As an actor, Kemble’s tall and imposing figure, impressive countenance, and grave and solemn demeanour made him uniquely suited for the Roman characters in Shakespeare’s plays. will perhaps be serviceable to you to be obliged to bestir yourself Extracts from a number of his verses found their way into popular collections of Hymns for Public Worship, such as The Voice that Breathed o'er Eden,[8] "Sun of my soul, Thou Saviour dear,[9] "Blest are the pure in heart" and "New every morning is the love". In personal appearance he was about middle height, with rather square and sloping shoulders, which made him look short until he pulled himself up, as he often did with 'sprightly dignity.' In 1830, he published his edition of Hooker's Works. Join Facebook to connect with John Kemble and others you may know. On the death of his mother in 1823, he left Oxford and returned to live with his father and two surviving sisters at Fairford. In 1828, he was nominated as provost of Oriel College but not elected.[2][4]. HURLEY- John V.G. [3] Keble contributed seven pieces for Tracts for the Times, a series of short papers dealing with faith and practice. His other siblings, Charles Kemble, Stephen Kemble, Ann Hatton, and Elizabeth Whitlock, also enjoyed success on the stage. believe, yet it is true. features of a sensible but fixed and tragic cast; his action is At the end of the four years' course, he still felt no vocation for the priesthood, and returning to England he joined the theatrical company of Crump & Chamberlain, his first appearance being as Theodosius in Nathaniel Lee's tragedy of that name at Wolverhampton on 8 January 1776. all he does; but there is more singularity and ingenuity, than It appeared in 1827 and was very effective in spreading Keble's devotional and theological views. ), popular English actor and manager of the Drury Lane and Covent Garden theatres in London, where his reforms improved the status of the theatrical profession. Eldest son in an acting family, Kemble spent his childhood on the stage. [6] Kemble had been nearly ruined by the fire, and was only saved by a generous loan, afterwards converted into a gift, of £10,000 from the Duke of Northumberland. John Philip Kemble (1 February 1757 – 26 February 1823) was an English actor. Sharp later wrote to Henderson with the following insightful description of what he had found, "I went, as I promised, to see the new ‘Hamlet’, whose provincial [7] He is also commemorated in the name of a street in his place of birth, Prescot. Keble's mind was, by long, patient and affectionate study of Scripture, so imbued with it that its language, its train of thought, its mode of reasoning, seems to flow out into his poetry, almost, one should think, unconsciously to himself. He was born into a theatrical family as the eldest son of Roger Kemble, actor-manager of a touring troupe. While still at Oxford, he was ordained in 1816,[3] becoming a curate to his father and then curate of St Michael and St Martin's Church, Eastleach Martin, in Gloucestershire while still residing at Oxford. By the time that the copyright expired in 1873, over 375,000 copies had been sold in Britain and 158 editions had been published. has been bountiful to him in figure and feature, has denied him John V.G. At the age of eighty-one, he was arrested at Pembridge Castle, the home of his brother. John Philip Kemble (1 February 1757 – 26 February 1823)[2] was an English actor. [1] His mother being a Roman Catholic, he was educated at Sedgley Park Catholic seminary (now Park Hall Hotel), near Wolverhampton, and the English college at Douai, France, with the intent to become a priest. natural and passionate tragedy. His head, says Mozley, 'was one of the most beautifully formed heads in the world,' the face rather plain-featured, with a large unshapely mouth, but the whole redeemed by a bright smile which played naturally over the lips; and under a broad and smooth forehead he had 'clear, brilliant, penetrating eyes which lighted up quickly with merriment kindled into fire in a moment of indignation.... a quiet country clergyman, with a very moderate income, who sedulously avoided public distinctions, and held tenaciously to an unpopular School all his life.[5]. John Philip Kemble, (born Feb. 1, 1757, Prescot, Lancashire, Eng.—died Feb. 26, 1823, Lausanne, Switz. voice; of course he could not exemplify his own direction for the reading prayers, and had waited for the response. Despite its widespread appeal among the Victorian readers, the popularity of Keble's The Christian Year faded in the 20th century despite the familiarity of certain well-known hymns. Let us know if you have suggestions to improve this article (requires login). The theatre was burned down on 20 September 1808, and the raising of the prices after the opening of the new theatre, in 1809, led to the Old Price Riots, which practically suspended the performances for three months. [2] Other works were a Life of Wilson, Bishop of Sodor and Man. He played a huge number of parts, including a large number of Shakespearean characters and also a great many in plays now forgotten, in his own version of Coriolanus, which was revived during his first season, the character of the "noble Roman" was so exactly suited to his powers that he not only played it with a perfection that has never been approached, but, it is said, unconsciously allowed its influence to colour his private manner and modes of speech. He was for some years a tutor and examiner at the University of Oxford.[2]. He also achieved great success as Raymond in The Count of Narbonne, a play taken from Horace Walpole's The Castle of Otranto. The increase in prices after the opening of the new theatre in 1809 led to riots that practically suspended performances for three months. View the profiles of people named John Kemble. In December 1787 he married Priscilla Hopkins Brereton, the widow of an actor and herself an actress. ), popular English actor and manager of the Drury Lane and Covent Garden theatres in London, where his reforms improved the status of the theatrical profession. It marked the opening of a term of the civil and criminal courts and is officially addressed to the judges and officers of the court, exhorting them to deal justly. He is notable for his major contribution to the history of the Anglo-Saxons and philology of the Old English language. The 'Te Deum' window in the south-east transept of St. Peter's Church, Bournemouth, was commissioned as a memorial to Keble, who had preferred to sit in the transept when worshipping at St. Peter's daily in the last months of his life. [2], Keble died in Bournemouth on 29 March 1866 at the Hermitage Hotel, after visiting the area to try and recover from a long-term illness as he believed the sea air had therapeutic qualities. Between 1785 and 1787 Kemble appeared in a variety of roles, his Mentevole in Robert Jephson's Julia producing an overwhelming impression. Letitia Elizabeth Landon published a poetical tribute to Kemble in Fisher's Drawing Room Scrap Book, 1834. His retirement was probably hastened by the rising popularity of Edmund Kean. [1], Keble was born on 25 April 1792 in Fairford, Gloucestershire, where his father, also named John Keble, was vicar of Coln St. Aldwyns. The view from Bulverton Hill, Sidmouth, where Keble was a frequent visitor, is thought to have inspired some of his best loved work. Our editors will review what you’ve submitted and determine whether to revise the article. He was born into a theatrical family as the eldest son of Roger Kemble, actor-manager of a touring troupe. Folklore suggests that his favourite spot was where a wooden bench known as Keble's Seat has been in place for many years. Upon the whole he strikes me rather as a Gradually he won for himself a high reputation as a careful and finished actor, and this, combined with the greater fame of his sister, Sarah, led to an engagement at the Theatre Royal, Drury Lane, where he made his first appearance on 30 September 1783 as Hamlet. "[2] Another is by Walter Lock (1895). in Hamlet, Macbeth, Lord Townley and Maskwell; but in Lear, He was one of the Forty Martyrs of England and Wales. and then he was as deliberate in his delivery as if he had been Appointed manager of the Drury Lane Theatre in 1788, Kemble made important reforms in costumes, scenery, and management, introducing live animals and aquatic effects to the stage for the first time. In 1963 Georgina Battiscombe wrote a biography titled John Keble: a Study in Limitations. He dedicated his Praelectiones to and greatly admired Wordsworth, who once offered to go over The Christian Year with a view to correcting the English. He excelled in his studies and in 1810 achieved a double first class in both Latin and mathematics. His tall and imposing person, noble countenance, and solemn and grave demeanour were uniquely adapted for the Roman characters in Shakespeare's plays; and, when in addition had to depict the gradual growth and development of one absorbing passion, his representation gathered a momentum and majestic force that were irresistible. suppose he will never put on the sock. [7] To the same college friend, he was indebted for an introduction to Robert Southey, whom he found to be "a noble and delightful character," and the writings of the three, especially Wordsworth, had much to do with the formation of Keble's own mind as a poet.[2]. Finding that he had no vocation for the priesthood, he returned to England and the theatre, making his first adult appearance on the stage in 1776. simplicity and fire. [3] Kemble's appointment as manager of the Drury Lane theatre in 1788 gave him full opportunity to dress the characters less according to tradition than in harmony with his own conception of what was suitable.
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