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Enchanted Beauty, The, 9.
Enchanted Horse, The, 9.
Farces, Old Time, vogue and
sources, 13; merits and faults,
14, 15; theory of, 14; great
actors in, 15; authors of, 1 5,
16;
16.
best examples of, 13, 15,
Fechter, Charles, 47 ; career as
an actor, 11 3-1 17; appearance
and equipment, 117-
120; in Hamlet, 116, 117,
120, 121 ; in Ruy Bias, 121-
123; in The Lady of Lyons,
123-125; as a lover, 124;
limitations of, 125, 126; mistake
as to a text of Hamlet,
126, 127 ; decadence and
death, 128, 129.
Fitch, Clyde, 190.
Foregone Conclusion, A, 181,
182.
Forty Thieves, The, 9, 10.
Gaszynski, Miss, 12.
Gillette, William, 190.
Globe Theatre, 50, 129.
Greek Drama, 46.
Griffiths, G. H., 34.
Hardenbergh, F., 52.
Harris, Miss, 34.
Home, Robertson's, 38.
Howard Athenaeum, 18.
Howard, Bronson, 48, 190.
Howells, WilHam D., 181.
INDEX
his Mathias, 210, 211 ; his
Louis XL, 212-214; his Dubosc,
212, 214, 215^; his
Charles I., 215, 224, 225 ; his
Shylock, 225 ; his Hamlet,
217-220, 225-227 ; his dealing
with the supernatural,
221; his limitations, 221-225;
critical estimate of, 227-229;
his Dr. Primrose, 231, 232;
his Mephistopheles,23i, 232;
his Robespierre, 231, 232; his
Macbeth, 232-236.
James, Louis, 179, 180.
Janauschek, Madame, 48, iSo,
181.
Jefferson, Joseph, 13, 48, 64.
Josephs, Harry, 34.
Keach, Mr., 52, 58.
Kemble, Mrs., 177, 178.
Lathrop, George P., 183.
Leclercq, Miss Carlotta, 47,
127, 128.
Le Moyne, W. J., 34, 49.
Little Em'ly, Dickens's, 48, 49.
Mathews, Charles James, 47,
77, 79-81-
Morant, Miss Fanny, 28, 34.
Morris Bros., Pell & Trowbridge,
17.
Morton, John Madison, 15.
Murdock, H. S., 34.
Negro Minstrelsy, 17.
her ca-
Ici On Parle Fran9ais, 16. Neilson, Adelaide, 48 ;
Introduction to Reminiscences, reer as an actress, 1 59-161;
1-4.
her progress as an artist, 161,
Irving, Henry, 194-197 ; career 162, 169 ; her Juliet, 163,
in America, 198 peculiari-
;
ties and mannerisms, 198-
164 ; her Rosalind, 164, 165 ;
her Imogen, 165-167 ; her
203 ; his personality, 204- personality, 167, 168 ; her Vi-
207; his intensity, 208-211 ; ola, 170-172 ; plastic beauty
his artistic sense, 212-215; of, 168, 169; relation with
his intellectuality, 215-219; the Ideal, 171, 172.
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