Like most men, however, Kean receives a partial reward, at least, for his sacrifice of the praise of the many to what he feels to be the truth. For when he passes from the state of natural repose, even into that of gentle motion and ordinary discourse, he is immediately filled with a spirit and life, which he makes everyone feel who is not armor-proof against him. This helps to the sparkling brightness and warmth of his playing, the grand secret of which, like that of colors in a picture, lies in a just contrast. We can all speculate concerning the general rules upon this; but when the man of genius gives us their results, how few are there who can trace them out with an observant eye, or look with a discerning satisfaction upon the great whole. Perhaps this very beauty in Kean has helped to an opinion, which, no doubt, is true, that he is, at times, too sharp and abrupt. I well remember, while once looking at a picture in which the shadow of a mountain fell, in strong outline, upon a part of a stream, I overheard some quite sensible people expressing their wonder that the artist should have made the water of two colors, seeing it was all one and the same thing. Instances of Kean's keeping of situations were striking in the opening of the trial scene in _The Iron Chest_, and in _Hamlet_, when the father's ghost tells the story of his death. The composure to which he is bent up, in the former, must be present with all who saw him. And, though from the immediate purpose, shall I pass by the startling and appalling change, when madness seized upon his brain, with the swiftness and power of a fanged monster? Wonderfully as this last part was played, we cannot well imagine how much the previous calm, and the suddenness of the unlooked-for change from it, added to the terror of the scene. The temple stood fixed on its foundations; the earthquake shook it, and it was a heap. Is this one of Kean's violent contrasts? While Kean listened, in Hamlet, to the father's story, the entire man was absorbed in deep attention, mingled with a tempered awe. His posture was simple, with a slight inclination forward. The spirit was the spirit of his father, whom he had loved and reverenced, and who was to that moment ever present in his thoughts. The first superstitious terror at meeting him had passed off. The account of his father's appearance given him by Horatio and the watch, and his having followed him some distance, had, in a degree, familiarized him to the sight, and he stood before us in the stillness of one who was to hear, then or never, what was to be told, but without that eager reaching forward which other players give, and which would be right, perhaps, in any character but that of Hamlet, who connects the past and what is to come with the present, and mingles reflection with his immediate feelings, however deep.