Germany's first major poet of the eighteenth-century, Klopstock was a significant influence on the Sturm und Drang poetic movement to follow. A few of his most important works include The Messiah (1748-1773); a number of religiously inspired stage tragedies, especially The Death of Adam (1757), Solomon (1764), and David (1772); and a large body of shorter poetry. His essay, "On Divine Poetry," written as an introduction to The Messiah, inaugurates a new critical concern with the emotional effects of poetry in its claim that a work of genius must "move the soul."

Klinger's play Sturm und Drang (1776) gave the title to the eighteenth-century German literary movement of the same name.

Dramatist and theater manager. Having gained a theater patent shortly after the English Restoration, Killigrew founded the Theatre Royal Drury Lane, which he opened in 1662 under the name Theatre Royal on Brydges Street.

Military commander and convert to Islam who, under both Muhammad and Abū Bakr, was renowned for his military prowess.

Born approximately 554, Khadījah bint Khuwaylid was a wealthy merchant and the first wife and follower of the Islamic prophet Muhammad.

Duchess of Portsmouth in England and Duchesse d'Aubigny in the peerage of France, Louise de Kérouaille was the French mistress of King Charles II. She was known to have great political savvy, though she was the least popular of his mistresses.

From the prominent Kemble theatrical family, Stephen Kemble was a successful theatre manager, actor, and writer.

Popular English actor, theatre manager, and member of the significant Kemble theatrical family. Kemble's popularity dramatically increased in 1785 after acting opposite of his renowned sister, Sarah Siddons, in a production of Shakespeare's Macbeth. As the manager of the Drury Lane and Covent Garden theatres in London, Kemble's innovations led to improvement in the reputation of the theatrical profession.

Daughter of actor and theater manager Charles Kemble and niece to the more famous John Philip Kemble and his elder sister Sarah Siddons, Francis Anne Kemble, better known as Fanny, was nevertheless a reluctant entrant into the profession of acting. She debuted as Shakespeare's Juliet in 1829 largely to help her father recoup his finances as manager of Covent Garden Theatre. Her performances were very well-received, and in subsequent roles she seems to have been equally successful in comic and tragic parts.

A member of the prominent theatrical Kemble family, Charles Kemble was an actor and theatre manager who initiated the practice of historically accurate sets and costuming in stage productions. Kemble was among the most popular of early nineteenth-century actors, and he had several siblings who were also among London's top-tier performers. He was joint proprietor of Covent Garden Theatre. Formally retiring from the stage at the end of 1836, he then served as Examiner of Plays until 1840.