Part 21

Matthews, Brander, & Laurence Hutton (Editors), _Actors and Actresses of Great Britain and the United States_, 5 vols. New York, 1886.

McKay, Frederic E., & Charles E. L. Wingate (Editors), _Famous American Actors of To-day_, 2 vols. New York, 1896.

McLeod, Addison, _Plays and Players in Modern Italy_, London, 1912.

Modjeska, Helena, _Memories and Impressions_, New York, 1910.

Robins, Edward, _Echoes of the Playhouse_, New York, 1895.

Robins, Edward, _Twelve Great Actresses_, New York, 1900.

Ruhl, Arthur, _Second Nights_, New York, 1914.

Scott, Clement, _Ellen Terry_, New York, 1900.

Shaw, George Bernard, _Dramatic Opinions and Essays_, 2 vols. New York, 1906.

Simpson, Harold, & Mrs. Charles Braun, _A Century of Famous Actresses_, London, 1913.

Strang, Lewis C., _Famous Actresses of the Day in America_, 2 series. Boston, 1899, 1902.

Strang, Lewis C., _Players and Plays of the Last Quarter Century_, 2 vols. Boston, 1903.

Symons, Arthur, _Plays, Acting and Music_, London, 1903.

Terry, Ellen, _The Story of My Life_, New York, 1908.

Walkley, A. B., _Playhouse Impressions_, London, 1892.

Winter, William, _Other Days_, New York, 1908.

Winter, William, _Shakespeare on the Stage_, 2 series. New York, 1911, 1915.

Winter, William, _The Wallet of Time_, 2 vols. New York, 1913.

INDEX

Abbey, Henry E., 26, 29 note, 246, 247.

Abington, Frances, iii.

Adams, Annie, 325.

Adams, Maude, 324–46; parentage and birth, 325; career as a child actress, 325–29; goes to New York, 329; with E. H. Sothern, 330; _A Midnight Bell_, 331; in Charles Frohman’s company, 331–2; John Drew’s leading woman, 332–34; becomes a “star,” 334; _The Little Minister_, 335; _Romeo and Juliet_, 336; _L’Aiglon_, 337; _Peter Pan_, 338–9; _What Every Woman Knows_, 339–40; _Chanticler_, 340–41; _The Maid of Orleans_, 341–2; Miss Adams and Barrie, 342; her personality, 343–6; her _repertoire_, 333 (note), 335 (note); 347.

Agar, Marie, 13.

Aguglia, Mimi, 366.

_Aiglon, L’_, 337.

Aldrich, Mildred, 271 (note).

Alexander, George, 376.

Alexandra, Queen, 49.

Allen, Viola, 362 (note).

Allgood, Sara, 366.

Alma-Tadema, Laurence, 87, 248.

_Ambigu_, The, 129–30.

Anderson, Mary, 230–264; parentage, 230; birth, 231; girlhood and schooling, 232–35; decides on a stage career, 236; first appearance, 237; early trials, 239–40; acts in eastern cities, 242; goes abroad, 244; her _repertoire_, 245 (note); acts in London, 246–7; her friendships, 248; a London ovation, 252; distaste for the theater, 256–7; last appearance on the stage, 268–9; marriage, 260; her acting, 261–2; her personality, 262–3; 269 (note).

Angelo, Mlle., 133.

Anglin, Margaret, 354–6.

Antoine, André, 153.

Archer, William, 157, 184 (note), 202, 221 and note, 283.

Arliss, George, 286.

Arnold, Matthew, 45 (note).

Arthur, Julia, 362 (note).

Asquith, Herbert, 318.

Augier, Emile, 139, 150.

Baker, George Pierce, 265.

Bancroft, Squire B., 109, 111, 376.

Barrett, Lawrence, 208, 242, 247.

Barrie, James M., 334, 342.

Barron Charles, 308.

Barry, Elizabeth, iii.

Barrymore, Ethel, 350–53.

Barrymore, Maurice, 286, 350.

Bartet, Jeanne, 149, 180 (note).

Bates, Blanche, 362 (note).

Beauplan, Victor, 136.

Beauregard, General, 240.

_Becky Sharp_, 285.

Belasco, David, 327–8.

Bennett, Arnold, 166, 168.

Bernhardt, Maurice, 13 note, 32 note, 34.

Bernhardt Sarah, iv, 3–51; birth, 5; schooling, 6–7; at the _Conservatoire_, 8–9; her motto, 9; _début_ at the _Comédie Française_, 10; at the _Odéon_, 11–16; hospital services during War of 1870, 13; returns to the _Comédie_, 16; eccentricities, 19; her sculpture, 19, 22; acts in London, 20–23; leaves the _Comédie_, 24; first American appearance, 28; marriage, 31; world-wide tours, 32; becomes a manager, 33; the “Marie Colombier” and Mme. Noirmont scandals, 34; the _Memoirs_, 35; her art, 36–41, 44–46; _fêtes_ in her honor, 41, 43; Sarah the worker, 4, 42; professor at the _Conservatoire_, 43; admitted to Legion of Honor, 43; loses her leg, 47; _repertoire_, 12, 18, 28, 33 (notes); 160, 171, 175, 183, 184 (note), 186–92, 199, 201, 224, 226, 244.

Berton, Pierre, 133 (note), 151.

Bertrand, Eugène, 151.

Besnard, Paul, 169.

Betterton, Mrs., iii.

Bingham, Amelia, 362 (note).

Black, William, 248.

Bloodgood, Clara, 362 (note).

Bonnetain, Paul, 34 (note).

Booth, Edwin, 77 and note, 208, 234, 240, 242, 247, 347.

Boucicault, Dion, 242.

Bracegirdle, Anne, iii, 373, 375 and note.

Brady, William A., 359.

Brand, Thomas, 369.

Brandes, George, 87.

Brougham, John, 208.

Browning, Robert, 248.

Burke, Billie, 351.

Burne-Jones, Edward, 87.

Byron, Arthur, 205 (note).

Byron, Oliver Doud, 205.

Campbell, Mrs. Patrick, 366.

_Captain Brassbound’s Conversion_, 121–122.

Carew, James, 123 (note).

Carter, Mrs. Leslie, 362 (note).

Carré, Albert, 138.

Caruso, Enrico, 123.

Cayvan, Georgia, 89 (note).

_Chanticler_, 340.

Charpentier, Gustave, 41.

Chartran, T., 169.

Chartres, Mme. Vivanti, 194 (note).

Chaumont, Céline, 160.

Cheatham, Kitty, 214.

Checchi, Signor, 175.

Chetwood, Wm., 371 (note).

Chilly, M., 11, 12.

Chlapowski, Count Karol Bozenta, 67, 69, 72, 75, 76, 79, 82–3 (note), 90 (note).

Coghlan, Charles, 109, 111.

Coghlan, Rose, 362 (note).

Coleman, Mrs. Edw., 370 (note).

Collins, Wilkie, 248.

Colombier, Marie, 34.

_Comédie Française_, profit-sharing system, 20 (note); see Bernhardt and Réjane.

Conquest, Ida, 362 (note).

Cook, Dutton, 96–7, 99.

Coppée, François, 41, 42.

Coquelin, B.-C., 23, 41, 193.

Corbin, John, 45, 314.

Corey, Mrs., 370.

Cowl, Jane, 362, 365.

Crabtree, Lotta, 228.

Craig, Ailsa, 106.

Craig, Gordon, 106, 121.

Crehan, Kate, 205 and note.

Crews, Laura Hope, 359, 360–1.

Crosman, Henrietta, 362.

Crosnier, Mme., 153.

Cushman, Charlotte, iv, 235, 239 (note), 347.

Daly, Arnold, 350.

Daly, Augustin, 207, 208, 214–15 and note, 219–20, 222–27.

Daly’s Theatre, London, 223.

Damala, M., 31.

d’Annunzio, Gabriel, 197, 276.

d’Aurevilly, B., 150.

D’Avenant, William, 370 and note, 371.

Davenport, Mrs., 370.

Davenport, E. L., 270.

Davenport, Fanny, 208.

Davey, Thomas, 267.

David, Félicien, 132.

Davies, Acton, 328, 336 (note).

Dean, Frederic, 344 (note).

de Banville, Theodore, 36.

Defère, M., 150.

de Lesseps, F., 20 (note).

de Navarro, Antonio F., 260.

de Reszke, Eduard, 89.

de Reszke, Jan, 89.

de Saint-Victor, Paul, 17.

Deschanel, Paul, 49.

Desclée, Aimée Olympe, 137 and note, 222 (note).

Devrient, Fritz, 58.

Dillingham, C. B., 313.

_Doll’s House, A_, 280.

Doran, Dr. John, 368.

Dornis, Jean, 174 (note).

Doro, Marie, 351.

Doucet, C., 9 (note).

Dow, Ada (Mrs. Currier), 301, 302 and note, 306.

Drew, John, 206, 214, 226, 332–4, 350.

Drew, Mrs. John, 204 (note), 206.

Drew-Barrymore, Georgie, 350 (note).

Dumas, Alexandre, _fils_, 175–7, 185, 188–9.

Dumas, Alexandre, _père_, 13 (note).

Dunn, Emma, 362, 365.

Duquesnel, M., 11, 16, 142, 143.

Duse, Eleonora, iv, 123, 171–202; birth, 171; family, 172; childhood, 173–4; first important appearances, 174, 175; marriage, 175; Duse and Dumas, 176; foreign appearances, 177–8; acts in America, 178, 183; her art, 179–81, 199–202; acts in London, 183; acts in Paris, 184–93; the Dumas memorial performance, 188–9; her personality, 194–6; the d’Annuzio alliance, 197; her _repertoire_, 182 (note), 197 (note); 265 (note).

Eaton, Walter Prichard, 280, 352, 355, 361.

Eberle, Robert, 344 (note).

Echegaray, Jose, 276.

Edison, Thomas A., 29.

Elliott, Gertrude, 366.

Elliott, Maxine, 362 (note).

Emmet, J. K., 270, 326.

Easier, Jane, 129.

Eugénie, former Empress, 49.

Faversham, William, 336, 350.

Fenwick, Irene, 363, 365.

Ferguson, Elsie, 302, 364.

Field, Eugene, 87.

Filon, Augustin, 156 and note, 159.

Fiske, Harrison Grey, 269, 289–90, 292.

Fiske, Mrs. Minnie Maddern, 181 (note); 265–298; speaks at Harvard, 265; her significance, 266; parentage, 267; birth, 268; career as a child actress, 268–71; marriage and retirement, 272; Mrs. Fiske and the modern spirit, 273; her _repertoire_, 270 (note), 274 (note); her art, 275–87; encouragement of native-made drama, 288–9; Mr. Fiske’s share, 289–90; the theatrical syndicate, 290–1; as a stage director, 291; as a playwright, 292; outside interests, 293; her personality, 294–6; 357.

Forbes, Mary, 366.

Forbes-Robertson, J., 255, 376.

Frohman, Charles, 313, 331–2, 350.

Frohman, Daniel, 330.

Fulda, Ludwig, 276.

Fyvie, John, 373 and (note).

Garden, Mary, 279.

Genée, Adeline, 123.

George, Grace, 359–60.

Gilbert, Mrs. James, 214, 226.

Gilbert, W. S., 248, 255, 262.

Gilder, Richard Watson, 87.

Gillette, William, 350.

Gladstone, Wm. E., 248.

Glendinning, Ernest, 350.

Gosse, Edmund, 248.

Got, François, 20, 27, 187.

Grant, General U. S., 87, 241.

Griffin, Dr. Hamilton, 232, 236, 237.

Griffith, Frank Carlos, 269 (note), 271 (note), 293 (note), 295 (note), 296 (note).

Grille-d’Egout, Mlle., 154.

Gwynn, Nell, 370.

Hackett, James K., 336, 350.

Hale, Philip, 49.

Halévy, L., 155, 187.

Harancourt, Edmond, 42.

Hare, John, 111, 376.

Harned, Virginia, 330, 362 (note).

_Hedda Gabler_, 279, 280.

Hedman, Martha, 356, 362, 365.

Herne, James A., 327–8.

Hichens, Robert, 260.

_High Road, The_, 289.

Hill, Barton, 80 and note.

Hollis Street Theatre, Boston, 225 (note), 309.

Hood, General, 240.

Howells, William Dean, 284, 314 (note).

Hughes, Margaret, 370.

Hugo, Victor, 14 and note, 249.

Huneker, James, 357.

Huret, Jules, 7 (note), 128 (note), 143, 153, 168, 169, 192.

Hyde, James Hazen, 165.

Ibsen, Henrik, 273, 276–7, 279–81, 357.

Illington, Margaret, 362, 363.

Ingersoll, Robert G., 306–7, and note.

Irish national theatre, 103.

Irving, Henry, 105, 112–3, 115, 117, 118, 120, 215 (note), 247, 351, 376.

Irving, Isabel, 214, 362 (note).

Irwin, May, 362 (note).

James, Henry, 21.

Janauschek, Francesca, v, 347.

Janis, Elsie, 49 (note).

Jefferson, Joseph, 242, 270.

Johnson, Samuel, 373–4 and note.

Jones, Henry Arthur, 273.

Jordan, Dorothy, iii.

Jordan, Thomas, 370, 371 (note).

Jourdain, Frantz, 132.

Kalich, Bertha, 356, 366.

Kean, Charles, 95, 97, 101.

Keane, Doris, 362, 365.

Keene, Laura, 270.

Kelly, Charles; see Wardell.

Kelm, Joseph, 132.

Kemble, Frances Ann, iv, 256.

Kester, Paul, 292.

Killigrew, Thomas, 370, 371.

Kiskadden, James, 325.

Knipp, Mrs., 370.

_L’Aiglon_, 337.

Laurent, Marie, 129.

Lavedan, Henri, 41.

_Leah Kleschna_, 287.

Legault, Mlle., 135.

_Legend of Leonora, The_, 343.

Legouvé, Ernest, 136.

Lemaître, Frédérick, 129.

Lemaître, Jules, 36, 41, 50, 155, 187.

Levick, Milnes, 237.

Lewis, James, 214, 226.

_Little Minister, The_, 334–5.

Long, John Luther, 288, 298.

Longfellow, Henry Wadsworth, 87–88, 242.

Lowell, James Russell, 87, 248, 249, 255.

Lyceum Theatre, 113–114.

Lynch, Arthur, 210, 218 (note).

Lytton, Lord, 248.

Macauley’s Theatre, Louisville, 207.

McCarthy, Justin H., 87.

McCarthy, Lillah, 356, 366.

McCracken, Elizabeth, 321, 323.

McCullough, John, 79–80, 81 (note), 208, 236, 247, 270.

MacKaye, Percy, 124 (note).

McLellan, C. M. S., 215 (note), 288, 308.

Macready, William C., 98 (note).

McWade, Robert, 301.

_Madame Sans-Gêne_, 155–6, 158, 160, 162 and note.

Maeterlinck, Maurice, 277.

Magnus, Baron, 27.

_Maid of Orleans, The_, 341.

Manchester Players, The, 103.

_Man of Destiny, The_, 122.

Mannering, Mary, 362 (note).

Mansfield, Richard, 225 (note).

Mantell, Robert, 350.

Mapes, Victor, 189 (note).

Marlowe, Julia, 89 (note), 299–323; birth, 299, 305 (note); girlhood, 300; first appearances, 300; course of training, 302–4; returns to stage, 305; early uncertainties, 306–8; first triumph, 309; marriage to Robert Taber, 311; _repertoire_, 311 (note); the Julia Marlowe Taber period, 311–3; the period of the commercial plays, 313–6; the “Sothern and Marlowe” period, 316–21; acts in London, 318; at the New Theatre, 319; her personality, 321–3; 347.

Marshall, Anne, 370.

Martin, Frederick Roy, 164.

_Mary of Magdala_, 287.

Matthison, Edith Wynne, 356, 358–9.

Maurice, Paul, 15 (note).

Maxwell, Perriton, 330 (notes).

Mayer, Gaston, 168 (note).

Meilhac, Henri, 137, 153, 170.

Mendès, Catulle, 38 (note), 42, 187.

Mendès, Catulle, Mme. Jane, 47.

Meunier, Dauphin, 126, 140, 154, 155.

_Mid-Channel_, 352.

Miles, Robt. E. J., 301, 305.

Miller, Henry, 350.

Mitchell, Langdon, 285.

Modjeska, Helena, 52–92; birth, 52; childhood, 52–58; marriage, 59; first appearance, 60; life as a strolling player, 61; joins company at Lemberg, 63; in stock company at Czerniowce, 63; in company of Cracow theatre, 64–69; goes to Imperial Theatre at Warsaw, 70; goes to America, 76; the farming experiment in California, 78; first appearance in America, 81; _repertoire_, 82 (note); her personality, 83; her art 85–87; her friendships, 87; her address at the Chicago Exposition, 89; testimonial of 1905, 90; death, 92; 347.

Modrzejewski, Gustave, 56, 57, 59, 61, 64.

Mohun, Lord, 373.

Morris, Clara, 89 (note), 242, 362 (note).

Mountford, William, 373.

Naptal-Arnault, Mme., 128 (note).

Nazimova, Alla, 356–8.

Neilson, Adelaide, v, 208, 219.

Neilson, Julia, 94 (note).

Neilson-Terry, Phyllis, 94 (note), 366.

Newman, Cardinal, 248.

New Theatre, The, 124 (note), 316, 319, 359.

_New York Idea, The_, 283–284 (note).

Noirmont, Mme., 35.

Offenbach, J., 145.

Oldfield, Anne, iii.

_Olivia_, 111–2.

O’Neil, Nance, 358, 362.

O’Neill, James, 292.

Orleneff, Paul, 356.

Owen, William, 308.

Paderewski, Ignace J., 88, 90, 91 (note).

Page, Adèle, 129.

Parker, H. T., 279, 280.

Parker, Louis N., 334.

Peabody, Josephine Preston, 124 (note).

Pepys, Samuel, 370, 371.

Perrin, Emile, 17, 19, 22, 24, 27.

_Peter Pan_, 338–9.

_Pillars of Society_, 279, 282.

Pinero, A. W., 273, 276, 376.

Poincairé, Raymond, 43.

Porel, D. P., 152, 166.

Power, Tyrone, 286, 287.

Prince of Wales’s Theatre, 109.

Princess’s Theatre, 95.

Provost, Jean, 9 (note).

Prynne, William, 369.

Rachel (Rachel Felix), iv, 45 (note), 150.

Raymond, John T., 208.

Reade, Charles, 104, 108, 116.

Reed, Florence, 363, 365.

Regnier, F. J., 9 (note), 133, 134, 135 and note, 136, 138, 140, 144, 145–9, 150, 151, 161.

Rehan, Ada, iii, 203–229; birth, 204; brought to America, 204; her family, 205; first appearance, 205; in various companies, 206–209; joins Augustin Daly, 209; her _repertoire_, 208 (note), 217 (note); her personality, 210–13; the Daly Company, 214; her acting, 217–21, 226; first plays in London, 221; becomes a “star,” 224; her last appearances, 227–8; 347.

Reicher, Hedwig, 356, 366.

Réjane, Gabrielle, 126–170; birth, 128; childhood, 128–131; at school, 131–133; enters the _Conservatoire_, 133; first public appearance, 138; joins the _Vaudeville_, 142; _repertoire_, 143–4 (note); correspondence with Regnier, 145–9; informal appearances, 150; joins the Variétés, 151; a typical first night, 152; _Madame Sans-Gêne_, 165; her personality, 126, 156, 168–70; her art, 158–160; appearances outside France, 160–1, 167; the American tours, 161; the Havana fiasco, 163–4; the Hyde dinner, 165; marriage, 166; the _Théâtre Réjane_, 166–7; 291.

Richepin, Jean, 34 (note), 35.

Richman, Charles, 228.

Riley, Josephine, 301.

Ristori, Adelaide, iv, 200, 244.

Robinson, Mary, iv.

Robson, Eleanor, 362 (note).

Rochefort, Henri, 187.

_Rosemary_, 334.

_Rosmersholm_, 281.

Rossi, Cesare, 175.

Rostand, Edmond, 3, 4 (note), 41, 42, 43, 49, 189.

Ruhl, Arthur, 357.

Russell, Annie, 362.

Russell, Hattie (Harriet Crehan), 205 (note).

_Salvation Nell_, 279, 288.

Salvini, Tommaso, 183, 200.

Samson, Joseph, 9 (note).

Sand, George, 13.

Sarcey, Francisque, 10 (note), 15, 17, 25, 36, 137, 140, 144, 150, 154, 155, 177, 187, 190, 192.

Sardou, Victorien, 25 (note), 41, 150, 155, 162, 223.

Saunderson, Mrs., 370.

Scott, Clement, 94, 106, 111, 112, 114, 221, 222 (note).

Scott, Sir Walter, 93.

Sembrich, Marcella, 91 (note).

Shannon, Effie, 362 (note).

Shaw, George Bernard, iii, 38, 113–4, 115, 117, 120, 121, 199, 225–7, 273.

Shaw, Mary, 308, 362 (note).

Sheldon, Edward, 288.

Sherman, General Wm. T., 87, 241.

Siddons, Sarah, iv, 374.

Sienkiewicz, Henryk, 75, 81.

Simon, Charles, 133.

Skinner, Otis, 226, 227, 350.

Sothern, E. A., 103, 118.

Sothern, E. H., 265, 316–20, 330, 350.

Stahl, Rose, 362.

Starr, Frances, 362, 365.

Stedman, E. C., 91, 92.

Stevens, Emily, 362, 364.

Stinson, Fred, 308, 312.

Stoddard, Lorimer, 284.

Sudermann, Hermann, 276.

Symons, Arthur, 159, 194, 318.

Synge, John M., iii.

Taber, Robert, 308, 311–2, 313 (note).

Tarasiewicz, Michael, 92.

Taylor, Laurette, 362, 366.

Tellegen, Lou, 350.

Tempest, Marie, 366.

Tennyson, Lord, 87, 223, 248, 256.

Terry, Beatrice, 94 (note).

Terry, Benjamin, 93, 94, 95, 96.

Terry, Charles, 94 and note.

Terry, Ellen, iii, 93–125; parentage, 93; family, 94–5; birth, 94; early training, 96, 99–100; first appearance, 96–8; a strolling player, 101; _Atar-Gull_, 102; at Bristol, 102–3; with the elder Sothern, 103; marriage and retirement, 103–4; returns to stage, 104; acts first with Irving, 105; second retirement, 106–8; returns to stage, 109; with S. B. Bancroft, 109–11; first plays Portia, 109; with John Hare, 111–12; _Olivia_, 111; becomes leading woman at the Lyceum, 112; the Irving _régime_, 113; her personality, 114, 118, 121; Bernard Shaw’s estimate, 113, 115, 117, 120; her art, 116; leaves Irving’s company, 121; the Terry Jubilee, 122; a lecturer on Shakespeare, 123–4; _repertoire_, 119 (note); 247.

Terry, Florence, 94, 95.

Terry, Fred, 94 and note.

Terry, George, 94 (note).

Terry, Kate, 94, 95, 101, 102.

Terry, Marion, 94, 95.

Terry, Minnie, 94 (note).

_Tess of the D’Urbervilles_, 284.

Theuriet, André, 41, 42.

Thierry, Edward, 135.

Thomas, Ambroise, 136.

Thompson, Vance, 157.

Tilden, Samuel J., 244 (note).

Tree, H. Beerbohm, 318, 376.

Vandenhoff, George, 236.

Varrey, Charles, 20 (note).

Verbruggen, Mrs., iii.

Victoria, Queen, of Spain, 49.

von Bülow, Hans, 87.

Walkley, A. B., 318, 319 (note).

Wallack, Lester, 355.

Walsh, Blanche, 362 (note).

Ward, Mrs. Humphrey, 248.

Wardell, Charles, 106, 123 (note).

Ware, Helen, 362, 365.

Warfield, David, 350.

Watterson, Henry, 87, 232 (note), 238 (note), 244 (note).

Watts, George Frederick, 87, 103–4, 248.

Western, Lucille, 270.

White, LeGrand, 272 (note).

Wilde, Oscar, 157, 273.

Wills, W. G., 112.

Wilson, Francis, 265.

Winter, William, 3, 26, 35, 37, 38, 44, 46, 85, 90 (note), 123, 165, 211, 212, 220 and note, 228, 238 (note), 242, 247, 251, 261, 313 (note), 315, 335, 338 and note, 340, 347.

Woffington, Margaret, iii.

Worthing, Frank, 360.

Wyndham, Charles, 376.

Young, Mary, 214 (note).

Zimmern, Helen, 196 (note).

FOOTNOTES

[1] See Appendix: _The First English Actresses_, and _The Change in the Actor’s Social Status_.

[2] For the lives of actresses of earlier days the reader is referred to the bibliography at the end of the volume. The outstanding names are: Elizabeth Barry, 1658–1713; Anne Bracegirdle, 1663–1748; Anne Oldfield, 1683–1730; Catherine Clive, 1711–1785; Hannah Pritchard, 1711–1768; Susannah Maria Cibber, 1714–1766; Margaret Woffington, 1720–1760; Mary Porter--d. 1765; George Anne Bellamy, 1731–1788; Frances Abington, 1737–1815; Sarah Siddons, 1755–1831; Mary Robinson (“Perdita”) 1758–1800; Dorothy Jordan, 1762–1816; Frances Anne Kemble, 1809–1893; Charlotte Cushman, 1816–1876; Helena Faucit, 1817–1898; Rachel Felix, 1821–1858; Adelaide Ristori, 1822–1906; Francesca Janauscheck, 1830–1904; Adelaide Neilson, 1846 (?)-1880.

Some of the names in this list are, of course, among the greatest in theatrical history. In Anne Bracegirdle and Elizabeth Barry the Restoration rejoiced in two actresses of the first order. “Bracey” was the Ada Rehan of her day, a blithe creature of comedy who seems to have possessed the temperament and the charms of the typical born actress. Cibber called her “the _Cara_, the Darling of the Theatre.” She excelled in the comedies of Congreve, but she was versatile, and played also in tragedy. Elizabeth Barry was England’s first great tragic actress. She was of the august, severe, _tragedienne_ type that was later exemplified in Siddons and Ristori, and that has nowadays, with the decline of the poetic drama, virtually disappeared. With these women, and with a number of others,--some of whom, like Mrs. Betterton and Mrs. Verbruggen, were skilled actresses,--the standard was surprisingly early set high.

Anne Oldfield charmed the England of Addison and Steele with a versatility and brilliance of acting that has never been surpassed. She acted with great majesty and fire in the tragedies of the day,--such as _Cato_ and _The Distressed Mother_,--while in comedy she “played with the enthusiasm of a child.” There is much in the sunny amiability, the volatile, zestful personality and the wide-ranged equipment of “Nance” Oldfield to remind one of that modern actress,--Ellen Terry,--who often herself impersonated Mistress Oldfield.

One thinks again of Terry in reading of Margaret Woffington. “The Woffington” was a beauty, a hard worker, an adept in comedy, and only less successful in tragedy. She played captivatingly the rakish Sir Harry Wildair in Farquhar’s _The Constant Couple_; she was notably good in parts as diverse as Sylvia in _The Recruiting Officer_ and Cordelia in _Lear_; but the parallel to Ellen Terry appears when we read of her lovely Portia and of her Rosalind (a part that Terry was born to play, but somehow never tried). “Peg” Woffington was one of that long line of geniuses with whom Ireland has continued to enrich the English theatre, from her day and Sheridan’s down to that of Ada Rehan, Bernard Shaw and Synge.

Frances Abington, a person of temper and caprice, but a true daughter of comedy nevertheless; Dora Jordan, who was really two Dora Jordans,--“one the whimsical, hoydenish performer, all laughter, or the delineator of graceful sentiment,--the other, only seen off the stage, a shrewd little woman, of kind heart and exquisite sensibility”; Mary Robinson, the “Perdita” of him who was to be George IV of England, and a graceful, appealing actress of the tenderly comic and of such characters as Viola and Rosalind--the Julia Marlowe of the eighteenth century; such are hints of a few of those women who have continued the line of gifted actresses of comedy and sentiment down from the days of Bracegirdle and Oldfield.