The English Stage: Being an Account of the Victorian Drama

by Augustin Filon

INDEX

Achurch, Miss, and Ibsen, [281].
Actor-manager on circuit, [49].
Adaptations from the French, [77], [207];
law as to, [208];
process, [209];
S. Grundy’s, [216].
Adelphi, The, [41], [46], [63], [195].
Albany, James, [133];
his Two Roses, [162].
Alexander, Mr., in Mrs. Tanqueray, [266].
Almaviva I. and II., [200].
America, Macready in, [73].
Anderson, Mary, [174].
Anstey, Mr., and Ibsen, [282].
Archer, W., on Kean and Macready, [42].
—— on Wills, [177];
on Tennyson, [178].
—— on Tennyson and Montanelli, [185], [299-207].
—— and H. A. Jones, [234];
and The Profligate, [260];
and Mrs. Tanqueray, [265].
—— and Ibsen, [282], [285], [290].
Arnold, Matthew, in the English Drama, [204];
and H. A. Jones, [239].
Arrah-na-pogue, [91].
Art of mise-en-scène, [307].
Arundel Club, The, [109], [115].
Augier, [209], [257], [269], [312].
Authors of 1850-65, [80].
Bab Ballads, [140].
Bancroft, Mr., as Captain Hawtree, [119], [120];
his realism, [122];
revival of School for Scandal, [50], [123].
Bancrofts, the, compared, [122];
and Robertson’s plays, [133];
and the “cup and saucer” comedy, [134];
retirement, [136].
Bancroft, Mrs., [101] (see [Wilton, Marie]).
Barrett, Wilson, [306].
Barrie, J. M., [301].
Batemans, the, [156].
Beauty in the Drama, [252].
Becket, Tennyson’s, [185], [188], [193].
Bells, The, [164], [166].
Belphegor, [100].
Beringhiem in Richelieu, [69].
Berlioz, [45].
Berne, Treaty of, [208].
Bernhardt, Sarah, [197], [275].
Björnson, [206].
—— and Ibsen, [297].
Black-eyed Susan, [61], [94].
Bohemia, centre of, [109], [115];
in a nutshell, [116].
Boucicault, Dion, [87], [88-92], [93].
—— Mrs. Dion, [90].
Brand, Ibsen’s, [278], [279], [283].
Breaking a Butterfly, [296].
Broken Hearts, Gilbert’s, [142].
Brooke, [156].
Brough, Lionel, [306].
—— Robert, [110].
Browning and Macready, [64];
his dramas, [192].
Buchanan, Robert, [195], [301].
Buckstone, [79], [80], [103], [112], [152].
Bulwer, Lord Lytton, [64-72];
at Macready’s banquet, [74];
portrayal of Riches and Rank, [116] (see [Lytton]).
Bunch of Violets, A, [221].
Burdett-Coutts’, Baroness, present to Irving, [167].
Burlesque, [93].
Burnand’s Ixion, [93-95].
Byron, H. J., [96-99], [103], [104];
and Robertson, [134].
—— Lord, [96].
Byronian Satanism and Bulwer Lytton, [65].
Cabinet Minister, The, [258].
Campbell, Mrs. Patrick, [250], [266], [275], [276].
—— in John o’ Dreams, [302], [306].
Cantab, The, Robertson in, [112].
Carlyle and the Sagas, [285];
and Ibsen, [288].
Carton, [301].
Caste, [117];
Howe in, [119];
Marie Wilton in, [121];
scene from, [129].
Cavendish, Ada, [95].
Censor’s Successor, the, [310].
Censorship, official, [83].
—— and Sydney Grundy, [214].
—— and The First Step, [309].
Chamberlain, Lord, [84].
Chambers, Haddon, [302], [307].
Characters, limited types of, [80].
Charles I., Wills’s, [165], [166], [177].
Charley’s Aunt, [284].
Chatterton, [198].
Chedd, [116].
Chippendale’s present to Irving, [166].
Cibber, Colley, [168].
Circuit, on, [46-49].
City elocution class, [159].
Clarke, John, [104].
Clary in The Prisoner of War, [59].
Classical drama, death of the, [176].
Clerical Error, A, [234].
Coleridge on Kean, [42].

Colleen Bawn, [90-92].
Comédie Française, [197].
Comedies, Robertson’s, cause of their success, [122].
Comedy, “Cup and Saucer,” [134].
Comedy, the, [196].
Comic opera, [98].
Commission, parliamentary, [64];
and Bulwer Lytton, [65].
Compton, [80].
Cook, [198].
Cool as a Cucumber, [79].
Copyright in dramatic work, [310].
Coquelin, M., on Mrs. Bancroft, [101].
Coriolanus, Macready as, [41].
Court Theatre, The, [133], [196].
Courtly, Charles, in London Assurance, [89].
Covent Garden, [46], [62], [64], [76].
Criticism, dramatic, [81].
Critics, [81].
—— old and new, [198];
and Sydney Grundy, [226];
and Ibsen, [282].
Cromwell and Richelieu, [68].
Crumbs and Toby in The Rent Day, [57].
Crusaders, The, [244-248], [259].
“Cup and Saucer” comedy, [134].
Cup, Tennyson’s, [183].
Cynisca, [150], [152].
Dandy Dick, [257].
Dan’l Druce, [142].
Darwin and Ibsen, [292].
Delacour, [217].
Delane, Mr., and John Oxenford, [82].
Delaunay, [197].
Democracy and the drama, [72].
Deschapelles, Madame, in The Lady of Lyons, [66].
Dick, Robert, [55].
Dickens, Charles, [58];
letter on Marie Wilton, [102].
Diderot’s rules, [51].
—— paradox, [170], [206].
Dillon, Charles, [100].
Diplomacy, origin of, [210].
Dolls’ House, The, [279], [292], [293], [296].
Drama, legitimate, [40];
a national, and Douglas Jerrold, [55], [156].
—— and democracy, [72].
—— the Boucicault, [93].
—— the classical, [176].
—— English and French, [204];
elements of the, [252].
—— German, in England, [299].
—— English, cause of its return to life, [310];
causes of its decay, [311];
Ibsen’s influence, [313];
what it is seeking, [314].
Dramatic verse, English, [44].
—— criticism, [81], [198].
Dramatists of to-day, [212].
Drury Lane, [40], [62], [76], [195].
Dumas, Alexander, effect of Macready on, [46], [70], [209], [227], [257], [264], [312].
Dundreary, Lord, [112].
“Dust-Hole,” The, [104].
Dutton, [198].
Ebbsmith, The Notorious Mrs., [275].
Eccles, [128], [129].
Eccles, Polly, [120], [122], [129].
Edgeworth, Miss, [51].
Eily in Colleen Bawn, [91].
Ellis, Havelock, and Ibsen, [280].
Emery, Winifred, [306].
Emperor and Galilean, Ibsen’s, [278], [279].
Enemy of the People, An, [280], [284].
Engaged, Gilbert’s, [144].
English dramatic verse, [44].
Ennery, d’, [81].
Evelyn, Alfred, [71].
Examiner of Plays, [84].
Falcon, The, [180].
Falconer, Edmund, [89].
Farce, [194].
Farren, [79], [80], [107].
Farren, Nellie, [194].
Father Tom in Colleen Bawn, [91].
Fatal Card, The, [302].
Faucit, Helen, [79].
Favart, [197].
Fechter in Hamlet, [78], [158].
Feuillet, Octave, [222].
Fielding and the Censorship, [83].
Fielding Club, The, [109], [115].
Figaro, London, [199], [200].
First Step, The, [309].
Forster, John, and Macready, [64];
at Macready’s banquet, [74];
letter from Dickens, [102].
France, Macready in, [45], [73].
Francillon, Hedda Gabler, [289], [295].
French actors in London, [78].
—— adaptations, [77], [207];
law as to, [208];
S. Grundy’s, [216].
—— drama prevented English, [311].
Froude, [88].
Fun, Gilbert a contributor to, [140].
Gaiety, The, [194].
Garneray’s Memoirs, [59].
Garrick, David, the rôle of, [112].
Garrick and Hare, [117], [157].
Garrick school, [40].
Garrick Club, The, [109], [115], [196].
Garrick, the first night at the, [259].
Gautier, Théophile, [41], [78].
Gerridge, Sam, Hare as, [119], [128], [131].
German drama in England, [299].
Ghosts, [280], [292].
Gilbert, irony of, [111].
—— and Robertson, [138];
literary career, [139];
Bab Ballads, [140];
Sweethearts, [140];
Broken Hearts, [142];
his only woman’s character, [144];
Engaged, [144];
Palace of Truth, [146];
his philosophy, [144-146];
Wicked World, [147];
Pygmalion and Galatea, [147-152];
Trial by Jury, combines with Sullivan, Princess Ida, Patience, Iolanthe, [153];
Pirates of Penzance, Pinafore, [154];
a lawyer, [155].
Globe, The, [133].
Goldsmith, [50], [81], [88].
Gosse, Edmund, and Ibsen, [277-280], [285].
Greatest of These, The, [233].
Grecian, The, [194].
Grisi, [75].
Grundy, Sydney, [212];
first appearance, [214].
—— The Snowball, [214];
In Honour Bound, [216];
A Pair of Spectacles, [217];
Mammon, [220];
A Bunch of Violets, [221];
influence of the French, [223];
The Glass of Fashion, [224];
A Fool’s Paradise, The Late Mr. Costello, [225];
his peculiarities, [226];
Sowing the Wind, An Old Jew, [227];
The New Woman, [230];
The Greatest of These, [233].
—— and Ibsen, [295].
Grues, [97].
Hamlet, Irving’s, [166].
Hardy, Thomas, and Pinero, [256].
Hare, John, [117];
in Ours, [119];
in Caste, [119], [181], [259].
Harold, Tennyson’s, [185], [188], [190].
Harris, Sir Augustus, [301].
Hawtree, Captain, Bancroft as, [119], [122].
Haymarket, The, [46], [101].
—— and the Bancrofts, [134], [196].
Hazlitt, [49], [82].
Heinemann’s, Wm., First Step, [309].
Her Majesty’s Theatre, [76].
Herman, Mr., and H. A. Jones, [296].
Hippodrama, The, [76].
Hobby Horse, The, [257].
Homer, [54].
Hood’s Model Men and Women, [98].
—— supper-parties, [110], [111], [131].
Horton, Priscilla, [102].
Hoskyns, David, and Irving, [161].
Hugo, Victor, and Bulwer Lytton, [65], [68], [70].
Humour of a Scholar and Money’s success, [71].
Hunt, Leigh, [49];
and Macready, [64].
Hutchinson, Colonel, [49].
Huxley and Ibsen, [292].
Ibsen, [206], [253], [233].
—— England hears of him, [277];
translations by Edmund Gosse and others, [278-280];
played by The Independent Theatre, [280];
and the Critics, [281-283];
and theatrical managers, [284];
performed at The Haymarket, [284];
and the Sagas, [286];
Peer Gynt, [287];
more intelligible than Carlyle, [288];
his methods, [289];
realism, [290];
his message, [291-292];
his types, [293];
and democracy, [294];
and English dramatists, [295];
H. A. Jones’s adaptation of A Dolls’ House, [296];
divergence from English admirers, [297];
and the Puritans, [298];
influence on the English drama, [313].
Icilius and Virginia, [51].
Imagination in the drama, [252].
Independent Theatre, The, [280], [305].
Iolanthe, [153].
Irving, Henry, first plays Hamlet, [159];
early days, [160];
in the provinces and début in London, [161];
as Digby Grant in Albery’s Two Roses, [163];
secures The Bells, [164];
in Charles I., [165];
as Hamlet, [166];
in Richelieu, [166];
on staging masterpieces, [167];
and Shakespeare’s text, [168];
his rôles, [168];

his method, [170];
his position as to realism, [171];
as a writer and lecturer, [172];
“Sir Henry,” [172];
his success, [173];
and Tennyson’s Becket, [188];
and Ibsen, [284].
Ixion, Burnand’s, [93-95].
Jean, Oliver Saint, [72].
Jerrold, Blanchard, [79].
Jerrold, Douglas, [55-62];
Rent Day, [56];
Prisoner of War, [59];
Black-eyed Susan, [61], [94];
and the Censorship, [85].
John-a-Dreams, [302-304].
Jones, H. A., [178], [212].
—— A Clerical Error, An Old Master, [234];
The Silver King, Saints and Sinners, [235-240];
The Case of Rebellious Susan, [236-250];
Judah, [239-244];
The Crusaders, [244-248], [259];
The Tempter, [248];
Triumph of the Philistines, [249];
The Masqueraders, [250], [252];
on realism, [251];
future work, [252].
—— and Ibsen, [295-297].
Jordan, Mrs., [39].
Josephs, Fanny, [104].
Judah, [239-244], [251].
Kean, Charles, [79], [157];
his successor, [166].
Kean, Edmund, [40-45];
death of, [63].
Keeley, [79].
Keeley, Mrs., [79].
Kemble, Charles, [79].
Kemble, John, [40], [45], [79], [157].
Kendal as Pygmalion, [147];
in The Falcon, [181].
Kendals in The Greatest of These, [233].
Knebworth, Squireen of, [65].
Knowles, Sheridan, [50], [54], [55].
“La Belle Smidson,” [45].
Labiche, [215], [217], [218], [219], [257].
Lacy, the bookseller, [107].
Lady from the Sea, The, [292].
Lady of Lyons, [64], [65-67].
Lamb, Charles, [49], [83].
Lancival, Luce de, [45].
Larkin, [104].
Late Mr. Costello, The, [225].
Law as to adaptations and translations, [208].
—— as to foreign dramas, [310].
Legitimate drama, [156].
Lemaitre, Jules, [201].
Lemierra, [45].
Lewes on Macready’s Macbeth, [45];
on Macready’s last performance, [73].
Liberty Hall, [301], [306].
Lind, Jenny, [76].
Little Eyolph, [290], [299].
London Assurance, Boucicault’s, [88].
London Figaro, [199], [200].
London, Lights o’, [302].
Lord, Miss H. F., and Ibsen, [279].
Lords and Commons, [256].
Love, The Comedy of, Ibsen’s, [278].
Lyceum, The, [100].
—— The Cup at, [184].
Lyceum, [196].
Lytton, Lord, [64-72];
at Macready’s banquet, [74];
on Riches and Rank, [116].
Macbeth, Kean as, [41];
Macready as, [45].
Mackayers, Joseph, [214].
Macready, [40-45];
and Dumas, [46];
and authors, [50];
and Virginius, [55].
—— manager of Drury Lane and Covent Garden, [62], [63], [64], [65];
in Richelieu, [67];
in Paris, 1846, [73].
—— work and farewell performance, [73];
last days, [74].
—— and Marie Wilton, [99], [157];
and Fechter’s Hamlet, [158].
Maeterlink, M., [284].
Magistrate, The, [257].
Man of the world type, [120].
Managers, theatre, [77], [308].
Manning, Cardinal, and Becket, [188].
Martin, Lady, [79].
Master Builder, The, [290], [295].

Mathews, Charles, [79], [80], [123], [135].
Melnotte, Claude, in The Lady of Lyons, [66].
Melodrama, [154], [196].
Memoirs, Marie Wilton’s, [99].
Merimée, [54].
Merivale, Herman, [177].
Merritt, [195].
Michael O’Dowd, [91].
Millard, Evelyn, [306].
Mitchell, the Bond Street bookseller, [78].
Model Men and Women, Hood’s, [98].
Molière, [88], [236].
Money, [64], [70-72];
Marie Wilton in, [121].
Moor of Venice, Kean in, [42].
Moore, George, [289].
Morals of the stage, Byron’s effect on, [97].
Morris and the Sagas, [285].
Mortimer, James, [199].
Munich, Ibsen at, [277].
Music, a rival to the drama, [75].
Music halls, [194].
Myles-na-Coppaleen in Colleen Bawn, [91].
Myrine, [151].
Mystery in the drama, [252].
Neilson, Adelaide, [159].
Nesville, Juliette, [249].
New Woman, The, [230-233].
Night’s Adventure, A, Robertson’s, [107].
Norah, Ibsen’s, [279].
Norway and England, affinities between, [287].
Notorious Mrs. Ebbsmith, The, [276].
Oakley, Macready as, [41].
Octoroon, [91].
Official Censorship, [83].
Old Jew, An, [227-230].
Old Master, An, [234].
Olympic, The, [107].
Oonagh, The, [90].
Operetta, The, [93], [194].
Origin of Official Censorship, [83].
Orleans, Duc d’, in Richelieu, [69].
Our American Cousin, Sothern in, [112].
Our Boys, [134], [178].
Ours, [117];
Marie Wilton in, [121].
“Owls’ Roost,” [115].
Oxenford, John, [82];
on Irving, [164].
Pair of Spectacles, A, [217-220].
Palace of Truth, The, [146].
Pantomime, the, [76], [98], [194].
Parker, Louis N., [301].
Parliamentary Commission, [64];
and Bulwer Lytton, [65].
Passion in the drama, [252].
Patience, [153].
Pauline in The Lady of Lyons, [66].
Peep o’ Day, [90].
Peer Gynt, Ibsen’s, [278], [279], [287].
Penley, Mr., [284].
Pettitt, [195].
Phelps, [76], [157].
Pilgrim, The White, [177].
Pillars of Society, The, Ibsen’s, [279], [280].
Pinafore, [154].
Pinero, Arthur W., letter to Mr. Bancroft, [136], [212].
—— personal, [254];
an actor, [255];
The Squire, Lords and Commons, [256];
The Magistrate, Dandy Dick, The Hobby Horse, [257];
The Times, The Cabinet Minister, [258];
The Profligate, [259-264];
Lady Bountiful, [264];
The Second Mrs. Tanqueray, [264-274], [276];
The Notorious Mrs. Ebbsmith, [276];
and Ibsen, [295].
Pink Dominoes, [178].
Pippo, Marie Wilton as, [102], [103], [121].
Pirates of Penzance, [154].
Plautus, [88].
Playgoers’ Club, Mr. Tree at, [284].
Plays, Examiner of, [84].
Plessy, Madame Arnould, [78].
“Pocket Ibsen,” A, [282].
Polhill, Captain, [62].
Prices under the Bancrofts, [135].
Prince of Wales’s Theatre, [105] (see [Queen’s]), [113].
—— Robertson’s plays at, [114].
—— last visit to, [137].
Princess Ida, [153].
Princess’s, The, [195].
Princess’s translator, The, [78].
Prisoner of War, Jerrold’s, [59].
“Privileged” theatres, [40], [62-64], [156].
Profligate, The, [259-264].
Promise of May, The, [182].
Provincial touring, [46-49].
Ptarmigant, Lord and Lady, [116], [127].
Puckler-Muskau, Price, [63].
Puritans and the Stage, [236].
—— and the Censorship, [310].
Pygmalion and Galatea, [147];
the critics on, [148-152].
Queen Mary, Tennyson’s, [178], [185], [187], [190].
Queen’s Theatre, [104] (see [Prince of Wales’s]).
The Promise of May, [182].
Raval, [79].
Ray, Katharine, and Ibsen, [279].
Realism, H. A. Jones on, [252].
—— English horror of, [289];
Ibsen’s, [289].
Rebellious Susan, The Case of, [236], [250].
Rehan, Ada, [174].
Réjane, [197].
Rent Day, The, Jerrold’s, [56].
Reynolds, [50].
Rhythm of English dramatic verse, [44].
Richelieu, [64], [65-70].
Richelieu and Cromwell, [68].
Richelieu, Lytton’s, [69].
Robertson, Forbes, [306].
Robertson, Madge, as Galatea, [147];
in The Falcon, [181].
Robertson, T. W., early life, [106];
quarrel with Farren, [107];
at journalism, [109];
in Bohemia, [109-111];
writes a play for Sothern, [112];
Society and Marie Wilton, [112], [113];
success, [117];
a wonderful reader, [118];
his insight into Marie Wilton’s genius, [121];
cause of the success of his comedies, [122];
only half a realist, [123];
characteristics exemplified from School, [124];
method of character-drawing, [127];
his characters, [127-132];
marriage, [132];
death, [133];
and Byron, [134];
and Gilbert, [138].
Robins, Miss, and Ibsen, [281].
Robson, Mr., [79], [306].
Roche, Madame, [158].
Romanticism in France, [45].

Roses, The Two, [133].
Rosmersholm, [292].
Rorke, Kate, [306].
Royalty, The, [95].
Ryder, [79], [158].
Sadler’s Wells, [76], [157].
Sagas, The, [285].
Saintine, X. B., and Richelieu, [68].
Saints and Sinners, [235-240], [244].
Salaries of actors, [135].
Sarcey, Francisque, [201].
Sardou and the Bancrofts, [134], [209], [210], [215], [252], [312].
Savage Club, The, [109], [115].
Scandinavian Society, British, and Ibsen, [279].
School of Common Sense in France, [51].
School, [117];
Marie Wilton in, [121];
scene from, [125].
Scott, Clement, and The Oonagh, [90];
and Tom Hood’s parties, [110];
on Robertson’s reading, [118];
on Irving, [164], [197], [198], [199], [200].
Scribe, [81], [215], [216], [224], [252], [312].
Sedaine’s drame bourgeois, [51].
Shakespeare, [40], [42], [44], [45], [48], [50], [63], [73], [76];
and French actors, [78];
in Irving’s hand, [173];
resuscitation, [175];
and melodrama, [196].
“Shakespeare made Easy,” [156].
Shaugraun, [91].
Shaw, G. B., and Ibsen, [283].
Shelley, [64].
Sheridan, [50], [81], [88].
Shylock, Kean as, [43].
Siddons, Mrs., [40].
Silver King, The, [235].
Sims, G. R., [195], [301].
Smith, Albert, [109].
Smithson, Miss, [45].
Snowball, The, [214].
Society, Robertson’s, [112];
first performance, [114];
success, [117].
“Song of the Gentleman,” by Brough, [111].
“Songs of the Governing Classes,” by Brough, [111].
Sothern and Robertson, [112], [118].
—— and Irving, [162].
Sowing the Wind, [227].
Spanker, Lady Gay, [75].
Spectators, three classes, [305].
Spencer, Herbert, and Ibsen, [292].
Squire of Dames, [302].
Squire, The, [256].
St. James’s Theatre, [78], [181], [196].
Standard, The, [194].
Strand, The, [96], [99], [101];
Dickens at, [102], [104], [112], [121].
Stirling, Mrs., in Caste, [135].
Sullivan and Gilbert, [153].
Surface, Joseph, Macready as, [41].
Surrey, The, [194].
Swanborough, Mrs., [96], [112].
Sweethearts, Gilbert’s, [140].
Swinburne’s dramas, [192].
Talma on the actor’s emotions, [170].
Tanqueray, The Second Mrs., [264-274], [276], [289].
Taylor, Tom, [87].
—— Our American Cousin, [112].
Taylor, Tom, on Marie Wilton and Robertson, [118].
Tempter, The, [248].
Tennyson and Macready, [74];
and Gilbert’s Princess Ida, [153].
—— as a dramatist, [178];
and the critics, [178];
The Falcon, [180];
The Promise of May, [182];
The Cup, [183].
—— Queen Mary, Harold, Becket, [185];
his sense of history, [186].
Terence,

[88].
Terry, Miss Ellen, [167], [174], [178], [189].
Theatre-goers of 1850, [77].
Theatres, number of, [86].
Theatre, commercial decadence of the, [62].
Theatres, “Privileged,” [40], [62-64], [156].
Theatre managers, [77].
Thomas, Henry, [159].
Thomas, Moy, [198].
Ticket of Leave Man, origin of, [207].
Times, The, Pinero’s, [258].
Toby and Crumbs in The Rent Day, [57].
Toole, John, first appearance, [100].
Tour, on, [46-49].
Translations of foreign plays, law as to, [208].
Travelling companies, [46-49].
Treaty of Berne, [208].
Tree, Mr., and The Tempter, [248].
—— and Ibsen, [284].
—— in John-a-Dreams, [302];
his staying, [307].
Trial by Jury, [153].
Triumph of the Philistines, [249].
Tussaud’s, Madame, Kean and Macready at, [41].
Van Ambrugh, [76].
Vaudeville, The, [133].
Victoria, [39].
Victoria, The, [194].
Virginia and Icilius, [51].
Virginius, Knowles’s, [50-55].
Virginius’s character, [52].
Walkley, A. B., and Ibsen, [283].
Wallington, Nehemiah, [49].
Wallis, Miss, as Cleopatra, [159].
Walpole and the Censorship, [83].
Waring, Mr., and Ibsen, [281].
Watson, Malcolm, [301].
Wells and the classical drama, [177].
Wicked World, The, [147].
Willard, Mr., [306].
Wills’s Charles I., [165], [177];
Claudian, [177];
his conceptions, [178].
Wilton and Kean, [43].
Wilton, Marie, and Macready, [99];
at the Lyceum, [100];
at the Haymarket, [101];
Coquelin on, [101];
Dickens on, [102];
partnership with Byron, [103];
her first company, [104];
secures Society, [113];
and Robertson, [118];
her parts in Robertson’s plays, [121];
early days in Liverpool, [138].
Wilton, the Sisters, [104].
Wingfield, Hon. Lewis W., [95].
Woman, the English, and Ibsen, [293].
Wyndham, Charles, [196], [306].
Yates, Edmund, [62].
Yates, Frederick, [41].

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Footnotes:

[1] Berlioz did so literally, and married her.

[2] William Archer, Life of Macready.

[3] “Write me a drama,” said Macready to young Browning, “and save me having to go off to America.” The drama was written, but attained only a fourth performance, and did not save the actor from his impending expedition.

[4] As a matter of fact, Bulwer had not even the merit of inventing this arrangement for himself. His play was founded on the novel by X.-B. Saintine.

[5] Charles Mathews played at the Variétés, in French, in L’anglais timide, an adaptation of Cool as a Cucumber, by Blanchard Jerrold.

[6] 10 George II. cap. 19.

[7] In Thirty Years at the Play, Clement Scott gives an account of the first night of The Oonagh, which has come down to us as a tradition. At two o’clock in the morning the play was still in progress. The house was empty save for a few critics slumbering in their stalls. The actors were on the stage all in a line facing the public, as was then the custom, and there was no sign of the ending, when suddenly the machinists pulled back the carpet on which the chief characters were standing. They collapsed simply!—with the piece, which was never brought to its real conclusion.

[8] T. W. Robertson in The Illustrated Times.

[9] Founded on the famous French play Paillasse.

[10] To the fourth line he added a footnote to the effect that the name was not Johnson really.

[11] Henry Morley, Journal of a Playgoer.

[12] These lines appeared in the Revue des Deux Mondes, on September 15, 1895. Less than three months later the Kendals produced, for the first time in the provinces, a new drama by Mr. Grundy, The Greatest of These. This play, which was performed later in London, is a work of real value. In it Mr. Grundy has forgotten his French models, and has painted English life and English characters with a freedom, a fidelity, a power, worthy of that Ibsen to whom he will not have it that he owes anything. He has put aside his wit in order to be more moving. There is not a weak spot or a trace of bad taste in the whole piece. The scene which takes up most of the third act is equally beautiful, whether regarded from a psychological, a literary, or a purely dramatic standpoint.

[13] His début was in 1874, when he was nineteen. He has given an account of some of his Edinburgh experiences about this time in a pleasant Preface to Mr. William Archer’s Theatrical World in 1895.

[14] When this episode was reached on the night of the first performance of The Master Builder, a critic turned to Mr. Archer and said, “Will you explain that symbol to us?” “I am not sure,” Mr. Archer replied quietly, “that it is a symbol.” Upon which, a lady sitting near them interposed: “Excuse my breaking in upon your conversation,” she said, “but you may be interested to know that many women are like Mrs. Solness in this. I myself have all the dolls of my childhood safely preserved at home, and I look after them tenderly.” It is well known, too, that the Queen’s collection of her dolls is preserved at Windsor Castle.

[15] I should have wished to determine the influence exerted by the contemporary German drama upon the dramatic movement in England, but I can find no trace of any such influence at all. Only a single work of Sudermann’s has so far been translated, and this came from America. An attempt was made in 1895 to found a permanent Deutsches Theater in London, and works by Freytag, Sudermann, Hauptmann, Otto Hartleber, Max Halbe, and Blumenthal were produced there. I do not know whether the attempt, made under modest, and indeed almost mean, conditions, will be renewed. The critics attended the performance, but the general public paid but little attention to them.

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Transcriber’s Notes:

Punctuation has been corrected without note.

Other than the corrections noted by hover information, inconsistencies in spelling and hyphenation have been retained from the original.