Born and dragged up, the young life experiences of Edmund Kean were exactly opposite to those of William Henry West Betty. He had indeed, because of his childish beauty, been allowed at three years old to stand or lie as Cupid in one of Noverre’s ballets; and he had, as an unlucky imp in the witches’ scene of ‘Macbeth,’ been rebuked by the offended John Kemble. Since then he had rolled or been kicked about the world. When Master Betty, at the age of eleven, or nearly twelve, was laying the foundations of his fortune at Belfast, Edmund Kean was fifteen, and had often laid himself to sleep on the lee side of a haystack, for want of wherewith to pay for a better lodging. He had danced and tumbled at fairs, and had sung in taverns; he had tramped about the country, carrying Nance Carey’s box of _falbalas_ for sale; he had been over sea and land; he had joined Richardson’s booth company, and, at Windsor, it is said that George III. had heard him recite, and had expressed his approbation in the shape of two guineas, which Miss Carey took from him. It was for the benefit of a mother so different from Master Betty’s mother that he recited in private families. It is a matter of history that by one of these recitations he inspired another boy, two years older than himself, with a taste for the stage and a determination to gain thereon an honourable position. This third boy was Charles Young. His son and biographer has told us, that as Charles was one evening at Christmas time descending the stairs of his father’s house full dressed for _dessert_--his father, a London surgeon, lived in rather high style--he saw a slatternly woman seated on one of the chairs in the hall, with a boy standing by her side dressed in fantastic garb, with the blackest and most penetrating eyes he had ever beheld in human head. His first impression was that the two were strolling gipsies who had come for medical advice. Charles Young, we are told, ‘was soon undeceived, for he had no sooner taken his place by his father’s side than, to his surprise, the master, instead of manifesting displeasure, smirked and smiled, and, with an air of self-complacent patronage, desired his butler to bring in the boy. On his entry he was taken by the hand, patted on the head, and requested to favour the company with a specimen of his histrionic ability. With a self-possession marvellous in one so young he stood forth, knitted his brows, hunched up one shoulder-blade, and with sardonic grin and husky voice spouted forth Gloster’s opening soliloquy in “Richard the Third.” He then recited selections from some of our minor British poets, both grave and gay; danced a hornpipe; sang songs, both comic and pathetic; and, for fully an hour, displayed such versatility as to elicit vociferous applause from his auditory and substantial evidence of its sincerity by a shower of crown pieces and shillings, a napkin having been opened and spread upon the floor for their reception.