We certainly think Mr. Kean’s performance of the part of Iago one of the most extraordinary exhibitions on the stage. There is no one within our remembrance who has so completely foiled the critics as this celebrated actor: one sagacious person imagines that he must perform a part in a certain manner,—another virtuoso chalks out a different path for him; and when the time comes, he does the whole off in a way that neither of them had the least conception of, and which both of them are therefore very ready to condemn as entirely wrong. It was ever the trick of genius to be thus. We confess that Mr. Kean has thrown us out more than once. For instance, we are very much inclined to adopt the opinion of a contemporary critic, that his _Richard_ is not gay enough, and that his _Iago_ is not grave enough. This he may perhaps conceive to be the mere caprice of idle criticism; but we will try to give our reasons, and shall leave them to Mr. Kean’s better judgment. It is to be remembered, then, that _Richard_ was a princely villain, borne along in a sort of triumphal car of royal state, buoyed up with the hopes and privileges of his birth, reposing even on the sanctity of religion, trampling on his devoted victims without remorse, and who looked out and laughed from the high watch-tower of his confidence and his expectations on the desolation and misery he had caused around him. He held on his way, unquestioned, ‘hedged in with the divinity of kings,’ amenable to no tribunal, and abusing his power _in contempt of mankind_. But as for _Iago_, we conceive differently of him. He had not the same natural advantages. He was a mere adventurer in mischief, a pains-taking plodding knave, without patent or pedigree, who was obliged to work his up-hill way by wit, not by will, and to be the founder of his own fortune. He was, if we may be allowed a vulgar allusion, a sort of prototype of modern Jacobinism, who thought that talents ought to decide the place,—a man of ‘morbid sensibility,’ (in the fashionable phrase), full of distrust, of hatred, of anxious and corroding thoughts, and who, though he might assume a temporary superiority over others by superior adroitness, and pride himself in his skill, could not be supposed to assume it as a matter of course, as if he had been entitled to it from his birth. We do not here mean to enter into the characters of the two men, but something must be allowed to the difference of their situations. There might be the same insensibility in both as to the end in view, but there could not well be the same security as to the success of the means. _Iago_ had to pass through a different ordeal: he had no appliances and means to boot; no royal road to the completion of his tragedy. His pretensions were not backed by authority; they were not baptized at the font; they were not holy-waterproof. He had the whole to answer for in his own person, and could not shift the responsibility to the heads of others. Mr.