We make these remarks the more freely, because there were parts of the character in which Mr. Kean shewed the greatest sublimity and pathos, by laying aside all violence of action. For instance, the tone of voice in which he delivered the beautiful apostrophe, ‘Then, oh, farewell!’ struck on the heart like the swelling notes of some divine music, like the sound of years of departed happiness. Why not all so, or all that is like it? why not speak the affecting passage—‘I found not Cassio’s kisses on her lips’—why not speak the last speech, in the same manner? They are both of them, we do most strenuously contend, speeches of pure pathos, of thought, and feeling, and not of passion, venting itself in violence of action or gesture. Again, the look, the action, the expression of voice, with which he accompanied the exclamation, ‘Not a jot, not a jot,’ was perfectly heart-rending. His vow of revenge against Cassio, and his abandonment of his love for Desdemona, were as fine as possible. The whole of the third act had an irresistible effect upon the house, and indeed is only to be paralleled by the murder scene in Macbeth. Mr. Pope’s Iago was better acted than usual, but he does not look the character. Mr. Holland’s drunken scene was, as it always is, excellent. A NEW WAY TO PAY OLD DEBTS _The Examiner._ _January 14, 1816._ Massinger’s play of A New Way to Pay Old Debts, which has been brought out at Drury-Lane Theatre to introduce Mr. Kean in the part of Sir Giles Overreach, must have afforded a rich treat to theatrical amateurs. There is something in a good play well acted, a peculiar charm, that makes us forget ourselves and all the world.