THEATRICAL LOGIC AND MODESTY.—AS a specimen of these' pleasing attributes,
we are happy to extract a letter by Mr. KEAN to' Mr. KEMBLE.
"My dear Sir—Your letter confirms my first impression of your character, namely, that you are a good man arid a good actor. Your kindness, in the first instance of our meeting, cannot be erased ; and the second is placed in the monument of memory. I regret, in your letter, telling me you cannot visit Bute. Shakspeare, you, and I, I think, would form most excellent comn
panionship (Pares runt paribus congregantur); but I shall obey youp injunctions, and fortify my constitutional batteries against the new campaign.,
" My dear Sir, with sincere respect, EDMUND KEAN. " P.S. I accept the proposals made by the Managers of the Theatre Royal„; Covent Garden.—I had nearly forgot all this."
From this we learn, in the first place, that Mr. KEAN discovers Mr.; KEMBLE, by his skill in letter-writing, to be an excellent actor, (a com- pliment, by the way, as equivocal as the mode of ascertaining the fact on which it is founded is curious) ; and in the second, that Mr. KEAN has no better way of preserving the memory of such excel- lence than by burying it. We farther learn, that in Mr. 'Coax's) opinion, SHAKSPEARE, CHARLES KEMBLE, and himself, are" birds of a feather "—" pares cum paribus." Yes ; Olympus and the mole- hills at its foot have undoubtedly some points of resemblance.
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