What the English drama is in search of, what it is about to create,—with or without Ibsen’s assistance,—is a new form in which to reproduce that dualism which has struck and disconcerted every observer, native or foreign, Matthew Arnold, Emerson, Taine. For my part, I have sometimes endeavoured to trace this dualism to the marriage, tempestuous but fruitful, of Saxon and Celt, to the effort, ever vain but never ceasing, of these two refractory elements to fuse and unite. The drama of the sixteenth century came, in a moving and memorable hour, from one of those unions between the young and strong in which there enters something of violence and even of madness. The existing drama is the issue of parents well on in years in a time of gloom and trouble. It is delicate and calls for care. At the same time, it bears resemblances to those who gave it life. A race of heroes who are also buccaneers, a race of poets and shopkeepers, a race fearless of death and devoted to money, calculating but passionate, dreamers yet men of action, capable of the charges of Balaclava and the deal in the Suez shares, cannot possibly find its literary expression either in pure idealism or in realism undiluted. The “bleeding slice of life” awakes in it no appetite; “Art for Art’s sake” leaves it wonderfully indifferent; of moralising, it is tired for the time being: it is passing through a stage of sensuous torpor which is not without charm, and it waits open-eyed and, as it were, hesitatingly before the labour of creating society afresh, of building up a new civilisation. It does not wish, and is not able, to forget those problems—that terrible To-morrow—by which we are everywhere threatened. Hence its sensuousness is tempered, refined, saddened by philosophy. And in this mood, what it asks of the drama is not to be amused, or to be excited, but to be made to think.
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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