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,