See also:

• SIR

SIR 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:

• IRVING, EDWARD (1792-1834)
• SIR HENRY IRVING (1838-1905)
• IRVING, WASHINGTON (1783-18J9)

IRVING (1838-1905)  , See also:

• ENGLISH

English actor, whose See also:

• ORIGINAL

original name was 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 Brodribb, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Keinton-See also:

• MANDEVILLE, BERNARD DE (1670-1733)
• MANDEVILLE, GEOFFREY DE (d. 1144)

Mandeville, See also:

• SOMERSET, EARLS AND DUKES OF
• SOMERSET, EDMUND BEAUFORT, DUKE OF (c. 1404–1455)
• SOMERSET, EDWARD SEYMOUR, DUKE OF (c. 1506–1552)
• SOMERSET, LORD ROBERT EDWARD HENRY (1776-1842)
• SOMERSET, ROBERT CARR (or KER), EARL OF (e. 1590-1645)

Somerset, on the 6th of See also:

• FEBRUARY

February 1838 . After a few years' schooling he became a clerk to a See also:

• FIRM

firm of See also:

• EAST
• EAST, ALFRED (1849- )

East See also:

• INDIA
• INDIA, FRENCH

India merchants in See also:

• LONDON

London, but he soon gave up a commercial career and started as an actor . On the 29th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1856 he made his first See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance at See also:

• SUNDERLAND
• SUNDERLAND, CHARLES SPENCER, 3RD EARL OF (c. 1674-1722)
• SUNDERLAND, ROBERT SPENCER, 2ND EARL OF (1640-17o2); English politician, was the only son of Henry Spencer (162o--1643)

Sunderland as Gaston, See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans, in Bulwer See also:

• LYTTON, EDWARD GEORGE EARLE LYTTON, BULWERLYTTON, 1ST BARON (1803-1873)
• LYTTON, EDWARD ROBERT

Lytton's See also:

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

Richelieu, billed as 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:

• IRVING, EDWARD (1792-1834)
• IRVING, SIR HENRY (1838-1905)
• IRVING, WASHINGTON (1783-18J9)

Irving . This name he eventually assumed by royal See also:

• LICENCE (through the French from Lat. licentia, licere, to be lawful)

licence . For ten years he went through an arduous training in various provincial stock companies, acting in more than five See also:

• HUNDRED

hundred parts . By degrees his ability gained recognition, and in 1866 he obtained an engagement at the 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 See also:

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

Theatre, London, to See also:

• PLAY

play Doricourt in The Belle's Stratagem . A See also:

• YEAR

year later he joined the See also:

• COMPANY

company of the newly-opened See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen's Theatre, where he acted with 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:

• WYNDHAM, SIR CHARLES (1837— )
• WYNDHAM, SIR WILLIAM, BART

Wyndham, J . L . See also:

• TOOLE, JOHN LAWRENCE (1832-1906)

Toole, Lionel See also:

• BROUGH, ROBERT (1872-1905)

Brough, John See also:

• CLAYTON, JOHN MIDDLETON (1796–1856)

Clayton, Mr and Mrs See also:

• ALFRED

Alfred See also:

• WIGAN

Wigan, Ellen See also:

• TERRY, EDWARD
• TERRY, ELLEN ALICIA (1848– )

Terry and Nelly See also:

• FARREN, ELIZABETH (c. 1759-1829)
• FARREN, WILLIAM (1786-1861)

Farren . This was followed by See also:

• SHORT, FRANCIS JOB (1857– )

short engagements at the See also:

• HAY
• HAY (a word common in various forms to Teutonic languages; cf. Ger. Heu, Dutch hooi; the root from which it is derived, meaning " to cut," is also seen in " to hew "; cf. " hoe ")
• HAY, GEORGE (1729—1811)
• HAY, GILBERT
• HAY, JOHN (1838–1905)

Hay-See also:

• MARKET (Lat. mercatus, trade or place of trade)

market, See also:

• DRURY, SIR WILLIAM (1527-1579)

Drury See also:

• LANE, EDWARD WILLIAM (1801–1876)
• LANE, JAMES HENRY (1814–1866)

Lane and Gaiety . At last he made his first conspicuous success as See also:

• DIGBY, KENELM HENRY (1800-188o)
• DIGBY, SIR EVERARD (1578-1606)
• DIGBY, SIR KENELM (1603-1665)

Digby See also:

• GRANT (from A.-Fr. graunter, O. Fr. greanter for creanter, popular Lat. creantare, for credentare, to entrust, Lat. credere, to believe, trust)
• GRANT, ANNE (1755-1838)
• GRANT, CHARLES (1746-1823)
• GRANT, GEORGE MONRO (1835–1902)
• GRANT, JAMES (1822–1887)
• GRANT, JAMES AUGUSTUS (1827–1892)
• GRANT, ROBERT (1814-1892)
• GRANT, SIR ALEXANDER
• GRANT, SIR FRANCIS (1803-1878)
• GRANT, SIR JAMES HOPE (1808–1895)
• GRANT, SIR PATRICK (1804-1895)
• GRANT, U
• GRANT, ULYSSES SIMPSON (1822-1885)

Grant in James See also:

• ALBERY, JAMES (1838–1889)

Albery's The Two See also:

• ROSES, WARS OF THE

Roses, which was produced at the See also:

• VAUDEVILLE

Vaudeville on the 4th of See also:

• JUNE

June 187o and ran for 300 nights . In 1871 he began his' association with the See also:

• LYCEUM

Lyceum Theatre by an engagement under See also:

• BATEMAN, HEZEKIAH LINTHICUM (1812–1875)

Bateman's management .

The fortunes of 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 were at- a See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low ebb when the See also:

• TIDE (O. Eng. lid, cf. Ger. Zeit, time or season, connected with root of Sanskrit a-diti, endless)

tide was turned by Irving''s immediate success as Mathias in The Bells, a version of Erckmann-Chatrian's Le Juif Polonais by See also:

• LEOPOLD (M.H. Ger. Liupolt; O.H. Ger. Liupald, from hut, Mod. Ger. Leute, " people," and paid, " bold," i.e. " bold for the people ")

Leopold See also:

• LEWIS, HENRY CARVILL
• LEWIS, JOHN FREDERICK (180 1876)
• LEWIS, MATTHEW GREGORY (1775-1818)
• LEWIS, MERIWETHER (1774-1809)
• LEWIS, SIR GEORGE CORNEWALL, BART

Lewis . The play ran for 150 nights; With See also:

• MISS

Miss Bateman, Irving was seen in W . G . See also:

• WILLS, WILLIAM GORMAN (1828-1891)

Wills's Charles I. and See also:

• EUGENE

Eugene See also:

• ARAM, EUGENE (17o4-17J9)

Aram, in Richelieu, and in 1874 in See also:

• HAMLET

Hamlet . The unconventionality of this last performance, during a run of 200 nights, aroused keen discussion, and singled him out as the most interesting English actor of his 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 . In 1875, still with Miss Bateman, he was seen as See also:

• MACBETH

Macbeth; in 1876 as Othello, and as See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip in See also:

• TENNYSON, ALFRED TENNYSON

Tennyson's Queen See also:

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

Mary; in 1877in See also:

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

Richard III. and The See also:

• LYONS
• LYONS (Fr. Lyon)
• LYONS, COUNCILS OF
• LYONS, EDMUND LYONS, BARON (1790-1858)
• LYONS, RICHARD BICKERTON PEMELL LYONS, 1ST EARL (1817–1887)

Lyons See also:

• MAIL

Mail . In 1878 Irving opened the Lyceum under his own management . With Ellen Terry as Ophelia and Portia, he revived Hamlet and produced 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 (1879) . His' Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the See also:

• JEW, THE WANDERING

Jew marking a departure from the traditional See also:

• INTERPRETATION (from Lat. interpretari, to expound, explain, inter pres, an agent, go-between, interpreter; inter, between, and the root pret-, possibly connected with that seen either in Greek 4 p4'ew, to speak, or irpa-rrecv, to do)

interpretation of the role, and pleasing some as much as it offended others . After the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of Tennyson's The See also:

• CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

Cup, a revival of Othello (in which Irving played Iago to the Othello of See also:

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

Edwin 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 of Romeo and Juliet, there began a See also:

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

period at the Lyceum which had a potent effect on the English See also:

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

stage . The Lyceum stage management, and the brilliancy of its productions in scenery, dressing and accessories; were revelations in the See also:

• ART

art of See also:

• MISE

mise-en-See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene . Much See also:

• ADO (d. 874)

Ado about Nothing (1882) was followed by Twelfth See also:

• NIGHT

Night (1884), Olivia—an See also:

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

adaptation of See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

Goldsmith's See also:

• VICAR (Lat. vicarius, substitute)

Vicar of IVakeiield by W .

G . Wills (1885); See also:

• FAUST, or FAUSTUS

Faust (1886); Macbeth (1888): The Dead See also:

• HEART
• HEART, LUNG

Heart, by See also:

• WATTS, ALARIC ALEXANDER (1797-1864)
• WATTS, GEORGE FREDERICK (1817-1904)
• WATTS, ISAAC (1674-1748)

Watts See also:

• PHILLIPS
• PHILLIPS, ADELAIDE (1833-1882)
• PHILLIPS, EDWARD (163o-1696)
• PHILLIPS, JOHN (1800—1874)
• PHILLIPS, SAMUEL (1814—1854)
• PHILLIPS, STEPHEN (1868– )
• PHILLIPS, THOMAS (1770-1845)
• PHILLIPS, WENDELL (1811-1884)

Phillips 0889); and Ravenswood—Herman See also:

• MERIVALE, CHARLES (1808-1893)
• MERIVALE, HERMAN (1806-1874)

Merivale's dramatic version of See also:

• SCOTT, ALEXANDER (fl. 1550)
• SCOTT, DAVID (18o6-1849)
• SCOTT, MICHAEL (1789-1835)
• SCOTT, ROBERT (1811-1887)
• SCOTT, SIR GEORGE GILBERT (1811-1878)
• SCOTT, SIR WALTER, BART
• SCOTT, WILLIAM BELL (1811-1890)
• SCOTT, WINFIELD (1786-1866)

Scott's See also:

• BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

Bride of Lammermoor (1890) . See also:

• FINE

Fine assumptions in 1892 of the characters of See also:

• WOLSEY, THOMAS (c. 1475–1530)

Wolsey in Henry VIII. and of 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 were followed in 1893 by a striking and dignified performance of See also:

• BECKET, THOMAS (c. 1118—1170)

Becket in Tennyson's play of that name . During these years too, Irving, with the whole Lyceum company, paid several visits to See also:

• AMERICA

America, which met with conspicuous success, and were repeated in succeeding years . The See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief remaining novelties at the Lyceum during Irving's See also:

• SOLE (Solea)

sole managership (the theatre passed, at the beginning of 1899, into the hands of a limited liability company) were Comyns Carr's King See also:

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

Arthur in 1895; Cymbeline, in which Irving played Iachimo, in 1896; See also:

• SARDOU, VICTORIEN (1831-1908)

Sardou's Madame Sans-Geene in 1897; See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter the See also:

• GREAT

Great, a play by Laurence Irving, the actor's second son, in 1898; and Conan See also:

• DOYLE, JOHN ANDREW (1844-1907)
• DOYLE, RICHARD (1824-1883)
• DOYLE, SIR ARTHUR CONAN (1859- )
• DOYLE, SIR FRANCIS HASTINGS CHARLES

Doyle's See also:

• WATERLOO

Waterloo (1894) . The new regime at the Lyceum was signalized by the production of Sardou's See also:

• ROBESPIERRE, MAXIMILIEN FRANCOIS MARIE ISIDORE DE (175$-1794)

Robespierre in 1899, in which Irving reappeared after a serious illness, and in 1901 by an elaborate revival of See also:

• CORIOLANUS, GAIUS (or GNAEUS)14IARCIUS

Coriolanus . Irving's only subsequent production in London was Sardou's See also:

• DANTE

Dante (1903), a vast spectacular See also:

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

drama, staged at Drury Lane . He died " on tour " at See also:

• BRADFORD
• BRADFORD, JOHN (1510?—1555)
• BRADFORD, WILLIAM (1590—1657)
• BRADFORD, WILLIAM (1663—1752)
• BRADFORD, WILLIAM (1827—1892)

Bradford on the 13th of See also:

• OCTOBER

October 1905, and was buried in See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

Abbey . Both on and off the stage Irving always maintained a high ideal of his profession, and in 1895 he received the 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 of See also:

• KNIGHTHOOD

knighthood, the first ever accorded an actor . He was also the recipient of honorary degrees from the See also:

• UNIVERSITIES

universities of See also:

• DUBLIN

Dublin, See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge and See also:

• GLASGOW

Glasgow . His acting, apart from his See also:

• GENIUS (from Lat. genere, gignere)

genius as a presenter of plays, divided See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism, opinions differing as to the extent to which his mannerisms of See also:

• VOICE (Fr. voix, from Lat. vox)

voice and deportment interfered with or assisted the expression of his ideas . So strongly marked a See also:

• PERSONALITY (from Lat. persona, originally an actor's mask, from personare,1 to sound through)

personality as his could not help giving its own colouring to whatever See also:

• PART

part he might assume, but the richness and originality of this colouring at its best cannot be denied, any more than the spirit and See also:

• INTELLECT (Lat. intellectus, from intelligere, to understand)

intellect which characterized his renderings .

At the least, extraordinary versatility must be conceded to an actor who could satisfy exacting audiences in roles so widely different as Digby Grant and 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 XI., Richard III. and Becket, Benedick and Shylock, Mathias and Dr See also:

• PRIMROSE

Primrose . See also:

• SIR

Sir Henry Irving had two sons, Harty Brodribb (b . 187o) and Laurence (b . 1872) . They were educated for other walks of See also:

• LIFE

life, the former for the See also:

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

bar, and the latter for the See also:

• DIPLOMATIC

diplomatic service; but both turned to the stage, and the See also:

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

elder, who had already established himself as the most prominent of the younger English actors at the 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 of his See also:

• FATHER

father's See also:

• DEATH

death, went into management on his own See also:

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

account .