from an imprudent exposure of his health, was seized with an inflammatory fever, which in four days brought him to his grave. He met the approaches of death without alarm, and surrounded by his friends, resigned himself cheerfully to his fate. He died on the 8th of February, 1778.

The manner in which Le Kain made his way to distinction, on the French stage, is very remarkable, and it proves that a performer may sometimes be a better judge of his own abilities than the manager; but how few actors are there that possess the talents of Le Kain, and how numerous are those who think themselves equal to the most arduous and conspicuous characters in the drama.

When Le Kain first appeared on the French stage, Grandval played the principal tragic characters. He did not perceive the talent of Le Kain; he saw only the natural defects of this sublime actor, and knew not how to appreciate the sensibility and intelligence which so amply atoned for them.

Le Kain, nevertheless, vegetated, for more than sixteen months in the rank of a pensioner. At length, disgusted with his situation, the impetuous Le Kain went in search of the haughty Grandval, and, without being intimidated at the uncivil reception he met with, said to him—"I come, sir, to request that you will let me play Orosmanes before the king." "You, Sir," said Grandval; "Orosmanes! before the court!—Surely you are not serious—do you mean to ruin yourself at once?"—"I have weighed every thing, Sir," replied the young tragedian; "I know the risk I run. It is time in short, that my fate were decided."—"Very well, Sir," said Grandval, "I consent to your playing the part; but if the result should turn out contrary to your wishes, remember that it is entirely your own act." Le Kain withdrew, and hastened to study, with the attention due to the important task he had undertaken, the character he was about to perform.

The day arrived—the new actor appeared on the stage. His figure and height excited at first some surprise, and even the women, accustomed to the grace and handsome person of Grandval, suffered a slight murmur, of disappointment to escape them. Le Kain had forseen this; he was not astonished at it; but the little vexation he felt at it gave him additional energy, and the success he experienced in the first act prepared the way only to his triumph in those which succeeded. In proportion as the interest of the scene advanced, his soul expanded itself over and beamed through his features; and soon the eyes of every spectator, dimmed with the tears that overflowed them, could no longer distinguish whether the actor was beautiful or ugly, and he left nothing upon the minds of the audience but the most powerful impression of the feelings which had animated him through his whole performance.

After the representation, the first gentleman of the chamber asked his majesty what he thought of him. The king made the reply which we have quoted above.

This reception, so novel in its nature, astonished his brother performers; but they were obliged to yield to his superiority, and Grandval, who acknowledged his error, no longer delayed to put Le Kain in possession of the first characters in tragedy.

Le Kain published shortly after his success, the following particulars of his first connexion with M. de Voltaire, to which he prefixed this expressive motto from the play of Oedipus.

"May I not be permitted to boast of a title which at once fixed my condition, my fortune, and the happiness of my life? The brief account I am about to give, will justify the motto I have chosen, which may, at the first view, have the appearance of too much vanity.

"The peace of 1748 reviving amusements of every kind in the city of Paris, gave birth at the same time to the institution of several societies of citizens, who assembled together to enjoy the pleasure of acting plays.

"The first was established at the hotel de Soyecourt, St. Honoré; the second at the hotel de Clermont-Tonnerre, Marais; and the third at the hotel de Jabac, in the street of St. Mery. Of this last theatre I was the founder.

"Of all the young people who acquired celebrity upon these stages, and some of whom are settled in the provincial theatres, I am the only one who have obtained a situation in Paris; and for this favour I am indebted more to my good stars, than to my poor talents. The circumstances which led to it are these.

"The proprietor of the hotel de Jabac, being obliged to make some repairs on the inside of the hall which we occupied, laid us under the necessity of requesting permission from the comedians of Clermont-Tonnerre, to play alternately with them upon their stage. It was stipulated between us, in the month of July 1749, that we should pay a moiety of the expenses; and accordingly we made our debût there with Sidney and Georges Dandin.

"It may be easily conceived, that the competition of these two societies excited much difference of opinion in the public, the result of which could not be favourable to one company, without diminishing the credit with which the other had till then performed. Some divided in our favour, and some in favour of our rivals. 'These ladies,' observed one party, 'are prettier than the other.'—'Ah!' replied their neighbours, 'but then the latter have better knowledge of the stage, more grace and vivacity, &c. &c.'

"In this manner the public amused themselves, and selected their favourites either from Messrs. de Tonnerre, or Messrs. de Jabac. But who could imagine that a society of young people, who attended to decorum in the midst of their amusements, would have excited the jealousy and complaint of the great disciples of Melpomene.

"Through their interference we were obliged to shut up our theatre. A Jansenist priest, however, procured its re-establishment. M. l'Abbé Chauvelin of the parliament of Paris, condescended to interest himself for the pupils, in opposition to their masters, and got us to play Le Mauvais Riche, a five act comedy in verse, by M. d'Arnaud. The piece did not possess much merit in the opinion of the most brilliant assembly that was at that time to be met with in all Paris. This was in the month of February 1750.

"M. de Voltaire was invited by the author to attend the representation: and whether it was to gratify M. d'Arnaud, or through pure kindness to the actors, who exerted themselves to the utmost to give effect to a very feeble and uninteresting drama, that great man appeared tolerably satisfied, and anxiously inquired the name of the person who had performed the part of the lover. He received for answer, that he was the son of a goldsmith at Paris, who played at present for his amusement, but who had a serious intention of making the stage his profession. He expressed to M. d'Arnaud a desire to be acquainted with me, and begged that he would prevail upon me to go and see him the next day but one.

"The pleasure that this invitation afforded, was greater even than my surprise at receiving it. But I have never been able to describe what passed in my mind at the sight of this man, whose eyes sparkled with fire, genius, and imagination. When I spoke to him, I felt myself penetrated with respect, enthusiasm, admiration, and fear. I was almost overpowered by these several sensations, when M. de Voltaire had the goodness to put an end to my embarrassment, by opening his paternal arms, and thanking God for having created a being who had moved and affected him in the recitation of such wretched verses. He afterwards put several questions to me respecting my own condition, and