Kean’s acting, in general, strongly reminds us of the lines of the poet, when he describes ‘The fiery soul that working out its way Fretted the pigmy body to decay, And o’erinformed the tenement of clay.’ Mr. Kemble’s manner on the contrary has always something dry, hard and pedantic in it. ‘You shall relish him more in the scholar than the soldier.’ But his monotony does not fatigue, his formality does not displease, because there is always sense and feeling in what he does. The fineness of Mr. Kemble’s figure has perhaps led to that statue-like appearance which his acting is sometimes too apt to assume; as the diminutiveness of Mr. Kean’s person has probably forced him to bustle about too much, and to attempt to make up for the want of dignity of form by the violence and contrast of his attitudes. If Mr. Kemble were to remain in the same posture for half an hour, his figure would only produce admiration—if Mr. Kean were to stand still only for a moment, the contrary effect would be produced. To return to Penruddock and the Wheel of Fortune. The only novelties were Miss Foote in Emily Tempest, and her lover, Mr. Farley, as Sir David Daw. The latter, who is a Welch Adonis of five-and-twenty, from the natural advantages of his person, and the artificial improvements which were added to it, was a very admirable likeness, on a reduced scale, of the Prince Regent. We do not know whether the burlesque was intended, but it had a laughable effect. We acknowledge that Mr. Farley is one of those persons whom we always welcome heartily when we see him. What with laughing at him and laughing with him, we hardly know a more comic personage. Miss Foote played and looked the part of Emily Tempest very naturally and very prettily, but without giving to the character either much interest or much elegance. Her voice is in itself as sweet as her person, and when she exerts it, she articulates with ease and clearness: but we should add, that she has a habit of tripping in her common speaking, that is, of dropping her voice so low, except where a particular emphasis is to be laid, as to make it difficult for the ear to follow the sense. INTRODUCTION TO AN ACCOUNT OF SIR JOSHUA REYNOLDS’S DISCOURSES _The Champion._] [_Nov. 27, 1814._