Chapter IX (2)

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 Phoenix), 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.