Mrs. Barry must have closed her career with this performance, being mentioned by Steele, in the "Tatler," when assisting at Betterton's benefit, on Thursday, April 7th, 1709, as "not at present concerned in the house." She died on the 7th of November, 1713, aged fifty-five years, and was buried in Acton church-yard. Mr. Davies ascribes her death to the bite of a favourite lap-dog, who, unknown to her, had been seized with madness, and there seems to be no grounds for disturbing his supposition.

Mrs. Betterton.

When Sir William D'Avenant undertook the management of the duke's company, he lodged and boarded four principal actresses in his house, among whom was Mrs. Saunderson, the subject of this article.

Mrs. Saunderson's first appearance in D'Avenant's company, was made as Ianthe, in the "Siege of Rhodes," on the opening of his new theatre in Lincoln's-inn-fields, in April, 1662 [should be June, 1661]. She played Ophelia soon afterwards, and that part being followed by Shakspeare's Juliet, evinces the consideration in which her services were held. [About] 1663, she married Mr. Betterton, and not in 1670, as it is erroneously mentioned in the "Biographia Dramatica," and other worthless compilations.[254]

The principal characters sustained by Mrs. Betterton, were Queen Catharine, in "Henry the Eighth;" the Duchess of Malfy; the Amorous Widow; those enumerated in the text, and many others, not less remarkable for their importance than their variety. On the death of her husband, in April, 1710, she was so strongly affected by that event, as to lose her senses, which were recovered, however, a short time previous to her own decease. Mr. Cibber may be right in stating that she only enjoyed the bounty of her royal mistress for about half a year; but, in that case, the pension could not have been granted directly he died, as we find that Mrs. Betterton was alive on the 4th of June, 1711, more than thirteen months after, and had the play of "Sir Fopling Flutter," performed at Drury-lane for her benefit. Mrs. Betterton, though prevented from performing, by age and infirmity, enjoyed a sinecure situation in Drury-lane theatre, till she withdrew from it, in 1709, and was paid at the rate of [one pound] a-week. The "Biographia Britannica" says she survived her husband eighteen months, but the precise date of her decease has never been discovered. [Mrs. Betterton made a will on 10th March, 1712. In all probability Bellchambers is right in supposing that the annuity was not granted till some time after her husband's death.]

Benjamin Johnson.

This excellent actor, who was familiarly known by the appellation of his great namesake, Ben Jonson, came into the Theatre Royal, from an itinerant company, as Mr. Cibber relates, about the year 1695. He was bred a sign painter, but took more pleasure in hearing the actors, than in handling his pencil or spreading his colours, and, as he used to say in his merry mood, left the saint's occupation at last to take that of the sinner.

Johnson's merit was evinced as Sir William Wisewould, in Cibber's comedy of "Love's Last Shift," 4to, 1696; but I find him first mentioned by Downes, for Justice Wary, in Caryl's "Sir Salomon" [about 1704 or 1705]; the old prompter, in a species of postscript to his valuable tract, then terms him "a true copy of Mr. Underhill," and instances his Morose, Corbaccio, and Hothead, as very admirable efforts. Johnson passed over to the management of old Swiney, in 1706, with other members of Betterton's company, and established a very high reputation by his chaste and studied manner of acting. When Rich, in 1714, opened his new theatre in Lincoln's-inn-fields, Booth, Wilks, and Cibber, the managers of Drury-lane, solicitous to retain in their service comedians of merit, paid a particular respect to Johnson, by investing him with such parts of Dogget, who had taken leave of them, as were adapted to his powers. Here he continued with fame and profit, till August, 1742, when he expired in the seventy-seventh year of his age. Mr. Davies, who appears to have been familiar with his excellencies, has given a description of Johnson, which, for its evident taste and candour, I shall do myself the pleasure to transcribe.

"That chaste copier of nature, Ben Johnson, the comedian, for above forty years, gave a true picture of an arch clown in the Grave-digger. His jokes and repartees had a strong effect from his seeming insensibility of their force. His large, speaking, blue eyes he fixed steadily on the person to whom he spoke, and was never known to have wandered from the stage to any part of the theatre."—"Dram. Misc.," iii. 140.

William Bullock.

This excellent actor came to London, as we see, about 1695, deriving his engagement from the distress in which Drury-lane theatre was involved by the desertion of Betterton, and other principal performers. He quitted this establishment in 1714, owing, as Mr. Cibber insinuates, to the ungovernable temper of Wilks; and passed over to John Rich, at the opening of Lincoln's-inn-fields. He is first mentioned by Downes, for the Host, in Shakspeare's "Merry Wives of Windsor" [about 1704 or 1705], and appears to be pointed at in Dennis's "Epistle Dedicatory" to the "Comical Gallant," where the irascible writer thus addresses the Hon. George Granville:—

"Falstaff's part, which you know to be the principal one of the play, and that which on all the rest depends, was by no means acted to the satisfaction of the audience, upon which several fell from disliking the action, to disapproving the play." [As noted before, p. 252, Bullock was probably not the actor aimed at.]

This piece was printed in 1702, as acted "at the Theatre Royal in Drury-lane;" with a list of the dramatis personæ, but the names of the actors not annexed. Bullock, however, sustained the part of Sir Tunbelly Clumsy, in Vanbrugh's "Relapse," which had been previously performed under the same auspices, and from its nature, most probably by the same actor.

William Bullock was a comedian of great glee and much vivacity, and in his person large, with a lively countenance, full of humourous information. Steele, in the "Tatler," with his usual kind sensibility, very often adverts to Bullock's faculty of exciting amusement, but sometimes censures his habit of interpolation.[255] In Gildon's "Comparison between the Two Stages," 1702 [p. 199], he is termed the "best comedian since Nokes and Leigh, and a fellow that has a very humble opinion of himself." Bullock's abilities have been ratified by the sanction of Macklin, who denominated him a true theatrical genius; and Mr. Davies saw him act several parts with great applause, and particularly the Spanish Friar, when beyond the age of eighty. He died on the 18th of June, 1733. [Genest, iii. 593, points out that Bullock was acting in 1739.]

John Mills.

Our first notice of this actor is found in the "Roscius Anglicanus," where Downes, who seems anxious to dispatch his subject, says summarily that "he excels in tragedy," but without making the remotest allusion to any characters in which his talent had been displayed.

John Mills the elder was, in person, inclined to the athletic size; his features were large, though not expressive; his voice was full, but not flexible; and his deportment was manly, without being graceful or majestic. He was considered one of the most useful actors that ever served in a theatre, but though invested by the patronage of Wilks with many parts of the highest order, he had no pretensions to quit the secondary line in which he ought to have been placed. Steele[256] taxes him very broadly with a want of "sentiment," and insinuates that by making gesture too much his study, he neglected the better attributes of his art.

On the death of Betterton, or soon after, Wilks, who took upon himself to regulate the theatrical cast, gave Macbeth, with great partiality, to Mills, while Booth and Powell were condemned to represent the inferior parts of Banquo and Lenox. Mills, though he spoke the celebrated soliloquy on time,—

To-morrow, and to-morrow, etc.,

with propriety, feeling, and effect, wanted genius to realise the turbulent scenes in which this character abounds. So much, indeed, was his deficiency perceived, that the indignation of a country gentleman broke out one night, during the performance of this play, in a very odd manner. The 'squire, after having been heartily tired with Mills, on the appearance of his old companion, Powell, in the fourth act, exclaimed, loud enough to be heard by the audience, "For God's sake, George, give us a speech, and let me go home."[257]

I recollect an incident of the same sort occurring at Bristol, where a very indifferent actor, declaimed so long and to such little purpose, that an honest farmer, who sat in the pit, started up with evident signs of disgust, and waving his hand, to motion the speaker off, cried out, "Tak' un away, tak' un away, and let's have another."

One of the best parts sustained by Mills, was that of Pierre, which he acted so much to the taste of the public, that the applause it produced him exceeded all that was bestowed upon his best efforts in every thing else. He also acted Ventidius with the true spirit of a rough and generous old soldier, and in Bajazet, by the aid of his strong, deep, melodious voice, he displayed more than ordinary power.

It is supposed that Mills died in [December], 1736, respected by the public as a decent actor, and beloved by his friends as a worthy man.

Theophilus Keen.

Theophilus Keen received his first instructions in acting from Mr. Ashbury, of the Dublin theatre, in which he made his appearance about the year 1695. He most probably came into the Drury-lane company with Johnson and others, when Rich had beaten up for recruits. On the opening of the new house in Lincoln's Inn Fields, he went over to it, and, according to Chetwood, had a share not only of the management, but in the profit and loss, which latter speculation proved so disastrous to him, that he died in the year 1719, of a broken heart. He was buried in the church of St. Clement-Danes, and so much does he seem to have been respected, that more than two hundred persons in deep mourning, attended his funeral.

The influence he possessed in the theatre sometimes led him to assume such parts as Edgar, Oroonoko, and Essex, while his excellence lay in Clytus, and characters of a similar cast. His figure and voice, though neither elegant nor soft, were good, and his action was so complete, that it obtained for him the epithet of majestic, and when he spoke those lines of the King, in "Hamlet," where he descants upon the dignity that "doth hedge" a monarch, his look and whole deportment were so commanding, that the audience accompanied them always with the loudest applause.

Mrs. Mary Porter.

This valuable and respected actress, who was not only an honour to the stage, but an ornament to human nature, obtained the notice of Betterton by performing, when a child, the Genius of Britain, in a Lord Mayor's pageant, during the reign of Charles or James the Second. It was the custom for fruit-women in the theatre formerly to stand fronting the pit, with their backs to the stage, and their oranges, &c. covered with vine leaves, under one of which Betterton threatened to put his little pupil, who was extremely diminutive, if she did not speak and act as he would have her.

Mrs. Porter was the genuine successor of Mrs. Barry, and had an elevated consequence in her manner, which has seldom been equalled. One of her greatest parts was Shakspeare's Queen Catherine, in which her sensibility and intelligence, her graceful elocution and dignified behaviour, commanded applause and attention in passages of little importance. When the scene was not agitated by passion, to the general spectator she failed in communicating equal pleasure; her recitation of fact or sentiment being so modulated as to resemble musical cadence rather than speaking. Where passion, however, predominated, she exerted her powers to a supreme degree, and exhibited that enthusiastic ardour which filled her audience with animation, astonishment, and delight.

The dislocation of her thigh-bone, in the summer of 1731, was attended with a circumstance that deserves to be recorded. She lived at Heywood-hill, near Hendon, and, after the play, went home every night in a one-horse chaise, prepared to defend herself against robbery, with a brace of pistols. She was stopped on one of those occasions by a highwayman, who demanded her money, and having the courage to level one of her pistols at him, the assailant, who was probably unfurnished with a similar weapon, assured her that he was no common thief, and had been driven to his present course by the wants of a starving family. He told her, at the same time, where he lived, and urged his distresses with such earnestness, that she spared him all the money in her purse, which was about ten guineas. The man left her, on which she gave a lash to the horse, who suddenly started out of the track, overturned her vehicle, and caused the accident already related. Let it be remembered to this good woman's credit, that notwithstanding the pain and loss to which he had, innocently, subjected her, she made strict inquiry into the highwayman's character, and finding that he had told the truth, she raised about sixty pounds among her acquaintance, and sent it, without delay, to the relief of his wretched family. There is a romantic generosity in this deed that captivates me more than its absolute justice.

About the year 1738, Mrs. Porter returned to the stage, and acted many of her principal characters, with much vigour and great applause, though labouring under advanced age and unconquerable infirmity. She had the misfortune to outlive an annuity upon which she depended, and died in narrow circumstances, about the year 1762. [She published Lord Cornbury's comedy of "The Mistakes," in 1758, by which she realized a large sum of money.]

Though her voice was harsh and unpleasing, she surmounted its defects by her exquisite judgment. In person she was tall and well shaped; her complexion was fair; and her features, though not handsome, were made susceptible of all that strong feeling could desire to convey. Her deportment was easy, and her action unaffected; and the testimony upon which the merits of Mrs. Porter are placed, entitles us to rank her in the very first class of theatrical performers.

Mrs. Anne Oldfield.

Anne Oldfield was born in the year 1683, and would have possessed a tolerable fortune, had not her father, a captain in the army, expended it at a very early period. In consequence of this deprivation, she went to reside with her aunt, who kept the Mitre tavern, in St. James's-market, where Farquhar, the dramatist, one day heard her reading a few passages from Beaumont and Fletcher's "Scornful Lady," in which she manifested such spirit, ease, and humour, that being struck by her evident advantages for the stage, he framed an excuse to enter the room, a little parlour behind the bar, in which Miss Nancy was sitting.

Vanbrugh, who frequented the house, and was known to Mrs. Oldfield's mother, received a communication from that lady of the very great warmth with which his friend Farquhar had extolled her daughter's abilities. Vanbrugh, who seems to have been a zealous and sincere friend to all by whom his assistance was courted, immediately addressed himself to our heroine, and having ascertained that her fancy tended to parts of a sprightly nature, he recommended her to Rich, the manager of Drury-lane, by whom she was immediately engaged, at a salary of fifteen shillings per week. Her qualifications soon rendered her conspicuous among the young actresses of that time, and a man of rank being pleased to express himself in her favour, Mr. Rich increased her weekly terms to the sum of twenty shillings.

The rise of Mrs. Oldfield was gradual but secure, and soon after the death of Mrs. Verbruggen she succeeded to the line of comic parts so happily held by that popular actress. Her Lady Betty Modish, in 1704, before which she was little known, and barely suffered, discovered accomplishments the public were not apprised of, and rendered her one of the greatest favourites upon whom their sanction had ever been bestowed. She was tall, genteel, and well shaped; her pleasing and expressive features were enlivened by large speaking eyes, which, in some particular comic situations, were kept half shut, especially when she intended to realise some brilliant idea; in sprightliness of air, and elegance of manner, she excelled all actresses; and was greatly superior in the strength, compass, and harmony of her voice.

Though highly appreciated as a tragic performer, Mrs. Oldfield, in the full round of glory, used to slight her best personations of that sort, and would often say, "I hate to have a page dragging my train about. Why don't they give Porter those parts? She can put on a better tragedy face than I can." The constant applause by which she was followed in characters of this description, so far reconciled her to Melpomene, that the last new one in which she appeared was Thomson's Sophonisba. Upon her action and deportment the author has expressed himself with great ardour in the following lines:

Mrs. Oldfield, in the character of Sophonisba, has excelled what, even in the fondness of an author, I could either wish or imagine. The grace, dignity, and happy variety, of her action have been universally applauded, and are truly admirable.

Thomson's praise, indeed, is not more liberal than just, for we learn, that in reply to some degrading expression of Massinissa, relating to Carthage, she uttered the following line,—

Not one base word of Carthage, for thy soul!—

with such grandeur of port, a look so tremendous, and in a voice so powerful, that it is said she even astonished Wilks, her Massinissa; it is certain the audience were struck, and expressed their feelings by the most uncommon applause.[258] Testimony like this is sufficient to protect her claim to tragic excellence, eclipsed as it certainly is by the superiority of her comic reputation.

Lady Townly has been universally adduced as her ne plus ultra in acting. She slided so gracefully into the foibles, and displayed so humourously the excesses, of a fine woman too sensible of her charms, too confident in her strength, and led away by her pleasures, that no succeeding Lady Townly arrived at her many distinguished excellencies in the character. By being a welcome and constant visitor to families of distinction, Mrs. Oldfield acquired a graceful carriage in representing women of high rank, and expressed their sentiments in a manner so easy, natural, and flowing, that they appeared to be of her own genuine utterance. Notwithstanding her amorous connexions[259] were publicly known, she was invited to the houses of women of fashion, as conspicuous for unblemished character as elevated rank. Even the royal family did not disdain to see Mrs. Oldfield at their levees. George the Second and Queen Caroline, when Prince and Princess of Wales, often condescended to converse with her. One day the Princess told Mrs. Oldfield, she had heard that General Churchill and she were married: "So it is said, may it please your royal highness," replied Mrs. Oldfield, "but we have not owned it yet."

In private, Mrs. Oldfield was generous, humane, witty, and well-bred. Though she disliked the man, and disapproved of his conduct, yet the misfortunes of Savage recommended him to her pity, and she often relieved him by a handsome donation. Her influence with Walpole contributed to procure his pardon when convicted, on false evidence, of murder, and adjudged to death, a fate which his most unnatural mother did her utmost to enforce. It is not true that she either allowed this poet an annuity, or admitted his conversation,[260] but still the benefits she did confer upon him were quite numerous enough to warrant his celebration of her memory. The goodness of her heart, and the splendour of her talents, were topics upon which Savage might have ventured to insist, without endangering his piety or wounding his pride. Dr. Johnson has sanctioned the silence of this author,[261] on the grounds of Mrs. Oldfield's condition; but that dogmatic man would have shown a truer taste for benevolence, had he recommended the most ardent devotion to individuals of any stamp, who were actuated by so glorious a principle.

Pope, who seems to have persecuted the name of player with a malignancy unworthy of his genius, has stigmatised the conversation of Mrs. Oldfield by the word "Oldfieldismos," which he printed in Greek characters; nor can there be a doubt that he meant her by the dying coquette, in one of his epistles. That Mrs. Oldfield was touched by the vanity of weak minds, and drew an absurd importance from the popularity of her low station, may be fairly inferred, and might have been fairly derided;[262] but Pope, with his usual want of candour, has appealed to less tangible failings, and tried, as in most cases, much more to ridicule the person than correct the fault. I do not dispute the brilliancy of his sarcasm, but I would rather hail the rigour of his justice.[263]

Mrs. Oldfield died on the 23d of October, 1730, most sincerely lamented by those to whom her general value was not unknown.

---

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.