unfortunate underling, who was killed on the spot, his blood profusely sprinkling the dress of Rolla as he rushed on from the wing to finish the tragedy. An attack of bronchitis soon after this compelled him to abandon various engagements. Loss of time to a professional man is loss of money. He returned to England, after visiting the Havanna, his second transatlantic trip being less protracted and remunerative than he had anticipated. On the first of June, 1840, he resumed his performances at the Haymarket, and added Macbeth, for the first time, to the list of his London characters. In this, probably the most difficult to embody amongst all the mighty conceptions of Shakspere, his success equalled the sanguine expectations of his friends, and it has always been considered one of his ablest delineations. In the last act in particular, he was singularly energetic: his death-scene was original and effective. The play was very carefully produced; it ran fifteen nights, and materially served both the actor and the theatre. During the following season, Romeo and Juliet was produced under his direction; Miss Ellen Tree being the Juliet, and Mr. James Wallack, Mercutio. His provincial engagements continued as attractive as ever, and with each succeeding year his fame and fortune were steadily increasing. On the 29th of January, 1842, occurred the most auspicious event in his life-the wisest step he had ever taken, and the surest guarantee of his future prosperity: he was married at the church of St. Thomas, in Dublin, to Miss Ellen Tree-an attachment of long standing, and, in every respect, a well-assorted union." By this Charles Kean not only secured his domestic happiness, but obtained a large addition to his worldly means, and an invaluable co-operator in his theatrical career. By a rare combination of private and professional excellence, Miss Ellen Tree had already acquired a handsome independence, and placed herself in the foremost rank of the distinguished females whose names shed lustre on the history of the British Drama. In characters requiring great physical power, with the more commanding attributes, something might be wanting which a few others had excelled her in; but in all the softer delineations, in a just discrimination of the tenderer passions, in versatility, in natural pathos, or elegant vivacity-in a clear knowledge of her author's meaning, and in lady-like deportment-she was, and is, without a superior on the modern stage. This marriage, which, for reasons of their own, was not immediately made public, took place on the last day of their Dublin engagement, and on that same evening, by a odd coincidence, they performed together in The Honeymoon. Their first appearance in the acknowledged characters of man and wife took place at Glasgow on the 27th of the following February-the combined attraction producing, in five performances in one week, the sum of £1000. During the following summer, both were engaged at the Haymarket Theatre. As You Like It, The Gamester, and The Lady of Lyons were frequently repeated. They also appeared in a new play by Sheridan Knowles, called The Rose of Arragon, which, though successful in representation, and acted for twenty-five consecutive nights, is, nevertheless, one of the least agreeable productions of a very superior writer. During the winter of 1843, Charles Kean entered into a separate engagement with Mr. Bunn at Drury-lane, receiving the same terms as in 1838. On this occasion Richard III. was produced in a style of unprecedented magnificence, with correct costumes and decorations. America has generally proved an "El Dorado" to the leading London "stars.' Mrs. C. Kean was desirous of paying a farewell visit to the many kind friends she had formerly made in that country, and a very tempting offer presenting itself, they laid aside several excellent engagements at home, and in the summer of 1845 once more embarked for the United States. Their success was everywhere "prodigious." By the close of the first year they realised and sent home a greater profit than had ever before been accomplished within the same time. A new play, called The Wife's Secret, proved universally attractive. This play, a production of sterling merit, was written by Mr. G. Lovell, already well known in the literary and dramatic world by the Merchant of Bruges, Love's Sacrifice, &c., &c. It was purchased by Kean (who fully relied on the talent of his author) for the large sum of £400, before it was commenced. In the year 1846 he ventured on an experiment never before hazarded in VOL. XXXVI.-NO, CCXIV. 2 F America the production of the two gorgeous historical tragedies of Richard III. and King John, on a scale of splendour which no theatre in London or Paris could have surpassed. The scenery, the decorations, the banners, armorial bearings, heraldic blazonry, groupings, and all the minor details were so correctly studied, that the most fastidious reader of Montfaucon or Meyrick would have been puzzled to detect an error. But our brethren of the stars and stripes are utilitarians rather than antiquaries; more inclined to look forward than to pore over ancient chronicles: they appeared not to enjoy with a perfect zest the pomp of feudal royalty, or the solemn pageantry of baronial privileges. The upshot of all was, that the expenditure far exceeded the return, and the produco of the second year bore no comparison with that of the first. In the summer of 1847 they returned to England. Their first act on arriving at home was one of disinterested kindness. Hearing, through a mutual friend, that Mr. Calcraft, the lessee of the Dublin Theatre, had fallen into difficulties, they crossed at once to Ireland, and volunteered to perform for his benefit. The attraction of these powerful auxiliaries, added to the personal popularity of the manager, produced a house crowded by all the rank and fashion of the Irish metropolis. The play selected was The Jealous Wife, in which Mr. and Mrs. Kean (for the first time in Europe) appeared as Mr. and Mrs. Oakly. The Lord Lieutenant, the Earl of Clarendon, who had very lately entered on his office, was present, with the Countess and the viceregal suite. They expressed warm approbation of the performance, and on the following Saturday, the 31st July, visited the theatre in state, commanding the appearance of Mr. and Mrs. Kean in the comedy of The Wonder. This produced a second house as numerously attended as the former one. They had thus the satisfaction of rendering a double service to an old and valued friend at a very critical juncture. After going through a series of engagements, all settled before they had sailed for America, in Birmingham, Manchester, Liverpool, and Dublin, they returned to the Haymarket Theatre early in January, 1848, and appeared in their new play of The Wife's Secret. Their reception and the success of the play were equally enthusiastic. It was repeated thirty-six times with undiminished effect; the engagement, originally for thirty nights, was extended to sixty; and on the occasion of their benefit her Majesty honoured them with her presence, conferring the distinction of a "special patronage." At the commencement of 1849, Charles Kean was selected, without application on his part, to conduct the "Windsor Theatricals"-a series of private performances at the Castle, adopted by the Queen and Prince Albert, with the double object of gratifying their own tastes, and promoting the interests of the British drama. The compliment was a highly gratifying one, both to the man and the actor; but the difliculties accompanying it were of no trifling nature. A very general desire was manifested to appear before royalty; but it was no casy task to reconcile conflicting claims, or bring down expectations, occasionally unreasonable, to a practicable standard. That Kean acquitted himself to the perfect satisfaction of his august employers, may be assumed from the facts that her Majesty presented him with a diamond ring, and accorded him the still more flattering honour of a personal interview. To satisfy all his brethren of the sockand-buskin was a much more arduous undertaking. He laboured with unceasing tact, command of temper, and perfect impartiality; but he discovered that to roll up-hill the stone of Sisyphus, to draw water in the bucket of the Danaidæ, or to carve Mount Athos into a statue, would be gentle pastime, compared to the complicated Herculean labour he had vainly hoped to accomplish. On the 30th of March, 1849, the widow of Edmund Kean died at Keydell, near Horndean, in Hampshire, the country residence of her son, on a small estate he had purchased in 1844, and where she had found a happy retreat during the closing years of her chequered and eventful existence. The history of the elder Mrs. Kean presents us with a moral lesson of the deepest interest, a subject for profound reflection, and a special instance of the varied dispensations of Providence. During the early years of her married life she struggled with many privations, and drained the cup of poverty to its bitterest dregs-then came the episode of London success, with all its unlooked-for luxury and ruinous profusion; then followed the desertion of her husband, the combined evils of broken health and vanished hopes; disease, neglect, and destitution, more pungently felt from an interval of prosperity; until, finally raised again by the filial piety and untiring exertions of her son, she passed the evening of her days surrounded by all the comforts of affluence, and all the soothing cares of the fondest affection. On the 21st of May, 1849, Charles Kean presided at the fourth anniversary dinner of the General Theatrical Fund, to which he had always been an annual contributor-an excellent institution, well deserving the general support it appears to receive. It was the first time he had ever been called on to discharge the duties of chairman at a public dinner. According to the published accounts, he acquitted himself with much ability, and spoke with pathos and effect. The collection exceeded, by nearly £100, the sum obtained on any of the former occasions. During the seasons of 1848-9, and 1849-50, Charles Kean departed from the plan he had hitherto adopted in his London engagements, and accepted a permanent situation with Mr. Webster at the Haymarket Theatre. He was principally induced by family considerations-the declining health of his mother, and a desire to superintend the early education of his daughter and only child, a little girl now nearly seven years old. In January he was commanded to direct the second series of Windsor theatricals, which were unexpectedly curtailed by the intervening death of the Queen Dowager, and has now, a third time, been entrusted with the same commission for the approaching Christmas. In March last, he and Mrs. Kean concluded their engagements at the Haymarket. On the occasion of their benefit the Queen again honoured them with her presence and special patronage. The play selected was Much Ado about Nothing; they appeared as Benedick and Beatrice, characters in which they had gained much reputation during the season. In August, in conjunction with Mr. Keeley, he entered on a lease, for two years, of the Princess's Theatre in Oxford-street, and for the first time embarked on the "stormy sea" of management. His season commenced, under highly favourable auspices, on the 28th of September. We have thus briefly sketched the principal incidents in the life of Charles Kean, from his birth to the present date. That he has been a fortunate man, in the general acceptation of the term, no one will deny; and that he merits his good fortune will be as readily conceded by all impartial judges. In his early career he had much to contend against, and his history presents strong points of encouragement to all who are destined to fight their way through the world, of whatever calling or profession. The towering reputation of his father, and the name he inherited, were more frequently impediments than advantages, as inviting invidious comparisons rather than indulgent recollections. A natural resemblance in the son was reproached as a positive offence; while the most palpable and servile imitation in a stranger was cordially hailed as indicative of kindred genius. At the same time his high gentlemanlike bearing, his wellknown affection for his mother, and his honourable character, were powerful auxiliaries, backing his own genius, and carrying him gallantly over many opposing obstacles and many prejudiced opinions. The professional reputation of Charles Kean is erected on a sound foundation. As Junius says, in reference to the fame of Lord Chatham, "Recorded honours shall gather round his monument, and thicken over him. It is a solid fabric, and will support the laurels that adorn it." his era. It may here be expected that we should enter into a detailed analysis of Charles Kean's peculiar style of acting, an estimate of his powers, and a critical comparison between him and the other leading performers who have illustrated But we abstain from this at present. It sounds too like a requiem or an epitaph; and we trust many long and happy years will elapse before he becomes a candidate for either. This one fact, however, is certain-bis reputation is exclusively built on his delineations of Shakspere. Hitherto he has derived little assistance from original characters. In this respect, both his father and himself have been less fortunate than their predecessors. Rolla, The Stranger, Penruddock, and Octavian, assisted the fame of John Kemble, nearly as much as Hamlet, Lear, Wolsey, or Coriolanus. Virginius, William Tell, The only exception is, probably, "Sir Walter Amyot," in The Wife's Secret, and this can scarcely be ranked as a first-rate character. Werner, and Richelieu, have proved as valuable stepping-stones to Macready, as King John, Othello, or Macbeth. of an Mr. C. Kean has now entered on a dangerous experiment, as manager important London theatre. He has many qualifications for the task, with sound experience; and his known liberality to authors can scarcely fail to give an impetus to dramatic literature. He has already a second time paid £400 to the author of The Wife's Secret, for a new play, which will be produced immediately; and is in treaty with several of the leading English dramatists to employ their pens in a similar task. We should like to see some of our own countrymen enter into this competition. Where is Sheridan Knowles? Is the lamp extinguished which once burned so brilliantly? Or if his genius slumbers on its laurels, and cannot be awakened, where is the young literature of Ireland? A liberal purchaser is in the market, if the proper article be supplied. We heartily wish Mr. Kean success, and much depends on the result of his exertions. His own fortunes, and the fortunes of the legitimate drama, to a considerable extent, are involved in the issue. The progressive events of his season will be watched with unusual interest. He has fallen on evil days, and his net is cast in troubled waters. But a favourable prestige accompanies his name, with a very general impression that the star of his destiny, hitherto so brilliant, will suffer no eclipse. His acknowledged abilities, joined with those of his accomplished lady, their estimation in general society, and irreproachable characters, can do much; and much is wanting to revive the public taste, and restore the stage to its former elevation. Unless some powerful lever is applied to counterbalance the thousand-and-one causes which weigh down its vitality, and hasten its decline, the most intellectual of recreations will shortly be numbered amongst the things that were; and the art and its professors may lay down peaceably toge ther, inscribing over their common sepulchre— "FUIMUS TROES!" WHAT DO FALLEN TOWERS DECLARE? What do fallen towers declare, Mouldering, crumbling castles speak? What, but that old time was there, Was there, in some malignant freak! As sad, as painful, and as true? It does-yes, strongly it compels, My soul to feel that time will do When pain, disease, and suffering meet Our "earthly house" to dust beneath our feet! AGE OF CHARLES V. BEFORE addressing ourselves to the very curious and interesting volume before us,* we wish to make some remarks that may serve for an introduction to the "Correspondence of Charles V." The age of Charles V. is, beyond all comparison, the most interesting in modern history. Not long before Charles came into his immense possessions, the world of Europe had been startled by the prodigious discoveries of Columbus. The minds of men were variously agitated by novelties of speculation, by the growth of literature consequent on the invention of the printing-press, and by the political struggles between the Papacy and the Empire. The contest between Charles and Francis I. partook more of the keenness of personal rivalry than any struggle we recollect between crowned heads. Their challenging each other to single combat, and their insulting cartels, contained more personality than has ever been exhibited by kings striving with each other, and approximate to the spirit of romance. Lastly, the Reformation is the grand event of the age of Charles V.-a change which, of itself, was the parent of vast political revolutions. Interesting as the age of Charles V. is in itself, it has been rendered still more so in the pages of history. We do not rate Robertson's "History of the Reign of Charles V." as being his best performance, but it is his greatest theme, and contains a greater variety of attractive matter than his other works. The style of his histories of Scotland and America is superior; but if the readers were polled, we believe that they would decide, by a large majority, that the "Reign of Charles V." was his greatest work. They would confound the immense importance of the subjects treated of with the execution of the work itself. Yet, as a subject for history, there were great difficulties in its treatment. The very first, and almost the greatest, principle of historical composition is, that the writer should give his subject as much unity as possible. His work should not consist of unconnected parts; an animating principle should pervade it, so as that the idea of an artistic whole should be powerfully (though, perhaps, unconsciously) impressed on the reader's mind. This unity of action and of interest is necessary alike to the historian and the dramatic poet, and is found not on the pedantic and artificial rules of critics, but in the nature of the human mind, which cannot employ itself on several objects at the same time. When the attention is divided, the impression on the mind is less animated, and the reader soon becomes perplexed or disgusted. There must always be a main point-a certain grand goal, to which the author should conduct his readers. How artfully Livy, in the commencement of his superlative performance, awakens the reader's attention by suggesting the continuous grandeur of his theme, "Res Romana quæ ab exiguis profecta initiis, eo creverit, ut jam magnitudine laboret sua." It is remarkable that David Hume tried to dissuade Robertson from the project of writing the "History of the Age of Charles V." in the following words:"That subject is disjointed, and your hero, who is the sole connection, is not very interesting. A competent knowledge, at least, is required of the state and constitution of the Empire, of the several kingdoms of Spain, of Italy, and of the Low Countries, which it would be the work of half a life to acquire; and though some parts of the story may be entertaining, there are many that would be "Correspondence of the Emperor Charles V. and his Ambassadors at the Courts of England and France, from the Original Letters in the Imperial Family Archives at Vienna; with a connecting Narrative and Biographical Notices of the Emperor, and of some of the most distinguished Officers of his Army and Household; together with the Emperor's Itinerary from 1519-1551." Edited by William Bradford, M.A., formerly Chaplain to the British Embassy at Vienna. 8vo. London: Bentley. 1850. |