But the wanderings of a provincial actor of ambition are only spiral movements round a centre, to which they finally tend. A London audience is constantly looked forward to as the best judge, and the most liberal rewarder of his deserts. Having remained in Dublin for two seasons, Mr. Kemble quitted it in 1783, and repaired to London.

On the 30th of Sept. 1783, he appeared in Hamlet, on the boards of Drury Lane, and at once established himself with the town; although, from the circumstance of Mr. Smith's being then in possession of the chief tragic parts, Mr. Kemble was prevented from displaying the full extent of his abilities until the year 1788; when, on Mr. Smith's retirement, he was left in full possession of the tragic throne.

In 1787, Mr. Kemble formed a happy matrimonial alliance with Mrs. Brereton, daughter of Mr. Hopkins, the prompter of Drury Lane theatre. At the time that Mr. Kemble married this lady, it was asserted that he wedded suddenly, at the instigation of a nobleman high in rank and importance, Lord North, whose daughter had become ardently enamoured of him. It was said that the young lady's attachment could be checked only by its being thus rendered hopeless; and that, to insure Mr. Kemble's compliance with Lord North's wishes, he was promised by his lordship the sum of 4000%., as a marriage portion. To darken the affair, it was added, that when the marriage had been solemnized, the money was withheld. In all these reports there was not a syllable of truth. Mr. Kemble's marriage was one of real affection; and those who knew his mind will readily acquit him of being capable of an act so indelicate, so base, as that which black-tongued rumour would attribute to him. The imputation naturally excited much indignation on the part of Mr. Kemble. On meeting with it in a memoir of himself, he wrote with his pencil in the margin, "A LIE!”

On the secession of Mr. King, in 1788, Mr. Kemble became manager of Drury Lane theatre. In this office, which he held, with the intervention of a short period, until 1801, he amply justified the dissernment that had placed him in it,

by the many material improvements which he made in the general conduct of the preparatory business of the stage, in the regular decorum of representation, in the impartial appointment of performers to parts suited to their real abilities, and in giving to all characters their true and appropriate costume. Macbeth no longer sported an English general's uniform; men of centuries ago no longer figured in the stiff eourt dresses of our own time; and

His group

"Cato's full wig, flowered gown, and lackered chair," gave way to the crop, the toga, and the couch. ings, his processions, &c. while they were in the highest degree conducive to theatrical effect, were yet so chaste and free from glare, that they appeared rather historical than dramatic, and might have been safely transferred by the artist to the canvass, almost without alteration. The departments of the painter and the machinist were likewise objects of his constant attention; and to his study and exertions the drama is indebted for the present propriety and magnificence of its scenery and decorations.

During the time of Mr. Kemble's management, he did not confine himself merely to the duties of his situation, but added very considerably to the stock of dramatic pieces, by translations of foreign, and revisions of obsolete plays; a list of which will be found at the end of this memoir.

Released in 1801 from the fatigues of management, Mr. Kemble devoted the year 1802 to the pleasures of travel. Having for his main object the improvement of the histrionic art, he visited the cities of Paris and Madrid, and studied the practice of his theatrical brethren in both those capitals. During his residence abroad, he received the most flattering marks of attention and respect from individuals and societies of literary character; and formed an acquaintance with Talma, which afterwards ripened into the closest intimacy. The following extract from a Parisian journal of that day will shew the general interest he excited:

"Mr. Kemble, the celebrated actor of London, whose arrival at Paris has been announced by the papers, possesses a fine figure, and appears to be about forty years of age.

His hair is dark, his features are strongly marked, and he has a physiognomy truly tragic. He understands, and speaks with accuracy, the French language. In company he appears thoughtful and reserved. His manners, however, are very distinguished; and he has in his looks, when addressed, an expression of courtesy, that affords us the best idea of his education. Mr. Kemble is well informed, and has the reputation of being a good grammarian. The Comedie Française has received him with all the respect due to the Le Kaim of England; they have already given him a splendid dinner, and mean to invite him to a still more brilliant souper. Talma, to whom he had letters of recommendation, does the honours of Paris; they visit together our finest works, and appear to be already united by the most friendly ties."

In 1803, Mr. Kemble returned to England, and having purchased a sixth share of the property in Covent Garden theatre, for which he gave five-and-twenty thousand pounds, he became the manager, in the room of Mr. Lewis, who resigned; and appeared for the first time on those boards, in the character of Hamlet, on the 24th of September. It is unnecessary to say, that he was rapturously received. During the next five years, he revived several of Shakspeare's plays, and made Covent Garden classic ground; when, unhappily, on the 20th of Sept. 1808, the destructive fire took place, which in less than three hours consumed the whole interior of the building, involving the proprietors in utter ruin. By this deplorable catastrophe, in addition to the injury to property, humanity had to lament the loss of more than twenty lives, from the falling in of the building near the piazza door.

On this occasion, the late Duke of Northumberland indulged in an act of liberality and kindness, perhaps as unprecedented as it was honourable. The circumstances redound equally to Mr. Kemble's good feeling and to his Grace's excellence of heart. So long back as when at the York theatre, Mr. Kemble was in need of a few soldiers to enrich certain processions, and he therefore applied to an officer of a regiment stationed in that city, for permission to engage some of

the men. The officer rudely refused, observing, that his men had better things to learn than the duties of a theatre. Mr. Kemble, repulsed, but not vanquished, renewed his application to the then Earl Percy, who had higher authority; and his lordship immediately granted the permission required, and indeed directed that the men should assist Mr. Kemble in any way in which he could render them serviceable. Several years passed, the York days were over, and Mr. Kemble had become the proud favourite of London, when, one morning, Dr. Raine, the head master of the Charter House, called upon him, and stated, that he was commissioned to request, on the behalf of a nobleman, Mr. Kemble's assistance in the education of his son. Mr. Kemble replied, that he was compelled, froni want of leisure, and on other accounts, to decline all such occupation; and therefore, that much as he regretted it, he was under the necessity of refusing the application of his friend. Dr. Raine observed, as he was leaving the room, that he lamented the refusal, as the Duke of Northumberland would be greatly disappointed. On hearing the name of the nobleman, Mr. Kemble desired the Doctor to stay, and imme diately said, "The Duke has a right to command me." Accordingly, he attended the present Duke for some time, giving him lessons on elocution. But no satisfactory return for his superintendance was made, or even seemed to be contemplated by the noble family. Time went on. The day of kindness came. On the very morning upon which the theatre was burnt down, his Grace wrote to Mr. Kemble, and proffered him the loan of 10,000, upon his personal security, if it would be a convenience to him. It was a convenience: Mr. Kemble accepted the offer with readiness and gratitude, and paid the interest, as the quarters became due, to the steward. On the day, however, upon which the first stone of the new Covent Garden theatre was laid, the Duke wrote again to Mr. Kemble, and, observing in his letter, that he had no doubt that day was one of the proudest of Mr. Kemble's life, and that his Grace was anxious to make it one of the happiest, inclosed the cancelled bond! Did the name of Percy ever

adorn a more princely deed? One grand, unaffected, quiet act of this nature speaks more for a man than a thousand subscriptions to public charities; the object of which is too frequently a mere display of generosity. At a subsequent period his Grace delicately and finely remarked that Mr. Kemble had taught him how to return an act of kindness. In the dedication to an essay on Macbeth and Richard, published in 1817, Mr. Kemble thus alludes to the Duke of Northumberland's conduct:

"To the Duke of Northumberland.

"MY LORD DUKE, - Be pleased to accept this tribute of my gratitude that it is the constant character of your Grace's nature, to conceal the benefits it confers, I well know; and I am fearful lest this offering should offend, where I most anxiously wish it to be received with favour; yet, when a whole happy tenantry are voting public monuments, to perpetuate the remembrance of your Grace's paternal benevolence to them, I hope, my Lord, that I am not any longer forbidden openly to acknowledge my own great obligations to your munificence.

"Your Grace has thought me worthy of your bountiful patronage; and I may not presume to say how little I deserve it. I have, &c.

"JOHN PHIlip Kemble."

The foundation-stone of the new theatre was laid by his present Majesty, then Prince of Wales, in person, as Grand Master of the Freemasons of Great Britain, attended by the Grand Lodge in form. Mr. Smirke jun. was the architect, and Mr. Copeland the builder. Under their superintendance the present theatre rose like magic on the ruins of the old; being entirely completed in the short space of nine months. It was opened on the 18th of September 1809, with Macbeth. In order, in some degree, to repair the enormous loss which the proprietors had sustained from their recent cala