After six years’ residence at Douay he made up his mind that he was not suited to the church, and left for England, determined to follow his father’s profession. He landed at Bristol in that very December, 1775, that his sister made her unfortunate “first appearance” before the London public. Dreading his parents’ wrath, he made his way to Wolverhampton, and there joined a company under the direction of a Mr. Crump and a Mr. Chamberlain. After going through all the humiliations and privations of a penniless actor, but also after enjoying the valuable hours of study and stern discipline of a stroller’s life, we find the future Hamlet, by the aid of his sister, Mrs. Siddons, enabled to get his foot on the first round of the ladder. Mr. Younger, manager of the Liverpool Theatre, gave him an engagement in 1778. We find him afterwards playing at Wakefield with Tate Wilkinson’s York company, and actually permitted to act Macbeth at Hull. By the aid of quiet industry and determination he was working his way to the goal he had in view. He perpetrated a tragedy, _Belisarius_, that was given on the same occasion at Hull, wrote poetry which he burnt, gave lectures on oratory, and, in fact, passed through the curriculum necessary to the full completion of his powers. On the 30th September 1783, John Kemble first appeared in London, at Drury Lane, as Hamlet. The fiery criticisms launched against this performance by the press, show that at least it was distinguished by originality. Whatever its faults might be, they were unanimous in declaring his reading to be scholarly and refined. He is said, in studying the part of Hamlet, to have written it out no less than forty times. Some time elapsed before he appeared in the same piece as his sister; other actors had possession of the parts, and he had to bide his time. That patient waiting on opportunity, however, was one of the great Kemble gifts; there was no impatience, no complaining, but a steady, dogged power of perseverance, with the profound conviction of their own capabilities to make use of fortune when it came. At last he appeared as Stukeley to his sister’s Mrs. Beverley, in _The Gamester_. Finely as the part was played, the sister, not the brother, carried away the honours of the performance. After this, on several benefit nights they were able to appear together, Kemble replacing Smith in the character of Macbeth to Mrs. Siddons’s Lady Macbeth, and both of them acting later in _Othello_, he as the Moor, she as Desdemona. This was not a distinct success. At last, however, his power found its legitimate development. On the occasion of his sister’s benefit in January 1788, he acted Lear to her Cordelia. The town was electrified, and declared him equal to Garrick. Boaden tells us “that he never played it so grandly or so touchingly as on that night.”