Charles Mayne Young, one of the last of the school of noble actors, has found a biographer in his son, the Rev. Julian Young, Rector of Ilmington. Here we have stage and pulpit in happy and not unusual propinquity. There was a time when the clergy had the drama entirely to themselves; they were actors, authors, and managers. The earliest of them all retired to the monastery of St. Alban, after his theatre at Dunstable had been burnt down, at the close of a squib-and-rocket sort of drama on the subject of St. Theresa. At the Reformation the stage became secularised, the old moralities died out, and the new men and pieces were denounced as wicked by the ‘unco righteous’ among their dramatic clerical predecessors. Nevertheless, the oldest comedy of worldly manners we possess--‘Ralph Roister Doister’--was the work of the Rev. Dr. Nicholas Udall, in 1540. During the three centuries and nearly a half which have elapsed since that time, clergymen have ranked among the best writers for the stage. The two most successful tragedies of the last century were the Rev. Dr. Young’s ‘Revenge,’ and the Rev. J. Home’s ‘Douglas.’ In the present century few comedies have made such a sensation as the Rev. Dr. Croly’s ‘Pride shall have a Fall,’ but the sensation was temporary, the comedy only illustrating local and contemporary incidents. A dozen other ‘Reverends’ might be cited who have more or less adorned dramatic literature, and there are many instances of dramatic artists whose sons or less near kinsmen having taken orders in the Church. When Sutton, in the pulpit of St. Mary Overy, A.D. 1616, denounced the stage, Nathaniel Field, the eminent actor, published a letter to the preacher, in which Field said that in the player’s trade there were corruptions as there were in all others; he implied, as Overbury implied, that the actor was not to be judged by the dross of the craft, but by the purer metal. Field anticipated Fielding’s Newgate Chaplain, who upheld ‘Punch’ on the same ground that the comedian upheld the stage--that it was nowhere spoken against in Scripture! The year 1616 was the year in which Shakespeare died. It is commonly said that the players of Shakespeare’s time were of inferior birth and culture, but Shakespeare himself was of a well-conditioned family, and this Nathaniel Field who stood up for the honour of the stage against the censure of the pulpit, had for brother that Rev. Theophilus Field who was successively Bishop of Llandaff, St. David’s, and Hereford. Charles Young was not the only actor of his day who gave a son to the Church. His old stage-manager at Bath, Mr. Charlton, saw not only his son but his grandsons usefully employed in the more serious vocation. As for sons of actors at the universities, they have seldom been wanting, from William Hemming (son of John Hemming, the actor, and joint-editor with Condell of the folio edition of Shakespeare’s Works), who took his degree at Oxford in 1628, down to Julian Charles Young,