See also:

• SYDNEY

SYDNEY See also:

• GRUNDY, MRS
• SYDNEY GRUNDY (1848– )

GRUNDY (1848– )  , See also:

• ENGLISH

English dramatist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• MANCHESTER
• MANCHESTER (popularly Manchester-by-the-Sea)
• MANCHESTER, EARLS AND DUKES OF

Manchester on the 23rd of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1848, son of See also:

• ALDERMAN (from A.-S. ealdorman, compounded of the comparative degree of the adjective eald, old, and man)

Alderman See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles See also:

• SYDNEY

Sydney See also:

• GRUNDY, MRS
• GRUNDY, SYDNEY (1848– )

Grundy . He was educated at See also:

• OWENS, JOHN (1790-1846)

Owens See also:

• COLLEGE (Collegium)

College, Manchester, and was called to the See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

bar in 1869, practising in Manchester until 1876 . His See also:

• FARCE

farce, A Little 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, was produced at the Haymarket See also:

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

Theatre in 1872 . He became well known as an adapter of plays, among his See also:

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

early successes in this direction being The Snowball (Strand Theatre, 1879) from Oscar, ou le See also:

• MARL (from O. Fr. marle, Late Lat. margila, dim. of marga; cf. Du. and Ger. Mergel)

marl qui trompe sa femme by MM . See also:

• SCRIBE, AUGUSTIN EUGENE (1791-1860, French dramatist, was born in Paris on the 24th of December 1791. His father was a silk merchant, and he was well educated, being destined for the bar. But, having a real gift for the theatre, a gift which unfortunately

Scribe and Duvergne, and In See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

Honour See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

Bound (188o) from Scribe's tine Chaine . In 1887 he made a popular success with The Bells of See also:

• HASLEMERE

Haslemere, written with Mr H . Pettitt and produced at the Adelphi . In 1889–1890 he produced two ingenious See also:

• ORIGINAL

original comedies, A See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

White See also:

• LIE, JONAS LAURITZ EDEMIL (1833—1908)
• LIE, MARIUS SOPHUS (1842–1899)

Lie (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 Theatre) and A 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 See also:

• PARADISE (Gr. lrap6BEwos)

Paradise (Gaiety Theatre), which had been played two years earlier at See also:

• GREENWICH

Greenwich as The See also:

• MOUSE

Mouse-See also:

• TRAP (0. Eng. treppe or traepee, properly a step, as that or which an animal places its foot and is caught, cf. Ger. Treppe flight of stairs)

Trap . These were followed by See also:

• SOWING (from "to sow," O. Eng. shwan, cf. Du. zaaijen, Ger. saen, &c.; the root is seen in Lat. severe, cf. "seed")

Sowing the See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

Wind (See also:

• COMEDY

Comedy, 1893), An Old See also:

• JEW, THE WANDERING

Jew (See also:

• GARRICK, DAVID (1717-1779)

Garrick, 1894), and by an See also:

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

adaptation of See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

Octave See also:

• FEUILLET, OCTAVE (1821-1890)

Feuillet's Montjoye as A Bunch of Violets (Haymarket, 1894) . In 1894 he produced The New Woman and The Slaves of the See also:

• RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

Ring; in 1895, The Greatest of These, played by Mr and Mrs See also:

• KENDAL
• KENDAL, DUKEDOM OF
• KENDAL, WILLIAM HUNTER (1843– )

Kendal at the Garrick Theatre; The Degenerates (Haymarket, 1899), and A See also:

• DEBT (Lat. debitum, a thing owed)

Debt of Honour (St See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James's 1900) . Among Mr Grundy's most successful adaptations were the charming Pair of See also:

• SPECTACLES

Spectacles (Garrick, 180o) from See also:

• LES

Les Petits Oisesxux of MM . See also:

• LABICHE, EUGENE MARIN (1815-1888)

Labiche and Delacour .

Others were A See also:

• VILLAGE

Village See also:

• PRIEST (Ger. Priester, Fr. pretre)

Priest (Haymarket, 1890) from 'Le See also:

• SECRET (Lat. secretum, hidden, concealed)

Secret de la terreuse, a See also:

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

melodrama by MM . Busnach and Cauvin; A See also:

• MARRIAGE

Marriage of Convenience (Haymarket, 1897) from Un Mariage de See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis X V, by Alex . See also:

• DUMAS, ALEXANDRE
• DUMAS, ALEXANDRE [" DUMAS FILS"] (1824-1895)
• DUMAS, GUILLAUME MATHIEU, COUNT (1753-1837)
• DUMAS, JEAN BAPTISTE ANDRE (1800-1884)

Dumas, Pere, The See also:

• SILVER

Silver See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

Key (Her See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

Majesty's, 1897) from his Mlle de Belle-isle, and The Musqueteers (1899) from the same author's novel; Frocks and Frills (Haymarket, 1902) from the Doigts de fees of MM . Scribe and See also:

• LEGOUVE, GABRIEL JEAN BAPTISTE ERNEST WILFRID (1807–1903)

Legouve; The 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 of Lies (St James's Theatre, 1904) from Mr Justus See also:

• MILES, NELSON APPLETON (1839— )

Miles See also:

• FORMAN, ANDREW (c. 1465-1521)
• FORMAN, SIMON (1552-1611)

Forman's novel; Business is Business (His Majesty's Theatre, 1905), a rather See also:

• FREE

free adaptation from Octave See also:

• MIRBEAU, OCTAVE HENRI MARIE (1850- )

Mirbeau's Les Affaires sont les affaires; and The Diplomatists (See also:

• ROYALTY (0. Fr. realte, reialte, royaulte, from Med. Lat. regalitas, the substantive of regalis, of or belonging to a king, rex)

Royalty Theatre, 1905) from La Poudre aux yeux, by Labiche .