Chapter XIX: Part 19

KAZAN (called by the Cheremisses _Ozon_), a town of eastern Russia, capital of the government of the same name, situated in 55 deg. 48' N. and 49 deg. 26" E., on the river Kazanka, 3 m. from the Volga, which however reaches the city when it overflows its banks every spring. Kazan lies 650 m. E. from Moscow by rail and 253 m. E. of Nizhniy-Novgorod by the Volga. Pop. (1883), 140,726; (1900), 143,707, all Russians except for some 20,000 Tatars. The most striking feature of the city is the _kreml_ or citadel, founded in 1437, which crowns a low hill on the N.W. Within its wall, capped with five towers, it contains several churches, amongst them the cathedral of the Annunciation, founded in 1562 by Gury, the first archbishop of Kazan, Kazan being an archiepiscopal see of the Orthodox Greek Church. Other buildings in the kreml are a magnificent monastery, built in 1556; an arsenal; the modern castle in which the governor resides; and the red brick Suyumbeka tower, 246 ft. high, which is an object of great veneration to the Tatars as the reputed burial-place of one of their saints. A little E. of the kreml is the Bogoroditski convent, built in 1579 for the reception of the Black Virgin of Kazan, a miracle-working image transferred to Moscow in 1612, and in St Petersburg since 1710. Kazan is the intellectual capital of eastern Russia, and an important seat of Oriental scholarship. Its university, founded in 1804, is attended by nearly 1000 students. Attached to it are an excellent library of 220,000 vols., an astronomical observatory, a botanical garden and various museums. The ecclesiastical academy, founded in 1846, contains the old library of the Solovetsk (Solovki) monastery, which is of importance for the history of Russian religious sects. The city is adorned with bronze statues of Tsar Alexander II., set up facing the kreml in 1895, and of the poet G. R. Derzhavin (1743-1816); also with a monument commemorating the capture of Kazan by Ivan the Terrible. The central parts of the city consist principally of small one-storeyed houses, surrounded by gardens, and are inhabited chiefly by Russians, while some 20,000 Tatars dwell in the suburbs. Kazan is, further, the intellectual centre of the Russian Mahommedans, who have here their more important schools and their printing-presses. Between the city and the Volga is the Admiralty suburb, where Peter the Great had his Caspian fleet built for his campaigns against Persia. The more important manufactures are leather goods, soap, wax candles, sacred images, cloth, cottons, spirits and bells. A considerable trade is carried on with eastern Russia, and with Turkestan and Persia. Previous to the 13th century, the present government of Kazan formed part of the territory of the Bulgarians, the ruins of whose ancient capital, Bolgari or Bolgary, lie 60 m. S. of Kazan. The city of Kazan itself stood, down to the 13th century, 30 m. to the N.E., where traces of it can still be seen. In 1438 Ulugh Mahommed (or Ulu Makhmet), khan of the Golden Horde of the Mongols, founded, on the ruins of the Bulgarian state, the kingdom of Kazan, which in its turn was destroyed by Ivan the Terrible of Russia in 1552 and its territory annexed to Russia. In 1774 the city was laid waste by the rebel Pugachev. It has suffered repeatedly from fires, especially in 1815 and 1825. The Kazan Tatars, from having lived so long amongst Russians and Finnish tribes, have lost a good many of the characteristic features of their Tatar (Mongol) ancestry, and bear now the stamp of a distinct ethnographic type. They are found also in the neighbouring governments of Vyatka, Ufa, Orenburg, Samara, Saratov, Simbirsk, Tambov and Nizhniy-Novgorod. They are intelligent and enterprising, and are engaged principally in trade.

See Pineghin's _Kazan Old and New_ (in Russian); Velyaminov-Zernov's
_Kasimov Tsars_ (3 vols., St Petersburg, 1863-1866); Zarinsky's
_Sketches of Old Kazan_ (Kazan, 1877); Trofimov's _Siege of Kazan in_
1552 (Kazan, 1890); Firsov's books on the history of the native
population (Kazan, 1864 and 1869); and Shpilevski, on the antiquities
of the town and government, in _Izvestia i Zapiski_ of the Kazan
University (1877). A bibliography of the Oriental books published in
the city is printed in _Bulletins_ of the St Petersburg Academy
(1867). Compare also L. Leger's "Kazan et les tartares," in _Bibl.
Univ. de Geneve_ (1874). (P. A. K.; J. T. Be.)

KAZERUN, a district and town of the province of Fars in Persia. The district is situated between Shiraz and Bushire. In its centre is the Kazerun Valley with a direction N.W. to S.E., a fertile plain 30 m. long and 7 to 8 m. broad, bounded S.E. by the Parishan Lake (8 m. long, 3 m. broad) N.W. by the Boshavir River, with the ruins of the old city of Beh-Shahpur (Beshaver, Boshavir, also, short, Shapur) and Sassanian bas-reliefs on its banks. There also, in a cave, is a statue of Shapur. The remainder of the district is mostly hilly country intersected by numerous streams, plains and hills being covered with zizyphus, wild almond and oak. The district is divided into two divisions: town and villages, the latter being called Kuh i Marreh and again subdivided into (1) Pusht i Kuh; (2) Yarruk; (3) Shakan. It has forty-six villages and a population of about 15,000; it produces rice of excellent quality, cotton, tobacco and opium, but very little corn, and bread made of the flour of acorns is a staple of food in many villages. Wild almonds are exported.

Kazerun, the chief place of the district, is an unwalled town situated in the midst of the central plain, in 29 deg. 37' N., 51 deg. 43' E. at an elevation of 2800 ft., 70 m. from Shiraz, and 96 m. from Bushire. It has a population of about 8000, and is divided into four quarters separated by open spaces. Adjoining it on the W. is the famous Nazar garden, with noble avenues of orange trees planted by a former governor, Hajji Ali Kuli Khan, in 1767. A couple of miles N. of the city behind a low range of hills are the imposing ruins of a marble building said to stand over the grave of Sheik Amin ed din Mahommed b. Zia ed din Mas'ud, who died A.H. 740 (A.D. 1339). S.E. of the city on a huge mound are ruins of buildings with underground chambers, popularly known as Kal'eh i Gabr, "castle of the fire-worshippers."

KAZINCZY, FERENCZ (1750-1831), Hungarian author, the most indefatigable agent in the regeneration of the Magyar language and literature at the end of the 18th and beginning of the 19th century, was born on the 27th of October 1759, at Er-Semlyen, in the county of Bihar, Hungary. He studied law at Kassa and Eperies, and in Pest, where he also obtained a thorough knowledge of French and German literature, and made the acquaintance of Gideon Raday, who allowed him the use of his library. In 1784 Kazinczy became subnotary for the county of Abauj; and in 1786 he was nominated inspector of schools at Kassa. There he began to devote himself to the restoration of the Magyar language and literature by translations from classical foreign works, and by the augmentation of the native vocabulary from ancient Magyar sources. In 1788, with the assistance of Baroti Szabo and John Bacsanyi, he started at Kassa the first Magyar literary magazine, _Magyar Muzeum_; the _Orpheus_, which succeeded it in 1790, was his own creation. Although, upon the accession of Leopold II, Kazinczy, as a non-Catholic, was obliged to resign his post at Kassa, his literary activity in no way decreased. He not only assisted Gideon Raday in the establishment and direction of the first Magyar dramatic society, but enriched the repertoire with several translations from foreign authors. His _Hamlet_, which first appeared at Kassa in 1790, is a rendering from the German version of Schroder. Implicated in the democratic conspiracy of the abbot Martinovics, Kazinczy was arrested on the 14th of December 1794, and condemned to death; but the sentence was commuted to imprisonment. He was released in 1801, and shortly afterwards married Sophia Torok, daughter of his former patron, and retired to his small estate at Szephalom or "Fairhill," near Sator-Ujhely, in the county of Zemplen. In 1828 he took an active part in the conferences held for the establishment of the Hungarian academy in the historical section of which he became the first corresponding member. He died of Asiatic cholera, at Szephalom, on the 22nd of August 1831.

Kazinczy, although possessing great beauty of style, cannot be
regarded as a powerful and original thinker; his fame is chiefly due
to the felicity of his translations from the masterpieces of Lessing,
Goethe, Wieland, Klopstock, Ossian, La Rochefoucauld, Marmontel,
Moliere, Metastasio, Shakespeare, Sterne, Cicero, Sallust, Anacreon,
and many others. He also edited the works of Baroczy (Pest, 1812, 8
vols.) and of the poet Zrinyi (1817, 2 vols.), and the poems of Dayka
(1813, 3 vols.) and of John Kis, (1815, 3 vols.). A collective edition
of his works (_Szep Literatura_), consisting for the most part of
translations, was published at Pest, 1814-1816, in 9 vols. His
original productions (_Eredeti Mukai_), largely made up of letters,
were edited by Joseph Bajza and Francis Toldy at Pest, 1836-1845, in 5
vols. Editions of his poems appeared in 1858 and in 1863.

KAZVIN, a province and town of Persia. The province is situated N.W. of Teheran and S. of Gilan. On the W. it is bounded by Khamseh. It pays a yearly revenue of about L22,000, and contains many rich villages which produce much grain and fruit, great quantities of the latter being dried and exported.

Kazvin, the capital of the province, is situated at an elevation of 4165 ft., in 36 deg. 15' N. and 50 deg. E., and 92 m. by road from Teheran. The city is said to have been founded in the 4th century by the Sassanian king Shapur II (309-379). It has been repeatedly damaged by earthquakes. Many of its streets and most of the magnificent buildings seen there by Chardin in 1674 and other travellers during the 17th century are in ruins. The most remarkable remains are the palace of the Safawid shahs and the mosque with its large blue dome. In the 16th century Shah Tahmasp I. (1524-1576) made Kazvin his capital, and it remained so till Shah Abbas I. (1587-1629) transferred the seat of government to Isfahan. The town still bears the title Dar es Salteneh, "the seat of government." Kazvin has many baths and cisterns fed by underground canals. The system of irrigation formerly carried on by these canals rendered the plain of Kazvin one of the most fertile regions in Persia; now most of the canals are choked up. The city has a population of about 50,000 and a thriving transit trade, particularly since 1899 when the carriage road between Resht and Teheran with Kazvin as a half-way stage was opened under the auspices of the Russian "Enzeli-Teheran Road Company." Great quantities of rice, fish and silk are brought to it from Gilan for distribution in Persia and export to Turkey.

KEAN, EDMUND (1787-1833), was born in London on the 17th of March[1] 1787. His father was probably Edmund Kean, an architect's clerk; and his mother was an actress, Ann Carey, grand-daughter of Henry Carey. When in his fourth year Kean made his first appearance on the stage as Cupid in Noverre's ballet of _Cymon_. As a child his vivacity and cleverness, and his ready affection for those who treated him with kindness, made him a universal favourite, but the harsh circumstances of his lot, and the want of proper restraint, while they developed strong self-reliance, fostered wayward tendencies. About 1794 a few benevolent persons provided the means of sending him to school, where he mastered his tasks with remarkable ease and rapidity; but finding the restraint intolerable, he shipped as a cabin boy at Portsmouth. Discovering that he had only escaped to a more rigorous bondage, he counterfeited both deafness and lameness with a histrionic mastery which deceived even the physicians at Madeira. On his return to England he sought the protection of his uncle Moses Kean, mimic, ventriloquist and general entertainer, who, besides continuing his pantomimic studies, introduced him to the study of Shakespeare. At the same time Miss Tidswell, an actress who had been specially kind to him from infancy, taught him the principles of acting. On the death of his uncle he was taken charge of by Miss Tidswell, and under her direction he began the systematic study of the principal Shakespearian characters, displaying the peculiar originality of his genius by interpretations entirely different from those of Kemble. His talents and interesting countenance induced a Mrs Clarke to adopt him, but the slight of a visitor so wounded his pride that he suddenly left her house and went back to his old surroundings. In his fourteenth year he obtained an engagement to play leading characters for twenty nights in York Theatre, appearing as Hamlet, Hastings and Cato. Shortly afterwards, while he was in the strolling troupe belonging to Richardson's show, the rumour of his abilities reached George III., who commanded him to recite at Windsor. He subsequently joined Saunders's circus, where in the performance of an equestrian feat he fell and broke his legs--the accident leaving traces of swelling in his insteps throughout his life. About this time he picked up music from Charles Incledon, dancing from D'Egville, and fencing from Angelo. In 1807 he played leading parts in the Belfast theatre with Mrs Siddons, who began by calling him "a horrid little man" and on further experience of his ability said that he "played very, very well," but that "there was too little of him to make a great actor." An engagement in 1808 to play leading characters in Beverley's provincial troupe was brought to an abrupt close by his marriage (July 17) with Miss Mary Chambers of Waterford, the leading actress. For several years his prospects were very gloomy, but in 1814 the committee of Drury Lane theatre, the fortunes of which were then so low that bankruptcy seemed inevitable, resolved to give him a chance among the "experiments" they were making to win a return of popularity. When the expectation of his first appearance in London was close upon him he was so feverish that he exclaimed "If I succeed I shall go mad." His opening at Drury Lane on the 26th of January 1814 as Shylock roused the audience to almost uncontrollable enthusiasm. Successive appearances in Richard III., Hamlet, Othello, Macbeth and Lear served to demonstrate his complete mastery of the whole range of tragic emotion. His triumph was so great that he himself said on one occasion, "I could not feel the stage under me." On the 29th of November 1820 Kean appeared for the first time in New York as Richard III. The success of his visit to America was unequivocal, although he fell into a vexatious dispute with the press. On the 4th of June 1821 he returned to England.

Probably his irregular habits were prejudicial to the refinement of his taste, and latterly they tended to exaggerate his special defects and mannerisms. The adverse decision in the divorce case of Cox v. Kean on the 17th of January 1825 caused his wife to leave him, and aroused against him such bitter feeling, shown by the almost riotous conduct of the audiences before which he appeared about this time, as nearly to compel him to retire permanently into private life. A second visit to America in 1825 was largely a repetition of the persecution which, in the name of morality, he had suffered in England. Some cities showed him a spirit of charity; many audiences submitted him to the grossest insults and endangered his life by the violence of their disapproval. In Quebec he was much impressed with the kindness of some Huron Indians who attended his performances, and he was made chief of the tribe, receiving the name Alanienouidet. Kean's last appearance in New York was on the 5th of December 1826 in Richard III., the role in which he was first seen in America. He returned to England and was ultimately received with all the old favour, but the contest had made him so dependent on the use of stimulants that the gradual deterioration of his gifts was inevitable. Still, even in their decay his great powers triumphed during the moments of his inspiration over the absolute wreck of his physical faculties, and compelled admiration after his gait had degenerated into a weak hobble, and the lightning brilliancy of his eyes had become dull and bloodshot, and the tones of his matchless voice marred by rough and grating hoarseness. His appearance in Paris was a failure owing to a fit of drunkenness. His last appearance on the stage was at Covent Garden, on the 25th of March 1833 when he played Othello to the Iago of his son Charles. At the words "Villain, be sure," in scene 3 of act iii., he suddenly broke down, and crying in a faltering voice "O God, I am dying. Speak to them, Charles," fell insensible into his son's arms. He died at Richmond on the 15th of May 1833.

It was in the impersonation of the great creations of Shakespeare's genius that the varied beauty and grandeur of the acting of Kean were displayed in their highest form, although probably his most powerful character was Sir Giles Overreach in Massinger's _A New Way to Pay Old Debts_, the effect of his first impersonation of which was such that the pit rose _en masse_, and even the actors and actresses themselves were overcome by the terrific dramatic illusion. His only personal disadvantage as an actor was his small stature. His countenance was strikingly interesting and unusually mobile; he had a matchless command of facial expression; his fine eyes scintillated with the slightest shades of emotion and thought; his voice, though weak and harsh in the upper register, possessed in its lower range tones of penetrating and resistless power, and a thrilling sweetness like the witchery of the finest music; above all, in the grander moments of his passion, his intellect and soul seemed to rise beyond material barriers and to glorify physical defects with their own greatness. Kean specially excelled as the exponent of passion. In Othello, Iago, Shylock and Richard III., characters utterly different from each other, but in which the predominant element is some form of passion, his identification with the personality, as he had conceived it, was as nearly as possible perfect, and each isolated phase and aspect of the plot was elaborated with the minutest attention to details, and yet with an absolute subordination of these to the distinct individuality he was endeavouring to portray. Coleridge said, "Seeing him act was like reading Shakespeare by flashes of lightning." If the range of character in which Kean attained supreme excellence was narrow, no one except Garrick has been so successful in so many great impersonations. Unlike Garrick, he had no true talent for comedy, but in the expression of biting and saturnine wit, of grim and ghostly gaiety, he was unsurpassed. His eccentricities at the height of his fame were numerous. Sometimes he would ride recklessly on his horse Shylock throughout the night. He was presented with a tame lion with which he might be found playing in his drawing-room. The prizefighters Mendoza and Richmond the Black were among his visitors. Grattan was his devoted friend. In his earlier days Talma said of him, "He is a magnificent uncut gem; polish and round him off and he will be a perfect tragedian." Macready, who was much impressed by Kean's Richard III. and met the actor at supper, speaks of his "unassuming manner ... partaking in some degree of shyness" and of the "touching grace" of his singing. Kean's delivery of the three words "I answer--NO!" in the part of Sir Edward Mortimer in _The Iron Chest_, cast Macready into an abyss of despair at rivalling him in this role. So full of dramatic interest is the life of Edmund Kean that it formed the subject for a play by the elder Dumas, entitled _Kean on desordre et genie_, in which Frederick-Lemaitre achieved one of his greatest triumphs.

See Francis Phippen, _Authentic Memoirs of Edmund Kean_ (1814); B. W.
Procter (Barry Cornwall), _The Life of Edmund Kean_ (1835); F. W.
Hawkins, _The Life of Edmund Kean_ (1869); J. Fitzgerald Molloy, _The
Life and Adventures of Edmund Kean_ (1888); Edward Stirling, _Old
Drury Lane_ (1887).

His son, CHARLES JOHN KEAN (1811-1868), was born at Waterford, Ireland, on the 18th of January 1811. After preparatory education at Worplesdon and at Greenford, near Harrow, he was sent to Eton College, where he remained three years. In 1827 he was offered a cadetship in the East India Company's service, which he was prepared to accept if his father would settle an income of L400 on his mother. The elder Kean refused to do this, and his son determined to become an actor. He made his first appearance at Drury Lane on the 1st of October 1827 as Norval in Home's _Douglas_, but his continued failure to achieve popularity led him to leave London in the spring of 1828 for the provinces. At Glasgow, on the 1st of October in this year, father and son acted together in Arnold Payne's _Brutus_, the elder Kean in the title-part and his son as Titus. After a visit to America in 1830, where he was received with much favour, he appeared in 1833 at Covent Garden as Sir Edmund Mortimer in Colman's _The Iron Chest_, but his success was not pronounced enough to encourage him to remain in London, especially as he had already won a high position in the provinces. In January 1838, however, he returned to Drury Lane, and played Hamlet with a success which gave him a place among the principal tragedians of his time. He was married to the actress Ellen Tree (1805-1880) on the 29th of January 1842, and paid a second visit to America with her from 1845 to 1847. Returning to England, he entered on a successful engagement at the Haymarket, and in 1850, with Robert Keeley, became lessee of the Princess Theatre. The most noteworthy feature of his management was a series of gorgeous Shakespearian revivals. Charles Kean was not a great tragic actor. He did all that could be done by the persevering cultivation of his powers, and in many ways manifested the possession of high intelligence and refined taste, but his defects of person and voice made it impossible for him to give a representation at all adequate of the varying and subtle emotions of pure tragedy. But in melodramatic parts such as the king in Boucicault's adaptation of Casimir Delavigne's _Louis XI._, and Louis and Fabian dei Franchi in Boucicault's adaptation of Dumas's _The Corsican Brothers_, his success was complete. From his "tour round the world" Kean returned in 1866 in broken health, and died in London on the 22nd of January 1868.

See _The Life and Theatrical Times of Charles Kean_, by John William
Cole (1859).

FOOTNOTE:

[1] This date is apparently settled by a letter from Kean in 1829, to
Dr Gibson (see _Rothesay Express_ for the 28th of June 1893, where
the letter is printed and vouched for), inviting him to dinner on the
17th of March to celebrate Kean's birthday; various other dates have
been given in books of reference, the 4th of November having been
formerly accepted by this Encyclopaedia.

KEANE, JOHN JOSEPH (1839- ), American Roman Catholic archbishop, was born in Ballyshannon, Co. Donegal, Ireland, on the 12th of September 1839. His family settled in America when he was seven years old. He was educated at Saint Charles's College, Ellicott City, Maryland, and at Saint Mary's Seminary, Baltimore, and in 1866 was ordained a priest and made curate of St Patrick's, Washington, D.C. On the 25th of August 1878 he was consecrated Bishop of Richmond, to succeed James Gibbons, and he had established the Confraternity of the Holy Ghost in that diocese, and founded schools and churches for negroes before his appointment as rector of the Catholic University, Washington, D.C., in 1886, and his appointment in 1888 to the see of Ajasso. He did much to upbuild the Catholic University, but his democratic and liberal policy made him enemies at Rome, whence there came in 1896 a request for his resignation of the rectorate, and where he spent the years 1897-1900 as canon of St John Lateran, assistant bishop at the pontifical throne, and counsellor to the Propaganda. In 1900 he was consecrated archbishop of Dubuque, Iowa. He took a prominent part in the Catholic Young Men's National Union and in the Total Abstinence Union of North America; and was in general charge of the Catholic delegation to the World's Parliament of Religions held at the Columbian Exposition in 1893. He lectured widely on temperance, education and American institutions, and in 1890 was Dudleian lecturer at Harvard University.

A selection from his writings and addresses was edited by Maurice
Francis Egan under the title _Onward and Upward: A Year Book_
(Baltimore, 1902).

KEARNEY, a city and the county-seat of Buffalo county, Nebraska, U.S.A., about 130 m. W. of Lincoln. Pop. (1890), 8074; (1900), 5634 (650 foreign-born); (1910), 6202. It is on the main overland line of the Union Pacific, and on a branch of the Burlington & Missouri River railroad. The city is situated in the broad, flat bottom-lands a short distance N. of the Platte River. Lake Kearney, in the city, has an area of 40 acres. The surrounding region is rich farming land, devoted especially to the growing of alfalfa and Indian corn. At Kearney are a State Industrial School for boys, a State Normal School, the Kearney Military Academy, and a Carnegie library. Good water-power is provided by a canal from the Platte River about 17 m. above Kearney, and the city's manufactures include foundry and machine-shop products, flour and bricks. Kearney Junction, as Kearney was called from 1872 to 1875, was settled a year before the two railways actually formed their junction here, where the city was planned. Kearney became a town in 1873, a city of the second class and the county seat in 1874, and a city of the first class in 1901. It is to be distinguished from an older and once famous prairie city, popularly known as "Dobey Town" (i.e. Adobe), founded in the early 'fifties on the edge of the reservation of old Fort Kearney (removed in 1848 from Nebraska City), in Kearney county, on the S. shore of the Platte about 6 m. S.E. of the present Kearney; here in 1861 the post office of Kearney City was established. In the days of the prairie freighting caravans Dobey Town was one of the most important towns between Independence, Missouri, and the Pacific coast, and it had a rough, wild, picturesque history; but it lost its immense freighting interests after the Union Pacific had been extended through it in 1866. The site of Dobey Town, together with the Fort, was abandoned in 1871. Fort Kearney and the city too were named in honour of General Stephen W. Kearny, and the name was at first correctly spelt without a second "e."

KEARNY, PHILIP (1815-1862), American soldier, was born in New York on the 2nd of June 1815, and was originally intended for the legal profession. He graduated at Columbia University (1833), but his bent was decidedly towards soldiering, and in 1837 he obtained a commission in the cavalry regiment of which his uncle, (General) Stephen Watts Kearny (1794-1848), was colonel and Lieutenant Jefferson Davis adjutant. Two years later he was sent to France to study the methods of cavalry training in vogue there. Before his return to the United States in 1840 he had served, on leave, in Algeria. He had inherited a large fortune, but he remained in the service, and his wide experience of cavalry work caused him to be employed on the headquarters staff of the army. After six more years' service Kearny left the army, but almost immediately afterwards he rejoined, bringing with him a company of cavalry, which he had raised and equipped chiefly at his own expense, to take part in the Mexican war. In December 1846 he was promoted captain. In leading a brilliant cavalry charge at Churubusco he lost his left arm, but he remained at the front, and won the brevet of major for his gallantry at Contreras and Churubusco. In 1851 he again resigned, to travel round the world. He saw further active service with his old comrades of the French cavalry in the Italian war of 1859, and received the cross of the Legion of Honour for his conduct at Solferino. Up to the outbreak of the American Civil War he lived in Paris, but early in 1861 he hastened home to join the Federal army. At first as a brigade commander and later as a divisional commander of infantry in the Army of the Potomac, he infused into his men his own cavalry spirit of dash and bravery. At Williamsburg, Seven Pines, and Second Bull Run, he displayed his usual romantic courage, but at Chantilly (Sept. 1, 1862), after repulsing an attack of the enemy, he rode out in the dark too far to the front, and mistaking the Confederates for his own men was shot dead. His body was sent to the Federal lines with a message from General Lee, and was buried in Trinity Churchyard, New York. His commission as major-general of volunteers was dated July 4, 1862, but he never received it.

See J. W. de Peyster, _Personal and Military History of Philip Kearny_
(New York, 1869).

KEARNY, a town of Hudson county, New Jersey, U.S.A., between the Passaic and Hackensack rivers, adjoining Harrison, and connected with Newark by bridges over the Passaic. Pop. (1900), 10,896, of whom 3597 were foreign-born; (1910 census), 18,659. The New York & Greenwood Lake division of the Erie railroad has a station at Arlington, the principal village (in the N.W. part), which contains attractive residences of Newark, Jersey City and New York City business men. The town covers an area of about 7 sq. m., including a large tract of marsh-land. In Kearny are railway repair shops of the Pennsylvania system, and a large abattoir; and there are numerous manufactures. The value of the town's factory products increased from $1,607,002 in 1900 to $4,427,904 in 1905, or 175.5%. Among its institutions are the State Soldiers' Home, removed here from Newark in 1880, a Carnegie library, two Italian homes for orphans, and a Catholic Industrial School for boys.

The neck of land between the Passaic and the Hackensack rivers, for 7 m. N. from where they unite, was purchased from the proprietors of East Jersey and from the Indians by Captain William Sandford in 1668 and through Nathaniel Kingsland, sergeant-major of Barbadoes, received the name "New Barbadoes." After the town under this name had been extended considerably to the northward, the town of Lodi was formed out of the S. portion in 1825, the town of Harrison was founded out of the S. portion of Lodi in 1840, and in 1867 a portion of Harrison was set apart as a township and named in honour of General Philip Kearny, a former resident. Kearny was incorporated as a town in 1895.

KEARY, ANNIE (1825-1879), English novelist, was born near Wetherby, Yorkshire, on the 3rd of March 1825, the daughter of an Irish clergyman. She was the author of several children's books and novels, of which the best known is _Castle Daly_, an Irish story. She also wrote an _Early Egyptian History_ (1861) and _The Nation Around_ (1870). She died at Eastbourne on the 3rd of March 1879.

KEATE, JOHN (1773-1852), English schoolmaster, was born at Wells, Somersetshire, in 1773, the son of Prebendary William Keate. He was educated at Eton and King's College, Cambridge, where he had a brilliant career as a scholar; taking holy orders, he became, about 1797, an assistant master at Eton College. In 1809 he was elected headmaster. The discipline of the school was then in a most unsatisfactory condition, and Dr Keate (who took the degree of D.D. in 1810) took stern measures to improve it. His partiality for the birch became a by-word, but he succeeded in restoring order and strengthening the weakened authority of the masters. Beneath an outwardly rough manner the little man concealed a really kind heart, and when he retired in 1834, the boys, who admired his courage, presented him with a handsome testimonial. A couple of years before he had publicly flogged eighty boys on one day. Keate was made a canon of Windsor in 1820. He died on the 5th of March 1852 at Hartley Westpall, Hampshire, of which parish he had been rector since 1824.

See Maxwell Lyte, _History of Eton College_ (3rd ed., 1899); Collins,
_Etoniana_; Harwood, _Alumni Etonienses; Annual Register_ (1852);
_Gentleman's Magazine_ (1852).

KEATS, JOHN (1795-1821), English poet, was born on the 29th or 31st of October 1795 at the sign of the Swan and Hoop, 24 The Pavement, Moorfields, London. He published his first volume of verse in 1817, his second in the following year, his third in 1820, and died of consumption at Rome on the 23rd of February 1821 in the fourth month of his twenty-sixth year. (For the biographical facts see the later section of this article.)

In Keats's first book there was little foretaste of anything greatly or even genuinely good; but between the marshy and sandy flats of sterile or futile verse there were undoubtedly some few purple patches of floral promise. The style was frequently detestable--a mixture of sham Spenserian and mock Wordsworthian, alternately florid and arid. His second book, _Endymion_, rises in its best passages to the highest level of Barnfield and of Lodge, the two previous poets with whom, had he published nothing more, he might most properly have been classed; and this, among minor minstrels, is no unenviable place. His third book raised him at once to a foremost rank in the highest class of English poets. Shelley, up to twenty, had written little or nothing that would have done credit to a boy of ten; and of Keats also it may be said that the merit of his work at twenty-five was hardly by comparison more wonderful than its demerit at twenty-two. His first book fell as flat as it deserved to fall; the reception of his second, though less considerate than on the whole it deserved, was not more contemptuous than that of immeasurably better books published about the same time by Coleridge, Landor and Shelley. A critic of exceptional carefulness and candour might have noted in the first book so singular an example of a stork among the cranes as the famous and notable sonnet on Chapman's Homer; a just judge would have indicated, a partial advocate might have exaggerated, the value of such golden grain amid a garish harvest of tares as the hymn to Pan and the translation into verse of Titian's Bacchanal which glorify the weedy wilderness of _Endymion_. But the hardest thing said of that poem by the _Quarterly_ reviewer was unconsciously echoed by the future author of _Adonais_--that it was all but absolutely impossible to read through; and the obscener insolence of the "Blackguard's Magazine," as Landor afterwards very justly labelled it, is explicable though certainly not excusable if we glance back at such a passage as that where Endymion exchanges fulsome and liquorish endearments with the "known unknown _from whom his being sips such darling (!) essence_." Such nauseous and pitiful phrases as these, and certain passages in his correspondence, make us understand the source of the most offensive imputations or insinuations levelled against the writer's manhood; and, while admitting that neither his love-letters, nor the last piteous outcries of his wailing and shrieking agony, would ever have been made public by merciful or respectful editors, we must also admit that, if they ought never to have been published, it is no less certain that they ought never to have been written; that a manful kind of man or even a manly sort of boy, in his love-making or in his suffering, will not howl and snivel after such a lamentable fashion. One thing hitherto inexplicable a very slight and rapid glance at his amatory correspondence will amply suffice to explain: how it came to pass that the woman so passionately beloved by so great a poet should have thought it the hopeless attempt of a mistaken kindness to revive the memory of a man for whom the best that could be wished was complete and compassionate oblivion. For the side of the man's nature presented to her inspection, this probably was all that charity or reason could have desired. But that there was a finer side to the man, even if considered apart from the poet, his correspondence with his friends and their general evidence to his character give more sufficient proof than perhaps we might have derived from the general impression left on us by his works; though indeed the preface to _Endymion_ itself, however illogical in its obviously implied suggestion that the poem published was undeniably unworthy of publication, gave proof or hint at least that after all its author was something of a man. And the eighteenth of his letters to Miss Brawne stands out in bright and brave contrast with such as seem incompatible with the traditions of his character on its manlier side. But if it must be said that he lived long enough only to give promise of being a man, it must also be said that he lived long enough to give assurance of being a poet who was not born to come short of the first rank. Not even a hint of such a probability could have been gathered from his first or even from his second appearance; after the publication of his third volume it was no longer a matter of possible debate among judges of tolerable competence that this improbability had become a certainty. Two or three phrases cancelled, two or three lines erased, would have left us in _Lamia_ one of the most faultless as surely as one of the most glorious jewels in the crown of English poetry. _Isabella_, feeble and awkward in narrative to a degree almost incredible in a student of Dryden and a pupil of Leigh Hunt, is overcharged with episodical effects of splendid and pathetic expression beyond the reach of either. _The Eve of St Agnes_, aiming at no doubtful success, succeeds in evading all casual difficulty in the line of narrative; with no shadow of pretence to such interest as may be derived from stress of incident or depth of sentiment, it stands out among all other famous poems as a perfect and unsurpassable study in pure colour and clear melody--a study in which the figure of Madeline brings back upon the mind's eye, if only as moonlight recalls a sense of sunshine, the nuptial picture of Marlowe's Hero and the sleeping presence of Shakespeare's Imogen. Beside this poem should always be placed the less famous but not less precious _Eve of St Mark_, a fragment unexcelled for the simple perfection of its perfect simplicity, exquisite alike in suggestion and in accomplishment. The triumph of _Hyperion_ is as nearly complete as the failure of _Endymion_; yet Keats never gave such proof of a manly devotion and rational sense of duty to his art as in his resolution to leave this great poem unfinished; not, as we may gather from his correspondence on the subject, for the pitiful reason assigned by his publishers, that of discouragement at the reception given to his former work, but on the solid and reasonable ground that a Miltonic study had something in its very scheme and nature too artificial, too studious of a foreign influence, to be carried on and carried out at such length as was implied by his original design. Fortified and purified as it had been on a first revision, when much introductory allegory and much tentative effusion of sonorous and superfluous verse had been rigorously clipped down or pruned away, it could not long have retained spirit enough to support or inform the shadowy body of a subject so little charged with tangible significance. The faculty of assimilation as distinguished from imitation, than which there can be no surer or stronger sign of strong and sure original genius, is not more evident in the most Miltonic passages of the revised _Hyperion_ than in the more Shakespearian passages of the unrevised tragedy which no radical correction could have left other than radically incorrigible. It is no conventional exaggeration, no hyperbolical phrase of flattery with more sound than sense in it, to say that in this chaotic and puerile play of _Otho the Great_ there are such verses as Shakespeare might not without pride have signed at the age when he wrote and even at the age when he rewrote the tragedy of _Romeo and Juliet_. The dramatic fragment of _King Stephen_ shows far more power of hand and gives far more promise of success than does that of Shelley's _Charles the First_. Yet we cannot say with any confidence that even this far from extravagant promise would certainly or probably have been kept; it is certain only that Keats in these attempts did at least succeed in showing a possibility of future excellence as a tragic or at least a romantic dramatist. In every other line of high and serious poetry his triumph was actual and consummate; here only was it no more than potential or incomplete. As a ballad of the more lyrical order, _La Belle dame sans merci_ is not less absolutely excellent, less triumphantly perfect in force and clearness of impression, that as a narrative poem is _Lamia_. In his lines on Robin Hood, and in one or two other less noticeable studies of the kind, he has shown thorough and easy mastery of the beautiful metre inherited by Fletcher from Barnfield and by Milton from Fletcher. The simple force of spirit and style which distinguishes the genuine ballad manner from all spurious attempts at an artificial simplicity was once more at least achieved in his verses on the crowning creation of Scott's humaner and manlier genius--Meg Merrilies. No little injustice has been done to Keats by such devotees as fix their mind's eye only on the more salient and distinctive notes of a genius which in fact was very much more various and tentative, less limited and peculiar, than would be inferred from an exclusive study of his more specially characteristic work. But within the limits of that work must we look of course for the genuine credentials of his fame; and highest among them we must rate his unequalled and unrivalled odes. Of these perhaps the two nearest to absolute perfection, to the triumphant achievement and accomplishment of the very utmost beauty possible to human words, may be that to Autumn and that on a Grecian Urn; the most radiant, fervent and musical is that to a Nightingale; the most pictorial and perhaps the tenderest in its ardour of passionate fancy is that to Psyche; the subtlest in sweetness of thought and feeling is that on Melancholy. Greater lyrical poetry the world may have seen than any that is in these; lovelier it surely has never seen, nor ever can it possibly see. From the divine fragment of an unfinished ode to Maia we can but guess that if completed it would have been worthy of a place beside the highest. His remaining lyrics have many beauties about them, but none perhaps can be called thoroughly beautiful. He has certainly left us one perfect sonnet of the first rank and as certainly he has left us but one.

Keats has been promoted by modern criticism to a place beside Shakespeare. The faultless force and the profound subtlety of his deep and cunning instinct for the absolute expression of absolute natural beauty can hardly be questioned or overlooked; and this is doubtless the one main distinctive gift or power which denotes him as a poet among all his equals, and gives him a right to rank for ever beside Coleridge and Shelley. As a man, the two admirers who did best service to his memory were Lord Houghton and Matthew Arnold. These alone, among all of their day who have written of him without the disadvantage or advantage of a personal acquaintance, have clearly seen and shown us the manhood of the man. That ridiculous and degrading legend which imposed so strangely on the generous tenderness of Shelley, while evoking the very natural and allowable laughter of Byron, fell to dust at once for ever on the appearance of Lord Houghton's biography, which gave perfect proof to all time that "men have died and worms have eaten them" but not for fear of critics or through suffering inflicted by reviews. Somewhat too sensually sensitive Keats may have been in either capacity, but the nature of the man was as far as was the quality of the poet above the pitiful level of a creature whose soul could "let itself be snuffed out by an article"; and, in fact, owing doubtless to the accident of a death which followed so fast on his early appearance and his dubious reception as a poet, the insolence and injustice of his reviewers in general have been comparatively and even considerably exaggerated. Except from the chief fountain-head of professional ribaldry then open in the world of literary journalism, no reek of personal insult arose to offend his nostrils; and the tactics of such unwashed malignants were inevitably suicidal; the references to his brief experiment of apprenticeship to a surgeon which are quoted from _Blackwood_, in the shorter as well as in the longer memoir by Lord Houghton, could leave no bad odour behind them save what might hang about men's yet briefer recollection of his assailant's unmemorable existence. The false Keats, therefore, whom Shelley pitied and Byron despised would have been, had he ever existed, a thing beneath compassion or contempt. That such a man could have had such a genius is almost evidently impossible; and yet more evident is the proof which remains on everlasting record that none was ever further from the chance of decline to such degradation than the real and actual man who made that name immortal. (A. C. S.)

Subjoined are the chief particulars of Keats's life.

He was the eldest son of Thomas Keats and his wife Frances Jennings, and was baptized at St Botolph's, Bishopsgate, on the 18th of December 1795. The entry of his baptism is supplemented by a marginal note stating that he was born on the 31st of October. Thomas Keats was employed in the Swan and Hoop livery stables, Finsbury Pavement, London. He had married his master's daughter, and managed the business on the retirement of his father-in-law. In April 1804 Thomas Keats was killed by a fall from his horse, and within a year of this event Mrs Keats married William Rawlings, a stable-keeper. The marriage proved an unhappy one, and in 1806 Mrs Rawlings, with her children John, George, Thomas and Frances Mary (afterwards Mrs Llanos, d. 1889), went to live at Edmonton with her mother, who had inherited a considerable competence from her husband. There is evidence that Keats's parents were by no means of the commonplace type that might be hastily inferred from these associations. They had desired to send their sons to Harrow, but John Keats and his two brothers were eventually sent to a school kept by John Clarke at Enfield, where he became intimate with his master's son, Charles Cowden Clarke. His vivacity of temperament showed itself at school in a love of fighting, but in the last year of his school life he developed a great appetite for reading of all sorts. In 1810 he left school to be apprenticed to Mr Thomas Hammond, a surgeon in Edmonton. He was still within easy reach of his old school, where he frequently borrowed books, especially the works of Spenser and the Elizabethans. With Hammond he quarrelled before the termination of his apprenticeship, and in 1814 the connexion was broken by mutual consent. His mother had died in 1810, and in 1814 Mrs Jennings. The children were left in the care of two guardians, one of whom, Richard Abbey, seems to have made himself solely responsible. John Keats went to London to study at Guy's and St Thomas's hospitals, living at first alone at 8 Dean Street, Borough, and later with two fellow students in St Thomas's Street. It does not appear that he neglected his medical studies, but his chief interest was turned to poetry. In March 1816 he became a dresser at Guy's, but about the same time his poetic gifts were stimulated by an acquaintance formed with Leigh Hunt. His friendship with Benjamin Haydon, the painter, dates from later in the same year. Hunt introduced him to Shelley, who showed the younger poet a constant kindness. In 1816 Keats moved to the Poultry to be with his brothers George and Tom, the former of whom was then employed in his guardian's counting-house, but much of the poet's time was spent at Leigh Hunt's cottage at Hampstead. In the winter of 1816-1817 he definitely abandoned medicine, and in the spring appeared _Poems by John Keats_ dedicated to Leigh Hunt, and published by Charles and James Ollier. On the 14th of April he left London to find quiet for work. He spent some time at Shanklin, Isle of Wight, then at Margate and Canterbury, where he was joined by his brother Tom. In the summer the three brothers took lodgings in Well Walk, Hampstead, where Keats formed a fast friendship with Charles Wentworth Dilke and Charles Armitage Brown. In September of the same year (1817) he paid a visit to his friend, Benjamin Bailey, at Oxford, and in November he finished _Endymion_ at Burford Bridge, near Dorking. His youngest brother had developed consumption, and in March John went to Teignmouth to nurse him in place of his brother George, who had decided to sail for America with his newly married wife, Georgiana Wylie. In May (1818) Keats returned to London, and soon after appeared _Endymion: A Poetic Romance_ (1818), bearing on the title-page as motto "The stretched metre of an antique song." Late in June Keats and his friend Armitage Brown started on a walking tour in Scotland, vividly described in the poet's letters. The fatigue and hardship involved proved too great a strain for Keats, who was forbidden by an Inverness doctor to continue his tour. He returned to London by boat, arriving on the 18th of August. The autumn was spent in constant attendance on his brother Tom, who died at the beginning of December. There is no doubt that he resented the attacks on him in _Blackwood's Magazine_ (August 1818), and the _Quarterly Review_ (April 1818, published only in September), but his chief preoccupations were elsewhere. After his brother's death he went to live with his friend Brown. He had already made the acquaintance of Fanny Brawne, a girl of seventeen, who lived with her mother close by. For her Keats quickly developed a consuming passion. He was in indifferent health, and, owing partly to Mr Abbey's mismanagement, in difficulties for money. Nevertheless his best work belongs to this period. In July 1819 he went to Shanklin, living with James Rice. They were soon joined by Brown. The next two months Keats spent with Brown at Winchester, enjoying an interval of calmness due to his absence from Fanny Brawne. At Winchester he completed _Lamia_ and _Otho the Great_, which he had begun in conjunction with Brown, and began his historical tragedy of _King Stephen_. Before Christmas he had returned to London and his bondage to Fanny. In January 1820 his brother George paid a short visit to London, but received no confidence from him. The fatal nature of Keats's illness showed itself on the 3rd of February, but in March he recovered sufficiently to be present at the private view of Haydon's picture of "Christ's Entry into Jerusalem." In May he removed to a lodging in Wesleyan Place, Kentish Town, to be near Leigh Hunt who eventually took him into his house. In July appeared his third and last book, _Lamia, Isabella, The Eve of St Agnes and other Poems_ (1820). Keats left the Hunts abruptly in August in consequence of a delay in receiving one of Fanny Brawne's letters which had been broken open by a servant. He went to Wentworth Place, where he was taken in by the Brawnes. The suggestion that he should spend the winter in Italy was followed up by an invitation from Shelley to Pisa. This, however, he refused. But on the 18th of September 1820 he set out for Naples in company with Joseph Severn, the artist, who had long been his friend. The travellers settled in the Piazza de Spagna, Rome. Keats was devotedly tended by Dr (afterwards Sir) James Clarke and Severn, and died on the 23rd of February 1821. He was buried on the 27th in the old Protestant cemetery, near the pyramid of Cestius.