most weighs upon us, is the elegance, gracefulness, and music of elocution. A melodious passage in poetry is full of pleasures both sensual and spiritual. The spiritual is felt when the very letters and prints of charactered languageshow like the hieroglyphics of beauty; – the mysterious signs of an immortal freemasonry! ‘A thing to dream of, not to tell!’ The sensual life of verse springs warm from the lips of Kean, and to one learned in Shakespearian hieroglyphics, – learned in the spiritual portion of those lines to which Kean adds a sensual grandeur: his tongue must seem to have robbed ‘the Hybla bees, and left them honeyless’ [Julius Caesar V. 1. 34–5]. There is an indescribable gusto in his voice, by which we feel that the utterer is thinking of the past and the future, while speaking of the instant. When he says in Othello ‘put up your bright swords, for the dew will rust them,’ we feel that his throat had commanded where swords were as thick as reeds. From eternal risk, he speaks as though his body were unassailable. Again, his exclamation of ‘blood, blood, blood!’ is direful and slaughterous to the deepest degree, the very words appear stained and gory. His nature hangs over them, making a prophetic repast. His voice is loosed on them, like the wild dogs on the savage relics of an eastern conflict; and we can distinctly hear it ‘gorging, and growling o’er carcase and limb.’ In Richard, ‘Be stirring with the lark to-morrow, gentle Norfolk!’ [Richard III V. 3. 56] comes from him, as through the morning atmosphere, towards which he yearns. We could cite a volume of such immortal scraps, and dote upon them with our remarks; but as an end must come, we will content ourselves with a single syllable. It is in those lines of impatience to the night who, ‘like a foul and ugly witch, doth limp so tediously away’ [Henry V IV, Chorus 21–2]. Surely this intense power of anatomizing the passion of every syllable – of taking to himself the wings of verse, is the mean[s] by which he becomes a storm with such fiery decision; and by which, with a still deeper charm, he ‘does his spiriting gently’ [The Tempest I. 2. 298].