See also:

• MAURICE (1521–1553)
• MAURICE (MAURICIUS FLAVIUS TIBERIUS) (c. 539–602)
• MAURICE [or MAURITIUS], ST (d. c. 286)
• MAURICE, JOHN FREDERICK DENISON (1805-1872)

MAURICE See also:

• MAURICE BARRLS (1862– )

BARRLS (1862– )  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French novelist and politician, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Channes (See also:

• VOSGES
• VOSGES (Lat. Vogesus or Vosagus, Ger. Wasgau or Vogesen)

Vosges) on the 22nd of See also:

• SEPTEMBER (Lat. septem, seven)

September 1862; he was educated at the lycee of See also:

• NANCY

Nancy, and in 1883 went to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris to continue his legal studies . He was already a contributor to the monthly periodical, Jeune See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, and he now issued a periodical of his own, See also:

• LES

Les Taches d'encre, which survived for a few months only . After four years of journalism he went to See also:

• ITALY
• ITALY (Italia)

Italy, where he wrote Sous l'ceil See also:

• DES

des barbares (1888), the first See also:

• VOLUME

volume of a trilogie du moi, completed by Un Homme libre (1889), and Le Jardin de See also:

• BERENICE
• BERENICE, or BERNICE

Berenice (1891) . He divided the See also:

• WORLD

world into moi and the barbarians, the latter including all those See also:

• ANTI, or CAMPA

anti-pathetic to the writer's individuality . These apologies for ' Jedediah See also:

• MORSE, SAMUEL FINLEY BREESE (1791—1872)

Morse See also:

• AMERICAN

American See also:

• GEOGRAPHY (Gr. yil, earth, and ypiickty, to write)

Geography, See also:

• PART

part ii. p . 334 (See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston, See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

Mass., 1796) . 2 See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

Knight's See also:

• LONDON

London, vol. i. p . 144 . 3 See also:

• HONE (in O. Eng. han, cognate with Swed. hen ; the root appears in Skt. gdna, co to sharpen)
• HONE, NATHANIEL (1718-1784)
• HONE, WILLIAM (1780-1842)

Hone's Every See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

Day See also:

• BOOK

Book, i. p . 1248 . 4 Collection of all the Dialogues written by Mr See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas (London, 1704), p . 297 .

6 Hone's Every Day Book, ii. pp . 1452-1453 . 6 See See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue descriptif (See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent, 188o), Nos . 461 and 462 . 7 Breitkopf and Hartel's Critically revised edition of See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart's See also:

• WORKS

Works, See also:

• SERIES (a Latin word from serere, to join)

series x. no . 1o . See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

Brown son of a See also:

• FARMER, RICHARD (1735–1787)

farmer . He made his first See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance on the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage at See also:

• HALIFAX
• HALIFAX, CHARLES MONTAGUE, EARL OF (1661–1715)
• HALIFAX, GEORGE MONTAGU DUNK, 2ND EARL OF (1716-1771)
• HALIFAX, GEORGE SAVILE, 1ST MARQUESS OF (1633-1695)

Halifax in 1864, and then played in the provinces alone and with his wife, See also:

• CAROLINE
• CAROLINE (1683-1737)

Caroline See also:

• HEATH
• HEATH, BENJAMIN (1704-1766)
• HEATH, WILLIAM (1737—1814)

Heath, in See also:

• EAST
• EAST, ALFRED (1849- )

East Lynne . After managerial experiences at See also:

• LEEDS
• LEEDS, THOMAS OSBORNE

Leeds and elsewhere, in 1879 he took the management of the old See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre, where he introduced Madame See also:

• MODJESKA, HELENA (1844–1909)

Modjeska to London, in an See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of See also:

• SCHILLER, JOHANN CHRISTOPH FRIEDRICH VON (1759-18o5)

Schiller's Maria See also:

• STUART, ARABELLA (1575-1615)
• STUART, GILBERT (1755-x828)
• STUART, JAMES EWELL BROWN (1833-1864)
• STUART, JOHN
• STUART, MOSES (1780-1852)
• STUART, SIR JOHN, COUNT

Stuart, Adrienne See also:

• LECOUVREUR, ADRIENNE (1692-1730)

Lecouvreur, La See also:

• DAME
• DAME (through the Fr. from Lat. domina, mistress, lady, the feminine of dominus, master, lord)

Dame aux camelias and other plays . It was not till 1881, however, wheu he took the Princess's theatre, that he became well known to the public in the emotional See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama, The See also:

• LIGHTS, CEREMONIAL USE OF

Lights o' London, by G . R . See also:

• SIMS, GEORGE ROBERT (1847– )

Sims .

The See also:

• PLAY

play which made him an established favourite was The See also:

• SILVER

Silver See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King by See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur See also:

• JONES
• JONES, ALFRED GILPIN (1824-1906)
• JONES, EBENEZER (182o-186o)
• JONES, ERNEST CHARLES (1819-1869)
• JONES, HENRY (1831-1899)
• JONES, HENRY ARTHUR (1851- )
• JONES, INIGO (1573-1651)
• JONES, JOHN (c. 1800-1882)
• JONES, MICHAEL (d. 1649)
• JONES, OWEN (1741-1814)
• JONES, OWEN (1809-1874)
• JONES, RICHARD (179o-1855)
• JONES, SIR ALFRED LEWIS (1845-1909)
• JONES, SIR WILLIAM (1746-1794)
• JONES, THOMAS RUPERT (1819– )
• JONES, WILLIAM (1726-1800)

Jones, perhaps the most successful See also:

• MELODRAMA (a coined word from Gr. µEXos, music, and Spaµa, action)

melodrama ever staged, produced in 1882 with himself as Wilfred See also:

• DENVER

Denver, his See also:

• BROTHER

brother See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George (an excellent comedian) in the See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast, and E . S . See also:

• WILLARD, FRANCES ELIZABETH (1839–1898)

Willard (b . 1853) as the " Spider,"—this being the part in which Mr Willard, afterwards a well-known actor both in See also:

• AMERICA

America and See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, first came to the front . See also:

• BARRETT, LAWRENCE (1838-1891)
• BARRETT, LUCAS (1837-1862)

Barrett played this part for three See also:

• HUNDRED

hundred nights without a break, and repeated his London success in W . G . See also:

• WILLS, WILLIAM GORMAN (1828-1891)

Wills's Claudian which followed . In 1884 he appeared in See also:

• HAMLET

Hamlet, but soon returned to melodrama, and though he had occasional seasons in London he acted chiefly in the provinces . In 1886 he made his first visit to America, repeated in later years, and in 1898 he visited See also:

• AUSTRALIA

Australia . During these years the London stage was coming under new influences, and See also:

• WILSON, ALEXANDER (1766-1813)
• WILSON, HENRY (1812–1875)
• WILSON, HORACE HAYMAN (1786–1860)
• WILSON, JAMES (1742—1798)
• WILSON, JAMES (1835— )
• WILSON, JAMES HARRISON (1837– )
• WILSON, JOHN (1627-1696)
• WILSON, JOHN (178 1854)
• WILSON, ROBERT (d. 1600)
• WILSON, SIR DANIEL (1816–1892)
• WILSON, SIR ROBERT THOMAS (1777—1849)
• WILSON, SIR WILLIAM JAMES ERASMUS
• WILSON, THOMAS (1663-1755)
• WILSON, THOMAS (c. 1525-1581)
• WILSON, WOODROW (1856— )

Wilson Barrett's See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue in melodrama had waned . But in 1895 he struck a new vein of success with his drama of religious emotion, The Sign of the See also:

• CROSS

Cross, which crowded his theatre with audiences largely composed of See also:

• PEOPLE

people outside the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary circle of playgoers . He attempted to repeat the success with other plays of a religious type, but not with equal effect, and several of his later plays were failures .

He died on the 22nd of See also:

• JULY

July 1904 . Wilson Barrett was a See also:

• STERLING
• STERLING, ANTOINETTE (d. 1904)
• STERLING, JOHN (1806-1844)

sterling actor of a robust type and striking physique, not remarkable for intellectual finesse, but excelling in melodrama, and very successful as the central figure on his own stage .