Charles Young adorned the English stage from 1807 to 1832. Because he acted with the Kembles he is sometimes described as being of the Kemble school. In a great theatre the leading player is often imitated throughout the house. There was a time when everybody employed at Drury Lane seemed a double of Mr. Macready. Charles Young, however, was an original actor. It took him but five years to show that he was equal in some characters to John Kemble himself. This was seen in 1812, in his Cassius to Kemble’s Brutus. On that occasion Terry is said to have been the Casca--a part which was really played by Fawcett. About ten years later, Young left the Covent Garden company and 25_l._ a week, for Drury Lane and 50_l._ a night, to play in the same pieces with Kean. The salary proved that the manager thought him equal in attractiveness to Kean; and Kean was, undoubtedly, somewhat afraid of him. Young’s secession was as great a loss to the company he had been acting with, as Compton’s has been to the Haymarket company. In both cases, a perfect artist withdrew from the brotherhood. Young was fifteen years upon the London stage before he could free himself from nervousness--nervousness, not merely like that of Mrs. Siddons, before going on, but when fairly in face of the audience. In 1826, he told Moore, at a dinner of the Anacreontics, that any close observer of his acting must have been conscious of a great improvement therein, dating from the previous four years. That is to say, dating from the time when he first played in the same piece with Edmund Kean. The encounter with that great master of his art seems to have braced Young’s nerves. Kean could not extinguish him as he extinguished Booth when those two acted together in the same play. Edmund, who spoke of Macready as ‘a player,’ acknowledged Young to be ‘an actor.’ Kean confessed Young’s superiority in Iago, and he could not bear to think of playing either that character or Pierre after him. Edmund believed in the greater merit of his own Othello. Young allowed that Kean had genius, but he was not enthusiastic in his praise; and Edmund, whose voice in tender passages was exquisite music, referred to the d----d musical voice of Young; and in his irritable moments spake of him as ‘that Jesuit!’