See also:

• EDWIN, AEDUINI
• EDWIN, JOHN (1749–1790)

EDWIN [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] See also:

• BOOTH (connected with a Teutonic root meaning to dwell, whence also " bower ")
• BOOTH, BARTON (1681–1933)
• BOOTH, CHARLES (184o– )
• EDWIN [THOMAS] BOOTH (1833–1893)

BOOTH (1833–1893)  , See also:

• AMERICAN

American actor, was the second son of the actor See also:

• JUNIUS
• JUNIUS, FRANZ (in French, Francois du Jon)

Junius See also:

• BRUTUS (originally an adjective meaning " heavy," "stupid," kindred with Gr. aap(s, cf. Eng. " brute," " brutal")

Brutus See also:

• BOOTH (connected with a Teutonic root meaning to dwell, whence also " bower ")
• BOOTH, BARTON (1681–1933)
• BOOTH, CHARLES (184o– )
• BOOTH, EDWIN [THOMAS] (1833–1893)

Booth, and was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in Belair, See also:

• MARYLAND

Maryland, on the 13th of See also:

• NOVEMBER (Lat. novem, nine)

November 1833, His See also:

• FATHER

father (1996–1852) was born in See also:

• LONDON

London on the 1st of May 1796, and, after trying See also:

• PRINTING (from Lat. imprimere, O. Fr. empreindre)

printing, See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law, See also:

• PAINTING

painting and the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea, 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 in 1813, and appeared in London at Covent See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

Garden in 1815 . He became almost at once a See also:

• GREAT

great favourite, and a See also:

• RIVAL

rival of See also:

• KEAN, EDMUND (1787–1833)

Kean, whom he was thought to resemble . To Kean's Othello nevertheless he played Iago on several occasions . See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard III., See also:

• HAMLET

Hamlet, 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 See also:

• LEAR, EDWARD (1812-1888)

Lear, Shylock and See also:

• SIR

Sir See also:

• GILES (GIL, GILLES), ST

Giles Overreach were his best parts, and in See also:

• AMERICA

America, whither he removed in 1821, they brought him great popularity . His eccentricities sometimes bordered on See also:

• INSANITY (from Lat. in, not, and sanus, sound)

insanity, and his excited and furious See also:

• FENCING

fencing as Richard III. and as Hamlet frequently compelled the See also:

• RICHMOND
• RICHMOND, EARLS AND DUKES OF
• RICHMOND, LEGH (1772-1827)
• RICHMOND, SIR WILLIAM BLAKE (1842– )

Richmond and Laertes to fight for their lives in deadly See also:

• EARNEST (probably a corruption of the obsolete arles or erles, adapted from Lat. equivalent arrha, due to a confusion with the adjective " earnest," serious, O. Eng. eornust, cognate with Ger. ernst)

earnest . See also:

• EDWIN, AEDUINI
• EDWIN, JOHN (1749–1790)

Edwin Booth's first See also:

• REGULAR

regular appearance was at the See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston Museum on the loth of See also:

• SEPTEMBER (Lat. septem, seven)

September 1849, as Tressel to his father's Richard, in See also:

• COLLEY, SIR GEORGE POMEROY (1835-1881)

Colley See also:

• CIBBER (or CIBERT), CAIUS GABRIEL (163o-1700)
• CIBBER, COLLEY (1671-1757)

Cibber's version of Richard III . He was lithe and graceful in figure, buoyant in See also:

• SPIRITS

spirits; his dark See also:

• HAIR (a word common to Teutonic languages)

hair See also:

• FELL
• FELL, JOHN (1625-1686)

fell in waving curls across his brow, and his eyes were soft, luminous and most expressive . His father watched him with great See also:

• INTEREST

interest, but with evident disappointment, and the members of the theatrical profession, who held the acting of the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder Booth in great reverence, seemed to agree that the See also:

• GENIUS (from Lat. genere, gignere)

genius of the father had not descended to the son . Edwin Booth's first appearance in New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York was in the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of Wilford in The See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

Iron See also:

• CHEST (Gr. Kiarl, Lat. cista, O. Eng. cist, test, &c.)

Chest, which he played at the See also:

• NATIONAL

National See also:

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

theatre in See also:

• CHATHAM
• CHATHAM, WILLIAM PITT

Chatham See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street, on the 27th of September 1850 . A See also:

• YEAR

year later, on the illness of the father, the son took his See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the character of Richard III . It was not until after his See also:

• PARENT, SIMON NAPOLEON (1855– )

parent's See also:

• DEATH

death that the son conquered for himself an unassailable position on the stage . Between 1852 and 1856 he played in See also:

• CALIFORNIA
• CALIFORNIA, LOWER (Baja California)
• CALIFORNIA, UNIVERSITY OF

California, See also:

• AUSTRALIA

Australia and the See also:

• SANDWICH
• SANDWICH, EDWARD MONTAGU, or MOUNTAGU, 1ST EARL OF (1625–1672)
• SANDWICH, JOHN MONTAGU, 4TH EARL OF (1718–1792)

Sandwich Islands, and those who had known him in the See also:

• EAST
• EAST, ALFRED (1849- )

east were surprised when the See also:

• NEWS

news came that he had captivated his audiences with his brilliant acting .

From this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time for-See also:

• WARD
• WARD, ADOLPHUS WILLIAM (1837- )
• WARD, ARTEMUS
• WARD, EDWARD MATTHEW (1816-1879)
• WARD, ELIZABETH STUART PHELPS (1844-1911)
• WARD, JAMES (1769--1859)
• WARD, JAMES (1843– )
• WARD, JOHN QUINCY ADAMS (1830-1910)
• WARD, LESTER FRANK (1841– )
• WARD, MARY AUGUSTA [MRS HUMPHRY WARD]
• WARD, WILLIAM (1766-1826)
• WARD, WILLIAM GEORGE (1812-1882)

ward his dramatic triumphs were warmly acknowledged . His Hamlet, Richard and See also:

• RICHELIEU, ARMAND EMMANUEL SOPHIE SEPTEMANIE DU PLESSIS
• RICHELIEU, ARMAND JEAN DU PLESSIS
• RICHELIEU, LOUIS FRANCOIS ARMAND DU PLESSIS

Richelieu were pronounced to be See also:

• SUPERIOR

superior to the performances of Edwin See also:

• FORREST, EDWIN (1806-1872)
• FORREST, NATHAN BEDFORD (1821—187.7)
• FORREST, SIR JOHN (1847- )

Forrest; his success as Sir Giles Overreach in A New Way to Pay Old Debts surpassed his father's . In 1862 he became manager of the See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

Winter Garden theatre, New York, where he gave a See also:

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

series of Shakespearian productions of then unexampled magnificence (1864–1867), including Hamlet, Othello and The See also:

• MERCHANT (O. Fr. marcheant, modern marchand; from Lat. mercari, to trade, merx, goods, merchandise)

Merchant of See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice . The splendour of this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period in his career was dashed for many months when in 1865 his See also:

• BROTHER

brother, See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Wilkes Booth, assassinated See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

President See also:

• LINCOLN
• LINCOLN, ABRAHAM (1809-1865)
• LINCOLN, EARLS OF

Lincoln (see LINCOLN, See also:

• ABRAHAM, or ABRAM (Hebrew for " father is high ")

ABRAHAM) . The three Booth See also:

• BROTHERS, RICHARD (1757-1824)

brothers, Junius Brutus (1821–18.83), Edwin and John Wilkes (1839–1865), had played together in See also:

• JULIUS

Julius See also:

• CAESAR, GAIUS JULIUS (102—44 B.c.)
• CAESAR, SIR JULIUS (1557-1558-1636)

Caesar in the autumn of the previous year—the performance being memorable both for its own excellence, and for the tragic situation into which two of the See also:

• PRINCIPAL

principal performers were subsequently hurled by.the See also:

• CRIME (Lat. crimen, accusation)

crime of the third . Edwin Booth did not reappear on the stage until the 3rd of See also:

• JANUARY

January 1866, when he played Hamlet at the Winter Garden theatre, the See also:

• AUDIENCE (from Lat. audire, to hear)

audience showing by unstinted See also:

• APPLAUSE (Lat. applaudere, to strike upon, clap)

applause their conviction that the See also:

• GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

glory of the one brother would never be imperilled by the See also:

• INFAMY (Lat. infamia)

infamy of the other . In 1868–1869 Edwin Booth built a theatre of his own—Booth's theatre, at the corner of 23rd Street and 6th See also:

• AVENUE (the past participle feminine of Fr. avenir, to come to)

Avenue, New York—and organized an excellent stock See also:

• COMPANY

company, which produced Romeo and Juliet, The Winter's See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

Tale, Julius Caesar, See also:

• MACBETH

Macbeth, Much See also:

• ADO (d. 874)

Ado about Nothing, The Merchant of Venice and other plays . In all cases Booth used the true See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text of See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare, thus antedating by many years a similar reform in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . Almost invariably his ventures were successful, but he was of a generous and confiding nature, and his management was not economical . In 1874 the See also:

• GRAND

grand dramatic structure he had raised was taken from him, and with it went hisentire See also:

• FORTUNE, ROBERT (1813-188o)

fortune . By arduous toil, however, he again accumulated See also:

• WEALTH

wealth, in the use of which his generous nature was shown . He converted his spacious See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence in Gramercy See also:

• PARK (Fr. part; Ital. parco; Sp. Marque; O.Eng. pearroc; connected with Ger. pferch, fold, and pfarrei, district, translating med. Lat. parochia, parish)
• PARK, EDWARDS AMASA (1808–1900)
• PARK, MUNGO (1771-1806?)

Park, New York, into a See also:

• CLUB (connected with " clump ")

club—The Players'—for the elect of his profession, and for such members of other professions as they might choose .

The See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house, with all his books and See also:

• WORKS

works of See also:

• ART

art, and many in-valuable mementos of the stage, became the See also:

• PROPERTY

property of the club . A single apartment he kept for himself . In this he died on the 7th of See also:

• JUNE

June 1893 . Among his parts were Macbeth, Lear, Othello, Iago, Shylock, See also:

• WOLSEY, THOMAS (c. 1475–1530)

Wolsey, Richard II., Richard III., Benedick, Petruccio, Richelieu, Sir Giles Overreach, Brutus (See also:

• PAYNE, PETER (c. 138o-1455)

Payne's), Bertuccio (in Tom See also:

• TAYLOR
• TAYLOR, ANN (1782-1866)
• TAYLOR, BAYARD (1825–1878)
• TAYLOR, BROOK (1685–1731)
• TAYLOR, ISAAC (1787-1865)
• TAYLOR, ISAAC (1829-1901)
• TAYLOR, JEREMY (1613-1667)
• TAYLOR, JOHN (158o-1653)
• TAYLOR, JOHN (1704-1766)
• TAYLOR, JOSEPH (c. 1586-c. 1653)
• TAYLOR, MICHAEL ANGELO (1757–1834)
• TAYLOR, NATHANIEL WILLIAM (1786-1858)
• TAYLOR, PHILIP MEADOWS (1808–1876)
• TAYLOR, ROWLAND (d. 1555)
• TAYLOR, SIR HENRY (1800-1886)
• TAYLOR, THOMAS (1758-1835)
• TAYLOR, TOM (1817-1880)
• TAYLOR, WILLIAM (1765-1836)
• TAYLOR, ZACHARY (1784-1850)

Taylor's The See also:

• FOOL (O. Fr. fol, modern fou, foolish, from a Late Latin use of follis, bellows, a ball filled with air, for a stupid person, a jester, a wind-bag)

Fool's Revenge), Ruy Blas, See also:

• DON
• DON (anc. Tanais)

Don Cesar de Eazan, and many more . His most famous See also:

• PART

part was Hamlet, for which his extraordinary See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and beauty and his eloquent sensibility peculiarly fitted him . He probably played the part oftener than any other actor before or since . He visited London in 1851, and again in 188o and in 1882, playing at the Haymarket theatre with brilliant success . In the last year he also visited See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, where his acting was received with the highest See also:

• ENTHUSIASM

enthusiasm . His last appearance was in See also:

• BROOKLYN

Brooklyn as Hamlet in 1891 . Booth was twice married: in 186o to See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary Devlin (d . 1863), and in 1869 to Mary F . McVicker (d .

1881) . He See also:

• LEFT

left by his first wife one daughter, Edwina Booth Grossman, who published Edwin Booth: Recollections (New York, 1894) . Edwin Booth's prompt-books were edited by See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William Winter (1878) . In a series of volumes, Actors and Actresses of Great See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain and America, edited by See also:

• LAWRENCE
• LAWRENCE (LAURENTIUS, LORENZO), ST
• LAWRENCE, AMOS (1786—1852)
• LAWRENCE, AMOS ADAMS (1814–1886)
• LAWRENCE, GEORGE ALFRED (1827–1876)
• LAWRENCE, JOHN LAIRD MAIR LAWRENCE, 1ST BARON (1811-1879)
• LAWRENCE, SIR HENRY MONTGOMERY (1806–1857)
• LAWRENCE, SIR THOMAS (1769–1830)
• LAWRENCE, STRINGER (1697–1775)

Lawrence See also:

• HUTTON, CHARLES (1737-1823)
• HUTTON, JAMES (1726-1797)
• HUTTON, RICHARD HOLT (1826-1897)

Hutton and See also:

• BRANDER, GUSTAVUS (1720-1787)

Brander See also:

• MATTHEWS, STANLEY (1824-1889)

Matthews, Edwin Booth contributed recollections of his father, which contain much valuable autobiographic material . For the same series Lawrence See also:

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

Barrett contributed an See also:

• ARTICLE (from Lat. articulus, a joint)

article on Edwin Booth . See also William Winter, See also:

• LIFE

Life and Art of Edwin Booth (1893); Lawrence Hutton, Edwin Booth (1893); 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 A . Clapp, Reminiscences of a Dramatic Critic (Boston, 1902) ; A . B . See also:

• CLARKE, ADAM (1762?—1832)
• CLARKE, CHARLES COWDEN (1787-1877)
• CLARKE, EDWARD DANIEL (1769–1822)
• CLARKE, JAMES FREEMAN (1810–1888)
• CLARKE, JOHN SLEEPER (1833–1899)
• CLARKE, MARCUS ANDREW HISLOP (1846–1881)
• CLARKE, MARY ANNE (c.1776–1852)
• CLARKE, SAMUEL (1675–1729)
• CLARKE, SIR ANDREW (1824-1902)
• CLARKE, SIR EDWARD GEORGE (1841– )
• CLARKE, THOMAS SHIELDS (1866- )
• CLARKE, WILLIAM BRANWHITE (1798-1878)

Clarke . The Elder and the Younger Booth (Boston, 1882) . (J . J.*) BOOTH, WILLIAM (1829– ), founder and " See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general " of the Salvation See also:

• ARMY
• ARMY (from Fr. armee, Lat. armata)

Army (q.v.), was born at See also:

• NOTTINGHAM
• NOTTINGHAM, CHARLES HOWARD, 1ST EARL OF1 (1536-1624)
• NOTTINGHAM, EARLS OF

Nottingham on the loth of See also:

• APRIL

April 1829 .

At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of fifteen his mind took a strongly religious turn, under the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of the Wesleyan Methodists, in which See also:

• BODY

body he became a See also:

• LOCAL

local preacher . In 1849 he came to London, where, according to his own See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account, his See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion for open-See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air See also:

• PREACHING (Fr. preecher, from Lat. praedicare, to proclaim)

preaching caused his severance from the Wesleyans . Joining the Methodist New Connexion, he was ordained a minis-ter, but, not being employed as he wished in active " travelling evangelization," left that body also in 1861 . Meanwhile he had (1855) married See also:

• MISS

Miss See also:

• CATHERINE
• CATHERINE, SAINT

Catherine Mumford, and had a See also:

• FAMILY

family of four See also:

• CHILDREN, LAW RELATING TO

children . Both he and his wife occupied themselves with preaching, first in See also:

• CORNWALL

Cornwall and then in See also:

• CARDIFF

Cardiff and See also:

• WALSALL

Walsall . At the last-named place was first organized a " Hallelujah See also:

• BAND

band " of converted criminals and others, who testified in public of their See also:

• CONVERSION (Lat. conversio, from convertere, to turn or ,change)

conversion . In 1864 Booth went to London and continued his services in tents and in the open air, and founded a body which was successively known as the East London Revival Society, the East London See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian See also:

• MISSION

Mission, the Christian Mission and (in 1878) the Salvation Army . The Army operates (1) by outdoor meetings and processions; (2) by visiting public-houses, prisons, private houses; (3) by holding meetings in theatres, factories and other unusual buildings; (4) by using the most popular See also:

• SONG

song-tunes and the See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language of everyday life, &c.; (5) by making every convert a dailywitness for See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ, both in public and private . The army is a quasi-military organization, and Booth modelled its "Orders and Regulations" on those of the See also:

• BRITISH

British army . Its See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early " See also:

• CAMPAIGNS

campaigns " excited violent opposition, a " See also:

• SKELETON

Skeleton Army " being organized to break up the meetings, and for many years Booth's followers were subjected to See also:

• FINE

fine and imprisonment as breakers of the See also:

• PEACE
• PEACE, BREACH OF THE

peace . Since 1889, however, these disorders have been little heard of . The operations of the army were extended in 188o to the See also:

• UNITED

United States, in 1881 to Australia, and spread to the See also:

• EUROPEAN

European See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent, to See also:

• INDIA
• INDIA, FRENCH

India, See also:

• CEYLON

Ceylon and elsewhere, " General " Booth himself being an indefatigable traveller, organizer and See also:

• SPEAKER

speaker .

His wife (b . 1829) died in 1890 . By her preaching at See also:

• GATESHEAD

Gateshead, where her See also:

• HUSBAND

husband was See also:

• CIRCUIT (Lat. circuitus, from circum, round, and ire, to go)

circuit See also:

• MINISTER (Lat. minister, servant)

minister, in 186o, she began the See also:

• WOMEN

women's See also:

• MINISTRY

ministry which is so prominent a feature of the army's See also:

• WORK

work . A See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography of her by Mr Booth See also:

• TUCKER, ABRAHAM (1705-1774)
• TUCKER, JOSIAH (1712-1799)

Tucker appeared in 1892 . In 1890 " General " Booth attracted further public See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention by the publication of a work entitled In Darkest England, and the Way Out, in which he proposed to remedy See also:

• PAUPERISM (Lat. pauper, poor)

pauperism and See also:

• VICE

vice by a series of ten expedients: (1) the See also:

• CITY (through Fr. cite, from Lat. civitas)

city See also:

• COLONY (Lat. colonia, from colonus, a cultivator)

colony; (2) the See also:

• FARM

farm colony; (3) the over-sea colony; (4) the See also:

• HOUSEHOLD, ROYAL

household See also:

• SALVAGE (from Lat. salvus, safe)

salvage See also:

• BRIGADE (Fr. and Ger. brigade, Ital. brigata, Span. brigada; the English use of the word dates from the early 17th century)

brigade; (5) the See also:

• RESCUE (in Middle Eng. rescous, from O. Fr. recousse, Low Lat. rescussa, from reexcussa,reexcutere, to shake off again, re, again, ex, off, quatere, to shake)

rescue homes for fallen women; (6) deliverance for the drunkard; (7) the See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

prison-See also:

• GATE

gate brigade; (8) the poor See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man's See also:

• BANK

bank; (9) the poor man's lawyer; (io) Whitechapel-bythe-Sea . See also:

• MONEY

Money was liberally subscribed and a large part of the See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme was carried out . The opposition and ridicule with which Booth's work was for many years received gave way, towards the end of the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, to very widespread sympathy as his genius and its results were more fully realized . The active encouragement of King See also:

• EDWARD

Edward VII., at whose instance in 1902 he was invited officially to be See also:

• PRESENT

present at the See also:

• CORONATION (Lat. corona, crown)

coronation ceremony, marked the completeness of the See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change; and when, in 1905, the " general " went on a progress through England, he was received in See also:

• STATE
• STATE, GREAT OFFICERS OF

state by the mayors and corporations of many towns . In the United States also, and elsewhere, his work was cordially encouraged by the authorities . See T . F.Coates, The Life See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

Story of General Booth (2nd ed., London, 1906), and bibliography under SALVATION ARMY .