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,