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Rh Probably his irregular habits were prejudicial to the refinement of his taste, and latterly they tended to exaggerate his special defects and mannerisms. The adverse decision in the divorce case of Cox v. Kean on the 17th of January 1825 caused his wife to leave him, and aroused against him such bitter feeling, shown by the almost riotous conduct of the audiences before which he appeared about this time, as nearly to compel him to retire permanently into private life. A second visit to America in 1825 was largely a repetition of the persecution which, in the name of morality, he had suffered in England. Some cities showed him a spirit of charity; many audiences submitted him to the grossest insults and endangered his life by the violence of their disapproval. In Quebec he was much impressed with the kindness of some Huron Indians who attended his performances, and he was made chief of the tribe, receiving the name Alanienouidet. Kean’s last appearance in New York was on the 5th of December 1826 in Richard III., the rôle in which he was first seen in America. He returned to England and was ultimately received with all the old favour, but the contest had made him so dependent on the use of stimulants that the gradual deterioration of his gifts was inevitable. Still, even in their decay his great powers triumphed during the moments of his inspiration over the absolute wreck of his physical faculties, and compelled admiration after his gait had degenerated into a weak hobble, and the lightning brilliancy of his eyes had become dull and bloodshot, and the tones of his matchless voice marred by rough and grating hoarseness. His appearance in Paris was a failure owing to a fit of drunkenness. His last appearance on the stage was at Covent Garden, on the 25th of March 1833 when he played Othello to the Iago of his son Charles. At the words “Villain, be sure,” in scene 3 of act iii., he suddenly broke down, and crying in a faltering voice “O God, I am dying. Speak to them, Charles,” fell insensible into his son’s arms. He died at Richmond on the 15th of May 1833.

It was in the impersonation of the great creations of Shakespeare’s genius that the varied beauty and grandeur of the acting of Kean were displayed in their highest form, although probably his most powerful character was Sir Giles Overreach in Massinger’s A New Way to Pay Old Debts, the effect of his first impersonation of which was such that the pit rose en masse, and even the actors and actresses themselves were overcome by the terrific dramatic illusion. His only personal disadvantage as an actor was his small stature. His countenance was strikingly interesting and unusually mobile; he had a matchless command of facial expression; his fine eyes scintillated with the slightest shades of emotion and thought; his voice, though weak and harsh in the upper register, possessed in its lower range tones of penetrating and resistless power, and a thrilling sweetness like the witchery of the finest music; above all, in the grander moments of his passion, his intellect and soul seemed to rise beyond material barriers and to glorify physical defects with their own greatness. Kean specially excelled as the exponent of passion. In Othello, Iago, Shylock and Richard III., characters utterly different from each other, but in which the predominant element is some form of passion, his identification with the personality, as he had conceived it, was as nearly as possible perfect, and each isolated phase and aspect of the plot was elaborated with the minutest attention to details, and yet with an absolute subordination of these to the distinct individuality he was endeavouring to portray. Coleridge said, “Seeing him act was like reading Shakespeare by flashes of lightning.” If the range of character in which Kean attained supreme excellence was narrow, no one except Garrick has been so successful in so many great impersonations. Unlike Garrick, he had no true talent for comedy, but in the expression of biting and saturnine wit, of grim and ghostly gaiety, he was unsurpassed. His eccentricities at the height of his fame were numerous. Sometimes he would ride recklessly on his horse Shylock throughout the night. He was presented with a tame lion with which he might be found playing in his drawing-room. The prizefighters Mendoza and Richmond the Black were among his visitors. Grattan was his devoted friend. In his earlier days Talma said of him, “He is a magnificent uncut gem; polish and round him off and he will be a perfect tragedian.” Macready, who was much impressed by Kean’s Richard III. and met the actor at supper, speaks of his “unassuming manner ... partaking in some degree of shyness” and of the “touching grace” of his singing. Kean’s delivery of the three words “I answer—NO!” in the part of Sir Edward Mortimer in The Iron Chest, cast Macready into an abyss of despair at rivalling him in this rôle. So full of dramatic interest is the life of Edmund Kean that it formed the subject for a play by the elder Dumas, entitled Kean on désordre et génie, in which Frederick-Lemaître achieved one of his greatest triumphs.

See Francis Phippen, Authentic Memoirs of Edmund Kean (1814); B. W. Procter (Barry Cornwall), The Life of Edmund Kean (1835); F. W. Hawkins, The Life of Edmund Kean (1869); J. Fitzgerald Molloy, The Life and Adventures of Edmund Kean (1888); Edward Stirling, Old Drury Lane (1887).

His son, (1811–1868), was born at Waterford, Ireland, on the 18th of January 1811. After preparatory education at Worplesdon and at Greenford, near Harrow, he was sent to Eton College, where he remained three years. In 1827 he was offered a cadetship in the East India Company’s service, which he was prepared to accept if his father would settle an income of £400 on his mother. The elder Kean refused to do this, and his son determined to become an actor. He made his first appearance at Drury Lane on the 1st of October 1827 as Norval in Home’s Douglas, but his continued failure to achieve popularity led him to leave London in the spring of 1828 for the provinces. At Glasgow, on the 1st of October in this year, father and son acted together in Arnold Payne’s Brutus, the elder Kean in the title-part and his son as Titus. After a visit to America in 1830, where he was received with much favour, he appeared in 1833 at Covent Garden as Sir Edmund Mortimer in Colman’s The Iron Chest, but his success was not pronounced enough to encourage him to remain in London, especially as he had already won a high position in the provinces. In January 1838, however, he returned to Drury Lane, and played Hamlet with a success which gave him a place among the principal tragedians of his time. He was married to the actress Ellen Tree (1805–1880) on the 29th of January 1842, and paid a second visit to America with her from 1845 to 1847. Returning to England, he entered on a successful engagement at the Haymarket, and in 1850, with Robert Keeley, became lessee of the Princess Theatre. The most noteworthy feature of his management was a series of gorgeous Shakespearian revivals. Charles Kean was not a great tragic actor. He did all that could be done by the persevering cultivation of his powers, and in many ways manifested the possession of high intelligence and refined taste, but his defects of person and voice made it impossible for him to give a representation at all adequate of the varying and subtle emotions of pure tragedy. But in melodramatic parts such as the king in Boucicault’s adaptation of Casimir Delavigne’s Louis XI., and Louis and Fabian dei Franchi in Boucicault’s adaptation of Dumas’s The Corsican Brothers, his success was complete. From his “tour round the world” Kean returned in 1866 in broken health, and died in London on the 22nd of January 1868.

See The Life and Theatrical Times of Charles Kean, by John William Cole (1859).

KEANE, JOHN JOSEPH (1839–&emsp;&emsp;), American Roman Catholic archbishop, was born in Ballyshannon, Co. Donegal, Ireland, on the 12th of September 1839. His family settled in America when he was seven years old. He was educated at Saint Charles’s College, Ellicott City, Maryland, and at Saint Mary’s Seminary, Baltimore, and in 1866 was ordained a priest and made curate of St Patrick’s, Washington, D.C. On the 25th of August 1878 he was consecrated Bishop of Richmond, to succeed James Gibbons, and he had established the Confraternity of the Holy Ghost in that diocese, and founded schools and churches for negroes before his appointment as rector of the Catholic University, Washington, D.C., in 1886, and his appointment in 1888 to the see of Ajasso. He did much to upbuild the Catholic University, but his democratic and liberal policy