An Apology for the Life of Mr. Colley Cibber, Volume 1 (of 2) / Written by Himself. A New Edition with Notes and Supplement

What more might be said of her as an Actress may be found in the Preface to the Provok'd Husband, to which I refer the Reader.[345]

With the Acquisition, then, of so advanc'd a Comedian as Mrs. Oldfield, and the Addition of one so much in Favour as Wilks, and by the visible Improvement of our other Actors, as Penkethman, Johnson, Bullock, and I think I may venture to name myself in the Number (but in what Rank I leave to the Judgment of those who have been my Spectators) the Reputation of our Company began to get ground; Mrs. Oldfield and Mr. Wilks, by their frequently playing against one another in our best Comedies, very happily supported that Humour and Vivacity which is so peculiar to our English Stage. The French, our only modern Competitors, seldom give us their Lovers in such various Lights: In their Comedies (however lively a People they are by nature) their Lovers are generally constant, simple Sighers, both of a Mind, and equally distress'd about the Difficulties of their coming together; which naturally makes their Conversation so serious that they are seldom good Company to their Auditors: And tho' I allow them many other Beauties of which we are too negligent, yet our Variety of Humour has Excellencies that all their valuable Observance of Rules have never yet attain'd to. By these Advantages, then, we began to have an equal Share of the politer sort of Spectators, who, for several Years, could not allow our Company to stand in any comparison with the other. But Theatrical Favour, like Publick Commerce, will sometimes deceive the best Judgments by an unaccountable change of its Channel; the best Commodities are not always known to meet with the best Markets. To this Decline of the Old Company many Accidents might contribute; as the too distant Situation of their Theatre, or their want of a better, for it was not then in the condition it now is, but small, and poorly fitted up within the Walls of a Tennis Quaree Court, which is of the lesser sort.[346] Booth, who was then a young Actor among them, has often told me of the Difficulties Betterton then labour'd under and complain'd of: How impracticable he found it to keep their Body to that common Order which was necessary for their Support;[347] of their relying too much upon their intrinsick Merit; and though but few of them were young even when they first became their own Masters, yet they were all now ten Years older, and consequently more liable to fall into an inactive Negligence, or were only separately diligent for themselves in the sole Regard of their Benefit-Plays; which several of their Principals knew, at worst, would raise them Contributions that would more than tolerably subsist them for the current Year. But as these were too precarious Expedients to be always depended upon, and brought in nothing to the general Support of the Numbers who were at Sallaries under them, they were reduc'd to have recourse to foreign Novelties; L'Abbeè, Balon, and Mademoiselle Subligny,[348] three of the then most famous Dancers of the French Opera, were, at several times, brought over at extraordinary Rates, to revive that sickly Appetite which plain Sense and Nature had satiated.[349] But alas! there was no recovering to a sound Constitution by those mere costly Cordials; the Novelty of a Dance was but of a short Duration, and perhaps hurtful in its consequence; for it made a Play without a Dance less endur'd than it had been before, when such Dancing was not to be had. But perhaps their exhibiting these Novelties might be owing to the Success we had met with in our more barbarous introducing of French Mimicks and Tumblers the Year before; of which Mr. Rowe thus complains in his Prologue to one of his first Plays:

While the Crowd, therefore, so fluctuated from one House to another as their Eyes were more or less regaled than their Ears, it could not be a Question much in Debate which had the better Actors; the Merit of either seem'd to be of little moment; and the Complaint in the foregoing Lines, tho' it might be just for a time, could not be a just one for ever, because the best Play that ever was writ may tire by being too often repeated, a Misfortune naturally attending the Obligation to play every Day; not that whenever such Satiety commences it will be any Proof of the Play's being a bad one, or of its being ill acted. In a word, Satiety is seldom enough consider'd by either Criticks, Spectators, or Actors, as the true, not to say just Cause of declining Audiences to the most rational Entertainments: And tho' I cannot say I ever saw a good new Play not attended with due Encouragement, yet to keep a Theatre daily open without sometimes giving the Publick a bad old one, is more than I doubt the Wit of human Writers or Excellence of Actors will ever be able to accomplish. And as both Authors and Comedians may have often succeeded where a sound Judgment would have condemn'd them, it might puzzle the nicest Critick living to prove in what sort of Excellence the true Value of either consisted: For if their Merit were to be measur'd by the full Houses they may have brought; if the Judgment of the Crowd were infallible; I am afraid we shall be reduc'd to allow that the Beggars Opera was the best-written Play, and Sir Harry Wildair[351] (as Wilks play'd it) was the best acted Part, that ever our English Theatre had to boast of. That Critick, indeed, must be rigid to a Folly that would deny either of them their due Praise, when they severally drew such Numbers after them; all their Hearers could not be mistaken; and yet, if they were all in the right, what sort of Fame will remain to those celebrated Authors and Actors that had so long and deservedly been admired before these were in Being. The only Distinction I shall make between them is, That to write or act like the Authors or Actors of the latter end of the last Century, I am of Opinion will be found a far better Pretence to Success than to imitate these who have been so crowded to in the beginning of this. All I would infer from this Explanation is, that tho' we had then the better Audiences, and might have more of the young World on our Side, yet this was no sure Proof that the other Company were not, in the Truth of Action, greatly our Superiors. These elder Actors, then, besides the Disadvantages I have mention'd, having only the fewer true Judges to admire them, naturally wanted the Support of the Crowd whose Taste was to be pleased at a cheaper Rate and with coarser Fare. To recover them, therefore, to their due Estimation, a new Project was form'd of building them a stately Theatre in the Hay-Market,[352] by Sir John Vanbrugh, for which he raised a Subscription of thirty Persons of Quality, at one hundred Pounds each, in Consideration whereof every Subscriber, for his own Life, was to be admitted to whatever Entertainments should be publickly perform'd there, without farther Payment for his Entrance. Of this Theatre I saw the first Stone laid, on which was inscrib'd The little Whig, in Honour to a Lady of extraordinary Beauty, then the celebrated Toast and Pride of that Party.[353]

In the Year 1706,[354] when this House was finish'd, Betterton and his Co-partners dissolved their own Agreement, and threw themselves under the Direction of Sir John Vanbrugh and Mr. Congreve, imagining, perhaps, that the Conduct of two such eminent Authors might give a more prosperous Turn to their Condition; that the Plays it would now be their Interest to write for them would soon recover the Town to a true Taste, and be an Advantage that no other Company could hope for; that in the Interim, till such Plays could be written, the Grandeur of their House, as it was a new Spectacle, might allure the Crowd to support them: But if these were their Views, we shall see that their Dependence upon them was too sanguine. As to their Prospect of new Plays, I doubt it was not enough consider'd that good ones were Plants of a slow Growth; and tho' Sir John Vanbrugh had a very quick Pen, yet Mr. Congreve was too judicious a Writer to let any thing come hastily out of his Hands: As to their other Dependence, the House, they had not yet discover'd that almost every proper Quality and Convenience of a good Theatre had been sacrificed or neglected to shew the Spectator a vast triumphal Piece of Architecture! And that the best Play, for the Reasons I am going to offer, could not but be under great Disadvantages, and be less capable of delighting the Auditor here than it could have been in the plain Theatre they came from. For what could their vast Columns, their gilded Cornices, their immoderate high Roofs avail, when scarce one Word in ten could be distinctly heard in it? Nor had it then the Form it now stands in, which Necessity, two or three Years after, reduced it to: At the first opening it, the flat Ceiling that is now over the Orchestre was then a Semi-oval Arch that sprung fifteen Feet higher from above the Cornice: The Ceiling over the Pit, too, was still more raised, being one level Line from the highest back part of the upper Gallery to the Front of the Stage: The Front-boxes were a continued Semicircle to the bare Walls of the House on each Side: This extraordinary and superfluous Space occasion'd such an Undulation from the Voice of every Actor, that generally what they said sounded like the Gabbling of so many People in the lofty Isles in a Cathedral—The Tone of a Trumpet, or the Swell of an Eunuch's holding Note, 'tis true, might be sweeten'd by it, but the articulate Sounds of a speaking Voice were drown'd by the hollow Reverberations of one Word upon another. To this Inconvenience, why may we not add that of its Situation; for at that time it had not the Advantage of almost a large City, which has since been built in its Neighbourhood: Those costly Spaces of Hanover, Grosvenor, and Cavendish Squares, with the many and great adjacent Streets about them, were then all but so many green Fields of Pasture, from whence they could draw little or no Sustenance, unless it were that of a Milk-Diet. The City, the Inns of Court, and the middle Part of the Town, which were the most constant Support of a Theatre, and chiefly to be relied on, were now too far out of the Reach of an easy Walk, and Coach-hire is often too hard a Tax upon the Pit and Gallery.[355] But from the vast Increase of the Buildings I have mention'd, the Situation of that Theatre has since that Time received considerable Advantages; a new World of People of Condition are nearer to it than formerly, and I am of Opinion that if the auditory Part were a little more reduced to the Model of that in Drury-Lane, an excellent Company of Actors would now find a better Account in it than in any other House in this populous City.[356] Let me not be mistaken, I say an excellent Company, and such as might be able to do Justice to the best of Plays, and throw out those latent Beauties in them which only excellent Actors can discover and give Life to. If such a Company were now there, they would meet with a quite different Set of Auditors than other Theatres have lately been used to: Polite Hearers would be content with polite Entertainments; and I remember the time when Plays, without the Aid of Farce or Pantomime, were as decently attended as Opera's or private Assemblies, where a noisy Sloven would have past his time as uneasily in a Front-box as in a Drawing-room; when a Hat upon a Man's Head there would have been look'd upon as a sure Mark of a Brute or a Booby: But of all this I have seen, too, the Reverse, where in the Presence of Ladies at a Play common Civility has been set at defiance, and the Privilege of being a rude Clown, even to a Nusance, has in a manner been demanded as one of the Rights of English Liberty: Now, though I grant that Liberty is so precious a Jewel that we ought not to suffer the least Ray of its Lustre to be diminish'd, yet methinks the Liberty of seeing a Play in quiet has as laudable a Claim to Protection as the Privilege of not suffering you to do it has to Impunity. But since we are so happy as not to have a certain Power among us, which in another Country is call'd the Police, let us rather bear this Insult than buy its Remedy at too dear a Rate; and let it be the Punishment of such wrong-headed Savages, that they never will or can know the true Value of that Liberty which they so stupidly abuse: Such vulgar Minds possess their Liberty as profligate Husbands do fine Wives, only to disgrace them. In a Word, when Liberty boils over, such is the Scum of it. But to our new erected Theatre.

Not long before this Time the Italian Opera began first to steal into England,[357] but in as rude a disguise and unlike it self as possible; in a lame, hobling Translation into our own Language, with false Quantities, or Metre out of Measure to its original Notes, sung by our own unskilful Voices, with Graces misapply'd to almost every Sentiment, and with Action lifeless and unmeaning through every Character: The first Italian Performer that made any distinguish'd Figure in it was Valentini, a true sensible Singer at that time, but of a Throat too weak to sustain those melodious Warblings for which the fairer Sex have since idoliz'd his Successors. However, this Defect was so well supply'd by his Action, that his Hearers bore with the Absurdity of his singing his first Part of Turnus in Camilla all in Italian, while every other Character was sung and recited to him in English.[358] This I have mention'd to shew not only our Tramontane Taste, but that the crowded Audiences which follow'd it to Drury-Lane might be another Occasion of their growing thinner in Lincolns-Inn-Fields.

To strike in, therefore, with this prevailing Novelty, Sir John Vanbrugh and Mr. Congreve open'd their new Hay-Market Theatre with a translated Opera to Italian Musick, called the Triumph of Love, but this not having in it the Charms of Camilla, either from the Inequality of the Musick or Voices, had but a cold Reception, being perform'd but three Days, and those not crowded. Immediately upon the Failure of this Opera, Sir John Vanbrugh produced his Comedy call'd the Confederacy,[359] taken (but greatly improv'd) from the Bourgeois à la mode of Dancour: Though the Fate of this Play was something better, yet I thought it was not equal to its Merit:[360] For it is written with an uncommon Vein of Wit and Humour; which confirms me in my former Observation, that the difficulty of hearing distinctly in that then wide Theatre was no small Impediment to the Applause that might have followed the same Actors in it upon every other Stage; and indeed every Play acted there before the House was alter'd seemed to suffer from the same Inconvenience: In a Word, the Prospect of Profits from this Theatre was so very barren, that Mr. Congreve in a few Months gave up his Share and Interest in the Government of it wholly to Sir John Vanbrugh.[361] But Sir John, being sole Proprietor of the House, was at all Events oblig'd to do his utmost to support it. As he had a happier Talent of throwing the English Spirit into his Translation of French Plays than any former Author who had borrowed from them, he in the same Season gave the Publick three more of that kind, call'd the Cuckold in Conceit, from the Cocu imaginaire of Moliere;[362] Squire Trelooby, from his Monsieur de Pourceaugnac, and the Mistake, from the Dépit Amoureux of the same Author.[363] Yet all these, however well executed, came to the Ear in the same undistinguish'd Utterance by which almost all their Plays had equally suffered: For what few could plainly hear, it was not likely a great many could applaud.

It must farther be consider'd, too, that this Company were not now what they had been when they first revolted from the Patentees in Drury-Lane, and became their own Masters in Lincolns-Inn-Fields. Several of them, excellent in their different Talents, were now dead; as Smith, Kynaston, Sandford, and Leigh: Mrs. Betterton and Underhil being, at this time, also superannuated Pensioners whose Places were generally but ill supply'd: Nor could it be expected that Betterton himself, at past seventy, could retain his former Force and Spirit; though he was yet far distant from any Competitor. Thus, then, were these Remains of the best Set of Actors that I believe were ever known at once in England, by Time, Death, and the Satiety of their Hearers, mould'ring to decay.

It was now the Town-talk that nothing but a Union of the two Companies could recover the Stage to its former Reputation,[364] which Opinion was certainly true: One would have thought, too, that the Patentee of Drury-Lane could not have fail'd to close with it, he being then on the Prosperous Side of the Question, having no Relief to ask for himself, and little more to do in the matter than to consider what he might safely grant: But it seems this was not his way of counting; he had other Persons who had great Claims to Shares in the Profits of this Stage, which Profits, by a Union, he foresaw would be too visible to be doubted of, and might raise up a new Spirit in those Adventurers to revive their Suits at Law with him; for he had led them a Chace in Chancery several Years,[365] and when they had driven him into a Contempt of that Court, he conjur'd up a Spirit, in the Shape of Six and eight Pence a-day, that constantly struck the Tipstaff blind whenever he came near him: He knew the intrinsick Value of Delay, and was resolv'd to stick to it as the surest way to give the Plaintiffs enough on't. And by this Expedient our good Master had long walk'd about at his Leisure, cool and contented as a Fox when the Hounds were drawn off and gone home from him. But whether I am right or not in my Conjectures, certain it is that this close Master of Drury-Lane had no Inclination to a Union, as will appear by the Sequel.[366]

Sir John Vanbrugh knew, too, that to make a Union worth his while he must not seem too hasty for it; he therefore found himself under a Necessity, in the mean time, of letting his whole Theatrical Farm to some industrious Tenant that might put it into better Condition. This is that Crisis, as I observed in the Eighth Chapter, when the Royal Licence for acting Plays, &c. was judg'd of so little Value as not to have one Suitor for it. At this time, then, the Master of Drury-Lane happen'd to have a sort of primier Agent in his Stage-Affairs, that seem'd in Appearance as much to govern the Master as the Master himself did to govern his Actors: But this Person was under no Stipulation or Sallary for the Service he render'd, but had gradually wrought himself into the Master's extraordinary Confidence and Trust, from an habitual Intimacy, a cheerful Humour, and an indefatigable Zeal for his Interest. If I should farther say, that this Person has been well known in almost every Metropolis in Europe; that few private Men have, with so little Reproach, run through more various Turns of Fortune; that, on the wrong side of Three-score, he has yet the open Spirit of a hale young Fellow of five and twenty; that though he still chuses to speak what he thinks to his best Friends with an undisguis'd Freedom, he is, notwithstanding, acceptable to many Persons of the first Rank and Condition; that any one of them (provided he likes them) may now send him, for their Service, to Constantinople at half a Day's Warning; that Time has not yet been able to make a visible Change in any Part of him but the Colour of his Hair, from a fierce coal-black to that of a milder milk-white: When I have taken this Liberty with him, methinks it cannot be taking a much greater if I at once should tell you that this Person was Mr. Owen Swiney,[367] and that it was to him Sir John Vanbrugh, in this Exigence of his Theatrical Affairs, made an Offer of his Actors, under such Agreements of Sallary as might be made with them; and of his House, Cloaths, and Scenes, with the Queen's License to employ them, upon Payment of only the casual Rent of five Pounds upon every acting Day, and not to exceed 700l. in the Year. Of this Proposal Mr. Swiney desir'd a Day or two to consider; for, however he might like it, he would not meddle in any sort without the Consent and Approbation of his Friend and Patron, the Master of Drury Lane. Having given the Reasons why this Patentee was averse to a Union, it may now seem less a Wonder why he immediately consented that Swiney should take the Hay-Market House, &c. and continue that Company to act against him; but the real Truth was, that he had a mind both Companies should be clandestinely under one and the same Interest, and yet in so loose a manner that he might declare his Verbal Agreement with Swiney good, or null and void, as he might best find his Account in either. What flatter'd him that he had this wholesome Project, and Swiney to execute it, both in his Power, was that at this time Swiney happen'd to stand in his Books Debtor to Cash upwards of Two Hundred Pounds: But here, we shall find, he over-rated his Security. However, Swiney as yet follow'd his Orders; he took the Hay-Market Theatre, and had, farther, the private Consent of the Patentee to take such of his Actors from Drury-Lane as either from Inclination or Discontent, might be willing to come over to him in the Hay-Market. The only one he made an Exception of, was myself: For tho' he chiefly depended upon his Singers and Dancers,[368] he said it would be necessary to keep some one tolerable Actor with him, that might enable him to set those Machines a going. Under this Limitation of not entertaining me, Swiney seem'd to acquiesce 'till after he had open'd with the so recruited Company in the Hay-Market: the Actors that came to him from Drury-Lane were Wilks, Estcourt,[369] Mills, Keen,[370] Johnson, Bullock, Mrs. Oldfield, Mrs. Rogers, and some few others of less note: But I must here let you know that this Project was form'd and put in Execution all in very few Days, in the Summer-Season, when no Theatre was open. To all which I was entirely a Stranger, being at this time at a Gentleman's House in Gloucestershire, scribbling, if I mistake not, the Wife's Resentment.[371]

The first Word I heard of this Transaction was by a Letter from Swiney, inviting me to make One in the Hay-Market Company, whom he hop'd I could not but now think the stronger Party. But I confess I was not a little alarm'd at this Revolution: For I consider'd, that I knew of no visible Fund to support these Actors but their own Industry; that all his Recruits from Drury-Lane would want new Cloathing; and that the warmest Industry would be always labouring up Hill under so necessary an Expence, so bad a Situation, and so inconvenient a Theatre. I was always of opinion, too, that in changing Sides, in most Conditions, there generally were discovered more unforeseen Inconveniencies than visible Advantages; and that at worst there would always some sort of Merit remain with Fidelity, tho' unsuccessful. Upon these Considerations I was only thankful for the Offers made me from the Hay-Market, without accepting them, and soon after came to Town towards the usual time of their beginning to act, to offer my Service to our old Master. But I found our Company so thinn'd that it was almost impracticable to bring any one tolerable Play upon the Stage.[372] When I ask'd him where were his Actors, and in what manner he intended to proceed? he reply'd, Don't you trouble yourself, come along, and I'll shew you. He then led me about all the By-places in the House, and shew'd me fifty little Back-doors, dark Closets, and narrow Passages; in Alterations and Contrivances of which kind he had busied his Head most part of the Vacation; for he was scarce ever without some notable Joyner, or a Bricklayer extraordinary, in pay, for twenty Years. And there are so many odd obscure Places about a Theatre, that his Genius in Nook-building was never out of Employment; nor could the most vain-headed Author be more deaf to an Interruption in reciting his Works, than our wise Master was while entertaining me with the Improvements he had made in his invisible Architecture; all which, without thinking any one Part of it necessary, tho' I seem'd to approve, I could not help now and then breaking in upon his Delight with the impertinent Question of
——But, Master, where are your Actors? But it
seems I had taken a wrong time for this sort of Enquiry; his Head was full of Matters of more moment, and (as you find) I was to come another time for an Answer: A very hopeful Condition I found myself in, under the Conduct of so profound a Vertuoso and so considerate a Master! But to speak of him seriously, and to account for this Disregard to his Actors, his Notion was that Singing and Dancing, or any sort of Exotick Entertainments, would make an ordinary Company of Actors too hard for the best Set who had only plain Plays to subsist on. Now, though I am afraid too much might be said in favour of this Opinion, yet I thought he laid more Stress upon that sort of Merit than it would bear; as I therefore found myself of so little Value with him, I could not help setting a little more upon myself, and was resolv'd to come to a short Explanation with him. I told him I came to serve him at a time when many of his best Actors had deserted him; that he might now have the Refusal of me; but I could not afford to carry the Compliment so far as to lessen my Income by it; that I therefore expected either my casual Pay to be advanced, or the Payment of my former Sallary made certain for as many Days as we had acted the Year before.—No, he was not willing to alter his former Method; but I might chuse whatever Parts I had a mind to act of theirs who had left him. When I found him, as I thought, so insensible or impregnable, I look'd gravely in his Face, and told him—He knew upon what Terms I was willing to serve him, and took my leave. By this time the Hay-Market Company had begun acting to Audiences something better than usual, and were all paid their full Sallaries, a Blessing they had not felt in some Years in either House before. Upon this Success Swiney press'd the Patentee to execute the Articles they had as yet only verbally agreed on, which were in Substance, That Swiney should take the Hay-Market House in his own Name, and have what Actors he thought necessary from Drury-Lane, and after all Payments punctually made, the Profits should be equally divided between these two Undertakers. But soft and fair! Rashness was a Fault that had never yet been imputed to the Patentee; certain Payments were Methods he had not of a long, long time been us'd to; that Point still wanted time for Consideration. But Swiney was as hasty as the other was slow, and was resolv'd to know what he had to trust to before they parted; and to keep him the closer to his Bargain, he stood upon his Right of having Me added to that Company if I was willing to come into it. But this was a Point as absolutely refus'd on one side as insisted on on the other. In this Contest high Words were exchang'd on both sides, 'till, in the end, this their last private Meeting came to an open Rupture: But before it was publickly known, Swiney, by fairly letting me into the whole Transaction, took effectual means to secure me in his Interest. When the Mystery of the Patentee's Indifference to me was unfolded, and that his slighting me was owing to the Security he rely'd on of Swiney's not daring to engage me, I could have no further Debate with my self which side of the Question I should adhere to. To conclude, I agreed, in two Words, to act with Swiney,[373] and from this time every Change that happen'd in the Theatrical Government was a nearer Step to that twenty Years of Prosperity which Actors, under the Menagement of Actors, not long afterwards enjoy'd. What was the immediate Consequence of this last Desertion from Drury-Lane shall be the Subject of another Chapter.

INDEX.

• Abbé, Monsieur L', a French dancer, i. xxvii., i. 316.
• Acting, excellence of, about, 1631, i. xlviii.;
• Cibber's views on versatility in, i. 209.
• Actors, their names not given in old plays, i. xxv.;
• join Charles I.'s army, i. xxix.;
• the prejudice against, i. 74-84;
• taken into society, i. 83;
• their delight in applause, i. 85;
• entitled Gentlemen of the Great Chamber, i. 88;
• must be born, not made, i. 89;
• their private characters influence audiences, i. 243-251;
• their arrangement with Swiney in 1706, ii. 9;
• refused Christian burial by the Romish Church, ii. 29;
• badly paid, ii. 64;
• dearth of young, ii. 221.
• —— the old, played secretly during the Commonwealth, i. xxx.;
• arrested for playing, i. xxx.;
• bribed officers of guard to let them play, i. xxx.
• Actress (Miss Santlow), insulted, i. 76.
• Actresses, first English, i. 87, note 1, i. 90, i. 119;
• who were Charles II.'s mistresses, i. 91;
• difficulty of getting good, ii. 222.
• Addison, Joseph, i. 245, ii. 36, note 1, ii. 151, ii. 163, note 1, ii. 251;
• Pope's attack on, i. 38;
• his opinion of Wilks's Hamlet, i. 100;
• his view regarding humour in tragedy, i. 123;
• his play of "Cato," ii. 120;
• its great success, ii. 127-133;
• presents the profits of "Cato" to the managers, ii. 129;
• its success at Oxford, ii. 137;
• his "Cato" quoted, ii. 238, note 2.
• Admission to theatres, cheap, before 1642, i. xxvii.
• Adventurers—subscribers to the building of Dorset Garden Theatre, i. 97, note 1;
• their interest in the Drury Lane Patent, ii. 32, note 1;
• Rich uses them against Brett, ii. 57;
• names of the principal, ii. 57, note 1.
• Agreement preliminary to the Union of 1682, ii. 324, ii. 328.
• "Albion Queens, The," ii. 14, note 1.
• "Alexander the Great," by Lee, i. 105.
• Allen, William, an eminent actor, i. xxvi.;
• a major in Charles I.'s army, i. xxix.
• Alleyn, Edward, caused the Fortune Theatre to be built for his company, i. xxviii.;
• endowed Dulwich College, i. xxviii.;
• Ben Jonson's eulogium of, i. xxviii.
• "Amphytrion," by Dryden, i. 113.
• Angel, a comedian, ii. 347.
• Anne, Queen (while Princess of Denmark), deserts her father, James II., i. 67, i. 70;
• pensions Mrs. Betterton, i. 162;
• at the play, i. 185;
• forbids audience on the stage, i. 234, note 2;
• her death, ii. 161.
• Applause, i. 221;
• the pleasure of, i. 85.
• Archer, William, his investigations regarding the truth of Diderot's "Paradoxe sur le Comédien," i. 103, note 1;
• his "About the Theatre," i. 278, note 1.
• Aristophanes, referred to, i. 39.
• Arlington, Earl of, his death, i. 31, note 1.
• Arthur, son of Henry VII., pageants at his marriage, i. xliii.
• Ashbury, Joseph, the Dublin Patentee, i. 236, ii. 364;
• engages Mrs. Charlotte Butler, i. 165;
• memoir of, i. 165, note 1.
• Aston, Anthony, quoted, i. 109, note 1, i. 110, note 1, i. 116, note 1, i. 167, note 1, i. 167, note 2, ii. 354;
• on his own acting of Fondlewife, ii. 312;
• his "Brief Supplement" to Cibber's Lives of his Contemporaries, reprint of, ii. 297;
• his description of Mrs. Barry, ii. 302;
• Betterton, ii. 299;
• Mrs. Bracegirdle, ii. 303;
• Dogget, ii. 308;
• Haines, ii. 314;
• Mrs. Mountfort, ii. 313;
• Sandford, ii. 306;
• Underhill, ii. 307;
• Verbruggen, ii. 311.
• Audience on the stage, i. 234, ii. 246.
• Audiences rule the stage for good or evil, i. 112;
• authors discouraged by their severity, i. 176.
• Authors abusing managers and actors, ii. 249;
• managers' troubles with, ii. 249;
• Cibber censured for his treatment of, ii. 251, note 1.
• Bacon, Lord, quoted, i. xlv.
• Baddeley, Robert, the last actor who wore the uniform of their Majesties' servants, i. 88, note 3.
• Balon, Mons., a French dancer, i. 316.
• Banks, John, the excellence of his plots, ii. 15;
• his "Unhappy Favourite," ii. 244.
• Baron, Michael (French actor), i. 175.
• Barry, Mrs. Elizabeth, i. 98, i. 110, note 1, i. 185, i. 188, i. 192, note 1, i. 251, note 1, ii. 300, ii. 302, ii. 306, ii. 320, ii. 337, ii. 365;
• Cibber's account of, i. 158-161;
• her great genius, i. 158;
• Dryden's compliment to, i. 158;
• her unpromising commencement as an actress, i. 159;
• her power of exciting pity, i. 160;
• her dignity and fire, i. 160;
• the first performer who had a benefit, i. 161;
• her death, i. 161;
• her retirement, ii. 69;
• Anthony Aston's description of, ii. 302;
• Bellchambers's memoir of, ii. 357.
• Beaumont and Fletcher's "Wild-Goose Chase," published for Lowin and Taylor's benefit, i. xxxi.
• Beeston, Christopher, ii. 326.
• "Beggar's Opera," i. 243, i. 318.
• Behn, Mrs. Aphra, i. 195.
• Bellchambers, Edmund, his edition of Cibber's "Apology" quoted, i. 5, note 1, i. 14, note 1, i. 35, note 2, i. 41, note 2, i. 58, note 1, i. 71, note 1, i. 106, note 1, i. 123, note 2, i. 133, note 1, i. 141, note 1, i. 146, note 1, i. 152, note 1, i. 161, note 2, i. 163, note 1, i. 170, note 1, i. 179, note 2, i. 183, note 1, i. 197, note 3, i. 202, note 1, i. 251, note 1, i. 278, note 1, ii. 17, note 1, ii. 51, note 1, ii. 88, note 1, ii. 185, note 1, ii. 252, note 1, ii. 254, note 1;
• his memoir of Mrs. Barry, ii. 357;
• Betterton, ii. 333;
• Mrs. Betterton, ii. 359;
• W. Bullock, ii. 361;
• Estcourt, ii. 331;
• Goodman, ii. 329;
• Hart, ii. 322;
• B. Johnson, ii. 360;
• Keen, ii. 364;
• Kynaston, ii. 339;
• Anthony Leigh, ii. 349;
• John Mills, ii. 362;
• Mohun, ii. 326;
• Mountfort, ii. 341;
• James Nokes, ii. 346;
• Mrs. Oldfield, ii. 367;
• Pinkethman, ii. 348;
• Mrs. Porter, ii. 365;
• Powell, ii. 352;
• Sandford, ii. 346: Smith, ii. 319;
• Underhill, ii. 350;
• Verbruggen, ii. 354;
• Joseph Williams, ii. 356.
• Benefits, their origin, i. 161;
• Mrs. Elizabeth Barry the first performer to whom granted, i. 161, ii. 67;
• part confiscated by Rich, ii. 66;
• Rich ordered to refund the part confiscated, ii. 68;
• amounts realized by principal actors, ii. 78, note 1.
• Betterton, Mrs. Mary, i. 98, i. 327, ii. 336;
• said to be the first English actress, i. 90, note 1;
• Cibber's account of, i. 161-162;
• without a rival in Shakespeare's plays, i. 162;
• her unblemished character, i. 162;
• pensioned by Queen Anne, i. 162;
• her death, i. 162;
• Bellchambers's memoir of, ii. 359.
• —— Thomas, i. 98, i. 162, i. 175, i. 181, note 2, i. 187, note 1, i. 188, ii. 64, note 2, ii. 128, ii. 211, note 1, ii. 215, ii. 237, ii. 244, note 1, ii. 306, ii. 308, ii. 311, ii. 320, ii. 324, ii. 346, ii. 352, ii. 358. ii. 359, ii. 363, ii. 365;
• improves scenery, i. xxii.;
• taken into good society, i. 83;
• famous for Hamlet, i. 91;
• Cibber's eulogium of, i. 99-118;
• his supreme excellence, i. 100;
• description of his Hamlet, i. 100;
• Booth's veneration for, i. 101, note 1;
• his Hotspur, i. 103;
• his Brutus, i. 103;
• the grace and harmony of his elocution, i. 106;
• his success in "Alexander the Great," i. 106, i. 108;
• his just estimate of applause, i. 109;
• his perfect elocution, i. 111;
• description of his voice and person, i. 116;
• Kneller's portrait of, i. 117;
• his last appearance, i. 117;
• his death, i. 118;
• the "Tatler's" eulogium of, i. 118, note 1;
• Gildon's Life of, i. 118, note 2, ii. 324, ii. 337, note 1, ii. 358;
• Mrs. Bracegirdle returns to play for his benefit, i. 174;
• ill-treated by the Patentees, i. 188;
• makes a party against them, i. 189;
• obtains a licence in 1695, i. 192, note 1, i. 194;
• mimicked by Powell, i. 205, i. 207, note 1;
• his versatility, i. 211;
• his difficulty in managing at Lincoln's Inn Fields, i. 228;
• as a prologue-speaker, i. 271;
• inability to keep order in his Company, i. 315;
• said to be specially favoured by the Lord Chamberlain, ii. 18;
• declines management in, 1709, ii. 69;
• advertisement regarding his salary (1709), ii. 78, note 1;
• his superiority to Wilks and Booth, ii. 245;
• Anthony Aston's description of, ii. 299;
• and the puppet-show keeper, ii. 301;
• Bellchambers's memoir of, ii. 333.
• Betterton's Company (1695 to, 1704), their decline, i. 314;
• disorders in, i. 315.
• Biblical narratives dramatized in the "Ludus Coventriæ," i. xxxvii. et seq.
• Bibliography of Colley Cibber, ii. 289-296.
• Bickerstaffe, Isaac (author), ii. 288.
• Bickerstaffe, John (actor), ii. 77, note 1, ii. 94, note 1;
• threatens Cibber for reducing his salary, i. 71, note 1.
• Bignell, Mrs., ii. 77, note 1, ii. 129, note 2.
• "Biographia Britannica," ii. 360.
• "Biographia Dramatica," i. 184, note 1, i. 278, note 1, i. 330, note 1, ii. 14, note 1, ii. 332, ii. 336, ii. 337, note 1, ii. 359, note 1.
• Bird, Theophilus, an eminent actor, i. xxvi.
• Blackfriar's Company, "men of grave and sober behaviour," i. xxvii.
• —— Theatre, i. xxv., i. xxvi., i. xxviii., i. xlix.;
• its excellent company, i. xxiv., i. xxvi.
• Blanc, Abbé Le, his account of a theatre riot, i. 278, note 1.
• "Blast upon Bays, A," ii. 266.
• "Bloody Brother, The," actors arrested while playing, i. xxx.
• Booth, Barton, i. 157, ii. 36, note 1, ii. 77, note 1, ii. 94, note 1, ii. 95, note 1, ii. 110, ii. 128, ii. 129, note 2, ii. 167, ii. 230, ii. 232, ii. 320, ii. 361, ii. 363;
• Memoirs of, published immediately after his death, i. 5;
• story told by him of Cibber, i. 63, note 1;
• his veneration for Betterton, i. 101, note 1;
• his indolence alluded to by Cibber, i. 103;
• his reverence for tragedy, i. 121;
• his Morat, i. 122;
• his Life, by Theo. Cibber, quoted, i. 122, note 1, i. 123, note 2, ii. 130, note 2, ii. 140, note 1;
• his Henry VIII., i. 123, note 2;
• is warned by Powell's excesses to avoid drinking, i. 260;
• as a prologue-speaker, i. 271;
• elects to continue at Drury Lane in 1709, ii. 70;
• his marriage, ii. 96, note 1;
• the reason of the delay in making him a manager, ii. 114;
• his success as Cato, ii. 130-133;
• his claim to be made a manager on account of his success, ii. 130;
• supported by Lord Bolingbroke, ii. 130, note 2;
• his name added to the Licence, ii. 140;
• the terms of his admission as sharer, ii. 144;
• his suffering from Wilks's temper, ii. 155;
• his connection with Steele during the dispute about Steele's patent, ii. 193, note 1;
• Wilks's jealousy of, ii. 223;
• a scene with Wilks, ii. 234-237;
• and Wilks, their opinion of each other, ii. 240;
• his deficiency in humour, ii. 240;
• formed his style on Betterton, ii. 241;
• Cibber's comparison of Wilks and Booth, ii. 239-245;
• his Othello and Cato, ii. 243;
• memoir of, ii. 254, note 1;
• Patent granted to him, Wilks, and Cibber, after Steele's death, ii. 257;
• sells half of his share of the Patent to Highmore, ii. 258.
• Booth, Mrs. Barton (see also Santlow, Hester), insulted by Capt. Montague, i. 76-78;
• sells the remainder of Booth's share to Giffard, ii. 259.
• Boswell, James, his "Life of Dr. Johnson," quoted, i. 36, note 2, i. 46, note 1, i. 215, note 1, ii. 41, note 2, ii. 163, note 1.
• Bourgogne, Hotel de, a theatre originally used for religious plays, i. xxxv.
• Boutell, Mrs., mentioned, i. 161, note 1, i. 167, note 2.
• Bowen, James (singer), ii. 312.
• Bowman (actor), memoir of, ii. 211, note 1;
• sings before Charles Ii. ii. 211.
• —— Mrs., ii. 211, note 1.
• Bowyer, Michael, an eminent actor, i. xxvi.
• Boy-actresses, i. 90;
• still played after the appearance of women, i. 119.
• Bracegirdle, Mrs. Anne, i. 98, i. 182, i. 188, i. 192, note 1, ii. 300, ii. 302, ii. 312, ii. 337;
• admitted into good society, i. 83;
• Cibber's account of, i. 170-174;
• her good character, i. 170-172;
• her character attacked by Bellchambers, i. 170, note 1;
• Tom Brown's scandal about her, i. 170, note 1;
• attacked in "Poems on Affairs of State," i. 170, note 1;
• her best parts, i. 173;
• her retirement, i. 174;
• memoir of her, i. 174, note 2;
• her rivalry with Mrs. Oldfield, i. 174, note 2;
• declines to play some of Mrs. Barry's parts, i. 188-9;
• her retirement, ii. 69;
• Anthony Aston's description of, ii. 303;
• her attempted abduction by Capt. Hill, ii. 342.
• Bradshaw, Mrs., ii. 77, note 1, ii. 94, note 1, ii. 303.
• Brett, Colonel Henry, a share in the Drury Lane Patent presented to him by Skipwith, ii. 32;
• his acquaintance with Cibber, ii. 33;
• Cibber's account of, ii. 34-42;
• admires Cibber's perriwig, ii. 35;
• and the Countess of Macclesfield, ii. 39-41;
• his dealings with Rich, ii. 42-49, ii. 56-60;
• makes Wilks, Estcourt, and Cibber his deputies in management, ii. 56, note 1;
• gives up his share to Skipwith, ii. 59.
• —— Mrs. (see also Miss Mason, and Countess of Macclesfield), Cibber's high opinion of her taste, ii. 41, note 2;
• his "Careless Husband" submitted to her, ii. 41, note 2;
• her judicious treatment of her husband, ii. 41, note 2.
• Bridgwater (actor), ii. 260.
• Brown, Tom, ii. 348, ii. 350;
• his scandal on Mrs. Bracegirdle, i. 170, note 1.
• Buck, Sir George, his "Third University of England," quoted, i. xlviii.
• Buckingham, Duke of, ii. 210.
• "Buffoon, The," an epigram on Cibber's admission into society, i. 29, note 1.
• Bullen, A. H., his "Lyrics from Elizabethan Song-books," i. 21, note 1.
• Bullock, Christopher, ii. 169, note 2.
• —— Mrs. Christopher, i. 136, note 2.
• —— William, i. 194, i. 313, i. 332, ii. 169, note 2, ii. 252, note 1;
• Bellchambers's memoir of, ii. 361.
• Burbage, Richard, i. xxvi.
• Burgess, Colonel, killed Horden, an actor, i. 303;
• his punishment, i. 302, note 2.
• Burlington, Earl of, ii. 209.
• Burnet, Bishop, his observations on Nell Gwynne, ii. 212;
• on Mrs. Roberts, ii. 212.
• Burney, Dr., his "History of Music," ii. 55, note 1, ii. 89, note 1;
• his MSS. in the British Museum, i. 174, note 2, ii. 198, note 1, ii. 224, note 1.
• Burt (actor), superior to his successors, i. xxiv.;
• apprenticed to Shank, i. xxv.;
• and to Beeston, i. xxv.;
• a "boy-actress," i. xxv.;
• a cornet in Charles I.'s army, i. xxix.;
• arrested for acting, i. xxx.
• Butler, Mrs. Charlotte, i. 98, i. 237, ii. 262;
• Cibber's account of, i. 163-165;
• patronized by Charles II., i. 163;
• a good singer and dancer, i. 163;
• a pleasant and clever actress, i. 164;
• compared with Mrs. Oldfield, i. 164;
• goes to the Dublin theatre, i. 164;
• note regarding her, i. 164, note 1.
• Byrd, William, his "Psalmes, Sonets, etc.," i. 21, note 1.
• Byron, Lord, a practical joke erroneously attributed to him while at Cambridge, i. 59, note 1.
• Cambridge. See Trinity College, Cambridge.
• "Careless Husband," cast of, i. 308, note 1.
• Carey, Henry, deprived of the freedom of the theatre for bantering Cibber, ii. 226, note 2.
• Carlile, James, memoir of, i. 84, note 1;
• is killed at Aughrim, i. 84, note 1, i. 85.
• Cartwright (actor), belonged to the Salisbury Court Theatre, i. xxiv.
• Castil-Blaze, Mons., his "La Danse et les Ballets" quoted, i. 316, note 1.
• Catherine of Arragon, pageants at her marriage with Prince Arthur, i. xliii.
• "Cato," by Addison, cast of, ii. 120, note 1;
• its success, ii. 127-133;
• at Oxford, ii. 137;
• its influence, ii. 26;
• Cibber's Syphax in, i. 122.
• Chalmers, George, his "Apology for the Shakspeare-Believers," i. 276, note 1, i. 277, note 1.
• "Champion" (by Henry Fielding), quoted, i. 1, note 1, i. 38, note 1, i. 50, note 2, i. 63, note 1, i. 69, note 1, i. 93, note 2, i. 288, note 1, ii. 54, note 2.
• Charke, Charlotte, ii. 285.
• —— (musician), husband of Cibber's daughter, ii. 285.
• Charles II. mentioned, i. 120, i. 133;
• his escape from Presbyterian tyranny, i. 22;
• Cibber sees him at Whitehall, i. 30;
• writes a funeral oration on his death while still at school, i. 31;
• Patents granted by him to Davenant and Killigrew, i. 87;
• wittily reproved by Killigrew, i. 87, note 2;
• called Anthony Leigh "his actor," i. 154;
• his Court theatricals, ii. 209;
• and Bowman the actor, ii. 211;
• his opinion of Sandford's acting, ii. 306.
• Chesterfield, Lord, his powers of raillery, i. 13, i. 14;
• refers ironically to Cibber in "Common Sense," i. 71, note 1;
• opposes the Licensing Act of 1737, i. 289.
• Chetwood, William Rufus, Cibber acts for his benefit, ii. 265;
• his "History of the Stage," i. 165, note 1, i. 207, note 1, i. 244, note 1, ii. 140, note 1, ii. 169, note 3, ii. 319-320, ii. 331, ii. 356, ii. 364.
• "Children of her Majesty's Chapel," i. xxxvi.
• "Children of Paul's," i. xxxvi.
• Churchill, General, ii. 369, note 2.
• —— Lady (Duchess of Marlborough), i. 67;
• Cibber attends her at table, i. 68;
• his admiration of her, i. 68;
• her beauty and good fortune, i. 69.
• Cibber, Caius Gabriel, father of Colley Cibber, i. 7, note 2;
• his statues and other works, i. 8;
• his marriage, i. 8, note 1;
• his death, i. 8, note 1;
• presents a statue to Winchester College, i. 56;
• employed at Chatsworth, i. 58;
• statues carved by him for Trinity College Library, Cambridge, i. 59.
• Cibber, Colley, Account of his Life:—
• His Apology written at Bath, i. 1, note 1;
• his reasons for writing his own Life, i. 5, i. 6;
• his birth, i. 7;
• his baptism recorded, i. 7, note 2;
• sent to school at Grantham, i. 9;
• his character at school, i. 9;
• writes an ode at school on Charles II.'s death, i. 31;
• and on James II.'s coronation, i. 33;
• his prospects in life, i. 55;
• his first taste for the stage, i. 58;
• stifles his love for the stage and desires to go to the University, i. 58;
• serves against James II. in 1688, i. 61;
• attends Lady Churchill at table, i. 68;
• his admiration of her, i. 68;
• disappointed in his expectation of receiving a commission in the army, i. 71;
• petitions the Duke of Devonshire for preferment, i. 73;
• determines to be an actor, i. 73;
• hangs about Downes the prompter, i. 74, note 1;
• his account of his own first appearances, i. 180;
• his first salary, i. 181;
• description of his personal appearance, i. 182;
• his first success, i. 183;
• his marriage, i. 184;
• plays Kynaston's part in "The Double Dealer," i. 185;
• remains with Patentees in, 1695, i. 193;
• writes his first Prologue, i. 195;
• not allowed to speak it, i. 196;
• forced to play Fondlewife, i. 206;
• plays it in imitation of Dogget, i. 208;
• his slow advancement as an actor, i. 209, i. 215;
• writes his first play, "Love's Last Shift," i. 212;
• as Sir Novelty Fashion, i. 213;
• encouraged and helped by Vanbrugh, i. 215;
• begins to advance as an actor, i. 218;
• better in comedy than tragedy, i. 221;
• tragic parts played by him, i. 222;
• his Iago abused, i. 222, note 1;
• description of his Justice Shallow, i. 224, note 2;
• leaves Drury Lane for Lincoln's Inn Fields, i. 232, note 1;
• returns to Drury Lane, i. 232, note 1;
• his "Love in a Riddle" condemned, i. 244-250;
• accused of having Gay's "Polly" vetoed, i. 247;
• his Damon and Phillida, i. 249, note 1;
• consulted by Rich on matters of management, i. 253;
• his disputes with Wilks, i. 258;
• his "Woman's Wit" a failure, i. 264;
• distinguished by Dryden, i. 269;
• attacked by Jeremy Collier, i. 274;
• his adaptation of "Richard III.," i. 139;
• his "Richard III." mutilated by the Master of the Revels, i. 275;
• attacked by George Chalmers, i. 276, note 1, i. 277, note 1;
• declines to pay fees to Killigrew, Master of Revels, i. 277;
• his surprise at Mrs. Oldfield's excellence, i. 307;
• writes "The Careless Husband" chiefly for Mrs. Oldfield, i. 308;
• finishes "The Provoked Husband," begun by Vanbrugh, i. 311, note 1;
• invited to join Swiney at the Haymarket, i. 333;
• leaves Rich and goes to Swiney, i. 337;
• his "Lady's Last Stake," ii. 2;
• his "Double Gallant," ii. 3;
• his "Marriage à la Mode," ii. 5;
• declines to act on the same stage as rope-dancers, ii. 7;
• advises Col. Brett regarding the Patent, ii. 33, ii. 42;
• his first introduction to him, ii. 33;
• his account of Brett, 34-42;
• as Young Reveller in "Greenwich Park," ii. 41;
• made Deputy-manager by Brett, ii. 56, note 1;
• advertisement regarding his salary, 1709, ii. 78, note 1;
• made joint manager with Swiney and others in 1709, ii. 69;
• and his fellow-managers, Wilks and Dogget, ii. 110, ii. 117, ii. 121, ii. 127;
• mediates between Wilks and Dogget, ii. 122;
• his troubles with Wilks, ii. 124;
• his views and conduct on Booth's claiming to become a manager, ii. 131-133, ii. 140-143;
• his meetings with Dogget after their law-suit, ii. 150;
• his "Nonjuror," i. 177, note 1, ii. 185-190;
• accused of stealing his "Nonjuror," ii. 186, note 1;
• makes the Jacobites his enemies, ii. 185-187;
• reported dead by "Mist's Weekly Journal," ii. 188;
• his "Provoked Husband" hissed by his Jacobite enemies, ii. 189;
• his appointment as Poet Laureate in 1730, i. 32, note 1;
• the reason of his being made Laureate, ii. 190;
• his "Ximena," ii. 163, note 1;
• his suspension by the Duke of Newcastle, ii. 193, note 1;
• his connection with Steele during the dispute about Steele's Patent, ii. 193, note 1;
• his account of a suit brought by Steele against his partners, ii. 196-208;
• his pleading in person in the suit brought by Steele, ii. 199-207;
• his success in pleading, ii. 198, note 1, ii. 207;
• assisted Steele in his "Conscious Lovers," ii. 206;
• his playing of Wolsey before George I., ii. 216;
• admitted into good society, i. 29;
• elected a member of White's, i. 29, note 1;
• an epigram on his admission into good society, i. 29, note 1;
• Patent granted to Cibber, Wilks, and Booth after Steele's death, ii. 257;
• sells his share of the Patent to Highmore, ii. 258;
• his sale of his share in the Patent, i. 297;
• his shameful treatment of Highmore, ii. 259;
• his retirement, ii. 255;
• gives a reason for retiring from the stage, i. 178, i. 179, note 1;
• his appearances after his retirement, ii. 261, ii. 263, ii. 264, ii. 268;
• his remarks on his successful reappearances, i. 179;
• his last appearances, i. 6, note 1;
• his adaptation of "King John," i. 6, note 1;
• his "Papal Tyranny in the Reign of King John" withdrawn from rehearsal, ii. 263;
• his "Papal Tyranny" produced, ii. 268;
• its success, ii. 270;
• his quarrel with Pope, ii. 270-283;
• and Horace Walpole, ii. 284;
• his death and burial, ii. 284;
• list of his plays, ii. 286-287;
• bibliography of, ii. 289-296;
• Anthony Aston's "Supplement" to, ii. 297.
• Cibber, Colley, Attacks on him:—
• Commonly accused of cowardice, i. 71, note 1;
• threatened by John Bickerstaffe, for reducing his salary, i. 71, note 1;
• accused of "venom" towards Booth, i. 123, note 2;
• abused by Dennis, i. 66, note 1, ii. 168, note 1;
• his offer of a reward for discovery of Dennis, i. 41, note 1, ii. 168, note 1;
• charged with envy of Estcourt, i. 115, note 2;
• Fielding's attacks upon, quoted (see under Fielding, Hy.);
• his galling retaliation on Fielding, i. 286;
• said to have been thrashed by Gay, i. 71, note 1;
• "The Laureat's" attacks upon (see "Laureat");
• satirized on his appointment as Laureate, i. 46;
• epigrams on his appointment quoted, i. 46, note 1;
• writes verses in his own dispraise, i. 47;
• his Odes attacked by Fielding, i. 36, note 2;
• and by Johnson, i. 36, note 2;
• charges against him of levity and impiety, i. 58, note 1;
• accused of negligence in acting, i. 241, note 1;
• attacked by the daily papers, i. 41;
• his disregard of them, i. 41, i. 44, note 1;
• on newspaper attacks, ii. 167;
• on principle never answered newspaper attacks, ii. 168;
• his famous quarrel with Pope, ii. 270;
• "The Nonjuror" a cause of Pope's enmity to Cibber, ii. 189, note 1;
• attacked by Pope for countenancing pantomimes, ii. 182, note 1;
• his reply, ii. 182, note 1;
• his first allusion to Pope's enmity, i. 21;
• his opinion of Pope's attacks, i. 35;
• his Odes, i. 36, note 2;
• supposed to be referred to in Preface to Shadwell's "Fair Quaker of Deal," ii. 95, note 1;
• attacked for mutilating Shakespeare, ii. 263;
• accused of stealing "Love's Last Shift," i. 214, and "The Careless Husband," i. 215, note 1;
• satirized by Swift, i. 52, note 2;
• his defence of his follies, i. 2, i. 19.
• Cibber, Colley, Criticisms of Contemporaries:—
• On the production of Addison's "Cato," ii. 120, ii. 127-133;
• his description of Mrs. Barry, i. 158-161;
• on the excellence of Betterton and his contemporaries, i. 175;
• his eulogium of Betterton, i. 99-118;
• his description of Mrs. Betterton, i. 161-162;
• his account of Booth and Wilks as actors, ii. 239-245;
• his description of Mrs. Bracegirdle, i. 170-174;
• his description of Mrs. Butler, i. 163-165;
• his high opinion of Mrs. Brett's taste, ii. 41, note 2;
• submits every scene of his "Careless Husband" to Mrs. Brett, ii. 41, note 2;
• on his own acting, i. 220-226;
• his "Epilogue upon Himself," ii. 265;
• on Dogget's acting, ii. 158;
• his low opinion of Garrick, ii. 268;
• his description of Kynaston, i. 120-127;
• his description of Leigh, i. 145-154;
• his description of Mrs. Leigh, i. 162-3;
• his description of Mountfort, i. 127-130;
• his description of Mrs. Mountfort, i. 165-169;
• his praise of Nicolini, ii. 51;
• his description of Nokes, i. 141-145;
• his hyperbolical praise of Mrs. Oldfield's Lady Townly, i. 51, i. 312, note 3;
• on Rich's misconduct, ii. 46;
• his description of Sandford, i. 130;
• his description of Cave Underhill, i. 154-156;
• his unfairness to Verbruggen, i. 157, note 2;
• his account of Wilks and Booth as actors, ii. 239-245;
• on Wilks's Hamlet, i. 100;
• praises Wilks's diligence, ii. 160, ii. 239;
• on Wilks's love of acting, ii. 225;
• on Wilks's temper, ii. 155, ii. 171;
• a scene with Wilks, 234-237.
• Cibber, Colley, Reflections and Opinions:—
• On acting, i. 209, i. 221;
• on acting villains, i. 131-135, i. 222;
• on the prejudice against actors, i. 74-84;
• his advice to dramatists, ii. 14;
• on applause, i. 221, ii. 214;
• on the severity of audiences, i. 175;
• on politeness in audiences, ii. 247;
• on troubles with authors, ii. 249;
• on the effect of comedy-acting, i. 140;
• on Court influence, ii. 103;
• on criticism, i. 52;
• on his critics, ii. 220;
• on humour in tragedy, i. 121;
• on the Italian Opera, ii. 50-55;
• on the difficulty of managing Italian singers, ii. 88;
• on laughter, i. 23;
• on the liberty of the stage, i. 289;
• on the validity of the Licence, i. 284;
• on the power of the Lord Chamberlain, ii. 10-23;
• his principles as manager, i. 190;
• on management, ii. 60;
• on judicious management, ii. 74;
• on the duties and responsibilities of management, ii. 199-207;
• on the success of his management, ii. 245;
• on morality in plays, i. 265, i. 272;
• on the power of music, i. 112;
• on Oxford theatricals, ii. 133-139;
• on pantomimes, i. 93, ii. 180;
• on prologue-speaking, i. 270;
• on the difficulties of promotion in the theatre, ii. 223;
• on the Queen's Theatre in the Haymarket, i. 322;
• on raillery, i. 11;
• on the Revolution of 1688, i. 60-63;
• on satire, i. 37;
• on the reformation of the
• on making the stage useful, ii. 24-31;
• on the benefit of only one theatre, i. 92, ii. 139, ii. 178-185;
• on the shape of the theatre, ii. 84;
• on his own vanity, ii. 182.
• —— Miscellaneous:—
• Profit arising from his works, i. 3, note 2;
• frequently the object of envy, i. 33;
• his obtrusive loyalty, i. 33, note 1, i. 66;
• banters his critics by allowing his "Apology" to be impudent and ill-written, i. 43;
• his easy temper under criticism and abuse, i. 50;
• confesses the faults of his writing, i. 50;
• his "quavering tragedy tones," i. 110, note 1;
• his playing of Richard III. an imitation of Sandford, i. 139;
• his "Careless Husband" quoted, i. 148, note 1;
• his wigs, ii. 36, note 1;
• his treatment of authors, ii. 37, note 1;
• reproved by Col. Brett for his treatment of authors, ii. 37, note 1;
• his dedication of the "Wife's Resentment" to the Duke of Kent, ii. 46;
• censured for his treatment of authors, ii. 251, note 1;
• his satisfaction in looking back on his career, ii. 115;
• his acknowledgment of Steele's services to the theatre, ii. 162;
• his dedication of "Ximena" to Steele, ii. 163, note 1;
• his omission of many material circumstances in the history of the stage, ii. 193, note 1;
• Wilks his constant supporter and admirer, ii. 226, note 1;
• his "Odes," ii. 283;
• hissed as Phorbas, ii. 309;
• Aston on Cibber's acting, ii. 312.
• Cibber, Mrs. Colley, her marriage, i. 184;
• her character, i. 184, note 1;
• her father's objection to her marriage, i. 184, note 1.
• —— Lewis (brother of Colley), admitted to Winchester College, i. 56;
• Cibber's affection for, i. 57;
• his great abilities, i. 57;
• his death, i. 57.
• —— Susanna Maria (wife of Theophilus), ii. 267, note 1, ii. 270, ii. 285;
• her speaking described, i. 110, note 1.
• —— Theophilus, ii. 187, note 1, ii. 262;
• mentioned ironically by Lord Chesterfield, i. 71, note 1;
• in "Art and Nature," i. 152, note 1;
• acts as his father's deputy in heads a mutiny against Highmore, ii. 259;
• account of him, ii. 285;
• his "Life of Booth" quoted, i. 122, note 1, i. 123, note 2, ii. 130, note 2, ii. 140, note 1.
• "Circe," an opera, i. 94.
• Civil War, the, closing of theatres during, i. 89.
• Clark, actor, memoir of, i. 96, note 3.
• Cleveland, Duchess of, and Goodman, ii. 330.
• Clive, Mrs. Catherine, ii. 260, ii. 268, note 1, ii. 269;
• her acting in "Love in a Riddle," i. 244, note 1.
• Clun, a "boy-actress," i. xxiv.
• Cock-fighting prohibited in, 1654, i. lii.
• Cockpit, The (or Phœnix), i. xxv.;
• its company, i. xxvi., i. xxviii., i. xlix.;
• Rhodes's Company at, i. xxviii.;
• secret performances at, during the Commonwealth, i. xxx.
• Coke, Rt. Hon. Thomas, Vice-Chamberlain, his interference in Dogget's dispute with his partners, ii. 146.
• Coleman, Mrs., the first English actress, i. 90, note 1.
• Colley, the family of, i. 8, i. 9.
• —— Jane, mother of Colley Cibber, i. 8, note 1.
• Collier, Jeremy, i. 170, note 1, i. 268, note 2, i. 273, i. 274, ii. 233, note 2;
• his "Short View of the Profaneness, &c., of the English Stage," i. xxi., i. xxxiii., i. 272, i. 289;
• his arguments confuted, i. xxxiii.
• Collier, William, M.P., i. 97, note 2, ii. 172, ii. 175;
• procures a licence for Drury Lane, ii. 91;
• evicts Rich, ii. 92;
• appoints Aaron Hill his manager, ii. 94, note 1;
• his unjust treatment of Swiney, ii. 101, ii. 107;
• takes the control of the opera from Swiney, ii. 102;
• farms the opera to Aaron Hill, ii. 105;
• forces Swiney to resume the opera, ii. 107;
• made partner with Cibber, Wilks, and Dogget at Drury Lane, ii. 107;
• his shabby treatment of his partners, ii. 108, ii. 141;
• his downfall, ii. 109;
• replaced by Steele in the Licence, ii. 164.
• Comedy-acting, the effect of, i. 140.
• "Common Sense," a paper by Lord Chesterfield, quoted, i. 71, note 1.
• "Comparison between the two Stages," by Gildon, i. 189, note 1, i. 194, note 1, i. 194, note 5, i. 214, note 1, i. 216, note 1, i. 218, note 2, i. 231, note 2, i. 232, note 2, i. 233, note 1, i. 254, note 1, i. 303, note 1, i. 306, note 1, i. 316, note 2, ii. 328, note 2, ii. 348, ii. 356, note 1, ii. 362.
• Complexion, black, of evil characters on the stage, i. 133.
• Congreve, William, i. 185, i. 274, i. 284, ii. 36, note 1, ii. 110, ii. 159, ii. 251, ii. 302;
• Memoir of, mentioned, i. 5, note 1;
• his "Love for Love," i. 155, i. 197;
• scandal about him and Mrs. Bracegirdle, i. 170, note 1;
• a sharer with Betterton in his Licence in 1695, i. 192, note 1, i. 197;
• his "Mourning Bride," i. 199;
• his "Way of the World," i. 200;
• his opinion of "Love's Last Shift," i. 220;
• and Vanbrugh manage the Queen's Theatre, i. 320, i. 325;
• gives up his share in the Queen's Theatre, i. 326;
• and Mrs. Bracegirdle, ii. 304.
• Cooper, Lord Chancellor, ii. 149, ii. 174.
• Coquelin, Constant, his controversy with Henry Irving regarding Diderot's "Paradoxe sur le Comédien," i. 103, note 1.
• Corelli, Arcangelo, ii. 247.
• Cory (actor), ii. 169, note 2.
• Court, theatrical performances at, see Royal Theatricals;
• interference of the, in the management of the stage, i. 89.
• Covent Garden, Drury Lane theatre sometimes described as the theatre in, i. 88, note 1.
• Covent Garden Theatre, i. 92, note 1.
• Coventry, the old Leet Book of, i. xl.
• Craggs, Mr. Secretary, ii. 96, note 1, ii. 165, ii. 333;
• chastises Captain Montague for insulting Miss Santlow, i. 77.
• Craufurd, David, his account of the disorders in Betterton's company, i. 315, note 2.
• Crawley, keeper of a puppet-show, ii. 301.
• Creation, the, dramatized in the "Ludus Coventriæ," i. xxxviii.
• Cromwell, Lady Mary, i. 267, note 1.
• Cross, Mrs., i. 334, note 1.
• —— Richard, prompter of Drury Lane, i. 181, note 2.
• Crowne, John, his masque of "Calisto," ii. 209.
• Cumberland, Richard, his description of Mrs. Cibber's speaking, i. 110, note 1.
• Cunningham, Lieut.-Col. F., doubts if Ben Jonson was an unsuccessful actor, i. 85, note 1.
• Curll, Edmund, his "History of the Stage," i. 96, note 4, i. 174, note 2, ii. 357;
• his "Life of Mrs. Oldfield," i. 305, note 2;
• his memoirs of Wilks, i. 5, note 1.
• Curtain Theatre, the, mentioned by Stow as recently erected, i. xlviii.
• Cuzzoni, Francesca, her rivalry with Faustina, ii. 89.
• "Cynthia's Revels," played by the Children of her Majesty's Chapel, i. xxxvi.
• "Daily Courant," quoted, ii. 175, note 1.
• Daly, Augustin, his Company of Comedians, ii. 289.
• Dancers and singers introduced by Davenant, i. 94.
• Davenant, Alexander, ii. 32, note 1;
• his share in the Patent, i. 181, note 1.
• —— Dr. Charles, ii. 324.
• —— Sir William, i. 181, note 1, i. 197, note 3, ii. 179, note 1, ii. 334;
• first introduces scenery, i. xxxii.;
• copy of his patent, i. liii.;
• Memoir of, i. 87, note 1;
• Poet Laureate, i. 87, note 1;
• receives a patent from Charles I., i. 87, note 1;
• from Charles II., i. 87;
• his company worse than Killigrew's, i. 93;
• he introduces spectacle and opera to attract audiences, i. 94;
• unites with Killigrew's, i. 96;
• his "Macbeth," ii. 229, note 1.
• Davies, Thomas, his "Dramatic Miscellanies," i. 3, note 2, i. 41, note 1, i. 58, note 1, i. 71, note 1, i. 74, note 1, i. 90, note 1, i. 101, note 1, i. 153, note 1, i. 166, note 1, i. 179, note 1, i. 181, note 2, i. 192, note 1, i. 214, note 2, i. 222, note 1, i. 224, note 2, i. 241, note 1, i. 273, note 1, i. 274, note 1, i. 302, note 2, i. 330, note 1, ii. 36, note 1, ii. 211, note 1, ii. 216, note 1, ii. 226, note 1, ii. 230, note 1, ii. 233, note 3, ii. 240, note 1, ii. 263, note 1, ii. 268, note 1, ii. 325, note 1, ii. 335. note 1, ii. 351, ii. 352, ii. 354, ii. 355, note 1. ii. 358, ii. 361, ii. 363, ii. 369;
• his "Life of Garrick," i. lv., note 1, i. 283, note 2, ii. 259.
• Davis, Mary (Moll), i. 91, note 1.
• Denmark, Prince of, his support of William of Orange, i. 67, i. 70.
• Dennis, John, i. 41, note 2, ii. 361;
• abuses Cibber for his loyalty, i. 66, note 1;
• accuses Cibber of stealing his "Love's Last Shift," i. 215;
• his attacks on Steele and Cibber, ii. 168, note 1, ii. 176, note 1;
• attacks Wilks, ii. 226, note 2;
• abuses one of the actors of his "Comic Gallant," ii. 252, note 1.
• "Deserving Favourite, The," i. xxv.
• Devonshire, Duke of, ii. 305;
• his quarrel with James II., i. 72;
• Cibber presents a petition to, i. 73.
• Diderot, Denis, his "Paradoxe sur le Comédien," i. 103, note 1.
• Dillworth, W. H., his "Life of Pope," ii. 278, note 1.
• Dixon, a member of Rhodes's company, i. 163, note 1.
• Dobson, Austin, his "Fielding" quoted, i. 286, note 1, i. 287, note 3, i. 288, note 1.
• Dodington, Bubb, mentioned by Bellchambers, i. 14, note 1.
• Dodsley, Robert, purchased the copyright of Cibber's "Apology," i. 3, note 2.
• Dogget, Thomas, i. 157, ii. 110, ii. 227, ii. 314, ii. 361;
• his excellence in Fondlewife, i. 206;
• Cibber plays Fondlewife in imitation of, i. 208;
• his intractability in Betterton's Company, i. 229;
• deserts Betterton at Lincoln's Inn Fields, and comes to Drury Lane, i. 229;
• arrested for deserting Drury Lane, ii. 21;
• defies the Lord Chamberlain, ii. 21;
• wins his case, ii. 22;
• made joint manager with Swiney and others in 1709, ii. 69;
• his characteristics as a manager, ii. 111, ii. 117;
• his behaviour on Booth's claiming to become a manager, ii. 131, ii. 141;
• retires because of Booth's being made a manager, ii. 143;
• his refusal to come to any terms after Booth's admission, ii. 145;
• goes to law for his rights, ii. 149;
• the result, ii. 150;
• Wilks's temper, the real reason of his retirement, ii. 150-155;
• shows a desire to return to the stage, ii. 157;
• his final appearances, ii. 158;
• Cibber's account of his excellence, ii. 158;
• Anthony Aston's description of, ii. 308.
• Doran, Dr. John, his "Annals of the Stage," i. 88, note 3, i. 130, note 1, i. 161, note 3, ii. 62, note 1, ii. 284.
• Dorset, Earl of, ii. 305;
• has Leigh's portrait painted in "The Spanish Friar," i. 146;
• when Lord Chamberlain, supports Betterton in 1694-1695, i. 192;
• compliments Cibber on his first play, i. 214.
• Dorset Garden, Duke's Theatre, i. xxxii.
• —— Theatre, built for Davenant's Company, i. 88, note 2;
• the subscribers to, called Adventurers, i. 97, note 1.
• "Double Dealer, The," i. 185, note 1.
• "Double Gallant," cast of, ii. 3, note 2.
• Downes, John, his "Roscius Anglicanus," i. 83, note 1, i. 84, note 1, i. 96, note 3, i. 114, note 1, i. 127, note 2, i. 130, note 1, i. 141, note 1, i. 146, note 1, i. 163, note 1, i. 181, note 2, i. 187, note 2, i. 192, note 1, i. 197, note 1, i. 197, note 2, i. 316, note 2, i. 320, note 2, i. 333, note 1, ii. 158, note 3, ii. 320, ii. 323, ii. 328, ii. 330, ii. 332, ii. 334, ii. 340, ii. 341, ii. 342, ii. 346, ii. 347, ii. 348, ii. 349, ii. 350, ii. 356, ii. 359, ii. 360, ii. 361, ii. 362;
• attended constantly by Cibber and Verbruggen in hope of employment on the stage, i. 74, note 1;
• the "Tatler" publishes a supposed letter from, ii. 75.
• "Dramatic Censor," 1811, ii. 57, note 1, ii. 79, note 2.
• Dramatists, Cibber's advice to, ii. 14.
• Drury Lane Theatre, i. 92, note 1;
• opened by King's Company, i. xxxii.;
• built for Killigrew's Company, i. 88;
• sometimes called "the theatre in Covent Garden," i. 88, note 1;
• desertion from in 1733, i. 283;
• Company (1695), their improvement, i. 314;
• its Patent, ii. 31;
• its original construction, ii. 81;
• why altered, ii. 81;
• under W. Collier's management, 1709, ii. 91;
• report on its stability, ii. 176-177.
• Dryden, John, ii. 163, note 1, ii. 210, ii. 251;
• his prologue on opening Drury Lane, 1674, i. 94, note 2, i. 322, note 1;
• a bad elocutionist, i. 113;
• his Morat("Aurenge-Zebe"), i. 124;
• his high praise of Mrs. Elizabeth Barry, i. 158;
• his prologue to "The Prophetess," i. 187, note 1;
• his "King Arthur," i. 187, note 2;
• a sharer in the King's Company, i. 197;
• his address to the author of "Heroic Love" quoted, i. 231, note 1, ii. 238, note 3;
• his indecent plays, i. 267;
• his epilogue to "The Pilgrim," i. 268;
• his "Secular Masque," i. 268, note 1;
• his prologue to "The Prophetess" vetoed, ii. 13;
• his prologues at Oxford, ii. 134, ii. 136, note 1, ii. 137, note 1;
• expensive revival of his "All for Love," ii. 175.
• Dublin, Wilks's success in, i. 235.
• "Duchess of Malfy," i. xxv.
• Dugdale, Sir William, his "Antiquities of Warwickshire" quoted, i. xxxvi.;
• mentions the "Ludus Coventriæ," i. xxxviii.
• Duke's Servants, The, i. 87, note 1, i. 88.
• Duke's Theatre, ii. 336;
• first theatre to introduce scenery, i. xxxii.
• Dulwich College, built and endowed by Edward Alleyn, i. xxviii.
• "Dunciad, The," i. 36, note 1, ii. 181, note 1, ii. 182, note 1, ii. 270;
• on Italian opera, i. 324, note 1.
• Dyer, Mrs., actress, i. 136, note 2.
• Edicts to suppress plays, 1647-1648, ii. 322.
• Edward, son of Henry VI., pageant played before, i. xl.
• —— son of Edward IV., pageant played before, i. xlii.
• Edwin, John, his "Eccentricities" quoted, ii. 78, note 1.
• E——e, Mr. [probably Erskine], his powers of raillery, i. 13, i. 14, note 1, i. 16.
• Egerton, William, his memoirs of Mrs. Oldfield, i. 5, note 1.
• "Egotist, The," i. lv., note 1, i. 36, note 2, i. 41, note 2, i. 43, note 1, i. 45, note 1, i. 46, note 1, i. 53, note 1, ii. 265.
• Elephants on the stage, ii. 7, note 1.
• Elizabeth, Queen, and the Spanish Armada, allusion to, i. 64;
• her rule of government, i. 65.
• Elocution, importance of, i. 110.
• Elrington, Thomas, his visit to Drury Lane in 1714, ii. 121, note 1;
• Cibber said to have refused to let him play a certain character, ii. 193, note 1.
• Ely, Bishop of, and Joe Haines, ii. 315.
• Erskine, Mr., probably the person mentioned by Cibber, i. 13, i. 14, note 1, i. 16.
• Estcourt, Richard, i. 166, i. 237. i. 332. i. 334, note 1;
• a marvellous mimic, i. 114;
• yet not a good actor, i. 115;
• said to be unfairly treated by Cibber, i. 115, note 2;
• could not mimic Nokes, i. 142;
• his "gag" on the Union of the Companies in, 1708, i. 301;
• his first coming to London, i. 304;
• made Deputy-manager by Brett, ii. 56, note 1;
• advertisement regarding his salary, 1709, ii. 78, note 1;
• his Falstaff, ii. 300;
• Bellchambers's memoir of, ii. 331.
• Eusden, Laurence, poet laureate, his death, i. 32, note 1.
• Evans, John, his visit to Drury Lane in 1714, ii. 121, note 1;
• his Falstaff, ii. 300.
• "Faction Display'd," ii. 233, note 2.
• "Fair Maid of the West, The," i. xxv.
• Fairplay, Francis, a name assumed by Cibber on one occasion, i. 48.
• "Fairy Queen," preface to, quoted, i. 110, note 1.
• Farinelli (singer), ii. 88.
• Farquhar, George, ii. 251, ii. 367, ii. 369.
• Fashionable nights, ii. 246.
• Faustina (Faustina Bordoni Hasse), her rivalry with Cuzzoni, ii. 89.
• Fees for performances at Court, ii. 218.
• Fenwick, Sir John, ii. 62.
• Fideli, Signor, i. xxvii.
• Field, Nathaniel, originally a "Chapel boy," i. xxxvii.
• Fielding, Henry, i. 202, note 1, i. 287, note 4, i. 288, note 1, ii. 269;
• attacks Cibber in "The Champion," i. 1, note 1, i. 38, note 1, i. 50, note 2, i. 63, note 1, i. 69, note 1, i. 93, note 2, i. 288, note 1, ii. 54, note 2;
• in "Joseph Andrews," i. 10, note 1, i. 50, note 2, i. 61, note 1;
• in "Pasquin," i. 36, note 2;
• attacks Cibber for mutilating Shakespeare, ii. 263;
• manager of a company at the Haymarket, i. 92, note 1;
• Cibber's retaliation on, i. 286;
• Austin Dobson's memoir of, quoted, i. 286, note 1, i. 287, note 3, i. 288, note 1;
• said to have caused the Licensing Act of 1737, i. 286.
• Fitzgerald, Percy, his "New History of the English Stage," i. 90, note 1, i. 320, note 1, ii. 11, note 1, ii. 32, note 1, ii. 49, note 1, ii. 56, note 1, ii. 79, note 2;
• ii. 94, note 1, ii. 148, note 1.
• Fitzharding, Lady, i. 68.
• Fitzstephen, William, his "Description of the City of London," i. xxxvii.
• Fleetwood, Charles, ii. 264;
• purchases from Highmore and Mrs. Wilks their shares of the Patent, i. 285, ii. 261;
• the deserters return to him, ii. 261.
• Fletcher, John, his plays, i. xxv.
• Footmen, admitted gratis to Drury Lane, i. 233;
• this privilege abolished, i. 234, note 1.
• Fortune Theatre, i. xxvi., i. xxix.
• Fox, Bishop, had charge of pageants in which sacred persons were introduced, i. xlv.
• French actors at Lincoln's Inn Fields, ii. 180, note 1.
• —— audience, conduct of, ii. 247.
• "Funeral, The," i. 263.
• Gaedertz, Herr, his "Zur Kenntniss der altenglischen Bühne," ii. 84, note 1.
• "Gammer Gurton's Needle," one of the earliest regular comedies, i. xlvii.
• Garrick, David, i. 110, note 1, i. 278, note 1, ii. 259, ii. 270;
• his influence in reforming the stage, ii. 263;
• Cibber plays against, ii. 268;
• Cibber's low opinion of, ii. 268;
• Davies's Life of, i. lv., note 1, i. 283, note 2, ii. 259.
• Gaussin, Jeanne Catherine, ii. 248.
• Gay, John, said to have thrashed Cibber, i. 71, note 1;
• his "Beggar's Opera," i. 243;
• his "Polly" forbidden to be played, i. 246, i. 278, note 1.
• Genest, Rev. John, his "Account of the English Stage," i. 83, note 1, i. 88, note 3, i. 91, note 2, i. 91, note 4, i. 97, note 1, i. 110, note 1, i. 149, note 2, i. 156, note 2, i. 174, note 2, i. 203, note 1, i. 220, note 1, i. 230, note 1, i. 267, note 2, i. 268, note 1, i. 269, note 1, i. 296, note 1, i. 326, note 3, ii. 5, note 1, ii. 7, note 1, ii. 56, note 1, ii. 79, note 2, ii. 96, note 1, ii. 98, note 1, ii. 123, note 1, ii. 165, note 1, ii. 169, note 3, ii. 171, note 1, ii. 186, note 1, ii. 186, note 2, ii. 187, note 1, ii. 198, note 1, ii. 210, note 1, ii. 251, note 1, ii. 267, ii. 269, ii. 324;
• his opinion of Cibber's Richard III., i. 139, note 2.
• "Gentleman's Magazine," ii. 284.
• Gentlemen of the Great Chamber, actors entitled, i. 88.
• George I. has theatrical performances at Hampton Court, ii. 208;
• his amusement at a scene of "Henry VIII.," ii. 216;
• his present to the actors for playing at Court, ii. 218.
• —— II., i. 32, ii. 219.
• Giffard, Henry, i. 92, note 1, i. 283, note 1;
• his theatre in Goodman's Fields, i. 282, note 2;
• purchases half of Booth's share of the Patent, ii. 259.
• Gifford, William, doubts if Ben Jonson was an unsuccessful actor, i. 85, note 1.
• Gildon, Charles, his Life of Betterton, i. 118, note 2, ii. 324, ii. 337, note 1, ii. 358.
• Globe Theatre, i. xxvi., i. xxix.
• Goffe, Alexander, a "boy-actress," i. xxx.;
• employed to give notice of secret performances during the Commonwealth, i. xxx.
• "Golden Rump, The," a scurrilous play, i. 278, note 1.
• Goodman, Cardell, mentioned, i. 83, note 1, i. 96;
• prophesies Cibber's success as an actor, i. 183;
• a highway robber, ii. 61, ii. 63;
• his connection with the Fenwick and Charnock Plot, ii. 62;
• he and Captain Griffin have one shirt between them, ii. 63;
• Bellchambers's memoir of, ii. 329.
• Goodman's Fields, unlicensed theatre in, i. 281;
• attempt to suppress it, i. 282;
• Odell's theatre, i. 282, note 1;
• Giffard's theatre, i. 282, note 2.
• —— Theatre, i. 92, note 1;
• closed by Licensing Act (1737), i. 92, note 1.
• Grafton, Duke of, ii. 260;
• blamed for making Cibber Laureate, i. 46, note 1.
• Grantham, Cibber sent to school at, i. 9.
• Griffin, Captain (actor), i. 334, note 1;
• admitted into good society, i. 83;
• memoir of, i. 83, note 1;
• and Goodman have one shirt between them, ii. 63.
• Griffith, Thomas, his visit to Drury Lane in 1714, ii. 121, note 1.
• "Grub Street Journal," ii. 258, note 1.
• Guiscard, his attack on Lord Oxford referred to, i. 291.
• Gwyn, Nell, i. 91, note 1, i. 182, note 1, ii. 323;
• and Charles II., ii. 211;
• Bishop Burnet's opinion of, ii. 212.
• Haines, Joseph, ii. 252, note 1;
• his bon mot on Jeremy Collier, i. 273;
• account of his career, i. 273, note 1;
• Aston's description of, ii. 314;
• his pranks, ii. 315, ii. 325;
• Life of, ii. 325, note 1.
• Halifax, Lord, i. 217, ii. 311;
• a patron of the theatre, ii. 4;
• his testimonial to Mrs. Bracegirdle, ii. 305.
• Hamlet, incomparably acted by Taylor, i. xxvi.;
• Betterton as, i. 100;
• Wilks's mistakes in, i. 100.
• Hammerton, Stephen, a famous "boy-actress," i. xxvi.;
• played Amyntor, i. xxvi.
• Hampton Court, theatrical performances at, ii. 208, ii. 214, ii. 219.
• "Hannibal and Scipio," i. xxv.
• Harlequin, Cibber's low opinion of the character, i. 150-152;
• played without a mask by Pinkethman, i. 151.
• "Harlequin Sorcerer," a noted pantomime, ii. 181, note 1.
• Harper, John, arrested as a rogue and vagabond, i. 283;
• trial, ii. 260;
• the result of his trial, i. 284;
• his Falstaff, ii. 300.
• Harris, ii. 334, ii. 346.
• Harrison, General, murders W. Robinson the actor, i. xxix.
• Hart, Charles, i. 125, note 2, ii. 134, ii. 137, note 1;
• superior to his successors, i. xxiv.;
• apprenticed to Robinson, i. xxiv.;
• A "boy-actress," i. xxiv.;
• a lieutenant in Charles I.'s army, i. xxix.;
• arrested for acting, i. xxx.;
• grows old and wishes to retire, i. xxxii.;
• his acting of the Plain Dealer, i. 83, note 1;
• famous for Othello, i. 91;
• his retirement, i. 96;
• Bellchambers's memoir of, ii. 322.
• Haymarket, Little Theatre in the, i. 92, note 1;
• opened by the mutineers from Highmore in 1733, ii. 259;
• closed by Licensing Act (1737), i. 92, note 1.
• —— the Queen's Theatre in the (now Her Majesty's), i. 319;
• its history, i. 319, note 1;
• opened for Betterton's Company, i. 320;
• defects in its construction, i. 320, i. 326;
• inconvenience of its situation, i. 322.
• Hemming, John, i. xxvi.
• "Henry VIII.," ii. 215.
• Heron, Mrs., ii. 262.
• Hewett, Sir Thomas, his report on the stability of Drury Lane, ii. 177.
• Highmore, John, at variance with his actors, i. 283;
• his purchase of the Patent, i. 283, note 1;
• the price he paid for the Patent, i. 297, note 1;
• purchases half of Booth's share of the Patent, ii. 258;
• purchases Cibber's share, ii. 258: his actors mutiny, ii. 259;
• he summons Harper as a rogue and vagabond, ii. 260;
• sells his share in the Patent, ii. 261.
• Hill, Aaron, on "tone" in speaking, i. 110, note 1;
• appointed by W. Collier to manage Drury Lane, ii. 94, note 1;
• defied and beaten by his actors, ii. 94, note 1;
• farms the opera from Collier, ii. 105;
• on Booth's lack of humour, ii. 240, note 2.
• —— Captain Richard, his murder of Mountfort, i. 130, note 1, ii. 342.
• "Historia Histrionica," reprint of, i. xix.;
• preface to, i. xxi.
• "Historical Register for 1736," ii. 263.
• Hitchcock, Robert, his "Historical View of the Irish Stage," i. 165, note 1.
• "Holland's Leaguer," i. xxv.
• Holt, Lord Chief Justice, ii. 22.
• Horden, Hildebrand, a promising actor, killed in a brawl, i. 302.
• Horton, Mrs., ii. 260.
• Howard, J. B., plays Iago in English to Salvini's Othello, i. 325, note 1.
• —— Sir Robert, i. 192, note 1.
• Hughes, Margaret, said to be the first English actress, i. 90, note 1.
• Hutton, Laurence, his "Literary Landmarks of London" quoted, i. 7, note 3, ii. 284, note 1.
• Irving, Henry, his controversy with Constant Coquelin regarding Diderot's "Paradoxe sur le Comédien," i. 103, note 1;
• restores Shakespeare's "Richard III." to the stage, ii. 287.
• Italian Opera, introduced into England, i. 324;
• "The Dunciad" on, i. 324, note 1.
• Jackson, John, his "History of the Scottish Stage" referred to, ii. 181, note 1.
• Jacobites attacked in Cibber's "Nonjuror," ii. 185;
• repay Cibber for his attack by hissing his plays, ii. 187;
• hiss his "Nonjuror," ii. 189.
• James II., ii. 134;
• Cibber, at school, writes an Ode on his coronation, i. 33;
• Cibber serves against, at the Revolution, i. 60;
• his flight to France, i. 70;
• his quarrel with the Duke of Devonshire, i. 72.
• Jekyll, Sir Joseph, ii. 198.
• Jevon, Thomas, i. 151, note 1.
• Johnson, Benjamin (actor), i. 99, note 1, i. 194, i. 313, i. 332, ii. 129, note 2, ii. 252, note 1, ii. 262, ii. 308;
• Bellchambers's memoir of, ii. 360.
• Johnson, Dr. Samuel, i. 215, note 1, ii. 163, note 1;
• his opinion of Cibber's Odes, i. 36, note 2;
• his epigram on Cibber's Laureateship quoted, i. 46, note 1;
• his "Life of Pope," ii. 275, ii. 276, ii. 280, note 1, ii. 281, note 1;
• his "Lives of the Poets," ii. 27, note 1, ii. 128, note 1, ii. 370;
• his famous Prologue (1747) quoted, i. 113, note 1.
• Jones, Inigo, ii. 209.
• Jonson, Ben, i. 245;
• out of fashion in 1699, i. xxiii.;
• no actors in 1699 who could rightly play his characters, i. xxiv.;
• his plays, i. xxv.;
• his epigram on Alleyn, i. xxviii.;
• on Sal Pavy, i. xxxvi.;
• said by Cibber to have been an unsuccessful actor, i. 85;
• this denied by Gifford and Cunningham, his editors, i. 85, note 1;
• his Masques, ii. 209.
• Jordan, Thomas, his "Prologue to introduce the first woman that came to act on the stage," 1660, i. 90, note 1, i. 119, note 1.
• "Joseph Andrews" quoted, i. 10, note 1, i. 50, note 2, i. 61, note 1.
• "Julius Cæsar," special revival of, in 1707, ii. 5.
• Keen, Theophilus, i. 332, ii. 77, note 1, ii. 94, note 1, ii. 129, note 2, ii. 169, note 2;
• Bellchambers's memoir of, ii. 364.
• Kemble, John P., mentioned, i. lv., note 1.
• Kent, Duke of, ii. 46.
• —— Mrs., ii. 169, note 2.
• Killigrew, Charles, ii. 32, note 1;
• his share in the Patent, i. 181, note 1.
• —— Thomas, i. 181, note 1, i. 197, note 3;
• granted a Patent similar to Davenant's, i. liii., i. 87;
• memoir of, i. 87, note 2;
• his witty reproof of Charles II., i. 87, note 2;
• his Company better than Davenant's, i. 93;
• unites with Davenant's, i. 96.
• "King and no King," special revival of, in 1707, ii. 5.
• "King Arthur," i. 187.
• "King John" mutilated by Colley Cibber, ii. 268.
• "King John and Matilda," i. xxv.
• King's Servants, The, i. 87, note 2, i. 88;
• before 1642, i. xxvi.;
• after the Restoration, i. xxxi.
• Kirkman, Francis, his "Wits," ii. 84, note 1.
• Knap, ii. 169, note 2.
• Kneller, Sir Godfrey, his portrait of Betterton, i. 117;
• his portrait of Anthony Leigh, i. 146, ii. 349;
• imitated by Estcourt, ii. 333.
• Knight, Mrs. Frances, ii. 77, note 1, ii. 94, note 1, ii. 169, note 2.
• —— Joseph, his edition of the "Roscius Anglicanus" referred to, i. 87, note 1, i. 90, note 1.
• Knip, Mrs., i. 182, note 1.
• Kynaston, Edward, i. 98, i. 119, ii. 324, ii. 334, i. 185, i. 327;
• petted by ladies of quality, i. 120;
• the beauty of his person, i. 121;
• his voice and appearance, i. 121;
• his bold acting in inflated passages, i. 124;
• his majesty and dignity, i. 125-6;
• lingered too long on the stage, i. 126;
• Bellchambers's memoir of, ii. 339.
• Lacy, John, superior to his successors, i. xxiv.
• Lady of title, prevented by relatives from becoming an actress, i. 75.
• "Lady's Last Stake," cast of, ii. 3, note 1.
• Langbaine, Gerard, his "Account of the English Poets," ii. 13, note 1.
• Laughter, reflections on, i. 23.
• "Laureat, The" (a furious attack on Cibber), i. 3, note 2, i. 14, note 1, i. 35, note 2, i. 48, note 1, i. 78, note 1, i. 101, note 2, i. 122, note 1, i. 123, note 1, i. 140, note 1, i. 157, note 2, i. 174, note 2, i. 182, note 2, i. 191, note 2, i. 222, note 1, i. 224, note 1, i. 238, note 1, i. 239, note 1, i. 242, note 1, i. 256, note 1, i. 258, note 2, i. 264, note 1, i. 273, note 2, i. 300, note 1, i. 312, note 2, ii. 30, note 1, ii. 37, note 1, ii. 121, note 1, ii. 148, note 1, ii. 160, note 1, ii. 163, note 1, ii. 251, note 1, ii. 256, note 1, ii. 335, note 1, ii. 356.
• Lebrun, Charles, painter, alluded to, i. 106.
• Lee, Charles Henry, Master of the Revels, ii. 260.
• —— Mrs. Mary, i. 163, note 1.
• —— Nathaniel, ii. 327;
• his "Alexander the Great," i. 105;
• a perfect reader of his own works, i. 113;
• Mohun's compliment to him, i. 114;
• failed as an actor, i. 114.
• Leigh, Anthony, i. 98, i. 142, i. 304, i. 327;
• Cibber's account of, i. 145-154;
• his exuberant humour, i. 145;
• in "The Spanish Friar," i. 145;
• painted in the character of the Spanish Friar, i. 146;
• his best characters, i. 146, i. 149;
• and Nokes, their combined excellence, i. 147, his superiority to Pinkethman, i. 149;
• the favourite actor of Charles II., i. 154;
• compared with Nokes, i. 154;
• his death, i. 154, i. 188;
• his "gag" regarding Obadiah Walker's change of religion, ii. 134;
• Bellchambers's memoir of, ii. 349.
• Leigh, Mrs. Elizabeth, i. 98;
• Cibber's account of, i. 162-163;
• her peculiar comedy powers, i. 162;
• note regarding her, i. 163, note 1.
• —— Francis, ii. 77, note 1, ii. 94, note 1, ii. 169, note 2, ii. 170, note 1.
• Leveridge, Richard, ii. 169, note 3.
• Licence granted by King William in 1695, i. 98.
• Licensing Act of 1737, i. 278, note 1, i. 286, i. 287, note 4, ii. 262.
• "Lick at the Laureat," said to be the title of a pamphlet, i. 35, note 2.
• Lincoln's Inn Fields, Duke's old Theatre in, i. xxxii., i. 88, note 2.
• —— Betterton's theatre in, i. 194;
• its opening, i. 196;
• its success at first, i. 227;
• its speedy disintegration, i. 228.
• —— Rich's theatre in, ii. 79, ii. 100;
• its exact situation, ii. 101, note 1;
• Rich's Patent revived at, ii. 165;
• its opening, ii. 166, note 1, ii. 171, note 1;
• actors desert Drury Lane to join, ii. 169.
• "London Cuckolds," i. 267.
• "London News-Letter," i. 302, note 2.
• Lord Chamberlain, Cibber on the power of the, ii. 10-23, ii. 74;
• his name not mentioned in the Patents, ii. 10;
• Sir Spencer Ponsonby-Fane on the power of, ii. 11, note 1;
• his power of licensing plays, ii. 11;
• plays vetoed by him, ii. 12-14;
• actors arrested by his orders, ii. 17-22;
• his edicts against desertions, ii. 17, note 1, ii. 18, note 1;
• said to favour Betterton at the expense of rival managers, ii. 18;
• various edicts regarding Powell, ii. 19, note 1, ii. 20, note 1, ii. 94, note 1;
• warrant to arrest Dogget, ii. 21, note 1;
• his edict separating plays and operas in 1707, ii. 49, note 1;
• interferes on behalf of actors in their dispute with the Patentees in 1709, ii. 68;
• silences Patentees for contumacy, ii. 72;
• his order for silence, 1709, quoted, ii. 73, note 1.
• Lord Chamberlain's Records, i. 229, note 1, i. 315, note 2, ii. 17, note 1, ii. 18, note 1, ii. 19, note 1, ii. 20, note 1, ii. 21, note 1, ii. 49, note 1, ii. 50, note 1, ii. 69, note 1, ii. 73, note 1, ii. 79, note 2, ii. 94, note 1, ii. 102, note 1, ii. 108, note 2, ii. 171, note 1, ii. 193, note 1, ii. 218, note 1, ii. 219, note 1, ii. 257, note 1.
• Lorraine, Duke of, ii. 219.
• Louis XIV., mentioned, i. 6.
• —— Prince, of Baden, ii. 228.
• "Love in a Riddle," cast of, i. 244, note 1.
• Lovel (actor), ii. 347.
• Lovelace, Lord, ii. 304.
• "Love's Last Shift," cast of, i. 213, note 1.
• Lowin, John, ii. 335;
• arrested for acting, i. xxx.;
• superior to Hart, i. xxiv.;
• his chief characters, i. xxvi.;
• too old to go into Charles I.'s army, i. xxix.;
• becomes an inn-keeper, and dies very poor, i. xxxi.
• "Lucius Junius Brutus," by Lee, vetoed, ii. 13.
• "Ludus Coventriæ," i. xxxviii.;
• these plays acted at other towns besides Coventry, i. xxxviii.;
• a description of them, i. xxxviii. et seq.
• "Lunatick, The," ii. 252, note 1.
• Luttrell's Diary quoted, i. 302, note 2.
• Macaulay, Lord, his "History of England" referred to, ii. 134, note 3.
• "Macbeth" in the nature of an opera, i. 94, note 1;
• ii. 228, ii. 229, note 1.
• Macclesfield, Countess of, ii. 39. See also Mrs. Brett.
• Macklin, Charles, ii. 270, ii. 362;
• his first coming to London, ii. 261;
• a great reformer, ii. 262.
• Macready, William C, mentioned, i. 135, note 1.
• MacSwiney, Owen. See Swiney, Owen.
• "Maid's Tragedy" vetoed in Charles II.'s time, ii. 12;
• played with altered catastrophe, ii. 12.
• Mainwaring, Arthur, ii. 369, note 2.
• Malone, Edmond, i. 185, note 1, i. 197, note 3, ii. 32, note 1, ii. 138, note 1.
• Management, Cibber on the duties and responsibilities of, ii. 199-207.
• Margaret, Queen of Henry VI., pageant played before her, i. xl.
• Marlborough, Duchess of. See Churchill, Lady.
• —— Duke of, ii. 96, note 1, ii. 130, ii. 164, ii. 228.
• "Marriage à la Mode," by Cibber, cast of, ii. 5, note 1.
• Marshall, Anne, i. 161, note 1;
• said to be the first English actress, i. 90, note 1.
• —— Julian, his "Annals of Tennis" quoted, i. 315, note 1.
• Mary, the Virgin, and Joseph, characters in the "Ludus Coventriæ," i. xxxix.
• —— Queen, her death, i. 193.
• "Mary, Queen of Scotland," by Banks, vetoed, ii. 14.
• Masculus, a comedian, who was a Christian martyr, i. xxii.
• Masks, Ladies wearing, at the theatre, i. 266;
• ultimately the mark of a prostitute, i. 267, note 1.
• Mason, Miss. See Countess of Macclesfield, and Mrs. Brett.
• Masques, enormous expense of, ii. 209.
• Master of the Revels. See Revels.
• Mathews, Charles (the elder), his powers of imitation referred to, i. 115, note 1.
• Mathias, St., the choosing of, as an apostle, dramatized in the "Ludus Coventriæ," i. xxxviii.
• Matthews, Brander, ii. 289, note 1.
• Maynard, Serjeant, a Whig lawyer, satirized, i. 149, note 2.
• Medbourn, Matthew, ii. 346.
• Melcombe, Lord, mentioned, i. 14, note 1.
• "Mery Play between the Pardoner and the Frere, the Curate and Neybour Pratte, A," described, i. xlv.
• Miller, James, his "Art and Nature" failed, i. 152, note 1.
• —— Josias (actor), ii. 262.
• Mills, John, i. 332, ii. 70, note 2, ii. 129, note 2, ii. 259, note 1, ii. 262;
• his friendship with Wilks, i. 259, ii. 223;
• his honesty and diligence, i. 260;
• his large salary, i. 260;
• advertisement regarding his salary, 1709, ii. 78, note 1;
• Bellchambers's memoir of, ii. 362;
• and the country squire, ii. 363.
• Milward, William, i. 224, note 2.
• Mist, Nathaniel. See "Mist's Weekly Journal."
• "Mist's Weekly Journal," ii. 163, note 1, ii. 167, ii. 187.
• Mohun, Lord, ii. 314;
• implicated in Mountfort's death, i. 130, note 1, ii. 342.
• —— Michael, superior to his successors, i. xxiv.;
• apprentice to Beeston, i. xxv.;
• acted Bellamente, i. xxv.;
• a captain in Charles I.'s army, i. xxix.;
• his death, i. 96;
• his admiration of Nat. Lee's elocution, i. 114;
• Bellchambers's memoir of, ii. 326.
• Montague, Captain, insults Miss Santlow, i. 76;
• chastised by Mr. Craggs, i. 77.
• Moore, Mrs., ii. 77, note 1, ii. 94, note 1.
• Morley, Professor Henry, his edition of the "Spectator," ii. 54, note 1.
• Mountfort, William, i. 98, i. 108, i. 170, note 1, i. 237, ii. 314;
• taken into good society, i. 83;
• Cibber's account of, i. 127-130;
• his voice and appearance, i. 127;
• his Alexander the Great, i. 127;
• his excellent acting of fine gentlemen, i. 127;
• his delivery of witty passages, i. 128;
• his Rover, i. 128;
• his versatility, i. 128, i. 210;
• his Sparkish ("Country Wife") and his Sir Courtly Nice, i. 129;
• copied by Cibber in Sir Courtly Nice, i. 129;
• his tragic death, i. 130, i. 188;
• memoir of him, i. 130, note 1;
• Tom Brown on his connection with Mrs. Bracegirdle, i. 170, note 1;
• his comedy of "Greenwich Park," ii. 41;
• copied by Wilks, ii. 241;
• Bellchambers's memoir of, ii. 341;
• full account of his death by the hands of Capt. Hill, ii. 342-345.
• —— Mrs., i. 98, i. 237, ii. 343, ii. 367;
• Cibber's account of, i. 165-169;
• her variety of humour, i. 165;
• her artistic feeling, i. 166;
• her acting of the Western Lass, i. 166;
• in male parts, i. 167;
• plays Bayes with success, i. 167;
• the excellence of her Melantha, i. 167;
• memoir of, i. 169, note 1;
• leaves Betterton's company in 1695, i. 200;
• her death, ii. 306;
• Anthony Aston's description of, ii. 313.
• Mountfort, Susanna, i. 334, note 1.
• Music in the theatre, i. xxxii.
• Newcastle, Duke of, ii. 219;
• (Lord Chamberlain), his persecution of Steele, ii. 193, note 1.
• Newington Butts, i. xlix.
• Newman, Thomas, actor, one of their Majesties' servants, i. 88, note 3.
• Nichols, John, his "Theatre, Anti-Theatre, &c.," ii. 66, note 2, ii. 168, note 1, ii. 174, note 2, ii. 176, note 1, ii. 177, note 1, ii. 193, note 1.
• Nicolini (Nicolo Grimaldi), singer, ii. 48, ii. 51;
• Cibber's high praise of, ii. 51;
• praised by the "Tatler," ii. 52.
• Noblemen's companies of players, i. xlvii.
• Nokes, James, i. 98;
• Cibber's description of, i. 141-145;
• his natural simplicity, i. 141;
• could not be imitated, i. 142;
• his best characters, i. 142;
• his ludicrous distress, i. 143;
• his voice and person, i. 145;
• and Leigh, their combined excellence, i. 147;
• compared with Leigh, i. 154;
• his death, i. 188;
• Bellchambers's memoir of, ii. 346;
• why called "Nurse Nokes," ii. 348.
• Nokes, Robert, i. 141, note 1, i. 143, note 2, ii. 346.
• "Nonjuror, The," a line in the epilogue quoted, i. 49;
• cast of, ii. 185, note 2.
• Norris, Henry, ii. 77, note 1, ii. 94, note 1.
• —— Mrs., said to be the first English actress, i. 90, note 1.
• Northey, Sir Edward, his "opinion" on the Patent, ii. 32, note 1.
• Oates, Titus, i. 133.
• Odell, Thomas, his theatre in Goodman's Fields, i. 282, note 1.
• "Old and New London," referred to, ii. 104, note 1.
• Oldfield, Mrs. Anne, i. 157, i. 251, note 1, i. 332, ii. 69, ii. 129, note 2, ii. 358;
• memoirs of, published immediately after her death, i. 5;
• her acting of Lady Townly praised in high-flown terms by Cibber, i. 51, i. 312, note 3;
• admitted into good society, i. 83;
• her unpromising commencement as an actress, i. 159, i. 305;
• compared with Mrs. Butler, i. 164;
• her rivalry with Mrs. Bracegirdle, i. 174, note 2;
• Cibber's account of, i. 305-312;
• her good sense, i. 310;
• her unexpected excellence, i. 306;
• Cibber writes "The Careless Husband" chiefly for her, i. 308;
• her perfect acting in it, i. 309;
• and Wilks playing in same pieces, i. 314;
• proposed to be made a manager, ii. 69;
• gets increased salary instead, ii. 71;
• advertisement regarding her salary, 1709, ii. 78, note 1;
• riot directed against, ii. 166;
• settles a dispute between Wilks, Cibber, and Booth, ii. 236;
• her death, ii. 254;
• copied Mrs. Mountfort in comedy, ii. 313;
• Bellchambers's memoir of, ii. 367;
• and Richard Savage, ii. 369.
• Opera, i. 111;
• control of, given to Swiney, ii. 48.
• —— Italian, account of its first separate establishment, ii. 50-55;
• decline of Italian, ii. 87-91.
• Otway, Thomas, his failure as an actor, i. 114, note 1;
• his "Orphan," i. 116, note 2.
• Oxford, visited by the actors in 1713, ii. 133, ii. 135;
• Dryden's Prologues at, ii. 134, ii. 136, note 1;
• its critical discernment, ii. 136.
• —— Lord, Guiscard's attack on, referred to, i. 291.
• Pack, George, ii. 77, note 1, ii. 94, note 1;
• account of, ii. 169, note 3.
• Pageants formed part in receptions of princes, &c., i. xl. et seq.
• Painting the face on the stage, i. 182, note 1.
• Pantomimes, the origin of, ii. 180;
• Cibber's opinion of, ii. 180;
• "The Dunciad" on, ii. 181, note 1.
• "Papal Tyranny in the Reign of King John," cast of, ii. 269, note 1.
• Parish-clerks, play acted by, in 1391, i. xxxv.
• Parliamentary reports on the theatres, i. 278, note 1.
• "Parson's Wedding, The," played entirely by women, i. xxxii.
• "Pasquin" quoted, i. 36, note 2.
• Patent, copy of, granted to Sir William Davenant in 1663, i. liii.;
• Steele's, ii. 174.
• Patentees, the, their foolish parsimony, i. 164;
• their ill-treatment of Betterton and other actors, i. 187;
• the actors combine against them, i. 189;
• their deserted condition, i. 194. (For transactions of the Patentees, see also Rich, C.)
• Pavy, Sal, a famous child-actor, i. xxxvi.;
• Ben Jonson's epigram on, i. xxxvi.
• Pelham, Hon. Henry, Cibber's "Apology" dedicated to, i. lv., note 1.
• Pembroke, Earl of, ii. 105, note 1.
• Pepys, Samuel, his "Diary," i. 119, note 1, i. 161, note 2, i. 182, note 1, i. 267, note 1, i. 303, note 1.
• Percival (actor), i. 183, note 1.
• Perkins, an eminent actor, i. xxvi.;
• his death, i. xxxi.
• Perrin, Mons. (of the Théâtre Français), ii. 221, note 1, ii. 246, note 1.
• Perriwigs, enormous, worn by actors, ii. 36, note 1.
• Phœnix, the, or Cockpit, i. xxvi.
• "Picture, The," i. xxv.
• Pinkethman, William, i. 313, i. 334, note 1, ii. 129, note 2, ii. 252, note 1;
• his inferiority to Anthony Leigh, i. 149;
• his liberties with the audience, i. 152;
• hissed for them, i. 153, note 1;
• his lack of judgment, i. 150;
• plays Harlequin without the mask, i. 151;
• his success as Lory in "The Relapse," i. 230;
• Bellchambers's memoir of, ii. 348.
• —— the younger, ii. 349.
• Plays, value of old, for information on manners, i. xxi.;
• old, no actors' names given, i. xxv.;
• originally used for religious purposes, i. xxxiv., i. xxxv.;
• their early introduction, i. xxxvii.;
• began to alter in form about the time of Henry VIII., i. xlv.;
• origin of, in Greece and England, i. xlviii.;
• the alteration in their subjects noticed by Stow in 1598, i. xlviii.;
• temporarily suspended, i. xlix.;
• arranged to be divided between Davenant's and Killigrew's companies, i. 91;
• expenses of, i. 197, note 3.
• Players defended regarding character, i. xxii.;
• not to be described as rogues and vagabonds, i. xlix.;
• entirely suppressed by ordinances of the Long Parliament, i. li.
• Playhouses, large number of, in 1629, i. xlix.
• "Poems on Affairs of State," quoted, i. 170, note 1.
• "Poetaster, The," played by the Children of her Majesty's Chapel, i. xxxvi.
• Poet Laureate, Cibber appointed, 1730, i. 32, note 1.
• Pollard, Thomas, a comedian, i. xxvi.;
• superior to Hart, i. xxiv.;
• too old to go into Charles I.'s army, i. xxix.;
• arrested for acting, i. xxx.;
• his retirement and death, i. xxxi.
• Pollixfen, Judge, ii. 315.
• Ponsonby-Fane, Sir Spencer, his memorandum on the power of the Lord Chamberlain, ii. 11, note 1.
• Pope, Alexander, ii. 151;
• Cibber's "Letter" to, quoted, i. 3, note 1;
• Cibber's first allusion to Pope's enmity, i. 21;
• an epigram comparing Pope and Cibber in society, i. 29, note 1;
• Cibber's opinion of Pope's attacks, i. 35;
• some of Pope's attacks quoted, i. 36, note 1;
• his attack on Atticus (Addison), i. 38;
• Cibber's "Letter" to, quoted, i. 44, note 1, i. 45, note 2;
• epigram attributed to him, on Cibber's Laureateship, i. 46, note 1;
• his "Moral Essays," quoted, i. 307, note 3;
• attacks Cibber for countenancing pantomimes, ii. 182, note 1;
• "The Nonjuror" a cause of his enmity to Cibber, ii. 189, note 1;
• his "Epistle to Dr. Arbuthnot," ii. 189, note 1;
• his quarrel with Cibber, ii. 270-283;
• Cibber's "Letter" to him, ii. 271;
• his famous adventure, ii. 278;
• Cibber's second "Letter" to, ii. 281;
• his portrait of Betterton, ii. 339;
• his attacks on Mrs. Oldfield, ii. 370. (See also "Dunciad.")
• Porter, Mrs. Mary, ii. 129, note 2, ii. 303, ii. 368;
• Dogget plays for her benefit after his retirement, ii. 158;
• accident to, ii. 254, ii. 365;
• Bellchambers's memoir of, ii. 365.
• Portuguese, the, and religious plays, i. xxxv.
• "Post-Boy Rob'd of his Mail," i. 328, note 1, i. 329, note 1.
• Powell, George, i. 157, i. 193, i. 203, note 1, i. 228, i. 259, i. 334. note 1, ii. 77, note 1, ii. 94, note 1, ii. 129, note 2, ii. 238, ii. 301, ii. 311, ii. 363;
• offered some of Betterton's parts, i. 188;
• his indiscretion as a manager, i. 204;
• mimics Betterton, i. 205, i. 207, note 1;
• the contest between him and Wilks for supremacy at Drury Lane, i. 237-243, i. 251-256;
• his carelessness, i. 240, i. 243;
• deserts Drury Lane, i. 239;
• returns to Drury Lane, i. 239;
• arrested for deserting his manager, ii. 18;
• arrested for striking young Davenant, ii. 19;
• discharged for assaulting Aaron Hill in 1710, ii. 94, note 1;
• Bellchambers's memoir of, ii. 352.
• Price, Joseph, account of him by Bellchambers, i. 146, note 1.
• Prince's Servants, The, before, 1642, i. xxvi.
• Pritchard, Mrs., ii. 268, note 1.
• Profits made by the old actors, i. xxxii.;
• of the theatre, how divided in 1682, i. 97.
• Prologue-speaking, the art of, i. 271.
• "Prophetess, The," i. 187.
• "Provoked Husband," cast of, i. 311, note 1.
• "Provoked Wife," altered, ii. 233.
• "Psyche," an opera, i. 94.
• Puppet-show in Salisbury Change, i. 95.
• Purcell, Henry, i. 187, note 1, ii. 312.
• Quantz, Mons., ii. 89, note 1.
• Queen's Servants, The, before 1642, i. xxvi.
• —— Theatre in the Haymarket, success of Swiney's company in, ii. 1;
• set aside for operas only, ii. 48;
• its interior altered, ii. 79;
• opened by the seceders from Drury Lane in 1709, ii. 87.
• Quin, James, i. 224, note 2, ii. 259, note 1;
• the chief actor at Garrick's appearance, ii. 262.
• Raftor, Catherine. See Clive.
• —— James, i. 330, note 1.
• Raillery, reflections on, i. 11.
• Raymond, his "opinion" on the Patent, ii. 32, note 1.
• Red Bull Theatre, i. xxvi., i. xxix.;
• used by King's Company after the Restoration, i. xxxi.;
• drawing of the stage of the, ii. 84, note 1.
• Reformation of the stage, Cibber on, i. 81.
• Rehan, Ada, a great comedian, ii. 289.
• Religion and the stage, i. xxi., i. xxxiii.
• "Renegado, The," i. xxv.
• Revels, Master of the, his unreasonableness to Cibber, i. 275;
• his fees refused to be paid, i. 277.
• Rhodes, the prompter, ii. 333, ii. 339;
• his company, at the Cockpit, i. xxviii.;
• his company of actors engaged by Davenant, i. 87, note 1.
• Rich, Christopher, Patentee of Drury Lane, i. 181, note 1, ii. 336, ii. 361, ii. 367;
• description of, i. 233, note 1;
• admits servants to theatre gratis, i. 233;
• his treatment of his actors, i. 252;
• consults Cibber on matters of management, i. 253;
• his principles of management, i. 262, ii. 6-8;
• his tactics to avoid settling with his partners, i. 328;
• his objections to an union of the two companies, i. 329;
• permits Swiney to rent the Queen's Theatre, i. 331;
• his foolish neglect of his actors, i. 334;
• declines to execute his agreement with Swiney, i. 336;
• wishes to bring an elephant on the stage, ii. 6;
• introduces rope-dancers at Drury Lane, ii. 7;
• silenced for receiving Powell, ii. 19, note 1;
• his share in the Patent, ii. 32, note 1, ii. 98;
• his dealings with Col. Brett, ii. 42-49, ii. 56-60;
• Cibber on his misconduct, ii. 46;
• his foolish mismanagement, ii. 60, ii. 65;
• confiscates part of his actors' benefits, ii. 66;
• ordered to refund this, ii. 68;
• silenced by the Lord Chamberlain (1709), ii. 72;
• his proceedings after being silenced, ii. 77, ii. 79, note 2;
• an advertisement issued by him regarding actors' salaries in 1709, ii. 78, note 1;
• evicted by Collier from Drury Lane (1709), ii. 92;
• his Patent revived in 1714, ii. 79, ii. 165;
• his extraordinary behaviour to the Lord Chamberlain, ii. 98;
• Genest's character of him, ii. 98, note 1;
• rebuilds Lincoln's Inn Fields Theatre, ii. 100;
• his death, ii. 166, note 1.
• Rich, John, ii. 79, ii. 98, note 2;
• opens Lincoln's Inn Fields Theatre, ii. 166, note 1;
• an excellent Harlequin, ii. 181, note 1;
• manages the Lincoln's Inn Fields company, ii. 262;
• opens Covent Garden, ii. 262.
• "Richard III.," Cibber's adaptation of, i. 139;
• his playing in, i. 139, i. 275;
• cast of, ii. 288, note 1.
• Richardson, Jonathan, ii. 276.
• Roberts, Mrs., one of Charles II.'s mistresses, ii. 212.
• Robins, a comedian, i. xxvi.
• Robinson, William, ii. 322;
• Hart apprenticed to, i. xxiv.;
• a comedian, i. xxvi.;
• murdered by Harrison, i. xxix.
• Rochester, Lord, ii. 138, note 1, ii. 303.
• Rogers, Mrs., i. 332, ii. 129, note 2, ii. 169, note 2, ii. 353;
• her affectation of prudery, i. 135;
• becomes Wilks's mistress, i. 136;
• her eldest daughter, i. 136;
• riot caused by, ii. 166.
• Rogues and vagabonds, players not to be described as, i. xlix., i. 1.
• "Roman Actor, The," i. xxv.
• Roman Catholic religion, attacked by Cibber, i. 80.
• Rope-dancers on the stage, ii. 7.
• "Roscius Anglicanus." See Downes, John.
• Rose Tavern, the, i. 303, note 1.
• Rowe, Nicholas, in love with Mrs. Bracegirdle, i. 172;
• complains of French dancers, i. 317.
• Royal Theatricals during George I.'s reign, ii. 208;
• during previous reigns, ii. 209;
• effect of audience on actors, ii. 214;
• fees for, ii. 218.
• Rymer, Thomas, ii. 324.
• Sacheverel, Doctor, his trial hurtful to the theatres, ii. 91.
• St. Giles's-in-the-Fields, Colley Cibber christened at, i. 7, note 2.
• "St. James's Evening Post," ii. 198, note 1.
• St. Paul's Singing School, i. xlix.
• Salisbury Court, the private theatre in, i. xxiv., i. xxvi., i. xxviii.
• Salvini, Tommaso, the great Italian tragedian, plays in Italian, while his company plays in English, i. 325, note 1.
• Sandford, Samuel, i. 98, i. 327, ii. 244, note 1;
• the "Spagnolet" of the theatre, i. 130;
• Cibber's account of him, i. 130-1;
• his personal appearance, i. 131;
• an actor of villains, i. 131, i. 137;
• his Creon ("Œdipus"), i. 131;
• the "Tatler" on his acting, i. 132, note 1;
• anecdote of his playing an honest character, i. 132;
• "a theatrical martyr to poetical justice," i. 137;
• his voice and manner of speaking, i. 138;
• would have been a perfect Richard III., i. 138;
• Cibber plays Richard III. in imitation of, i. 139;
• Anthony Aston's description of, ii. 306;
• Bellchambers's memoir of, ii. 346.
• Santlow, Hester, her first appearance as an actress, ii. 95;
• her manner and appearance, ii. 95;
• her character, ii. 96, note 1;
• her marriage with Booth, ii. 96, note 1.
• (See also Booth, Mrs. Barton.)
• Satire, reflections on, i. 37;
• Cibber's opinion regarding a printed and an acted, i. 289.
• Saunderson, Mrs. See Betterton, Mrs.
• Savage, Richard, ii. 39, note 1;
• and Mrs. Oldfield, ii. 369.
• Scenes, first introduced by Sir William Davenant, i. xxxii., i. 87, note 1.
• "Secular Masque, The," i. 268, note 1.
• Sedley, Sir Charles, Kynaston's resemblance to, ii. 341.
• Senesino (singer), ii. 53.
• Sewell, Dr. George, his "Sir Walter Raleigh," ii. 186, note 1.
• Shadwell, Charles, his "Fair Quaker of Deal," ii. 95.
• —— Thomas, his comedy of "The Squire of Alsatia," i. 148.
• Shaftesbury, first Earl of, i. 134, note 1.
• Shakespeare, William (see also names of his plays), a better author than actor, i. xxv., i. 89;
• his plays, i. xxv.;
• his plays depend less on women than on men, i. 90;
• expenses of plays in his time, i. 197.
• "Sham Lawyer, The," ii. 252, note 1.
• Shank, John, a comedian, i. xxvi.;
• played Sir Roger ("Scornful Lady"), i. xxvi.
• Shatterel, ii. 326;
• superior to his successors, i. xxiv.;
• apprentice to Beeston, i. xxv.;
• a quartermaster in Charles I.'s army, i. xxix.
• Shelton, Lady, ii. 303.
• Shore, John, brother-in-law of Colley Cibber, i. 184, note 1.
• —— Miss. See Cibber, Mrs. Colley, i. 184, note 1.
• "Shore's Folly," i. 184, note 1.
• "Silent Woman," i. xxiv.
• Singers and dancers introduced by Davenant, i. 94;
• difficulty in managing, ii. 88.
• Skipwith, Sir George, ii. 60.
• —— Sir Thomas (one of the Patentees of Drury Lane), ii. 109;
• does Vanbrugh a service, i. 217;
• receives "The Relapse" in return, i. 217;
• a sharer in the Drury Lane Patent, ii. 31;
• assigns his share to Colonel Brett, ii. 32;
• his friendship for Brett, ii. 39;
• claims his share from Brett, ii. 59.
• Smith, William, i. 327, ii. 324, ii. 346;
• insulted by one of the audience, i. 79;
• defended by the King, i. 79;
• driven from the stage because of the King's support of him, i. 79;
• taken into good society, i. 83;
• Bellchambers's memoir of, ii. 319.
• Sophocles, his tragedies, ii. 29.
• Southampton House, Bloomsbury, i. 7, note 3.
• Southerne, Thomas, ii. 311;
• prophesies the success of Cibber's first play, i. 212;
• his "Oroonoko," i. 216, note 1.
• Spaniards, the, and religious plays, i. xxxv.
• "Spectator," ii. 353.
• Spiller, James, ii. 169, note 2.
• Stage, and religion, i. xxi., i. xxxiii.;
• the, Cibber on the reformation of, i. 81;
• audience on, forbidden, i. 234;
• Cibber on the influence of, ii. 24-31;
• shape of the, described, ii. 84;
• doors, ii. 84, note 1.
• Statute regarding rogues and vagabonds, i. 1.;
• against profanity on the stage, i. 1.;
• against persons meeting out of their own parishes on Sundays for sports, etc., i. 1.;
• entirely suppressing players, i. li.
• Steele, Sir Richard, i. 97, note 2, i. 276, ii. 36, note 1, ii. 109, ii. 128, ii. 151, ii. 217, ii. 251, ii. 257;
• substituted for Collier in the Licence, ii. 162;
• the benefits he had conferred on Cibber and his partners, ii. 162;
• Dennis's attacks on, ii. 168, note 1;
• receives a Patent, ii. 173;
• assigns equal shares in the Patent to his partners, ii. 174;
• account of his transactions in connection with the theatre which are ignored by Cibber, ii. 193, note 1;
• persecuted by the Duke of Newcastle, then Lord Chamberlain, ii. 193, note 1;
• his Licence revoked, ii. 193, note 1;
• restored to his position, ii. 193, note 1;
• the expiry of his Patent, ii. 193, note 1;
• assigns his share of the Patent, ii. 196;
• brings an action against his partners, ii. 196;
• account of the pleadings, ii. 196-208;
• his recommendation of Underhill's benefit, ii. 351.
• Stow, John, his "Survey of London" quoted, i. xxxv., i. xlviii.
• Strolling players, i. xl., i. xlvii., i. 1.
• Subligny, Madlle., a French dancer, i. 316.
• "Summer Miscellany, The," ii. 272, note 1.
• Sumner, an eminent actor, i. xxvi.;
• his death, i. xxxi.
• Sunderland, Lady (the Little Whig), i. 320.
• Swan Theatre, drawing of the stage of the, ii. 84, note 1.
• Swanston, Eliard, acted Othello, i. xxvi.;
• the only actor that took the Presbyterian side in the Civil War, i. xxix.
• Swift, Jonathan, an attack on Cibber by him in his "Rhapsody on Poetry" quoted, i. 52, note 2.
• Swiney, Owen, i. 97, note 2, ii. 43, ii. 223, ii. 267;
• his "Quacks," i. 247, note 1;
• account of his character, i. 329;
• memoir of, i. 330, note 1;
• rents the Queen's Theatre from Vanbrugh, i. 330. i. 333. note 1;
• his agreement with Rich about renting the Queen's Theatre, i. 331;
• Rich declines to execute it, i. 336;
• his success at the Queen's Theatre in 1706-7, ii. 1;
• his arrangement with his actors in 1706, ii. 9;
• control of the opera given to, ii. 48;
• his gain by the opera in 1708, ii. 55;
• has joint control of plays and operas (1709), ii. 69;
• forced to hand over the opera to Collier, ii. 102;
• forced to resume the opera, ii. 107;
• goes abroad on account of debt, ii. 108;
• his return to England, ii. 108;
• Cibber plays for his benefit, ii. 262.
• "Tatler," the, i. 38, i. 132, note 1, ii. 75, ii. 93, ii. 229, note 1, ii. 244, note 1, ii. 244, note 2, ii. 328, ii. 362, ii. 363;
• its eulogium of Betterton, i. 118, note 1;
• recommends Cave Underhill's benefit, i. 155;
• praises Nicolini, ii. 52;
• its influence on audiences, ii. 162.
• Taylor, John, his "Records of my Life" quoted, i. lxv., note 1.
• —— Joseph, ii. 334;
• superior to Hart, i. xxiv.;
• his chief characters, i. xxvi.;
• too old to go into Charles I.'s army, i. xxix.;
• arrested for acting, i. xxx.;
• his death, i. xxxi.
• "Tempest, The," as an opera, i. 94;
• revival of, ii. 227.
• Theatre, the, mentioned by Stow as recently erected, i. xlviii.
• Théâtre Français, ii. 221, note 1, ii. 246, note 1.
• Theatres, number of, before 1642, i. xxvi.;
• more reputable before 1642, i. xxvii.;
• less reputable after the Restoration, i. xxvii.;
• evil, artistically, of multiplying, i. 92.
• Theobald, Lewis, deposed from the Throne of Dulness, ii. 280.
• Thomson, James, his "Sophonisba," ii. 368.
• Tofts, Mrs. Katherine, i. 334, note 1, ii. 51;
• Cibber's account of, ii. 54.
• "Tone" in speaking, i. 110, note 1.
• Trinity College, Cambridge, Caius Cibber's statues on the Library, i. 59;
• particulars regarding these, i. 59, note 1.
• Underhill, Cave, i. 98, i. 142, i. 327, ii. 307, ii. 346, ii. 347, ii. 361;
• his chief parts, i. 154-155;
• Cibber's account of, i. 154-156;
• his particular excellence in stupid characters, i. 154;
• the peculiarity of his facial expression, i. 155;
• his retirement and last appearances, i. 155, note 2;
• his death, i. 156;
• Anthony Aston's description of, ii. 307;
• Bellchambers's memoir of, ii. 350.
• Underwood, John, originally a "chapel boy," i. xxxvii.
• Union of Companies in 1682, i. xxxii., i. 96;
• in 1708, i. 301;
• causes that led up to, ii. 45, ii. 48.
• Valentini (Valentini Urbani), singer, i. 325, ii. 51, ii. 55.
• Vanbrugh, Sir John, i. 269, i. 274, i. 284, ii. 107, ii. 110, ii. 190, ii. 337, ii. 353, ii. 367;
• his opinion of Cibber's acting of Richard III., i. 139;
• his "Relapse," i. 216, i. 218;
• his high opinion of Cibber's acting, i. 216;
• his "Provoked Wife," i. 216-217;
• in gratitude to Sir Thomas Skipwith presents him with "The Relapse," i. 217;
• his "Æsop," i. 216, i. 218;
• his great ability, i. 219;
• alters his "Provoked Wife," ii. 233;
• his share in the "Provoked Husband," i. 311, note 1;
• builds the Queen's Theatre, i. 319;
• and Congreve manage the Queen's Theatre, i. 320, i. 325;
• his "Confederacy," i. 325;
• "The Cuckold in Conceit" (attributed to him), i. 326;
• his "Squire Trelooby," i. 326;
• his "Mistake," i. 327;
• sole proprietor of the Queen's Theatre, i. 326;
• lets it to Swiney, i. 330, i. 333, note 1.
• Vaughan, Commissioner, ii. 278, note 1.
• "Venice Preserved," ii. 224, note 1.
• Verbruggen, John, i. 108, note 2;
• mentioned, i. 157, i. 193;
• hangs about Downes, the prompter, i. 74, note 1;
• note regarding, i. 157, note 2;
• Anthony Aston's description of, ii. 311;
• Bellchambers's memoir of, ii. 354.
• —— Mrs. See Mrs. Mountfort.
• Vere Street, Clare Market, theatre in, i. xxxii.
• Versatility, Cibber's views on, i. 209.
• Victor, Benjamin, ii. 259;
• a story told by him of Cibber's cowardice, i. 71, note 1;
• his "History of the Theatres," i. 110, note 1, i. 297, note 1, ii. 259, note 2, ii. 260, note 1, ii. 261, note 1, ii. 264, ii. 270;
• his "Letters" quoted, i. 58, note 1;
• his "Life of Booth," i. 5, note 1, ii. 240, note 2.
• Villains, Cibber's views on, i. 131;
• Macready's views on, referred to, i. 135, note 1;
• E. S. Willard mentioned as famous for representing, i. 135, note 1;
• on the acting of, i. 222.
• Vizard-masks (women of the town), i. xxvii. See also Masks.
• Voltaire, his "Zaïre," ii. 248.
• Walker, Obadiah, his change of religion, ii. 134.
• Waller, Edmund, altered the last act of the "Maid's Tragedy," ii. 12.
• Walpole, Horace, and Cibber, ii. 284.
• Warburton, Bishop, mentioned, i. 106, note 1, ii. 281.
• Ward, Professor A. W., his "English Dramatic Literature," i. 187, note 1.
• Warwick, Earl of, his frolic with Pope and Cibber, ii. 278.
• Weaver, John, his "Loves of Mars and Venus," ii. 180, note 2.
• Webster, Benjamin, i. 88, note 3.
• "Wedding, The," i. xxv.
• "Weekly Packet" quoted, ii. 171, note 1.
• Welsted, Leonard, satirically mentioned by Swift, i. 52, note 2.
• Westminster Bridge, difficulties in getting permission to build, ii. 104.
• Whig, the Little (Lady Sunderland), i. 320.
• White's Club, Cibber a member, i. 29, note 1.
• Whitefriars, i. xlix.
• "Whitehall Evening Post," Cibber sends verses to, regarding himself, i. 47.
• Whitelocke's "Memorials," ii. 209, note 2.
• Wigs. See Perriwigs.
• Wildair, Sir Harry, i. 318.
• "Wild-Goose Chase, The," i. xxv.
• Wilks, Robert, i. 108, note 2, i. 157, i. 270, i. 332, ii. 36, note 1, ii. 167, ii. 176, ii. 300, ii. 352, ii. 361, ii. 363, ii. 368;
• memoirs published immediately after his death, i. 5;
• mistakes in his Hamlet, i. 100, note 1;
• lives with Mrs. Rogers, i. 136;
• distressed by Pinkethman's "gagging," i. 153, note 1;
• his impetuous temper, i. 190, i. 191, note 1, i. 191, note 2, ii. 127, ii. 150-155, ii. 171;
• his return to Drury Lane from Dublin, i. 235;
• his commencing as actor, i. 235;
• the contest between him and Powell for supremacy at Drury Lane, i. 237-243, i. 251-256;
• his wonderful memory, i. 240, i. 242;
• his diligence and care, i. 240, ii. 160;
• his good character, i. 243;
• made chief actor at Drury Lane, under Rich, i. 256;
• his energy in managing, i. 257;
• his disputes with Cibber, i. 258;
• his friendship with Mills, i. 259;
• as a prologue-speaker, i. 271;
• the occasion of his coming to London, i. 304;
• and Mrs. Oldfield playing in same pieces, i. 314;
• made Deputy-manager by Brett, ii. 56, note 1;
• made joint-manager with Swiney and others in 1709, ii. 69;
• advertisement regarding his salary, 1709, ii. 78, note 1;
• his characteristics as a manager, ii. 111, ii. 117;
• his patronage of his friends, ii. 121;
• his behaviour on Booth's claiming to become a manager, ii. 131, ii. 141;
• his favour for Mills, ii. 223;
• his connection with Steele during the dispute about Steele's Patent, ii. 193, note 1;
• his love of acting, ii. 225;
• a genuine admirer of Cibber, ii. 226, note 1;
• attacked by Dennis, ii. 226, note 2;
• his excellence as Macduff, ii. 228;
• gives the part to Williams, ii. 229;
• but withdraws it, ii. 230;
• complains of acting so much, ii. 232;
• a scene between him and his partners, ii. 234-237;
• benefits arising from his enthusiasm for acting, ii. 237;
• and Booth, their opinion of each other, ii. 240;
• formed his style on Mountfort's, ii. 241;
• Cibber's comparison of Booth and Wilks, ii. 239-245;
• his Othello, ii. 244;
• death of, ii. 254;
• memoir of, ii. 254, note 4;
• Patent granted to him, Cibber, and Booth, after Steele's death, ii. 257.
• Wilks, Mrs., inherits Wilks's share in the Patent, ii. 258;
• delegates her authority to John Ellys, ii. 258;
• her share sold to Fleetwood, ii. 261.
• Willard, E. S., mentioned, i. 135, note 1.
• William of Orange, Cibber a supporter of, at the Revolution, i. 60;
• made king, i. 70;
• gives a Licence to Betterton, i. 192, note 1.
• Williams, Charles, Wilks gives him the part of Macduff, ii. 229;
• but withdraws it, ii. 230;
• hissed in mistake for Cibber, i. 179, note 1.
• —— Joseph, mentioned, i. 157, i. 200;
• Bellchambers's memoir of, ii. 356.
• Wiltshire (actor), leaves the stage for the army, i. 84;
• killed in Flanders, i. 85.
• Winchester College, Cibber stands for election to, and is unsuccessful, i. 56;
• his brother, Lewis Cibber, is afterwards successful, i. 56;
• his father presents a statue to, i. 56;
• communication from the Head Master of, i. 56, note 2.
• Wintershal (actor), belonged to the Salisbury Court Theatre, i. xxiv.
• Woffington, Margaret, her artistic feeling, i. 166, note 1;
• an anecdote wrongly connected with her, ii. 266.
• "Woman's Wit," cast of, i. 264, note 1.
• Women, their first introduction on the stage, i. xxxii., i. 89, note 1, i. 90.
• Wren, Sir Christopher, the designer of Drury Lane Theatre, ii. 82.
• Wright, James, his "History of Rutlandshire," i. 8;
• quoted, i. 9, note 1;
• his "Historia Histrionica," i. xix.
• Wykeham, William of, Cibber connected with by descent, i. 56.
• "Ximena," cast of, ii. 163, note 1.
• York, Duke of (James II.), at Whitehall, i. 30.
• Young, Dr. Edward, his "Epistle to Mr. Pope" quoted, i. 54, note 1.
• Young actors, dearth of, ii. 221.