stitution was not strong, and his temperament exposed him to sudden gusts of passion, which contrasted with a disposition usually bright and gentle. He died on 18 July 1704, and was buried in the baptist burial-ground in the Park, Southwark. His portrait, drawn and engraved by Jan Drapentier [q. v.], is prefixed to his ‘Trumpet Blown in Zion,’ 1694, 4to; painted by J. Surman and engraved by Vandergucht, it is prefixed to his ‘Gospel Mysteries;’ there are other engravings of him. He was twice married: first, to Jane Grove of Winslow (d. October 1670, aged 30), by whom he had five children; secondly, to Susanna Partridge of Rickmansworth (d. February 1727), by whom he had five daughters. His only son by his first wife, Elias, born about 1665, conducted a baptist mission in Pennsylvania, where he founded two churches. Returning to England, he was pastor of a baptist church at Wapping, afterwards at Goodman's Fields. He died in 1699, or, according to Ivimey, in 1701. Wilson enumerates forty-three of Keach's publications; a list, extended to fifty-four, is given by Joseph Angus, D.D., in his privately printed ‘Baptist Authors, No. IV. Catalogues,’ July 1889. In addition to those noted above may be mentioned the following poetical productions: 1. ‘Distressed Zion Relieved,’ &c., 1688, 4to. 2. ‘Spiritual Melody … Psalms and Hymns from the Old and New Testament,’ &c., 1691, 12mo (nearly three hundred pieces). 3. ‘A Feast of Fat Things … Spiritual Songs,’ &c., 1692, 12mo (one hundred pieces). He wrote also allegories, including: 4. ‘War with the Devil,’ &c., 1676, 16mo. 5. ‘The Travels of True Godliness,’ &c., 1683, 12mo; 1831 (with Memoir). 6. ‘The Progress of Sin; or, the Travels of Ungodliness,’ 1684, 12mo; 1817; and published a collection of forty sermons, 7. ‘A Golden Mine Opened,’ &c., 1694, 4to.
[Crosby's Hist. of English Baptists, 1738, ii. 185 sq.; Noble's Continuation of Granger's Biog. Hist. of England, 1806, i. 132 sq.; Ivimey's Hist. of Engl. Baptists, 1811 i. 338 sq., 1814 ii. 467 sq.; Wilson's Dissenting Churches of London, 1805 i. 535, 1814 iv. 241 sq.; Barclay's Inner Life of Religious Societies of the Commonwealth, 1876, pp. 456 sq.; Cox's Literature of the Sabbath Question, 1865, ii. 115; Smith's Bibliotheca Anti-Quakeriana, 1873, pp. 258 sq.; Urwick's Nonconformity in Herts, 1884, p. 378; Julian's Dictionary of Hymnology, 1892, p. 610; extracts from the parish register of Stoke Hammond (where the name is invariably spelled Keeche), per the Rev. E. Pain.]
KEAN, CHARLES JOHN (1811?–1868), actor, the second son of Edmund Kean [q. v.], was born, according to accepted statements, in Waterford, 18 Jan. 1811. The ‘Theatrical Times’ (ii. 74) gives the date January 1809. After receiving a preparatory education at Worplesdon in Surrey and at Greenford, near Harrow, Kean, in accordance with his father's promise made on the night of his first appearance at Drury Lane, 26 Jan. 1814, went to Eton as an Oppidan, his tutor being Chapman, subsequently bishop of Colombo. After the eclipse of his father's fortunes he was withdrawn in 1827, and was offered a cadetship in the East India Company's service by Mr. Calcraft, M.P., one of the managing committee of Drury Lane. This young Kean declined to accept unless his father consented to settle on his mother, from whom he was separated, an income of 400l. Professing his inability to do this, Edmund Kean parted in anger from his son, who declared his intention to become an actor.
Assumably without experience, Kean found that his name opened to him the portals of the stage. Stephen Price, an American manager of Drury Lane, generally known as ‘Half’ Price, offered the youth an engagement for three years, rising from ten to twelve pounds per week. On 1 Oct. 1827 accordingly, as Young Norval in ‘Douglas,’ Kean made what was announced as his first appearance on any stage. His age was then said to be eighteen, thus contradicting the date assigned for his birth. Curiosity was stimulated, and his performances, though condemned by the critics, proved a financial success. A writer in the ‘New Monthly Magazine’ spoke of his actions as unembarrassed and his attitudes as at times picturesque, but declared his deficiencies of voice distressing, his accent ‘alternating between feeble bass and childish treble,’ being ‘sometimes ludicrous and always painful’ (xxi. 462). Absence of passion was, of course, to be expected. He imitated with dubious effect the abrupt transitions and rapid turns of his father. Norval was repeated four times, and on 15 Oct. Achmet in ‘Barbarossa’ was played without altering the estimate of his powers. Frederick in ‘Lovers' Vows’ followed, 28 Nov., and Lothair in ‘Adelgitha,’ 14 April 1828. In ‘Lovers' Vows’ he first met (26 Dec. 1828) Ellen Tree, his future wife, who played Amelia Wildenhaim. At the close of the season 1827–8 he accepted an engagement at Glasgow, and at Bute visited his father, by whom he was forgiven. Father and son then acted together for one occasion, 1 Oct. 1828, in Glasgow, Kean playing Brutus, and Charles Kean Titus, in Howard Payne's tragedy of ‘Brutus.’ Charles Kean made a first appear-
