he made him give up every pursuit except that of the theatre,
and lodged him in his own house. Le Kain played successively the parts
of _Leide_ and _Mahomet_; and astonished and delighted his master by his
forcible manner of playing. He transported him by pronouncing these
words in the fifth act of Mahomet--"Il est donc des remords!"--Voltaire
could not contain his admiration, and the actor has acknowledged that he
never felt a more lively and profound sensation than he did at that
moment. To be brief he made his appearance on the French stage, in the
part of _Titus_, in the tragedy of _Brutus_, and that of _Leide_, in
_Mahomet_.

Nature had given to Le Kain a disadvantageous countenance, a thick and
rough voice, a short figure, and, indeed, appeared to oppose almost
insurmountable obstacles to his success: but art developed the feelings
concentered on his heart, animated his whole person, suggested to him
the most graceful attitudes, strengthened his voice, and impressed in
every motion of his body the grand character of passion. Indeed, in the
parts of _Orosmanes_, _Tancred_, _Mahomet_, _Gengiskan_, _Bayard_, &c.
he appeared superior even to nature, and every object was eclipsed
around him. He fixed the attention and interest of every spectator.
Nevertheless, Le Kain had not only to conquer nature, but also the
efforts of envy, the intrigues of the green-room, and of the fashionable
world, and the precipitate opinions of bad judges. The _parterre_ alone
constantly admired and applauded him. His debut continued seventeen
months, and every body anticipated his disgrace, when he was appointed
to play before the court the part of _Orosmanes_. Even Louis XV, had
been prejudiced against him. But that king, who possessed judgment,
intelligence, and a natural taste that nothing could pervert, appeared
astonished that any person should have formed so ill an opinion of the
new actor, and said--_"Il m'a fait pleurer, mot qui ne pleure
guere."_--_He has drawn tears from me, 'albeit unused to the melting
mood.'_ This expression was sufficient. He could not do otherwise than
admit him into his company. The French theatre possessed at that time,
in tragedy, Dumesnil, Gaussin, Clairon, Sarrasin, Lanoue, &c. and this
combination of eminent talents gave to the stage a degree of perfection
and eclat, which will hardly ever be seen again. It served to form the
style of Le Kain, and to unite in this actor all the perfections of
which he w