The greatest of Young’s original characters was his Rienzi. In Miss Mitford’s tragedy, Young pronounced ‘Rome’ _Room_. Many old play-goers can recollect how ill the word fell from his musical lips. John Kemble would never allow an actor in his company to give other utterance to the monosyllable. It was a part of the vicious and fantastic utterances of the Kemble family. Leigh Hunt has furnished a long list of them. Shakespeare, indeed, has ‘Now it is Rome indeed, and room enough,’ as Cassius says. But in ‘Henry VI.,’ when Beaufort exclaims, ‘Rome shall remedy this!’ Warwick replies, ‘_Roam_ thither, then!’ The latter jingle is far more common than the former. We agree with Genest, ‘Let the advocates for _Room_ be consistent. If the city is _Room_, the citizens are certainly _Roomans_.’ They who would have any idea how John Kemble mutilated the pronunciation of the English language on the stage, have only to consult the appendix to Leigh Hunt’s ‘Critical Essays on the Performers of the London Theatres.’ Such pronunciation seems now more appropriate to burlesque than to Shakespeare. When the idea was first started of raising a statue in honour of Kemble, Talma wrote to ‘mon cher Young,’ expressing his wish to be among the subscribers. ‘In that idea I recognise your countrymen,’ said Talma. ‘I shall be too fortunate here if the priests leave me a grave in my own garden.’ The Comte de Soligny, or the author who wrote under that name, justly said in his ‘Letters on England,’ that Young was unlike any actor on the stage. His ornamental style had neither model nor imitators. ‘I cannot help thinking,’ writes the Count, ‘what a sensation Young would have created had he belonged to the French instead of the English stage. With a voice almost as rich, powerful, and sonorous as that of Talma--action more free, flowing, graceful, and various; a more expressive face, and a better person--he would have been hardly second in favour and attraction to that grandest of living actors. As it is, he admirably fills up that place on the English stage which would have been a blank without him.’ This is well and truly said, and it is applicable to ‘Gentleman Young’ throughout his whole career--a period during which he played a vast variety of characters, from Hamlet to Captain Macheath. He was not one of those players who were always in character. Between the scenes of his most serious parts he would keep the green-room merry with his stories, and be serious again as soon as his part required him. Young’s modest farewell to the stage reminds us of Garrick’s. The latter took place on June 10, 1776. The play was ‘The Wonder,’ Don Felix by Garrick; with ‘The Waterman.’ The bill is simply headed, ‘The last time of the company’s performing this season,’ and it concludes with these words: ‘The profits of this night being appropriated to the benefit of the Theatrical Fund, the Usual Address upon that Occasion Will be spoken by Mr. Garrick before