"No sooner was the above line uttered in the most sepulchral tone of voice possible, and accompanied with that peculiar emphasis which, on a subsequent occasion, so justly rendered Mr. Kemble the object of criticism (viz., on the first representation of Mr. Colman's 'Iron Chest'), than the most discordant howl echoed from the pit that ever assailed the organs of hearing. After the lapse of ten minutes the clamour subsided, when Mr. Kemble, having again obtained a hearing, instead of proceeding with the speech at the ensuing line, very politely, and in order to amuse the audience still more, redelivered the very line above quoted with even more solemn grimace than he had in the first instance displayed." During John Kemble's fourteen years' connection with Covent Garden, he created no new character that added to his fame, except, perhaps, Reuben Glenroy, in Morton's "Town and Country." His other original parts were in poor pieces, more or less forgotten. In old characters which he assumed for the first time during his proprietorship in Covent Garden, the most successful was Gloucester, in "Jane Shore," to which he gave a force and prominency which it had never previously received. His Prospero was a marvel of dignity and beautiful elocution, and his Brutus perfect in conception and execution. Of other parts his Pierre was good, but his Iago was below the level of more than one fellow-actor; his Eustace de St. Pierre was, perhaps, as fine as Bensley's, but his Valentine, in the "Two Gentlemen of Verona," could have been better played, even then, by his brother Charles.