Talking of these things in Kean is something like reading the _Beauties of Shakspeare_; for he is as true in the subordinate as in the great parts. But he must be content to share with other men of genius, and think himself fortunate if one in a hundred sees his lesser beauties, and marks the truth and delicacy of his under-playing. For instance, when he has no share in the action going on, he is not busy in putting himself into attitudes to draw attention, but stands or sits in a simple posture, like one with an engaged mind. His countenance, too, is in a state of ordinary repose, with but a slight, general expression of the character of his thoughts; for this is all the face shows, when the mind is taken up in silence with its own reflections. It does not assume marked or violent expressions, as in soliloquy. When a man gives utterance to his thoughts, though alone, the charmed rest of the body is broken; he speaks in his gestures too, and the countenance is put into a sympathizing action. I was first struck with this in his Hamlet; for the deep and quiet interest, so marked in Hamlet, made the justness of Kean's playing, in this respect, the more obvious. And since then, I have observed him attentively, and have found the same true acting in his other characters. This right conception of situation and its general effect seems to require almost as much genius as his conceptions of his characters, and, indeed, may be considered as one with them. He deserves praise for it; for there is so much of the subtilty of nature in it, if one may so speak, that while a few are able, with his help, to put themselves into the situation, and perceive the justness of his acting in it, the rest, both those who like him upon the whole, as well as those who profess to see little in him, will be apt to let it pass by without observing it.