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Home , Acts of Union 1707, Charles Dibdin, Chronicon Helveticum, Henry Siddons, History of Charles XII, Isaac Pocock

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Introduction 1 . Mitchell, British Historical Statistics , 25, 77, 89, 102. See also Kershaw and Pearsall, Immigrants and Aliens: A Guide to Sources on UK Immigration and Citizenship . In 1793, when many refugees were arriving from France, the government introduced a Regulations of Aliens Act (RAA). All foreigners coming to Britain were required to register with officials. A Superintendent of Aliens was appointed as head of the Aliens Office responsible for the registration of migrants. In 1798, a more rigorous law established a system of registration at British ports, in which migrants had to sign declarations upon entry into Britain. Migrants already liv- ing in Britain and those arriving after January 1793 had to give their names, ranks, occupations, and addresses to a magistrate. In March 1797, the Home Secretary distributed forms for the provision of details on all migrants who had arrived after May 1792. Householders who had taken in migrants as lodgers had to give details to local officials. Passports, issued by the Secretary of State, were required for travel outside of . The wartime regulations regarding aliens were repealed at the peace of 1814, but were renewed with modifications later in the same year and in 1815, when war broke out again. The RAA 1816 required masters of ships to declare, in writing to the Inspector of Aliens or Officer of the Customs, the number of foreigners on board, with their names and descriptions. The RAA 1826 required migrants to send to the Secretary of State, or to the Chief Secretary for Ireland, a declaration of their place of residence every six months. Most of the early records of the Aliens Office have been destroyed, but Foreign Office Records at The National Archives, reference FO 83/21, contain lists of migrants arriving at British ports for the period from August 1810 to May 1811. The vast majority of certificates issued under the Aliens Act 1826 were destroyed when the Aliens Office was absorbed in to the Home Office in 1836, but there is an index of certificates from 1826 to 1849 at The National Archives in series HO 5/25-32, and CUST 102/393-396 contains certificates of arrival for the Port of London from July to November 1826 and for the port of Gravesend from October 1826 to August 1837. HO 2 contains the original certificates of arrival of individuals, arranged under ports of arrival, for the period from 1836 to 1852. Each certificate gives the person’s name, nationality, profession, date of arrival, and last country visited, together with their signature, and sometimes other details. 214 Notes

2 . Lobban, “Population Movements: Emigration,” Scottish Population History , 452. 3 . Smith, “Irish Rebels and English Radicals 1798–1820,” Past & Present (1955) 7, no. 1:78–85. 4 . Jones, Welsh in London , 465–66, 476. 5 . Flinn, European Demographic System, 1500–1820 , 154–63. 6 . Klancher, The Making of English Reading Audiences 1790–1832 ; Schoenfield, British Periodicals and Romantic Identity . 7 . Worrall, Theatric Revolution , v. 8 . Baer, Theatre and Disorder in Late Georgian London ; Russell, “Playing at Revolution: The Politics of the O. P. Riots of 1809,” Theatre Notebook 44 (1990):16–26. 9 . Moody, Illegitimate Theatre , 62. 10 . Selected Writings of Leigh Hunt , 1:109–110 11 . The Rebellion; or, All in the Wrong: A serio-comic hurly- burly. “With the exception of a few articles extracted from the newspapers, with names and dates, the whole of this pamphlet is taken from the Memoranda dramatica of the Monthly Mirror .” (1809). 12 . Mander and Mitchenson, The Theatres of London and The Lost Theatres of London . 13 . Moody, Illegitimate Theatre ,164–177. 14 . Moody, Illegitimate Theatre ,166. 15 . Burwick, “The Jew on the Romantic Stage,” /Judaica , 101–118. See the tribute to Astley in Memoirs of J. Decastro (1824), 9–11, 54–56. 16 . Theatrical Inquisitor (May 1820) 16:301. 17 . Moody, Illegitimate Theatre ,166, citing Webb, Glances at Life in City and Suburb (1836), 153. 18 . See note 1 above. 19 . Fox, London— World City, 1800–1840 ; White, London in the Nineteenth Century. 20 . Schwarz, “Occupations and Incomes in Late Eighteenth- Century London,” East London Papers 14 (December 1972), 87–100.

1 Children on Stage: Idealized, Eroticized, Demonized 1 . Although there are many accounts of the roles Betty played, with some contemporary description of his movement and delivery, few of his crit- ics and biographers attend to his actual performance. A useful source is Playfair, The Prodigy: A Study of the Strange Life of Master Betty ; for a dis- criminating summary of the roles in which Betty seemed most successful, see Altick, “The Marvelous Child of the English Stage.” College English , 7, No. 2 (November, 1945): 78–85. 2 . An important exception, to which I will return below, is Carlson, “Forever Young: Master Betty and the Queer Stage of Youth in English Romanticism.” South Atlantic Quarterly , 95, no. 3 (July 1996): 575–602. Notes 215

3 . Plotz, Romanticism and the Vocation of Childhood ; McGavran, Romanticism and Children’s Literature in Nineteenth-Century ; McGavran, Literature and the Child. See also Plotz, “The Perpetual Messiah: Romanticism, Childhood, and the Paradoxes of Human Development,” Regulated Children/Liberated Children: Education in Psychohistorical Perspective , 63–95. 4 . Mitchell, “‘But Cast Their Eyes on These Little Wretched Beings’: The Innocence and Experience of Children in the Late Eighteenth Century.” New Formations: A Journal of Culture/Theory/Politics , 42 (January 2000): 115–30; Smith, “Blake’s Songs of Innocence and Experience and Eighteenth- Century Religious and Moral Verse for Children.” Essays in Arts and Sciences , 20 (October 1991): 1–16. 5 . Scott, “Celebrity Parade,” Parade (January 20, 2008), 4. 6 . Gould, “Tragedy in Performance,” History of Classical Literature: Part 2 Greek Drama , 22: “The parts of children were indeed played on stage by children, but as silent mimes: children are never given spoken lines in Greek tragedy.” 7 . Kathman, “How Old Were Shakespeare’s Boy Actors?” Shakespeare Survey: An Annual Survey of Shakespeare Studies and Production , 58 (2005): 220–46. 8 . Shapiro, Gender In Play On The Shakespearean Stage: Boy Heroines And Female Pages , 119, 142. 9 . Chambers, Elizabethan Stage , 2:18. 10 . Foakes, “John Marston’s Fantastical Plays: Antonio and Mellida and Antonio’s Revenge.” Philological Quarterly 41, No. 1 (January 1962): 229–39 (on 229: “strutting in a ranting role becomes grotesque in a child”); Foakes, Shakespeare: The Dark Comedies to the Last Plays: From Satire to Celebration , 64 (also 42: “boys aping adults self- consciously”); Foakes, “Tragedy at the Children’s Theatres after 1600,” Elizabethan Theatre II , 37–59 (on 45: “child- actors consciously ranting in oversize parts”). 11 . Newlyn, “The Little Actor and His Mock Apparel,” Coleridge, Wordsworth and the Language of Allusion , 141–64, argues that Wordsworth, in developing his allusion to Jacques’s speech on the Seven Ages of Man (“All the world’s stage,” etc. in As You Like It II.vi.), is also responding to Andrew Marvell’s On a Drop of Dew and to Coleridge’s To H. C., Six years old . 12 . Pape and Burwick, Boydell Shakespeare Gallery , 261, 264–6, 244–5. 13 . Engraving by James Caldwell, painting by William Hamilton, on ’s return to Drury Lane, October 10, 1782. 14 . Broadbent, History of , 187–88. 15 . Highfill et al. “Dibdin, Charles.” A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800 , 4:358–76. 16 . BL Playbills 311, Surrey, 1820–32. On April 22, 23, 24, 1812. Beauty and the Beast , with principle Fairies and Dancers performed by Gabriel Giroux with two Misses Giroux and Miss Green. This was followed by Children in the Woods , in which Elliston appeared as Walter and the 216 Notes

children were played by the two Misses Carr. On November 24, 1812, for the production of Sleeping Beauty , the Fairy Melzerina was played by one Miss Carr, and the other Miss Carr performed the title role in The Adopted Child . Blewitt was later appointed director of the Juvenile Company. 17 . Malkin, A Father’s Memoirs of His Child , xii. 18 . Coleridge, Lectures 1808–1819: On Literature (December 2, 1811), I:277. 19 . Altick, “The Marvelous Child of the English Stage,” 78–85. 20 . Burwick, Romantic Drama: Acting and Reacting , 17, 402–4. 21 . The Annual Register, For 1808 . Edinburgh: Printed by James Ballantyne and Co., 1810. Vol. 1, Part 2, p. 281: on Mrs. Mudie’s poor performance as Mrs. Haller in The Stranger (Drury Lane, October 22, 1808). 22 . Cited in Ashton, The Dawn of the XIXth Century in England , 2:130. 23 . Garrick, Advertisement to The Country Girl , The Plays of , 7:199. 24 . Genest, Some Account of the English Stage , 7:715 (, November 23, 1805). For a fuller account, Genest refers to The British Drama: a collection of the most esteemed tragedies, comedies, operas, and farces, in the English language (1828–29). See also Ryan, Dramatic Table Talk: or, Scenes, Situations, & Adventures, Serious and Comic, in Theatrical History and Biography , with “Reflections on the Theatrical Art” by François Joseph Talma [v.1, p. vii–li]. 2 vols. The account in Ryan, 2:2–7, as well as the one given by Ashton, 2:130–34, derives from the review in the Morning Post , November 25, 1805. See also the review in Morning Chronicle , November 25, 1805. 25 . John and Patsy Ramsey. The Death of Innocence: The Untold Story of JonBenét’s Murder . Thomas with Davis. JonBenét: Inside the Ramsey Murder Investigation . 26 . Ryan, 2:3. 27 . Morning Chronicle , November 25, 1805, 28 . Garrick, The Country Girl , The Plays of David Garrick , 7:228. 29 . Garrick, The Country Girl , The Plays of David Garrick , 7:230–31. 30 . Ryan, 2:6. 31 . Ashton, 2:132. 32 . Quoted in Ashton, 2:134. 33 . Journal of John Waldie Theatre Commentaries, 1799–1830 , XII:288–9. The composer was Matthias von Holst (1767–1854), who lived in London and published many collections of original vocal music; see The favourite song in the celebrated opera Die drei Freier . 34 . Garrick, Miss in her Teens, or, The medley of lovers a farce in two acts (1747), The Plays of David Garrick , 1:69–104. 35 . Waldie. Theatre Commentaries , XII:288–9. 36 . Waldie, Theatre Commentaries , XII, 322–3. 37 . The Castle Spectre , in Cox, Seven Gothic Dramas, 1789–1825 , 168–9. 38 . The Castle Spectre , in Cox, 171. 39 . Waldie, Theatre Commentaries , esp. XII–XVI. 40 . Walford, Greater London. A Narrative of Its History , 2:361–2. Notes 217

2 Moore and the Drama of Irish Protest 1 . Moore, Songs, Duets, Trios, and Choruses, in the Gipsy Prince, a Musical Entertainment in Two Acts, first performed at the Theatre- Royal, Hay- Market, July 24, 1801. The Overture and Musick Composed and Selected by Mr. Kelly (1801). The Gipsy Prince, A Comic Opera in Two Acts, Now Performing with Universal applause at the Theatre Royal, Haymarket, Compos’d & Selected by (1801). In addition to these two published sources, I have relied on manuscript 1329, “The Gipsy Prince,” in the collection of John Larpent, ’s Examiner of Plays (1778–1824), at the Huntington Library. I have also consulted the sub- sequent narrative version, The Gipsy Prince; or, The Loves of Don Sebastian de Nurillo, and the Fair Antonia, translated from the Spanish. By C. Moor, Esq. To which is added, The Corsair; or The Italian Nuptials . (1801. BL shelfmark: 12330.e.37.2). This work is a hoax. The first story claims to be a translation of a work by Hermandez de Feyjoo located at the British Museum. It is entered by BL at Hernandez de Feyjoo, but with no trace of the original work. The title refers to two dramatized ver- sions at the Haymarket Theatre: The Gipsy Prince by “Charles” Moore and The Corsair by Charles Farley, publishing the cast and songs of the first. The Corsair has a separate title page: The Corsair; or, The Nuptials of Gagliardo and Fiorita . Trans. from the Italian of Geoffry Benini, by J. Farley. The cast is listed and the frontispiece depicts Mrs. Gibbs, H. Johnston, and Palmer in a scene from the play. 2 . The Dramatic Censor is quoted in Genest, Some Account of the English Stage , 7:522. Genest says it was acted about ten times. The “Notice” in The Monthly Mirror (July 1801) judged The Gipsy Prince “flimsy and uninteresting” but praised the good taste and “scientific arrangement” of the music. 3 . In 1763, a Hungarian, Istvan Valyi, noticed similarities to the extent of mutual intelligibility between gipsy language and that of students from Malabar. Rüdiger (1751–1822) confirmed the similarities, pointing in particular to Hindustani dialects; see Rüdiger; Von der Sprache und Herkunft der Zigeuner aus Indien (1782). Moore may also have consulted Raper (trans.), Dissertation on the Gipseys (1787); Raper translated the work of Grellmann, Die Zigeuner Historischer Versuch über die Zigeuner; betreffend die Lebensart und Verfassung (1787). 4 . See entry for Miss Tyrer in The Thespian Dictionary (1805). 5 . Genest, 6:35. 6 . Moore, M. P. or the Blue- Stocking, a Comic Opera, in Three Acts, First performed at the English Opera, Theatre Royal, Lyceum, On Monday, Sept 9, 1811 . The musical score was published separately: M. P. or the Blue- Stocking, a Comic Opera in Three Acts. As Performed at the Theatre Royal, Lyceum. Composed & Selected by Thomas Moore, Esq r . Author of the Piece . There are many additions and deletions in manuscript 1688, “M. P. or the Blue-Stocking” in the Larpent Collection, Huntington Library. 218 Notes

7 . Stockley, German Literature as Known in England , 179, 187, 288, 317, lists, in addition to Johnstone’s adaptation, three other translations: The School for Honor, or, The Chance of War , a comedy in five acts (1799); Minna von Barnhelm (1806), trans. Fanny Holcroft; Love and Honour (1819), trans. Robert Harvey. 8 . Genest, 6:413–14. 9 . “,” in Famous Actors: Biographies and Portraits Reprinted and Reproduced from Oxberry’s “ Dramatic Biography ” (1825), 203–14. 10 . Conolly, The Censorship of English Drama , 43, 106. 11 . Moore, Preface, M. P. or the Blue-Stocking (London, 1811), p. iv. 12 . Moore’s note: “See the very elaborate Criticisms in The Times , of Tuesday, Sept. 10; and in The Examiner , of Sunday, Sept. 15.” 13 . Moore, Journal , 1:308, 319, 323, 328, 352, 364; compared to Nero, 359. 14 . On these songs in relation to Moore’s Irish Melodies , see Thuente, The Harp Re- Strung . 15 . Moore, Intercepted Letters, Or the Two Penny Post- Bag (1813), in The Poetical Works , 327–40. 16 . Raymond, The Life and Enterprises of Robert William Elliston . 17 . Among the several sources for this old proverb are the following: “It hath been an old Maxime; that as pouerty goes in at one doore, loue goes out at the other” [R. Brathwait English Gentlewoman (1631) vi.]; “When povertie comes in at doores, love leapes out at windowes” [J. Clarke Parœmiologia - Latina (1639) 25]; “I hope, ladies, none of you may ever experience, that ‘when poverty comes in at the door, love flies out at the windows’”[ Universal Asylum Aug. (1790) 84]. 18 . Adams, A Dictionary of the Drama , 172. 19 . Burwick, “Francophilia/Francophobia,” Home and Abroad: Transnational England , 58–91. 20 . BL, Playbills 324, Lyceum 1809–21, September 9, 1811. 21 . The Examiner September 15, 1811; Hunt, Leigh Hunt’s Dramatic Criticism, 55. Charles Dibdin and Thomas Dibdin were popular and prolific playwrights. Hunt names A. Cherry, not as a successful play- wright, but as author of ostentatiously nationalistic celebrations of king and country. 22 . The Examiner , September 15, 1811; Hunt, Hunt’s Dramatic Criticism , 53. 23 . The Examiner , September 15, 1811; Hunt, Hunt’s Dramatic Criticism , 55. 24 . Moore’s note: “See the very elaborate Criticisms in The Times , of Tuesday, Sept. 10; and in The Examiner , of Sunday, Sept. 15.” 25 . Moore, to the Editor of The Sun (September 11, 1811); Hunt, Hunt’s Dramatic Criticism , 58. 26 . A Narrative of the Minutes of Evidence respecting the claim to the Berkeley Peerage (1811). 27 . The designation “rotten” referred to those boroughs that had the right to elect members of but actually had very few residents. The rot- ten borough of Old Sarum had seven voters, but could elect two M.P.s. An even more extreme example is of Dunwich, which could also elect two M.P.s despite having no residents, the entire borough having been Notes 219

eroded away into the North Sea. Other boroughs were called “pocket boroughs” because they were “in the pocket” of a wealthy landowner, whose son was normally elected to the seat. 28 . Arnold, to the Editor of The Morning Chronicle (September 12, 1811); Hunt, Hunt’s Dramatic Criticism , 58–59. 29 . The Examiner , September 15, 1811; Hunt, Hunt’s Dramatic Criticism , 59.

3 ZAPOLYA : Coleridge and the Werewolves 1 . J. C. C. Mays, “Introduction,” Zapolya , Poetical Works : Part 3. Plays , 1334–35. 2 . In the entry for werewolves , the OED cites Coleridge’s Zapolya among the literary sources, and lists among the variant spellings: war- , ware-, wehr-, weir-, and wer- . 3 . One source not available to Coleridge was the brothers , Deutsche Sagen ; the werwolf tales, entries 213 and 215, were in the second vol- ume, which was published only after Zapolya was completed. For avail- able sources, see notes 6, 32, and 33 below. 4 . Walker, The Wild Boy of Bohemia (Olympic, February 12, 1827), a Melo- Drama of the Feral Child , anticipates by 15 months the appearance of Kaspar Hauser, a teenage boy who appeared in the streets of Nuremberg, Germany, on May 26, 1828, subsequently dramatized as Casper Hauser; or, The Wild Boy of Bavaria (Queen’s, January 9, 1837). 5 . Robbins, Encyclopedia of Witchcraft and Demonology , 324–29, 537–38. 6 . Wolfeshusius, De (1591); Prieur, Dialogue de la Lycanthropie (1596). 7 . The History of Beane and his family (1800). 8 . Coleridge, Notebooks of , 3 (1808–19): 4201 [dated 1814], unidentified Latin passage transcribed from Jeremy Taylor, The Worthy Communicant (1674), Ch. IV §3, 205. 9 . Taylor, The Worthy Communicant (1674), Ch. I §5, 177. 10 . Johnson, “Lycanthropy,” in A Dictionary of the English language (1785). 11 . Coleridge, Marginalia : Part 5, 679. 12 . Erving, “Coleridge as Playwright.” Oxford Handbook of Coleridge , 407. 13 . See Coates, “Coleridge’s Debt to Harrington: A Discussion of Zapolya .” Journal of the History of Ideas , 38 (1977): 501–8; Hayter, “Coleridge, Maturin’s Bertram, and Drury Lane.” New Approaches to Coleridge , 17–37; Carlson, “Command Performances: Burke, Coleridge, and Schiller’s Dramatic Reflections on the Revolution in France.” The Wordsworth Circle, 23, no. 2 (Spring 1992): 117–34; Esterhammer, “Cognitive Process, Commanding Genius, and Comparative Literature,” Coleridge Bulletin , 16 (Winter 2000): 56–62. Coates links Zapolya to the work of James Harrington, arguing that Coleridge sought to represent moral goodness prevailing over the lust for power and forging an ideal state out of the ruins of usurpation and tyranny. Hayter discussed Zapolya in terms of Coleridge’s critique of Charles Robert Maturin’s Bertram . Carlson 220 Notes

identifies Coleridge’s informing text as Edmund Burke’s Reflections on the Revolution in France . Carlson and Esterhammer agree that Schiller’s Wallenstein remained a crucial influence, especially for its exposition of “fate” as a self-fulfilling prophecy. 14 . Coleridge, “To Mr. Justice Fletcher,” Essays on his Times , 3:692–95. 15 . Coleridge, Lay Sermons , 63–64. 16 . Coleridge, Lay Sermons , 83–84. 17 . Coleridge, Notebooks , §4904 [July 1822]. 18 . Theatrical Inquisitor XII (February 1818), 135; cited in Mays, “Introduction,” Zapolya , p. 1331. 19 . O’Donnell, Werwolves , 65–67. 20 . Planché, Rodolph the Wolf; or, Columbine Red Riding Hood (Olympia, December 21, 1818), Larpent ms. 71 S. [19/12/1818]. 21 . McNally, Dracula Was a Woman (1983); Penrose, The Bloody Countess: Atrocities of Erzsébet Báthory (1970). 22 . Coleridge, Lectures 1808–1819: On Literature . 2:171–74 [1818, Lecture 9]. 23 . Genesis 3:17–19; Milton, Paradise Lost , Book X, lines 197–208. 24 . Zapolya , p. 1410; CN IV 4990. 25 . Zapolya , p. 1426; BM Egerton MS 2800 f 6 r [dated 1819]. 26 . Drayton, “Man in the Moon,” Poems (1605); see also “The Folk- Lore of Drayton,” Folk- Lore Journal , 2, no. 12 (December 1884): 357–69. 27 . Coleridge, Lectures 1808–1819: On Literature . 2:506–8 [1811–12, Lecture 8; Collier’s Text]. 28 . Coleridge, Notebooks , 5 (1827–34), 5572 [dated July–August 1827]; see also 5609 on “the case of the Lycanthrope” (Luke 8:26–39). 29 . Scott, The Antiquary (1816), vol. 2, Ch. XXV. p. 66. 30 . Scott, Letter: [1822] April 25, Abbotsford, to David Laing. 31 . Also known as Peter Stumpp. See Orenstein, Little Red Riding Hood Uncloaked , 91. 32 . True Discourse. Declaring the Damnable Life and Death of One Stubbe Peeter, a Most Wicked Sorcerer (1590). One copy survives in the British Museum, another in the Lambeth Library; reprinted in Montague Summers, The Werewolf , 253–59. 33 . Scott, Demonology and Witchcraft , 205–6. Scott’s source for the lycan- thropy trials was Pierre de Lancre, Tableau de l’inconstance des mauvais anges et démons: oùil est amplement traité des sorciers et de la sorcellerie (1612). 34 . Scott, Demonology and Witchcraft , 34. “A lady once asked me whether I believed in ghosts and apparitions. I answered with truth and simplic- ity: No, madam! I have seen far too many myself.” Coleridge, Notebooks , 2:2583 (midnight, Sunday, May 12, 1805); also in The Friend , Vol.1, Essay III (1809). 35 . Nicoll, A History of English Drama, 4:249–566, includes the follow- ing in his “Hand-List of Plays”: Charles Dibdin, Jr. Red Riding Hood; or, The Wolf Robber (Sadler’s Wells. May 23, 1803). Anon. Little Red Riding Hood; or, The Magician’s Dream (New Theatre [Tottenham Court], March 14, 1811). Anon. Little Red Riding Hood (Surrey, Notes 221

January 6, 1812). Thomas Dibdin, Red Riding Hood: or, The Wolf of the Forest of Arden ” (Surrey, August 2, 1818). James Robinson Planché, Rudolph the Wolf; or, Columbine Red Riding Hood (Olympic. December 21, 1818). Anon. Harlequin and Little Red Riding Hood; or, The Wizard and the Wolf (Covent Garden. December 26, 1828). Gilbert Abbott á Beckett, Little Red Riding Hood (Princess, February 6, 1843). Thomas H. Reynoldson, Little Red Riding Hood and the Wolf (Grecian, April 27, 1844). For additional examples, see Orenstein, Little Red Riding Hood Uncloaked: Sex, Morality, and the Evolution of a Fairy Tale . 36 . Playbill for the Pavilion, June 30, 1828, East London Theatre Archive Reference no. 38041007511173. 37 . Planché, The Vampire; or, The Bride of the Isles. A Romantic Melo- Drama, in two acts: preceded by an introductory Vision ( performed at the Theatre Royal English Opera House , August 9 , 1820); Moncrieff, The Vampire, a drama in three acts . (Royal Coburg Theatre, August 22, 1820). [Polidori, published anonymous], The Vampyre. A Tale (1819). 38 . The War Woolf of Tlascala; or, The Mexican’s Watchword (Coburg, August 4, 1828), adapted from Cordero Pando, Cortés triunfante en Tlascala (1780). This play is similar to Coleridge’s Zapolya in that it describes the superstitious belief in the werwolf. The Choluluans believed the super- natural wolf would aid their ambush of the Spaniards. Cortez marched his army into the town of Tlascala in September 1519, the planned ambush was exposed, and hundreds of Choluluans were massacred. 39 . The plot of this anonymous melodrama is adapted from the trial in 1598 of the Gandillon family, their confessions and the testimony of witnesses, recorded in Henri Boguet, Discours des sorciers (1610); see also Robbins, Encyclopedia of Witchcraft and Demonology , 538. 40 . Reynolds, Wagner, the Wehr- wolf. Serialized in Reynolds’s Miscellany , 1846–47.

4 GLENARVON on Stage: Impersonating Byron 1 . Douglass, : A Biography , 186. 2 . I thank Paul Douglass for his efforts in confirming that correspondence with actors, playwrights, and theater managers has yet to be found among the unpublished papers. 3 . Lamb urged Colburn not to mention Glenarvon in publishing Graham Hamilton (1822); The Whole Disgraceful Truth: Selected Letters of Lady Caroline Lamb , letter of William Lamb to Henry Colburn, March 29, 1822. 4 . BL Playbills 174, Royal Coburg Theatre, Thursday, March 23, 1820: “The Royal Coburg Theatre, under the Patronage of Lady Caroline Lamb, and several other Persons of Distinction.” 5 . Wu, “Appropriating Byron: Lady Caroline Lamb’s A New Canto,” Wordsworth Circle , 26.3 (1995): 140–46. 222 Notes

6 . Mirror of the Stage , n.s. 4 (1824): 129. H. H. Rowbotham was known for his versatility in performing essentially similar character roles: “this gen- tleman is at the head of that corps of actors denominated ‘useful’, . . . serv- ing a dozen purposes with equal propriety.” The critic for the Mirror declared Rowbotham too methodical, too studied, and too much lacking in spontaneity, comparing his talent to “the carved work of a bed post,” but granting his that forte was the portrayal of patriarchs: “we identify Rowbotham with vigorous old age: the gnarled , boisterous in naked- ness, and we wish, with all the imperfections of this actor, that the Minor Theatre had more of his quality.” 7 . Burwick, Romantic Drama: Acting and Reacting , 230–57. 8 . Mary Shelley, Introduction to third ed. (1831), Frankenstein, or the Modern Prometheus , 225. 9 . Byron to John Murray, Diodati, , 1816, Byron’s Letters & Journals , 5:85. 10 . Byron to John Murray, May 15, 1819, Byron’s Letters & Journals , 6:125: “I have got yr. extract, & the ‘Vampire.’ I need not say that it is not mine — there is a rule to go by—you are my publisher (till we quarrel) and what is not published by you is not written by me.” 11 . Byron, “A Fragment,” appended to Mazeppa: A Poem , 57–69. 12 . Several reviews of Don Juan , Cantos I and II, appeared almost immedi- ately after publication; European Magazine , 76 (July 1819), pp. 53–56. Green Man (July 17, 1819), p. 69. Kaleidoscope (from Literary Gazette ), 2 (, 1819), p. 12. Literary Chronicle , 1 (July 17, 24, 1819), pp.129–30, 147–49. Literary Gazette , (July 17, 24, 1819), pp. 449–51, 470–73. Subsequent reviews of Don Juan continued to fan controversy while performances of Glenarvon were still being staged: Blackwood’s Edinburgh Magazine , 5 (August 1819), pp. 512–22. British Critic , ns,v12 (Aug. 1819), pp. 195–205. British Review , 14 (Aug. 1819), pp. 266–68. Champion (–Aug. 1, 1819), pp. 472–73. Gentleman’s Magazine , 892 (Aug. 1819), p. 152. Monthly Magazine , 48 (Aug. 1819), 56. Monthly Review , 309 (Aug. 1819), pp. 234–39. New Monthly Magazine , 12 (August 1819), pp. 75–78. 13 . William Ruthven, fourth Lord Ruthven and first Earl of Gowrie (ca. 1543–84). Along with his father, Patrick Ruthven (third Lord Ruthven, ca. 1520–66), William took part in the murder of Queen Mary of Scots’ secretary/favourite, David Riccio on March 9, 1566. He later took part in the so-called “Ruthven Raid,” on August 23, 1582, in which the young James VI was kidnapped. After James escaped, in June 1583, Ruthven was initially given a full pardon, but the next year he was arrested and, as the Dictionary of National Biography (DNB ) puts it, He was brought first to Edinburgh, then to Kinneill, before being taken to Stirling where he was tried at the beginning of May. In addi- tion to treason he was accused of witchcraft and conferring with a Notes 223

sorcerer, charges which he denied and which were not pursued. Condemned for treason, Gowrie was beheaded at Stirling on 4 May 1584 and his lands were forfeited. He died with impressive fortitude. The family got their lands back in 1586, but two of William’s sons, John Ruthven, third Earl of Gowrie (1577/8–1600) and Alexander Ruthven (1580?–1600), were then involved in the “Gowrie conspir- acy” of August 1600, which appears to have been an attempt to assas- sinate the king. Both brothers died in the attempt. After this, the family was irrevocably disinherited, and the name was banned from James’ court: no one with the name Ruthven was allowed within 10 of the king. Further details can be found in the DNB entries for the above. I thank Ian Blyth, University of St. Andrews, for drawing my attention to the historical Lord Ruthven. 14 . BL Playbills 174, Royal Coburg Theatre, June 16, 1819: “for the 1 st time, a new Melo- Dramatic Burletta, in 3 Acts, Florence Macarthy, The Bhan Tierna of Ireland . From Lady Morgan’s Popular Romance,” addressing the contemporary state of Irish social and political culture. While the heroine is wooed by a kidnapped heir, the tyrannical Crawley family of land agents exercises despotic power over the neighborhood, backed by a private army. Music arranged from the Irish Melodies and other National Authorities by Mr. T. Hughes. 15 . Miss Watson arrived from the Cheltenham Theatre in May 1818 to join the troupe at the Coburg. She soon secured a place as the leading lady in the majority of serious productions during the following years, appear- ing as Margaret in Faustus (June 7, 1824), Leonora in Schiller’s Fiesco (March 7, 1825), Statira in Nathaniel Lee’s Alexander the Great, or the Rival Queens (May 2, 1825), Cordelia in the Coburg production of Lear (July 18, 1825), and Anne Boleyn in Henry VIII (August 22, 1825). 16 . In the 1819 production of Glenarvon , Lady Margaret was played by Mrs. Stanley, whose husband was also a prominent member of the troupe. Mrs. Stanley performed in such roles as Constantia (Marchioness de Voucour) in France; or, Heaven Points to the Murderer (December 2, 1822); Hortensia in The Novice of St. Mark , based on M. G. Lewis, Veroni (June 23, 1823); Ina in Melmoth the Wanderer , based on Maturin’s novel (July 14, 1823); Kawia (Enchantress of the Isles) in Thalaba, The Destroyer , Fitzball’s adaption from Southey (August 11, 1823); and Anniple Dumblane, the title role in H. M. Milner’s Weird Woman of the Isles (April 19, 1824). 17 . The Duke of Altamonte was played by Gallot, who arrived in London from the theater in Chester as one of the original troupe at the opening of the Royal Coburg in May 1818. Gallot moved to the in 1827 and performed there until 1845. 18 . The role of Sir Richard Mowbray was performed by William Bolwell Davidge, who became manager of the Coburg in 1824. 19 . There is no parallel to this scene, but it may be presumed to have taken place just prior to the events narrated in Glenarvon , II, chapter 1 . The role of Elinor St. Claire was acted by Mrs. Lamb, who also performed that season as Lady Georgia in Florence Macarthy , from the novel by Lady Morgan (June 16, 1819). 224 Notes

20 . Conolly, Censorship of English Drama , devotes separate chapters (4, 5, and 6) to the suppression of political representation, personal satire, and immorality. Political satire was the most aggressively censored. No appli- cation for Glenarvon is listed in the Catalogue of the John Larpent Plays, Huntington Library. 21 . Cawdie O’Kelly was played by Randall, who was frequently cast in dia- lect parts as Irishman, Scotchman, or Gypsy. 22 . Zerbellini, Altamonte’s son, was performed by Miss Thomlinson. Because her name does not appear again in the playbills of the Coburg, it may be assumed that she was an amateur introduced for this one occa- sion to play the cross- dressed role as a young boy. 23 . The events in the Masquerade, Act III, scene iii, correspond to Glenarvon , I.215–25 (the appearance of the Gipsey); 232–34 (the introduction of Zerbellini); and II:129–34 (Elinor St. Claire sings “And can’st thou bid my Heart forget”). Although the playbill announces music composed by James Saunderson, I have only found sheet music by other compos- ers. On other musical settings, see Paul Douglass, “Playing Byron: Lady Caroline Lamb’s Glenarvon and the music of Isaac Nathan” European Romantic Review , 8, no. 1 (Winter 1997): 1–24. On Saunderson, see Grove’s Dictionary of Music and Musicians , 7:400–401. 24 . Cumberland’s The Wheel of Fortune (1795) and Thompson’s The Stranger (1798), the latter a fairly close translation, are both derived from August von Kotzebue’s Menschenhaß und Reue (1789). See texts and commen- tary in Kemble Promptbooks , vol 11. 25 . Le Vampire (1820) was a collaboration: wrote together with Achille Jouffrey and Pierre Carmouche. See Hemmings, “Co- authorship in French Plays of the Nineteenth Century,” French Studies , 41, no. 1 (Winter 1987): 37–51. 26 . Planché, The Vampire; or, The Bride of the Isles , in Plays (1986). 27 . BL Playbills 174, Royal Coburg Theatre, Moncrieff’s The Vampire , Monday, August 21, 1820. 28 . Bradley played minor roles at several of the minor theaters in London. In 1818, he moved from the Surrey to the Coburg. With a talent in mock- battle, he was typically cast as soldier, pirate, or seaman. 29 . On the career of Cooke, see Stuart, Stage Blood: Vampires of the 19th cen- tury Stage , 82–85 and 212–314; and Nichols, “The Acting of Thomas Potter Cooke,” Nineteenth- Century Theatre Research , 5.2 (Autumn 1977): 73–84. 30 . Linden was played by Thomas Blanchard, who arrived from the theater at Liverpool to join the Royal Coburg in 1818. Once applauded as “the child of nature” at the Covent Garden, he was dismissed at of the 1793–94 season for excessive drinking. He redeemed his career with his particular talent for playing the role of one suffering grief, hardship, or ruin. He communicated pathos combined with dignity and fortitude. See Genest, Some account of the English Stage , 7:172. 31 . BL Playbills 174, Royal Coburg Theatre, Glenarvon; or, The Murdered Heir . Monday, December 3, 1821. Notes 225

32 . Polidori, The Vampyre (1819), transformed Byron’s Fragment on Augustus Darvell into a full- length narrative; introduced by “A Letter from Geneva, with Anecdotes of Lord Byron” and first published in Henry Colburn’s New Monthly Magazine (April 1819). 33 . Reviewed under the entry for “English Opera House” in Henry Colburn’s New Monthly Magazine , 14, no. 80 (September 1, 1820): 321–22. 34 . Byron, Preface, Marino Faliero , The Works of Lord Byron , 5 vols. (Leipzig: Bernard Tauchnitz, 1866), 5: 6–7. 35 . Playbill Manfred , Covent Garden, 1834, Enthoven Collection, Theatre Museum London. 36 . Tunbridge, “From Count to Chimney Sweep: Byron’s ‘Manfred’ in London Theatres,” Music and Letters 76.2 (2006): 212–36. 37 . Planché, Recollections and Reflections , 150–51. 38 . Ibid., 151. 39 . à Beckett, Man- Fred , ix, 6. 40 . The Times , Dec. 27, 1834, issue 15672, p. 2, col. E. 41 . The Times , Nov. 20, 1863, issue 24721, p. 4, col. F. 42 . Byron, The Corsair, a tale (1814). The unidentified artist was Mather Browne. 43 . When The Corsair was again adapted for melodramatic production, it was presented as if it were autobiography. The name Conrad was replaced by Byron’s own name as the hero of the adventure: Lord Byron in Athens; or, The Corsair’s Isle (Sadler’s Wells, February 6, 1832). 44 . Byron, Journal, March 10, 1814, Byron’s Letters & Journals , 3:250. 45 . Thorslev, The Byronic Hero: Types and Prototypes , 156–59; 153–55. 46 . Byron, The Works of Lord Byron: Letters and Journals , 2:309; Byron to Lady Melbourne, November 25, 1813, Byron’s Letters & Journals , 3:175n. 47 . Dimond, The Bride of Abydos (Drury Lane, February 5, 1818) was revived 11 years later (Surrey, February 12, 1829). 48 . Genest, Some Account of the English Stage , 8:642. 49 . Theatrical Inquisitor, and Monthly Mirror , February 12, 1818, 125. 50 . Ziter, “Kean, Byron, and Fantasies of Miscegenation,” Theatre Journal , 54, No. 4 (December 2002): 607–26. 51 . Byron to Lady Melbourne, October 17, 1814, Byron’s Letters & Journals , 4:212 52 . Ziter, “Kean, Byron, and Fantasies of Miscegenation,” p. 613. “In the aftermath of Kean’s success as Richard III, Byron was asked to contrib- ute verses on the subject of the actor’s performance. Byron reportedly responded by quoting lines from the first canto of The Corsair , which describe the poem’s title character. In doing so, Byron implicitly linked the actor with himself, for that poem was significant in spreading the idea that Byron’s characters were an extension of himself.” 53 . Fitzsimons, , Fire from Heaven , 184–85, 233–38. 54 . Goethe’s Faust , 41; Teil I, line 1112: “Zwei Seelen wohnen, ach! in meiner Brust.” 55 . Douglass, Lady Caroline Lamb, A Biography , 220–22; Douglass, “The Madness of Writing: Lady Caroline Lamb’s Byronic Identity.” Pacific 226 Notes

Coast Philology . 34(1) (1999): 53–71. Wu, “Appropriating Byron: Lady Caroline Lamb’s A New Canto.” The Wordsworth Circle , 26.3 (1995): 140–46. 56 . Robinson, “The Devil as Doppelgänger in The Deformed Transformed : The Sources and Meaning of Byron’s Unfinished Drama.” The Plays of Lord Byron: Critical Essays , 321–45. 57 . Byron to John Murray (October 6, 1820), Byron’s Letters & Journals , 7:191. 58 . Ibid., 7:192. 59 . Ibid., 7:192–93. 60 . Within the very first year of its release, Henry Colburn brought out the fourth edition of Glenarvon . The first US edition also appeared in that first year; a French edition appeared in 1819. The poetry was published separately in 1819; sheet music was also available for the more popular songs. See bibliography. 61 . Douglass, Lady Caroline Lamb: A Biography , 224, 331. It was probably on this occasion of recruiting “devils” from Drury Lane that she also asked Madame Vestris, an actress, to go with her to the masquerade and, according to Hobhouse, became so excited that she “frightened” the actress “with certain testimonies of personal admiration, such as squeez- ing, etc.,” British Library Add. MS 56541. 62 . Reminiscences of Thomas Dibdin , 2:117–18. 63 . For example, Mrs. Elizabeth Thomas, Purity of Heart, anonymously published in London (1816) and New York (1818), the first American from the second London edition.

5 FOSCARI: Mitford’s Dramaturgy of the Unspoken and Unexplained 1 . Mitford, Life of Mary Russell Mitford , 1:14. 2 . Mitford, Letters of Mary Russell Mitford , 1:240. 3 . Saglia, “Historical Tragedy, the Fate of Gothic Drama, and Mary Russell Mitford’s Julian .” Il teatro della paura , 165–78. 4 . Saglia, “Mediterranean Unrest: 1820s Verse Tragedies and Revolutions in the South.” Romanticism 11.1 (2005); 99–113. 5 . Saglia, “‘The Talking Demon’: and Liberal Ideologies on the 1820s British Stage,” Nineteenth- Century Contexts 28.4 (December 2006): 347–77; esp. 368–9. 6 . An annotated copy of Machiavelli’s comedy La Mandragola (1518) was in the library of Reverend . See A Catalogue of the printed books and manuscripts bequeathed by the Reverend Alexander Dyce , Item 6041. See also John Mitford, Review of Poems, by Mary Russell Mitford; Quarterly Review 4 (November 1810) 514–18; John Mitford’s praise of Mitford’s descriptive poetry in his letter to Dr. Mitford (February 4, 1811), in L’Estrange, Friendships of Mary Russell Mitford , 1:38–39. 7 . Tylus, “Theater and Its Social Uses: Machiavelli’s Mandragola and the Spectacle of Infamy,” Renaissance Quarterly , 53, no. 3 (October Notes 227

2000): 656–86. See also Stempel, “The Silence of Iago,” PMLA , 84, no. 2 (March 1969): 252–63. 8 . Saglia, “‘Womanhood summoned unto conflicts’ in the Historical Tragedies of Felicia Hemans and Mary Russell Mitford,” La questione romantica , 14 (2003): 95–109. 9 . Holt, The Making of Italy: 1815–1870 , 258; D. M. Smith, The Making of Italy: 1796–1870 , 137–8. 10 . Taliani, L’emigrazione italiana in Inghilterra tra Letteratura e Politica, 1820–1860 . 11 . Sponza, Italian Immigrants in Nineteenth Century Britain , 28–34. The regional origins of most immigrants were the valleys around Como and Lucca. The people from Como were skilled artisans, mak- ing barometers and other precision instruments. People from Lucca specialized in plaster figure making. The people from Parma were pre- dominately organ grinders, while the Neapolitans from the Liri valley made ice cream. 12 . As numbers increased and competition grew fiercer in London, Italians spread to the north of England, , and , although never in great numbers to the northern cities. The Italian Consul General in Liverpool, in 1891, reports that the majority of the 80–100 Italians in the city were organ grinders and street sellers of ice cream and plaster statues. The 500–600 Italians in Manchester included mostly Terrazzo specialists, plasterers, and modelers working on the prestigious, new town hall. In Sheffield, 100–150 Italians made cutlery. 13 . D. M. Smith, Mazzini , 211–46. 14 . If the 1824 date of the imprint is correct, then Milner’s play was published before its first performance at the Royal Coburg Theatre, February 7, 1825. 15 . Sponza, Italian Immigrants , 39–45. 16 . Midon, Remarkable History of the Rise and Fall of Masaniello , first pub- lished in 1729, subsequent editions appeared in 1747, 1748, 1756, 1768, and 1770. 17 . Pietropoli, “The Tale of the Two Foscaris from the Chronicles to the Historical Drama: Mary Mitford’s Foscari and Lord Byron’s The Two Foscari ,” British Romanticism and Italian Literature , 209–20. 18 . Mitford, Foscari (1826), p. 1. Mitford does not mention, and appar- ently did not know, the earlier stage adaptation of the tragedy by White, Foscari, or, The Venetian Exile (1806). 19 . Moore, A new and complete collection of voyages and travels (1778). 20 . Saglia, “Byron’s Italy and Italy’s Byron: Codes of Resistance and Early Risorgimento Literature,” Rivista di Letterature Moderne e Comparate , 56, no. 3 (2003 July–Sept): 275–95. 21 . To John Murray (July 14, 1821), Byron’s Letters & Journals , 8:151–52. Daru, Histoire de la république de Venise . Sismondi, A History of the Italian Republics: or, the Origin, Progress, and Fall of Italian Freedom [ Histoire des républiques italiennes du moyen âge ]. 22 . To Douglas Kinnaird (August 16, 1821), Byron’s Letters and Journals , 8:181. 228 Notes

23 . Watkins, “Violence, Class Consciousness, and Ideology in Byron’s History Plays,” ELH , 48, no. 4 (January 1981): 799–816; McGann, “Byronic Drama in Two Venetian Plays,” Modern Philology , 66, no. 1 (August 1968): 30–44. 24 . Clayden, Rogers and his Contemporaries , 2:32–38. During his tour to Italy in 1814, Rogers kept a diary of present and historical events; in 1821, he returned to Italy, visiting Byron and Shelley at Pisa. From his diary note, he developed his lengthy poem Italy , Part I (1822) and Part II (1828). See also Powell, “On the Wing through Space and Time: The Dynamics of Turner’s Italy,” Forum for Modern Language Studies , 39, no. 2 (April 2003): 190–201; Hall, “Samuel Rogers: The Case for a Reassessment,” Imperfect Apprehensions , 188–201. 25 . Romano, The Likeness of Venice: A Life of Doge , 1373– 1457 ; Wiel, Two Doges of Venice . 26 . The sentence of exile to Napoli di Romania (Nauplia) was delayed because Jacopo Foscari was confined in Trieste due to illness; in 1446, the penalty was commuted to banishment at Treviso. 27 . Major historical sources and original records are collected in Samuele Romanin, Storia documentata di Venezia, Lib. x. Cap. iv, vii, and x. 28 . Genest, Some account of the English Stage , 9: 384. 29 . Genest, 9: 384–85.

6 WILHELM TELL on the London Stage 1 . Russell, The History of Modern Europe , 2:327. The Kingdom of resulted from the under . In 1801, under a new Act of Union, this kingdom merged with the to create the of Great Britain and Ireland. 2 . Kellenbenz, “German Immigrants in England” in Immigrants and Minorities in British Society , 63–80. 3 . Dickinson, “The poor Palatines and the Parties,” English Historical Review , 82 (1967): 464–85. 4 . The German Churches of England (1992); Podmore, The German Evangelical Churches (1992), 4–8. 5 . Farrell, “The German Community in Nineteenth Century East London,” East London Record , 13 (1990): 2–8. 6 . Petersen, Die Engländer in Hamburg , 44–48. 7 . Panayi, “Germans in London” in The Peopling of London: Fifteen Thousand Years of Settlement from Overseas , 111–17; Panayi, German Immigrants in Britain during the Nineteenth Century, 1815–1914 . 8 . British Library, German- Language Newspapers and Journals Published in London since 1810. http://www.bl.uk/reshelp/findhelprestype /news/germanlanguagenews/index.html [accessed April 15, 2011]. 9 . In his translation of Ignez de Castro: a Portuguese tragedy (1800), Benjamin Thompson identifies himself on the title page as translator of The German Theatre , which by 1806 included six volumes: I. Biographical Notes 229

account of Kotzebue. The stranger; Rolla, or The virgin of the sun; Pizarro, or The death of Rolla, by A. von Kotzebue. II. Lovers’ vows, or The natural son; Adelaide of Wulfingen; Count Benyowsky, or The con- spiracy of Kamschatka, by A. von Kotzebue. III. Deaf and dumb, or The orphan; The Indian exiles; False delicacy; The happy family, by A. von Kotzebue. IV. Otto of Wittelsbach, or The choleric count; Dagobert, king of the Franks, by J. M. Babo. Conscience, by A. W. Iffland. V. The robbers; Don Carlos, by F. Schiller. VI. The ensign, by F. L. Schroeder. Count Koenigsmark, by C. von Reitzenstein. Stella, by J. W. von Goethe. Emilia Galotti, by G. E. Lessing. 10 . Schiller, Wallenstein, A drama in two parts . Trans. Coleridge (1800). 11 . Schiller, Mary Stuart, a tragedy . Trans. Mellish (1801). 12 . Schiller, The Robbers , trans. Tytler (1792). Second edition, corrected and improved, 1795. Fourth edition, 1800. 13 . Schiller, Fiesco, or, The Genoese Conspiracy , trans. Noehden and Stodart (1796); Don Carlos , trans. Noehden and Stodart (1798). 14 . See discussion of Coleridge’s Remorse in Burwick, Illusion and the Drama , 267–79. 15 . At Drury Lane, was performed from May 12 through June 18, 1817, and Edmund Kean opened in Richard III on June 20. At Covent Garden, offered much more Shakespeare, includ- ing Julius Caesar with himself as (May 6 and 17, June 9 and 19) and in the title role of (May 10 and 23, June 23); Henry IV with Kemble as Hotspur (May 13, June 3 and 16); title roles in Henry VIII (May 27, June 17), (May 21, June 16), and King John (June 14); and in Macbeth opposite Sarah Siddons as Lady Macbeth and as Macduff (June 5); deliberately booked in rivalry with Kean at Covent Garden, Junius Brutus Booth as Richard III (June 25, 1817). 16 . Paulin, Ludwig Tieck: a Literary Biography , 208–9; see also Zeydel, Ludwig Tieck and England , 106. 17 . Charles Alexander, Margrave of Ansbach- Brandenburgh, supplied auxil- iary troops to George III of Great Britain in the war against the Colonies in America. He had nominal command over the Frankish Army of 1,644 mercenaries, of whom apparently only 1,183 returned to their homeland in 1783. The Margrave rented further mercenary troops to Holland. The Margave’s first wife, Caroline Friederike, died on February 18, 1791, in Unterschwaningen, where she had lived since separating from her hus- band. On May 19 of the same year, Charles Alexander left Triesdorf for England. On October 13, 1791, in Lisbon, he married Lady Elizabeth Craven (1750–1828), the daughter of the fourth Earl of Berkeley, and widow of the sixth Baron Craven, who had died shortly before. On , 1791, Charles Alexander sold his Margravate to Prussia. The contract was arranged by Charles August, Baron of Hardenberg, who had been Acting Minister in Ansbach since 1790. Under the terms of the contract, Prussia paid the Margrave an annual stipend of 300,000 guil- ders as compensation. On December 2, in Bordeaux, France, he signed his formal abdication as Margrave. 230 Notes

18 . Franceschina. “Introduction,” Elizabeth Berkeley Craven, The Georgian Princess . In British Women Playwrights around 1800 . (January 15, 2001). http://www.etang.umontreal.ca/bwp1800/essays/franceschina _georgian_intr.html. 19 . Schiller, The Robbers , trans. Craven, Margravine of Anspach (1799). 20 . Rea, Schiller’s Dramas and Poems in England , 12. 21 . Charles Dibdin, A Complete History of the English Stage , 5:377–78. 22 . True Briton , January 31, 1793; cited by Conolly, The Censorship of English Drama , 178. 23 . Magnuson, Reading Public Romanticism , 103–5. 24 . Conolly, 98–99; letter transcribed from the Folger manuscript W.b. 67 (63–63v). 25 . Larpent MS diary, Huntington Library; cited in Conolly, 101. 26 . Genest, Some Account of the English Stage , 8:454–57. “Every thing in the Robbers that was exceptionable, is very properly omitted—but unfor- tunately the spirit of the original has, in a great degree, evaporated— the songs are a wretched botch— the last 2 scenes of the 3d act are contemptible— but the worst fault of all is, that Roderic is made not the son of the Count, but the son of his wife— in the 4th act, Roderic assumes the title of his father in law— which is absurd.” 27 . Baker, Biographia Dramatica (1795) 2:170. 28 . Herzfeld, in Archiv für das Studium der neueren Sprachen und Literaturen Archiv , 122 (1909), lists an anonymous translation of Don Carlos (1795), reviewed in the Monthly Review (1795; 2: 311); Don Carlos , trans. Noehden and Stoddart (1798); Don Carlos. anon. trans. [Symonds?] (1798); Don Carlos by Thompson in German Theatre (1801); Don Carlos, or, Persecution adapted by Lord John Russell (1822), and performed as Don Carlos; or, Persecution a tragedy in five acts . (Surrey, June 8, 1848). 29 . See note 11 above. 30 . The adaptation of Mary Stuart by Lewis S. Wingfield was performed in the Court Theatre, London, in October 1880. The final Act was remod- elled, so as to be more in accordance with history. 31 . The Athenaeum , no. 2764 (October 16, 1880), 507–8. 32 . Ritt, Mary Stuart: a tragedy (1801) von Joseph Charles Mellish: die auto- risierte englische Blankversübersetzung von Schillers Maria Stuart , 87. Following Mellish’s translation of 1801, the next recorded translation was Mary Stuart: a tragedy; The Maid of Orleans: a tragedy , trans. Salvin (1824). 33 . Schiller, Mary Stuart, a Tragedy . Trans. Mellish, second ed. (1820). 34 . Genest, 9:49–51. “The translator in his preface attempts to vindicate this T[ragedy] from the objections which had been made to it, but his arguments are far from satisfactory— the meeting of the two Queens is not only a flagrant violation of historical fact, but Schiller even makes Elizabeth go to Fotheringhay on purpose to see Mary—yet the transla- tor contends that this is by no means contrary to probability—he adds— ‘the fiction of Melvil’s ordination, and of his administering as it were by stealth, the highest offices of the church, is happily imagined’— the Notes 231

language of this scene is very good, but the scene itself is utterly unfit for representation on the stage of course it was not attempted to represent it in England— Melvil gives Mary the cup, and says that the Pope had allowed him to do so—this is monstrous fiction.” 35 . Genest, 10:201. 36 . Genest, 6:533–34; Larpent Collection, Huntington Library, manuescript 816. Mary Queen of Scots. Tragedy, 5 acts. John St. John. Application n.d., Thomas Linley (Drury Lane, March 20, 1789). 37 . Banks, The Island Queens; or, The Death of Mary Queen of Scotland. A Tragedy (1684), ed. Lewis (1995). 38 . Genest, 1:423. Bank’s play was revived on six subsequent occasions: Drury Lane March 2, 1723; Covent Garden September 30, 1734; April 5, 1750; May 13, 1766; April 16, 1773; and May 20, 1779. When it was resur- rected a final time at Bath, November 23, 1815, it followed a revival of Nathaniel Lee’s tragedy, Alexander the Great, or the Rival Queens (1677), emphasizing the parallels by deliberately casting the same actresses in the roles of the two queens: Mrs. Weston as Roxana and Queen Elizabeth; Mrs. W. West (née Cooke) as Statira and Queen Mary. 39 . Mary Queen of Scots (Coburg Theatre, November 3, 1823), founded on the play by Schiller as adapted from the French of Merle and Rougemont, Marie Stuart: drama en trois actes et en prose, imité de la tragédie alle- mande de Schiller (1820). 40 . Le Mierre, : tragédie (Paris, 1767). 41 . A selected list: Le Mierre, Guillaume Tell: tragédie (Amsterdam & La Haye, 1767; Paris, 1776; Neuchatel et se trouve à Paris, 1790; Lausanne, 1793; Paris, 1808). 42 . Guillaume Tell opened at Comédie- Italienne, Paris; April 9, 1791; Sedain and Grétry, Guillaume Tell, drame en trois actes, en prose et en vers (1793). 43 . Waldie, Theatre Commentaries , records seeing Guillaume Tell at the Théâtre de l’Académie Royal de Musique, Paris, on August 26, 1829, just weeks after its opening (August 3, 1829), tLVII, 23–24; and again two months later, (October 14, 1829), tLVII, 108–9; in London the following year he again sees the Rossini opera (April 27, 1830) LVII, 113–14, but expresses disappointment in the ballet adaptation (May 15, 1830), LVII, 139 . 44 . Florian (March 6, 1755 to September 13, 1794), Guillaume Tell, Ou La Suisse Libre (1801). First collected in Fables de M. Florian (1792); the augmented posthumous collection, Fables (1798); Oeuvres posthumes de Florian (1799). 45 . Florian, : or, the Deliverer of his Country (1800; sixth ed. 1803). 46 . Holcroft, Theatrical Recorder , no. VIII (1805), 1:143. 47 . Blackwood’s Magazine , xvii (August 1818), p. 299; cited in Rea, pp. 98–99. The extent to which Schiller was perceived as a mediator of a Shakespearian tradition formed a significant aspect of his reception in the commentaries of Coleridge, Hazlitt, Hunt, and other contemporary critics. 232 Notes

48 . Carlyle, Life of Schiller (1825), Complete Works , 20:170–71. 49 . Taylor, Historic Survey of German Poetry , 3:231. 50 . Nicoll, History of English Drama , 4:395. 51 . Larpent Collection, Huntington Library, manuscript 1715. William Tell; or, The Hero of Switzerland. Musical farce, 2 acts. Henry William Grosett. [Norwich, April 4, 1812?] 52 . The oldest Tell play, the Urner Tellspiel , was performed in Altdorf (1512 or 1513). In Bergier’s account (1988), Tschudi merged several earlier accounts of the Wilhelm Tell myth. Tschudi’s monumental Chronicon Helveticum (ca. 1550) became the source for later writers, such as Müller’s Geschichte Schweizerischer Eidgenossenschaft and then Schiller’s Wilhelm Tell . 53 . Florian, William Tell; or, The patriot of Switzerland (1823). 54 . Schiller, William Tell, a drama [Trans. Robinson] (1825). 55 . Monthly Review , Vol. iii. (1825), p. 344; cited in Rea, pp. 96–97. 56 . Knowles, William Tell a play in five acts (1825). 57 . Rea, 104–5. 58 . Ibid., 106. 59 . Genest, 9:293. 60 . Nicoll, 4:86–87. Among other versions of Schiller’s plays in the years immediately following Robinson (1825) and Knowles(1825), Nicoll lists adaptations of William Tell by Charles de Voeux (1827), Anon. (1829), Robert Talbot (1829), and Thomas C. Banfield (1831). 61 . Clipping from unidentified newspaper, dated February 21, 1832, pasted to verso of playbill for the Pavilion, February 20, 1830, East London Theatre Archive, Reference no. 38041007513013. 62 . Clipping from unidentified newspaper, dated February 25, 1832, pasted to verso of playbill for the Pavilion, February 20, 1830. Playbill for the Pavilion, February 28, 1832. East London Theatre Archive, Reference 38041007513021. 63 . Playbill for the Pavilion, February 20, 1830, East London Theatre Archive, Reference no. 38041007513013.

7 Heroic Rebels and Highwaymen 1 . Colley, Britons: Forging the Nation, 178–79. Alberts, Benjamin West , 126. When West expressed his regret at the loss of American lives in the battle with British troops in South Carolina, George III told him “that answer does you honor,” and went on to declare, “any man who is capable of rejoicing in the calamities of his country, can never make a good subject of any government.” 2 . Conolly, The Censorship of English Drama , 42–43, 96–98. 3 . Mays, “Introduction,” The Fall of Robespierre , in Coleridge, Poetical Works : Part 3. Plays , 5–10. 4 . Southey, The Life and Correspondence , 4:239. 5 . St Clair, Reading Nation, 318. Table 16.1, Southey’s “Wat Tyler,” pirated editions: Southey, D. Wat Tyler, a Dramatic Poem . Eight separate edi- tions in 1817. Notes 233

6 . The Life and Death of Jack Straw (1957). Rpt of The life and death of Iacke Straw (1593). 7 . Revived six years later (Coburg, January 17, 1831) and also performed as an equestrian melodrama, The Life and Death of King Richard II; or, Wat Tyler and Jack Straw (Royal Amphitheatre, September 1, 1834). 8 . BL Playbills 175, Coburg, 1824–33, April 25, 1825. 9 . Nicoll, History of English Drama , 4:528. 10 . BL Playbills 310, , 1811–19, May 20, 1819. 11 . Thomas Love Peacock, Maid Marian (London: T. Hookham, 1822). 12 . Planché, Maid Marian, or, The huntress of Arlingford, a legendary opera in three acts (1822); Bishop, The Music of . . . Maid Marian (1822). 13 . Murray, Rob Roy (1822). In his introduction, Murray acknowledges that he has revised the version by . 14 . Pocock, Rob Roy MacGregor (1818), II.iii; 30–31. 15 . Fenner, Opera in London: Views of the Press , 441–43, 470–72. 16 . Wordsworth, Poems in Two Volumes , 179–84, 415. In the Isabella Fenwick note, Wordsworth confessed that he was in the wrong place: “I have since been told that I was misinformed as to the burial- place of Rob Roy. If so, I may plead in excuse that I wrote on apparently good authority, namely, that of a well-educated Lady who lived at the head of the Lake, within a or less of the point indicated as containing the remains of One so famous in the neighbourhood.” 17 . BL Playbills 354–55, Covent Garden, 1791–1832, March 12, 1818. 18 . BL Playbills 311, Surrey Theatre, 1820–32, September 5, 1822. 19 . Lobban, “Population Movements: Emigration,” in Scottish Population History , 452. 20 . Twm John Catty, the Welsh Rob Roy (Coburg April 14, 1823; The Garrick, January 3, 1831); adapted from The Life, Exploits, and Death of Twm John Catty (1823). 21 . BL Playbills 175, Coburg, 1824–33, February 7, 1825. 22 . Jones, Welsh in London , 461–79. See also Law, “The Growth of Urban Population in , 1801–1911,” Transactions of the Institute of British Geographers , 41 (1967): 125–43; and Lichtenwalner, Claiming Cambria: Invoking the Welsh in the Romantic Era . 23 . Parry and Roberts, Three Essays (1825). 24 . Parry, Selection of Welsh Melodies (1809); Parry and Jones, The Welsh Harper (1848); Parry, Cambrian Harmony (1809). 25 . Parry and Hemans, Selection of Welsh Melodies , 3 vols. (1821–29). 26 . Thompson, Oberon’s Oath (1816); Parry and Thompson, Songs, duets, glees, and chorusses, in Oberon’s Oath (1816). In the reviews, the music was praised, but the libretto, from Christoph Martin Wieland’s romantic epic Oberon (1780), was blamed for being too fanciful. Performances were halted after the fifth night. Ten years later, James Robinson Planché, adapting from the same source, produced the highly successful libretto for the premier performance of Carl Maria von Weber’s Oberon, or The Elf King’s Oath (Covent Garden, April 12, 1826). 27 . Nicoll, History of English Drama , 4:368. Parry, High Notions; or, A Trip to Exmouth (Drury Lane, February 11, 1819); Helpless Animals (Covent 234 Notes

Garden, November 17, 1819); The Cabinet and Two Wives; or, A Hint to Husbands (English Opera House, August 7, 1821; Drury Lane, June 2, 1824); My Uncle Gabriel (Drury Lane, December 10, 1824); A Trip to Wales (Drury Lane, November 11, 1826). See also Parry, A Trip to Wales (1826). 28 . Crossley- Holland, “Parry, John.” in Grove’s Dictionary of Music and Musicians , 6:566. 29 . BL Playbills 175, Coburg, 1824–33, May 15, 1826. 30 . Thomas, Memoirs of Owen Glendower (1822). 31 . Kamen, The Disinherited: Exile and the Making of Spanish Culture ; on the response in London to Riego’s execution, see the chapter “Romantic Spain.” 32 . Amunategui, Vida de Don Andrés Bello (1962); Urdaneta, Caldera, Grases, Bello y Londres: Segundo Congreso del Bicentenario (1980). 33 . Lloréns, Liberales y románticos: una emigración española en Inglaterra ; see also Racine, “Imagining Independence: London’s Spanish American Community 1790–1829” (Diss. Tulane University, 1996). 34 . Barron, “Antonio Alcala Galiano: The Unknown Critic,” Pacific Coast Philology , 3 (April 1968): 55–66. Perojo, “Antonio Alcalá Galiano, Anglo- Hispanic Cultural Exchange, and the Idea of Spanish ‘National’ Literature,” Romanticism and the Anglo- Hispanic Imaginary . 35 . Records of the Old Bailey document a few skirmishes with the law by Spanish and Portuguese sailors in London. Another source are the records of the Portuguese and Spanish chapels in London: Spanish/ Portuguese communities existed Thameside included the Sardinian chapel in Duke Street, Lincoln’s Inn Fields, the Sardinian, Spanish cha- pel in Manchester Square, and the Portuguese chapel in South Street, Grosvenor Square. 36 . Jaksic, Andrés Bello: Scholarship and Nation Building in Latin America , 34–44. 37. Racine, “Imagining Independence,” 23–25. 38 . “Education of Spanish Refugees.” Athenaeum 64.1 (1829): 41. 39 . “Mendibil” [obituary]. Athenaeum , No. 219 (January 7, 1832): 15 40 . BL Playbill 310, Surrey Theatre, 1811–19, February 20, 1812. 41 . Saglia, “Spanish Stages: British Romantic Tragedy and the Theatrical Politics of Spain, 1808–1823.” European Romantic Review , 19, no. 1 (2008 January): 19–32. 42 . Mitford, Inez de Castro . Plays submitted to the Lord Chamberlain. / Original copy in the British Library Add. Ms. 42909 (5) / Application for license dated February 28, 1831; intended for representation at the Theatre Royal, Covent Garden; manager, Geo. Bartley; Mitford, Inez de Castro, a tragedy in five acts (1841). 43 . A. W. Schlegel, Vorlesungen über dramatische Kunst und Literatur , 2:107ff.; F. Schlegel, “Dramatische Poesie der Spanier,” Geschichte der alten und neuen Literatur , 279–89. 44 . Holcroft, Theatrical Recorder , 1:226–64, 2:75–111. 45 . Holland, Three Comedies: The Fair Lady—Keep your own Secret— One Fool Makes Many (1807). Notes 235

46 . Calderón, El Mágico Prodigioso , in Obras (Teatro doctrinal y religioso) , 301–403. Shelley, “Scenes from the Magico Prodigioso,” in Complete Poetical Works of Percy Bysshe Shelley , 731–48. On Shelley and Calderon, see Madariaga, Shelley and Calderon (1920); Gates, “Shelley and Calderon,” Philological Quarterly , 16 (1937), 49–58; Webb, Violet in the Crucible: Shelley and Translation , 204–75. 47 . Burwick, “Origins of Evil: Shelley, Goethe, Calderón, and Rousseau,” Oxford Handbook of Shelley ; Burwick, “The Faust Translations of Coleridge and Shelley on the London Stage,” Keats- Shelley Journal , 59 (2010): 30–42. 48 . González del Castillo, Obras completas , 2:294–98. 49 . Gillray, Works of James Gillray , plate 419, February 25, 1796 “La Belle Espagnole; or, La Doublure de Madame Tallien.” Wright identified her as “a Creole lady from Spanish America, who was at this time a cel- ebrated performer in the ballet, and who bore a striking resemblance to Madame [Thérésa Cabarrus] Tallien.” Wright and Evans, Historical and Descriptive Account of the Caricatures of James Gillray , 425–26. 50 . BL Playbills 165, Sadler’s Wells, 1788–1832, June 16, 1788. 51 . Springer, Restoring Christ’s Church: John a Lasco and the Forma ac ratio ; Juergens, Johannes a Lasco in Ostfriesland . 52 . Shee, Alasco: a Tragedy, in five acts . . . excluded from the stage by the authority of the Lord Chamberlain (1824). 53 . Farington, Diary of Joseph Farington , 4:1124. 54 . BL Playbills 311, Surrey, 1820–32, April 5, 1824. 55 . Worrall, Theatric Revolution, 55–56. 56 . Oxberry, Dramatic Biography (1825), 2:6 57 . Knight, “Kemble, Henry Stephen,” Dictionary of National Biography , 30:366–67. 58 . Literary Chronicle and Weekly Review , No. 256 (April 10, 1824), p. 238: “ SURREY THEATRE .—Mr. Shee’s Alasco has been produced at the house, and from the manner in which it was got up, would, we doubt not, be attractive, had not the holidays intervened.” April 18, 1824 was a memorable Easter Sunday because Byron died that day in Missolonghi, Greece. On Monday, April 19, 1824, the Surrey reopened with The Fire- Worshippers; or, The Paradise of the Peris , Edward Fitzball’s adaptation from Thomas Moore’s Lalla Rookh . 59 . The distinct division of the United Kingdom on May 3, 1921, under the Government of Ireland Act 1920, had its constitutional roots in the : the Union with Ireland Act 1800 (1800 c.67 39 and 40 Geo 3), an Act of the Parliament of Great Britain, and the Act of Union (Ireland) 1800 (1800 c.38 40 Geo 3), an Act of the . The Acts were passed on July 2, 1800, and August 1, 1800, respectively. The twin Acts united the and the Kingdom of Ireland to create the United Kingdom of Great Britain and Ireland. The union came into effect on January 1, 1801. 60 . McLean, The Other East and Nineteenth- Century : Imagining Poland and the Russian Empire , documents the Polish/Irish parallels in British literary works of the 1830s and 1840s. 236 Notes

61 . Porter, Thaddeus of Warsaw (1804). 62 . Blackwood’s Magazine , 15 (1824): 593–97. 63 . Kenney, Making Sense of the Molly Maguires , 13. The “,” called “Whiteboys” (Irish: Buachaillí Bána ) because they disguised themselves in white smocks, were Irish vigilantes who used violent tactics to defend the land rights of tenant farmer for subsistence farming. 64 . Cook, Book of the Play (1881), 44. 65 . Stephens, Censorship of English Drama , 39–41. 66 . Burwick, “The Jew on the Romantic Stage,” Romanticism/Judaica , 101–18. 67 . Polack, Esther, the Royal Jewess; or, The Death of Haman! (1835). 68 . Dimond and Kelly, The Hero of the North (1803). 69 . , History of Charles XII, King of Sweden . 70 . Milner, Mazeppa, or the wild horse of Tartary: A romantic drama in three acts dramatized from Lord Byron’s poem (1831). 71 . Shelley, Preface, Prometheus Unbound , in Complete Poetical Works , 205: “The character of Satan [in Milton’s Paradise Lost ] engenders in the mind a pernicious casuistry which leads us to weigh his faults with his wrongs, and to excuse the former because the latter exceed all measure.” 72 . Moseley, Treatise on Sugar (1799); Burdett, Life and exploits of Mansong, commonly called Three-finger’d Jack (1800); Earle, “Obi; or, The History of Three- fingered Jack,” Series of Letters from a Resident in Jamaica (1804). 73 . Rzepka, ed., Obi, a Romantic Circles Praxis Volume (Autumn 2002). http://www.rc.umd.edu/praxis/obi [accessed April 12, 2011]. 74 . Fawcett, Obi, or Three-Finger’d Jack. A Serio Pantomime in Two Acts (ca. 1825); Obi: or, Three- Finger’d Jack (1801); facsimile edition of ’s printed piano-vocal score (1996); Universal Songster . . . In which is introduced, The history of Three Finger’d Jack (1801). 75 . [Murray], “Obi, or Three- Finger’d Jack. A Popular Melodrame, in Two Acts.” Oxberry’s Weekly Budget of Plays and Magazine of Romance, Whim, and Interest . 1 (1843): 93–95; [—.] Obi; or Three-Fingered Jack, A Melo- Drama in Two Acts (ca. 1850). 76 . Rzepka, “Introduction: Obi , Aldridge and Abolition,” in Obi, a Romantic Circles Praxis Volume; and Rzepka, Producer: Obi : A Play in the Life of Ira Aldridge, the Paul Robeson of the Nineteenth Century. Songs and scenes from the pantomime and melodrama versions of Obi; or, Three- finger’d Jack . 77 . Rzepka, “Introduction: Obi, Aldridge and Abolition.” 78 . Buckstone, Snakes in the Grass (1829). 79 . A Genuine account of the life of John Rann, alias Sixteen- string Jack (1774). 80 . Rede, Sixteen String Jack (1823). The playbill credits Henry Milner as playwright, but it seems likely that Rede is the author. 81 . Adolphus, Memoirs of , 2:142–43. Theodore Edward Hook, The Invisible Girl (Drury Lane, April 28, 1806), adapted from Le Babillard by Charles Maurice. “Bannister [ . . . ] played Captain Allclack, a gentleman infected with such an overpowering cacoëthes loquendi , that, talk to whom he will, he repels all their attempts to partake in the discourse, anticipates their thoughts, answers himself in their supposed Notes 237

words, and expresses resentment if he only surmises that they intend to utter a syllable. Sir Christopher Chatter, the father of his mistress, is on stage during almost the whole scene; but although the Captain person- ates a Jew, a Peer, and an old woman, he never permits Sir Christopher to exceed the stint of orator Mum, or his prototype, the demi- semi- quavering friar of Rabelais, by uttering more than a single syllable at a time.” 82 . BL Playbills 174, Coburg, 1818–24, February 17, 1823. 83 . See also Miles, Jerry Abershaw; or, the Mother’s Curse (1847). 84 . The life and adventures of that atrocious footpad, housebreaker, and high- wayman, Lewis Jeremiah Avershaw (1834). 85 . Defoe, The History of the remarkable Life of John Sheppard (1724). Henry Fielding, The Life and Death of Mr. Jonathan Wild (1743). 86 . Genest, Some Account of the English Stage , 3:239: “If I am not greatly mistaken, I many years ago saw an edition of the Beggar’s Opera as acted by Children, with Woodward’s name to one of the characters—in the Thespian Dictionary [1802] he is said to have acted Peachum at this time with great success.” John Gay, The Beggar’s Opera , 2nd ed. (1729), names children in the cast who performed in January 1729. 87 . Bleackley, Jack Sheppard (1933). 88 . Moncrieff, The Life and Adventures of Jack Sheppard (1866). Not the melodrama of 1825, this narrative nevertheless provides Moncrieff’s sense of plot and character. “Jack Sheppard (March 4, 1702–Novem- ber 16, 1724) was a London robber, burglar and thief who was most famous for escaping from custody. Trained in the workhouse as a car- penter, Jack soon began supplementing his income with the proceeds of robberies. He was imprisoned several times, escaping from St. Giles by sawing through the wooden ceiling. In 1724 he escaped three times from , the first time by filing through his chains, boring through the wall and then climbing down on sheets. After he had been sentenced to death and kept in a safety cell, he made his third escape by picking the lock in his chains with a nail, then using an iron rod to break through the doors and walls. He was out for only two weeks, being tracked by the famous Jonathan Wild, but Sheppard got into a drinking bout in Drury Lane, was recognized and recaptured. It was reported that a ‘joyous’ crowd followed him from Newgate to , where he deliv- ered a humorous gallows speech, was hanged, and buried in St Martin- in-the- Fields.” 89 . BL Playbills 175, Coburg, 1824–33, April 18, 1825. 90 . BL Playbills 311, Surrey, 1820–32, March 15, 1823.

8 London Crime: Executioners, Murderers, Detectives 1 . Fowell, Censorship in England , 196. 2 . Foucault, Discipline and Punish , 2–69. 3 . BL Playbills 174, Coburg 1818–23, March 23, 1820. 238 Notes

4 . Kotzebue, Schneider Fips; oder, Die gefährliche Nachbarschaft (1806). 5 . Geiger, ed. “Aus Berliner Briefe Augusts von Goethe,” Goethe Jahrbuch , 28 (1907): 45. August von Goethe recollects that it had been performed even earlier in Weimar: “Schneider Fips, ist die Hauptperson in A. V. Kotzebues einaktigem Lustspiel » die gefährliche Nachbarschaft« , seit 1813 ein in Berlin gern und oft gesehenes Stück, das auch vor 1806 in Weimar manchmal gegeben worden war.” 6 . Waldie, Theatre Commentaries , 12: 341–42 (May 21, 1806). Attending the benefit performance for Miss L. Schirmer at the German Theatre [Sans Souci], Waldie reports, “The first was a comic opera called the Dangerous Neighbourhood —very pretty music & well acted by the 4 Schirmers & Gleisner. There was then dancing &c. by Master Gorniet & Miss Pauline which was very well, & a most comical song by F. Schirmer called the Music Masters. The last piece was a farce of Kotzebue’s called Die Kleinstedter, the Little Gentry , which seemed excellent & was admi- rably acted, but we understood it very imperfectly.” 7 . King, Crime, Justice, and Discretion in England , 129–68, on crime and deprivation. 8 . Burke, A Philosophical Enquiry , 47. 9 . Bender, Imagining the Penitentiary , 238 – 39. 10 . E.g., at Russel-street, Covent-Garden, on Saturday, October 25, 1760; in the Haymarket, opposite Panton-street, on Saturday, April 4, 1761. 11 . Bleakley, The Hangmen of England ; Wade, Britain’s Most Notorious Hangmen . 12 . Simon Fraser, 11th Lord Lovat. The whole proceedings in the House of peers (1747). 13 . Casual references to “Jack Ketch” in Dryden, The Duke of Guise (1683); Aphra Behn, The Lucky Chance (1687); Gay, The Beggar’s Opera (1728) I.xii; Fielding, The Covent Garden Tragedy (1732) II.xii; Garrick, Albumazar (1773); Cowley, The Town Before You (1795), IV.ii; Holcroft, The Deserted Daughter (1795) IV.ii; Holman, Abroad and at Home (1796) II.iii; Robinson, The Delinquent (1805) I.iii; Soane, Pride Shall Have a Fall (1824) II.ii. See Nicoll, “Hand-List of Plays,” A History of English Drama , 1660–1900 , vols. 2, 3, and 4. 14 . Pixérécourt, Polder, ou Le bourreau d’Amsterdam (Théâtre de la Gaité, October 15, 1828). 15 . Dicks and Stevenson, Secret History of the Court of England (1832). 16 . Conolly, The Censorship of English Drama , 128. 17 . Life and Adventures of Jack Ketch, or, A View of the Gallows: with remarks on W. Calcraft, the hangman of Newgate . 18 . Calcraft, The Groans of the Gallows (1846). 19 . Baillie, Miscellaneous Plays (1804). 20 . Soubiran, The Good Doctor Guillotin and His Strange Device , 8–9. 21 . Massacre of the French King! View of la guillotine (1793). 22 . Twiss, A short historical account of the guillotine (1793); No. 45, Oxford- Street, near Newman- Street. La guillotine, or beheading machine, from Paris (1793). 23 . BL Playbills 175, Royal Coburg, 1824–33, October 18, 1824. 24 . BL Playbills 175, Royal Coburg, 1824–33, November 15, 1824. Notes 239

25 . Ibid. 26 . Coleridge, The Fall of Robespierre (1794), in Poetical Works : Part 3. Plays , 13–44. Mays, “Introduction,” The Fall of Robespierre , in Coleridge, Poetical Works : Part 3. Plays , 5–10. Coleridge wrote Act 1 and Southey wrote Acts 2 and 3, although the work was published under Coleridge’s name. Coming very soon after Robespierre’s execution, much of the mate- rial on the trial and execution was drawn from the Morning Chronicle and Felix Farley’s Journal . 27 . BL Playbills 175, Royal Coburg, 1824–33, December 27, 1824. 28 . Milner, The Reign of Terror; or, The Horrors of the French Revolution . Historical Melo-Drama, in 3 Acts (Royal Coburg, December 27, 1824). BL Playbills 175, Royal Coburg, 1824–33, December 27, 1824. 29 . Forneret, L’Homme Noir (1835). 30 . Sanson, ed. Memoirs of the Sansons (1876). 31 . See playbill for the Pavilion, August 30, 1830, East London Theatre Archive Reference no. 38041007511231. Pasted to the verso of the play bill is an unidentified newspaper review [September 3, 1830]: “On Monday last, a new piece was produced at this house called The French Revolution; or, The Massacre of Paris on the 27th, 28th and 29th of July . This drama was, we believe, written by Farrell, and its chief aim was to convey an idea of the heroism of one of the pupils of the Polytechnic School, and the general devotedness evinced by the people of Paris to the cause of liberty; and we feel bound to say that the author may congratulate himself on the success of his efforts. Cobham, [W] Payne, Harding, and Miss Harvey were extremely impressive in the serious parts allotted them, and met with the applause they merited; as did also Goldsmith and Hadaway in the characters of Mike Milligan and Barney Brattagan, (two Irish artisans in search of employment.) Their exertions contributed much to the success of the piece, which we doubt not will have a long run.” 32 . Case and Memoirs of the late Rev. Mr. James Hackman (1779). A fictional account, attributed to Sir Herbert Croft, was published the following year, Love and Madness (1780). Martha Reay, whose name Wordsworth bor- rowed in “The Thorn,” was the mother of Basil Montagu, Wordsworth’s friend. 33 . Moran, “The Origin of Insanity as a Special Verdict: The Trial for Treason of James Hadfield (1800),” Law and Society Review , 19, no. 3 (1985): 487–519. 34 . The complete Newgate calendar , 5:365–67. “George Barnett, Charged with shooting at Miss Frances Maria Kelly, Actress, in Drury Lane Theatre, 17th of February, 1816.” 35 . Wordsworth, Fourteen- Book Prelude , Book VII, lines 149, 321–26, and 363–411. 36 . Carlyle, Letters of Thomas Carlyle to his brother Alexander , 183. 37 . Porter, London: A Social History , 257–58. Porter cites Mudie, Babylon the Great (1825); Reynolds, Mysteries of London (1846–48); Henry Mayhew, London Labour and the London Poor (1861–62); for a street person’s description of theater patrons in box, pit, and gallery, see 1: 288–89. 240 Notes

38 . Atrocious Cruelties of . . . Sawney Beane. (1830); Holmes, The Legend of Sawney Bean (1975). 39 . BL Playbills 174, Coburg 1818–23, February 17, 1823. 40 . Vickers, “Thomas Kyd, Secret Sharer,” Times Literary Supplement (April 18, 2008), 13–15. 41 . L. Kirschenbaum, “Shakespeare and Arden of Feversham ,” The Review of English Studies (1945), os- XXI(82): 134–36. 42 . Aeschylus, Oresteia (Agammemnon , Choephori , Eumenides ), Complete Greek Drama , 1:167–307. 43 . Proceedings of the Old Bailey, 1674–1913, http://www.oldbaileyonline .org/. 44 . Watts, “The Influence of Population Density on Crime,” Journal of the American Statistical Association , 26, no. 173 (March 1931): 11–20. Early studies, drawing their evidence primarily from correlations with statisti- cal and demographic evidence, were further substantiated in the well- known work by Calhoun, “Population Density and Social Pathology,” Scientific American 206, no. 3 (1962): 139 – 48, reporting on his experi- ments with rats in crowded cages. 45 . Reminiscences of Thomas Dibdin , 2:132. “I purchased from Mr. [William Henry] Oxberry an altered obsolete drama, which I again altered, put into verse, and brought out under the title of ‘Who’s the Murderer!’” 46 . Review of Who’s the Murderer? , in The European Magazine , 69–70 (1816): 68. 47 . BL Playbills 175, Royal Coburg, 1824–33. November 30, 1824. 48 . Ibid. 49 . Colman, Huntington Library, MS Larpent 595, “Prologue to Fatal Curiosity by George Lillo” (June 22, 1782). 50 . BL Playbills 311, Surrey Theatre, 1820–32, July 17, 1820. 51 . Durgnat, A Long Hard Look at “Psycho” [1960]. British Film Institute. 52 . BL Playbills 311, Surrey Theatre, 1820–32, April 4, 1825. 53 . Fitzball, The Innkeeper of Abbeville, or, The Hostler and the Robber (1822). 54 . Clifton, The Terrible Fitzball , 75–107. 55 . Hugo, Le Roi s’amuse (1832) used a similar “divided set” for Acts 4 and 5, depicting Saltabadil’s hideaway both outside and inside, with rooms up- and downstairs exposed. Burwick, Illusion and the Drama , 261. 56 . Fitzball, Jonathan Bradford!, or, The Murder at the Road- side Inn (1833). 57 . Hunt, “Romance of Real Life. The Murderer who was no Murderer,” in Leigh Hunt’s London Journal , 76. 58 . “Remarkable Cases of Circumstantial Evidence. Bradford the Innkeeper,” The Evergreen. A Monthly Magazine of New and Popular Tales and Poetry . 1 (1840): 268; Phillipps and Warren. Famous Cases of Circumstantial Evidence , 144–48. 59 . Ludlam, The Mysterious Murder; or, What’s the Clock? (1817). The only other play published under his own name is Ludlam, Dalmanutha; or, The Monster of Venice: a Romance (1820). 60 . S.N.E., The Murdered Maid: or, the Clock Struck Four!!!: a drama, in three acts . Preface signed S.N.E. (1818). Notes 241

61 . Worrall, Theatric Revolution , 310–39. See also Hall, Trial of Abraham Thornton (1926). 62 . Henry Beverly, The Cask of Gloriana; or, The Geni & the Black Enchanter (Regency, December 31, 1818). Henry Beverly, The Abbot , after the romance by the Author of Waverly (Regency, September 18, 1820). BL Playbills 163, Regency Theatre, 1817–31, December 31, 1818; September 18, 1820. 63 . Adams, “William Roxby Beverly,” in A Dictionary of the Drama , 156. 64 . Fairburn, The affecting case of Mary Ashford (1817). 65 . BL Playbills 163, Regency Theatre (1817–31); Queen’s (1831–32), May 18, 1818. 66 . Thomas Lascelles performed as Grigsby in The Village Doctor [adapted from John O’Keeffe’s World in a Village ] (Regency, February 25, 1817) and as Captain Orford in Obi, or Three-Finger’d Jack , Serious Pantomime (Regency, February 25, 1817). 67 . Hegel, Encyklopä die der philosophischen Wissenschaften (1817), §81 and note. 68 . Dyer, “Ivanhoe , Chilvalry, and the Death of Mary Ashford,” Criticism , 39, no. 3 (1997 Summer): 383–408. 69 . Worrall, Theatric Revolution , 324, 329. 70 . BL Playbills 174, Royal Coburg, May 11, 1818. 71 . Worrall, Theatric Revolution , 331–33. 72 . BL Playbills 311, Surrey 1820–32. An Assault of Arms!!! (Surrey, March 18, 1822), “portraying the modes of attack and defence” from ancient to modern times. 73 . BL Playbills 174, Royal Coburg, April 2, 1821. 74 . Holroyd, Observations upon the case of Abraham Thornton (1819). The counter argument is presented in Booker, A moral review of the conduct and case of Mary Ashford (1818). 75 . BL Playbills 163, Regency Theatre, 1817–31; Queen’s, 1831–32. October 19, 1818. 76 . Kerr, Presumptive Guilt (1818). 77 . Kerr, The Wandering Boys (Covent Garden, February 24, 1814; Sadler’s Wells, September 1823 and May 24, 1830), an adaptation of Pixérécourt’s Le pélérin blanc (1801), published in a cheap copy at the time of first performance followed by a second edition, The Wandering Boys! Or, The castle of Olival! (1823), presented as “The only edition correctly marked . . . from the prompter’s book. To which is added, a description of the costume—cast of the characters . . . As performed at the London the- atres. Embellished with a fine engraving, by Mr. Findlay, from a drawing taken expressly in the theatre.” 78 . Adolphus, A correct, full, and impartial report, of the trial of Her Majesty, Caroline, Queen Consort of Great Britain , (1820). In 1806, an investiga- tion into the private life of Princess Caroline was prompted by rumors that she had taken lovers and had an illegitimate child. In 1814, Caroline left England and moved to Italy, where she employed Bartolomeo Pergami as a servant. Pergami soon became Caroline’s closest companion, and it was widely assumed that they were lovers. 242 Notes

79 . Worrall, Theatric Revolution , 337–39. 80 . Buckstone, Presumptive Evidence, or, Murder will out (1829). Performed 17 times from February 28, 1828, to March 29, 1828. 81 . London Literary Gazette , No. 580 (Saturday March 1, 1828): 140. 82 . Griffin, “Card Drawing,” Tales of the Munster Festivals (1827), 1:5–189. 83 . Henry, Classification and Uses of Finger Prints (1900). The Fingerprint Branch at New Scotland Yard (London Metropolitan Police) was created in July 1901 using the Henry System of Fingerprint Classification. 84 . Phillipps and Warren, Famous cases of circumstantial evidence (1873). 85 . Fairburn, Affecting case of Eliza Fenning (1815), 39. 86 . Caigniez and Baudoin d’Aubigny, La pie voleuse (1815). 87 . Hone, La Pie Voleuse: . . . an unfortunate female having been unjustly sen- tenced to death, on strong presumptive evidence (1815). 88 . Dibdin, The Magpie, or the Maid of Palaiseau (Drury Lane, September 12, 1815); Pocock, The Magpie, or the Maid? (Covent Garden, September 15, 1815); and anonymously, “A new Burletta, founded on La Pie vole- use , by Caigniez et D ’ Aubigny,” Another Maid and Another Magpie (Olympic, October 30, 1815). See: Nicoll, “Hand List of Plays,” History of English Drama , 4:249–566. 89 . Watkins, Investigation into the Mysterious Case of Eliza Fenning (1815). 90 . Worral, Theatric Revolution , 275, 307, 336. 91 . See playbill for the Pavilion, August 13, 1860, East London Theatre Archive, Reference no. 38041008514341. 92 . Burwick, Romantic Drama: Acting and Reacting , 69–72. 93 . The Gamblers (1824). 94 . BL Playbills 174. Coburg Theatre, 1818–23, November 20, 1823. A sub- sequent playbill gives the altered title The Inseparables; or, The Spectre of the Desolate Cottage (Coburg, December 18, 1823). 95 . BL Playbills 311, Surrey 1820–32, October 17 and 18, 1823. 96 . Russell, ‘“Faro’s Daughters’: Female Gamesters.” Eighteenth- Century Studies 33 (2000): 481 – 504. 97 . O’Quinn. “Introduction to Wallace’s The ton: ‘the sport of theatrical damnation’” (2004). British women playwrights around 1800 , http:// www.etang.umontreal.ca/bwp1800/essays/oquinn_ton_intro.html. 98 . Tobin, The Faro Table; or, the Guardians (1816). 99 . Brewer, “Mary Robinson as dramatist: The Nobody catastrophe.” European Romantic Review , 17 (2006): 265– 73. See also Genest, Some Account of the English Stage , 7:182–83; and Robinson, Memoirs in The Works of Mary Robinson , 7:191 – 294. 100 . Bernard, “The Curiosities of Gambling,” The Bohemian , 1 (June– November 1893): 144. Bernard cites Lord Kenyon’s speech on gambling in 1796: “It is prevalent among their highest ranks of society, who have set the example to their inferiors, and who, it seems, are too great for the law. I wish they could be punished. If any prosecutions are fairly brought before me, and the parties are justly convicted, whatever may be their rank or station in the country— though they should be the first ladies in the land— they shall certainly exhibit themselves in the pillory.” Notes 243

101 . Worrall, Theatric Revolution , 314–16: Thurtell as tavern keeper in Long Acre entertained his guests with singing and imitations of Edmund Lean. 102 . Hazlitt, “The Fight” (February 1822), in Complete Works of , 17:74–80. 103 . Egan, Recollections of John Thurtell (1824). 104 . “Destructive Fire in London,” in Strabane Morning Post (February 4, 1823). “On Sunday morning, the 26th ult [January 1823]. between four and five o’clock, a fire broke out in a part of the house of Mr. Penny, wine merchant, Watling- street, which was occupied by lodgers.— Unfortunately no water could be obtained in consequence of the frost; and the fire extending itself to the warehouse containing the spirits, occasioned such explosions and conflagration as rendered all assistance utterly impracticable.— It was thus speedily communicated to the adjoin- ing house, where, still unchecked for want of water, it appeared to rage with equal fury, and in less than an hour, these houses and every ves- tige of their contents were totally destroyed. The fire still continuing its progress, made its way successively in three other contiguous houses, and notwithstanding that a supply of water was by this time procured, they were, in less than so many hours, completely demolished and levelled with the ground. Never was destruction more rapid or more complete; it has scarcely left ‘a wreck behind’.” 105 . Morning Chronicle , October 23, 1822. Raid by Bow Street Runners on the gambling house at 33 Pall Mall, for operating the “pernicious games” of roulette and roly- poly, illegal under statute (18 Geo. 2. C34). 106 . Milner, The Hertfordshire Tragedy (1824). 107 . BL Playbills 311, Surrey 1820–32, October 17 and 18, 1823. 108 . BL Playbills 175, Coburg 1824–33, January 12, 1824. 109 . As discussed earlier in this chapter, used this theatrical tactic in Rayner , performed as The Victim; or, The Mother and the Mistress (Surrey, September 4, 1820). 110 . Aristotle, “The Art of Poetry,” in Selections , 296. 111 . BL Playbills 377, Royal Pavilion, 1828–31, September 8, 1828. 112 . Digges, The Red Barn, or, The Mysterious Murder (1828). 113 . Worrall, Theatric Revolution , 317, states that the Stamford play may have been a “spin-off” from Robert Huish, The Red Barn: a tale founded on fact . (London: Printed for Knight and Lacey, 1828). Other principle sources were Curtis, An authentic and faithful history of the mysterious murder of Maria Marten (1828); and The trial of William Corder (1828). 114 . Vaughn, The Red Barn; or, the Mysterious Murder (Royal Pavilion, September 8, 1828); identified on the playbill as author of The Fatal Bridge and Manfred and Alphonso . BL Playbills, 377, Royal Pavilion, 1828–1831. 115 . Ramsay, Sir Robert Peel , 87–90. 116 . Lexicon Balatronicum (1811). 117 . Scott, St. Ronan’s Well (1823), Ch 3, 73–83. 118 . Kant, Kritik der Urteilskraft , 5:395–410. 119 . Ibid., 5:410–13, §48: “Die schöne Kunst zeigt darin eben ihre Vorzüglichkeit, daß sie Dinge, die in der Natur häßlich oder mißfällig 244 Notes

sein würden schön beschreibt. Die Furien, Krankheiten, Verwüstungen des Krieges, u. d. gl. können, als Schädlichkeiten, sehr schön beschrieben, ja sogar im Gemälde vorgestellt werden.” 120 . De Quincey, “On Murder Considered as One of the Fine Arts” (1827), in Works , 6:115. 121 . De Quincey, “On the Knocking at the Gate in Macbeth ” (1823), in Works , 3:150–54. 122 . Harris, Policing the City , 7–14; 126–28; King, Crime, Justice, and Discretion in England ; King, “War as a Judicial Resource. Press Gangs and Prosecution Rates, 1740–1830,” Law, Crime and English Society , 97–116. 123 . Kelly, “Newgate Literature,” in Encyclopedia of Romanticism , 2:184; Kelly, Introduction. Newgate Narratives . 6 vols. (London: Pickering and Chatto, 2008), 1: i–xcvii. 124 . Egan, The life & adventures of Samuel Denmore Hayward (1822); Egan, Recollections of John Thurtell (1824); Egan, Account of the trial of Mr. [Henry] Fauntleroy (1824); Egan, Account of the trial of Bishop, Williams, and May (1831). 125 . Low, Thieves’ Kitchen: The Regency Underworld , draws extensively from Egan, 99–122 and 169. 126 . De Quincey, “On the Knocking at the Gate in Macbeth ” (1823), in Works , 3:153. 127 . Howard, The Committee: or, The faithful Irishman (1665), in The Dramatic Works of Sir Robert Howard . 128 . Knowles (ed.), Oxford Dictionary of Quotations , 310. Callimachus (ca. 305 – ca. 240 B .C.) Epigram xliii: ϕωρὸς δ᾽ ἴχνία ϕὼρ ἕμαθον , “being a thief myself I recognized the tracks of a thief.” 129 . Fielding, The Life and Death of Mr. Jonathan Wild (1743, new edition, 1754). 130 . See Larpent, Huntington Library, MS Larpent 1117 (March 13, 1796), “The lad o’ the hills, or, the Wicklow gold mine.” The play was revived as The Wicklow Mountains (Covent Garden, October 7, 1796; and Haymarket, August 28, 1810). 131 . O’Keeffe, The Wicklow Mountains, or, The Lad of the Hills (1797); O’Keeffe and Shield, Airs, duets, glees, chorusses, &c. in the opera of The lad of the hills (1796); O’Keeffe, The Wicklow Gold Mines; or, The lads of the hills (1801). 132 . Rennison, Sherlock Holmes , 22–24. 133 . See playbill for the Pavilion, May 16, 1863, East London Theatre Archive, Reference no. 38041008518649. Vidocq died in 1857. The first performance of Frederick Marchant’s Vidocq, the French Jonathan Wild was at the Theatre in Hoxton (December 1860). 134 . Vidocq, Mémoires de Vidocq (1828–29). 135 . Jerrold, Vidocq, the French Police Spy (1829). 136 . Symons, Bloody Murder: From the Detective Story to the Crime Novel , 19–37, distinguishes the crime- solving strategies of Vidocq and Poe from those of Godwin in Caleb Williams , adapted by Colman as The Iron Chest (Drury Lane, March 12, 1796); on Sherlock Holmes, 66–78. Notes 245

9 Transpontine Theaters and Working-Class Audiences 1 . Chambers, Workshop of the World; British Economic History ,171–191. 2 . Leach, “Theatre Audiences,” in Blackwell Encyclopedia of Romanticism , 3:1374–79; Davis, “Spectatorship,” in Cambridge Companion to British Theatre , 57–69. 3 . Booth, English Melodrama , 136–39. 4 . Nicoll, A History of English Drama , 3:230. 5 . Waldie, Theatre Commentaries , tLIV, 11–12 (September 29, 1827). 6 . Rowe, Tamerlane (Lincoln’s Inn Fields,1701). 7 . Settle, The Siege Of Troy (1707). 8 . Cibber, The Harlot’s Progress (Drury Lane, March 31, 1733). 9 . Donohue, “Burletta and the Early Nineteenth- Century English Theatre.” Nineteenth Century Theatre Research 1 (Spring 1973): 29–51. Moody, Illegitimate Theatre , 31–32. 10 . Highfill, Burnim, and Langhans. “Dibdin, Charles,” Biographical Dictionary of Actors, Actresses , 4: 358–76. 11 . Highfill, Burnim, and Langhans, “Dibdin, Charles,” 4:368. 12 . Highfill, Burnim, and Langhans, “Hughes, Charles,” 8:20. 13 . “Theatrical Reminiscences: Old Transpontine Drama,” London Society , 33 (July 1885): 399–428, 421. 14 . Other pieces by Charles Dibdin written for the Royal Circus include The Graces, an Intermezzo (Royal Circus, 1782); The Cestus (Royal Circus, 1783); Harlequin the Phantom of a Day (Royal Circus, 1783). 15 . Charles Dibdin, The songs, &c. in the new pantomime called The Lancashire witches (1783). Included in Halliwell- Phillipps, Poetry of Witchcraft (1853). 16 . Brome and Heywood, The Late Lancashire Witches . 17 . Shadwell, The Lancashire Witches (1682). See also Borgman, Thomas Shadwell: His Life and Comedies , 191–202. 18 . Mayer, “The Sexuality of Pantomime.” Theatre Quarterly 4.13 (1974): 55–64. 19 . Archer, Junius Brutus Booth: Theatrical Prometheus . Booth (1796– 1852) was the father of John Wilkes Booth (actor and the assassin of President Abraham Lincoln), Edwin Booth (foremost tragedian of the mid-to- late 19th century), and Julius Brutus Booth, Jr. (actor and the- ater manager). 20 . Boutin, “Shakespeare, Women, and French Romanticism.” MLQ 65, no. 4 (December 2004): 505–29. 21 . After his brief term with Penley and Jonas, Allen Cordell joined the company at the Regency, which reopened as the New Royal West End Theatre in 1820. He is listed there in 1823 in the role of Rosenberg in James Kenney’s Ella Rosenberg (1807); British Library, mic.c.13137, Playbills 163. Regency Theatre (1817–31); Queen’s (1831–32), playbill of Monday, January 6, 1823. 22 . Theatrical Inquisitor , 9, no. 53 (December 1816): 444. East London Theatre, Friday December 20, “Miss Watson is a sprightly actress, and, 246 Notes

in hoyden girls, or pert soubrettes , possesses more that moderate abilities. She was at the Haymarket a few seasons since, and though her talents are evidently improved, they were even then of an order to obtain consider- able applause.” 23 . Reeve, Don Juan, or, The libertine destroy’d [adapted from the play by Thomas Shadwell; music by Christoph Willibald, Ritter von Gluck] (1790). 24 . Playbill reproduced in Clark, Booth Memorials (1866), 165. 25 . Waldie, Theatre Commentaries , XIX, 179 [May 17, 1809]. Drury Lane— The Honeymoon , Harlequin’s Invasion XXVIII, 186[a]–187[a] [June 21, 1813]. Drury Lane— Polly. XXXII, 74 [May 30, 1815]. Drury Lane— The Weathercock . XXXII, 93 [June 6, 1815]. Drury Lane— The Irishman in London . XXXII, 95. Drury Lane— Ella Rosenberg . 26 . BL Playbills 309, Peckham Theatre, 1811–14. 27 . Genest, Some account of the English Stage , 8:271–72. Identifying this play as an adaptation of The Spanish Curate (1622) by Francis Beaumont and John Fletcher, Genest grants that the performance “excited much laughter and applause,” but states that the “material circumstances” were badly managed. Not Leadro’s rude attempt to make love to Orelia, wife of Count Olmedo, but her giving him her ring, causes the jealous Count to assume her infidelity. 28 . BL Playbills 309, Peckham, August 31, 1812. 29 . BL Playbills 309, Peckham, September 25, 1812. 30 . Waldie, Theatre Commentaries , LVIII, 154–81. Newcastle, January 7– February 11, 1831. 31 . Mayer, “Sexuality of Pantomime.” Theatre Quarterly 4.13 (1974): 55–64. 32. Dibdin, Reminiscences of Thomas Dibdin , 2:194. 33 . Lamb, “Ellistoniana,” in Works , 3:40. 34 . Trenck, The Life of Baron Frederick Trenck (1804). Stage adaptations include The Baron de Trenck (English Opera House [Lyceum], September 4, 1820); Trenck the Pandour; or, The Bohemian Banditti (Surrey, October 13, 1823); and a later adaptation by Samuel James Arnold, Baron Trenck; or, The Fortress of Magdeburg (Surrey, October 11, 1830). 35 . Byron, Letters and Journals , 8:66–67. See Marino Faliero Doge of Venice, the 1821 Acting Version . 36 . BL Playbills 311, Surrey 1820–32, October 8, 1829. 37 . IN CHANCERY:—Between Frederick Henry Yates, Charles Mathes, and John Cumberland, Plaintiffs, and Charles Robert Elliston, and Robert William Elliston, Defendants. We hereby give you notice, that by an Order made on the Sixth Day of October, instant, by the Right Honorable the Master of Rolls, you the above named Defendants, and your Servants and Agents, are restrained by the Order and Injunction of the High Court of Chancery, from acting, performing, or exhibiting, or causing to be acted, per- formed, or exhibited, as a dramatic performance or otherwise, at the Notes 247

Surrey Theatre or elsewhere, the Nautical Burletta or Drama, called The Flying Dutchman; or, the Phantom Ship; and that you will be forth- with served with a Copy of the Writ of Injunction. And we further give you notice, that if said Burletta called The Flying Dutchman, or the Phantom Ship, is performed at the said Surrey Theatre, or elsewhere, after the service of this notice, an application will be made to the Court of Chancery, that you the said Defendants, and your Servants and Agents, may be committed for contempt of the said Order. Dated this 7 th day of October, 1829.Yours, &c. FYNMORE, CLARKE, and FYNMORE, Plaintiff’s Solicitors. To Mr. Charles Robert Elliston, Mr. Robert William Elliston, And the Managers and Performers of the Surrey Theatre. 38 . BL Playbills 311, Surrey, 1820–32, October 8, 1829. 39 . Murray, Elliston , 131, recounts the “flurry,” rightly observing that “Elliston dramatized it to the full.” 40 . BL Playbills 311, Surrey, 1820–32. The playbill for November 30, 1829 adds this notice: “The Public are respectfully informed that the Proprietor of this Theatre has purchased Mrs. Jameson’s interest in the Copyright of the A DELPHI FLYING DUTCHMAN , as sold to her in Manuscript by Mr. Ball, in 1827; he is also in possession of all the unsold copies of that work, and any person desirous of obtaining the above piece may purchase it at the Box- Office or in the Saloon of the Theatre, Price 6d. THE NEW FLYING DUTCHMAN is also published with a Preface by Mr. Elliston, the Motto to which is “That you have wrong’d me, doth appear in this ,” Shakspeare’s Julius Caesar .” 41 . Murray, Elliston , 139–55. 42 . Knight, A Major “Minor”: The Surrey Theatre , 30. 43 . Mayes, “The Romance of London Theatres,” Programme for the Marble Arch Pavilion , December 16, 1829. 44 . Lamb, “Stage Illusion” and “Some of the Old Actors,” in Works , 3:29–34 and 4:275–87. 45 . Murray, Elliston , 38–39. 46 . Lawler, Anti- Napoleonic Ballad , March 25, 1811: All the World is a Stage it’s well known, Life’s a Chapter of Accidents , too, Sir; Every one has his Fault , we must own, Whether Musselman, Quaker , or Jew , Sir; While the brisk Wheel of Fortune goes round, To Laugh when you can is most hearty, Wherever the cause can be found, From Tom Thumb to the great Bonaparte. Tol de rol. &c. If the World this vast hero had got, Hit or Miss , he would wish to drive further; I will not decide, Knave or not , But ’tis plain he thinks Killing no Murder . He’s as choleric, too, as King Lear . 248 Notes

And some say, ’Tis well it’s no worse, Sir; He a sad Jealous Wife made last year, When he slyly got up the Divorce , Sir. Tol de rol. &c. He found an odd Way to get Married , The Honey- Moon pass’d without strife, Sir; And tho’ he his point snugly carried, It was a Bold Stroke for a Wife , Sir. Josephine, like a sad Mourning Bride , Saw Hymen’s soft fetters undone, Sir; And the poor Son in Law thrust aside, To make way for the Doubtful Son , Sir. Tol de rol. &c. When he finds Ways and Means rather bare, In his Cabinet such the hard plan is, The Dutch Merchant he will never spare, Any more than the Merchant of Venice . He’s fortune’s Spoil’d Child , people say, Such luck tho’ we don’t often meet, Sir; There’s always the Devil to Pay , When he meets with the English Fleet , Sir. Tol de rol. &c. Of his Brothers , too, something I’ll say, They’re not o’erfond of his laurels; And, prudently, some run away, ’Cause they do not like Family Quarrels . But this is no ill-natured age, Humanity’s spark will not cool, Sir; And the Exile that flies from his Rage , Will meet a kind friend in John Bull , Sir. Tol de rol. &c. 47 . Gillray, “Ci devant Occupations or Madame Talian and the Empress Josephine Dancing Naked before Barrass” (February 20, 1805), in “Suppressed Plates,” Works of James Gillray , 37. 48 . Crouzet, L’economic britannique et le blocus continental (1806–1813) . The Continental Blockade of Britain was a large-scale embargo against British trade, inaugurated by France on November 21, 1806. This embargo ended in 1814 after Napoleon’s first abdication. 49 . MS. The Pierpont Morgan Library, NY. Accession number: 270614182. Memorandum of agreement with R. W. Elliston, the actor; being an agreement with Dennis Lawler to pay him a weekly pension in return for all his dramatic writings; signed, [London], November 11, 1809. 50 . Trusler, Hogarth Moralized (1768). 51 . Conolly, The Censorship of English drama , 144–49. “Mrs. Snarewell” is also the name of the prostitute and bawdy- house procuress in Joseph Reed’s The Register Office (Drury Lane, April 25, 1761), which for its bawdiness had twice been refused a license before it was finally approved. 52 . BL Playbills 310, Surrey Theatre, 1811–19, April 15, 1811. Notes 249

53 . Baillie, Miscellaneous Plays (1804). 54 . Carhart, Life and Work of Joanna Baillie , 109–65; Bugajski, “Joanna Baillie: An Annotated Bibliography,” Joanna Baillie, Romantic Dramatist , 241–96. There is no comprehensive list of performances of Baillie’s plays. At least eight were performed between 1800 and 1836; by date of first performance, they are De Monfort (Drury Lane, April 29, 1800) with John Philipp Kemble in the title role and Sarah Siddons as Jane De Monfort; (Drury Lane, November 27, 1821), with Edmund Kean in the title role and as Jane De Monfort; The Family Legend (Edinburgh, January 29, 1810; Drury Lane, April 29, 1815); Constantine Paleologus (Liverpool, October 10, 1808), adapted by Thomas Dibdin as Constantine and Valeria (Surrey, June 23, 1817), also performed as The Last of the Caesars; or, Constantine Palaeologus (Edinburgh, May 29, 1820); The Beacon (Edinburgh, February 9, 1815); The Election (English Opera House, June 7, 1817); Rayner , adapted as The Victim; or, The Mother and the Mistress (Surrey, September 4, 1820); The Separation (Covent Garden, February 24, 1836); and Henriquez (Drury Lane, March 19, 1836). 55 . Baillie, “Introductory Discourse,” in Dramatic and Poetical Works of Joanna Baillie , 1–18. 56 . Baillie, “Preface” to Miscellaneous Plays , Dramatic and Poetical Works , 391. 57 . Ibid., 388–89. 58 . Ibid., 389. 59 . Baillie, Rayner , in Dramatic and Poetical Works , 391–419. 60 . Murray, “Joanna Baillie’s Rayner and Romantic Spectacle,” European Romantic Review , vol. 21, no. 1 (Feb. 2010): 65–76. 61 . Myers, “Joanna Baillie’s Theatre of Cruelty,” in Joanna Baillie, Romantic Dramatist , 87–107. 62 . BL Playbills 311, Surrey Theatre, 1820–32, June 7, 1821. See also the playbill for the Royal Pavilion Theatre, October 26, 1835. Venice preserved, or, A plot discovered [written by ]; a Masonic address to be written and spoken by a Brother of the Craft, of Lodge 78; a Combat by Messrs. Shoard & Tongman from Aladdin; The Bankrupt Mason , written by Mr. Campbell; a Medley dance by Mademoiselle Leoni; in the course of the evening, songs sung by Mr. Adams (by permission of the Brother House of the Eagle Tavern), the Infant Ramo Samee, Miss Bigg, a comic dance by Mr. Short; and The miller’s maid [by John Faucit Saville]. 63 . Davis, The Economics of the British Stage , 298–99. 64 . The Freemason School at Sommers Place East was situated between the present day Euston and St. Pancras stations, approximately where the British Library is today. 65 . Pedicord, “Masonic Theatre Pieces in London 1730–1780.” Theatre Survey (1984), 25 no. 2: 153–66. Two meeting places for the freemasons were the Crown Ale- house in Parker’s Lane near Drury Lane and the Apple-Tree Tavern in Charles Street, Covent Garden. 66 . Estill, “The Factory Lad: Melodrama as Propaganda,” Theatre Quarterly , 1 (Oct.–Dec. 1971): 23. 250 Notes

67 . Vernon, “Trouble up at t’Mill: The Rise and Decline of the Factory Play in the 1830s and 1840s,” Victorian Studies , 20, no. 2 (Winter, 1977): 117–39. 68 . Burwick, Romantic Drama , 241. 69 . “Francis Huntley” [obituary], Gentleman’s Magazine (April 1831), pt. i. p. 376. 70 . On the Drury Lane production of Theresa, or the Orphan of Geneva , see Genest, English Stage , 9:87; Waldie, Theatre Commentaries , XLVIII, 14 (April 10, 1821) and XLVIII, 171 (July 27, 1821); and a later perfor- mance, tLV, 445 (May 21, 1828). 71 . BL Playbills 174, Royal Coburg Theatre, 1818–1823, February 13, 1821. 72 . Burwick, “George Soane,” Faustus , 141–44. 73 . BL Playbills 175, Royal Coburg Theatre, 1824–1833, February 7, 1825. 74 . Rowell, Theatre: A History , 15. 75 . BL Playbills 175, Coburg, 1824–33, November 30, 1831. 76 . Ibid. 77 . Engels, The Condition of the Working Class (1845); Mayhew, London Labour and the London Poor (1851). 78 . Sillard, “Humours of the Theatre,” The Eclectic Magazine of Foreign Literature, Science, and Art , vol. 56 (September 1898), 378; see also Doran, Their Majesties’ Servants , 2:404–5; and Rowell, Old Vic Theatre , 16–17. 79 . Homer, Odyssey 10.238, Circe, an enchantress who turned men into pigs; Spenser, Faerie Queene, Book II.xii, Acrasia, an enchantress who turned men into pigs. 80 . Rowell, Old Vic Theatre , p. 17. 81 . BL Playbills 170, Coburg, April 3, 1820. To protect the pedestrian playgoers from late- night dangers, the Coburg management negotiated transportation: “For the Accommodation of numerous Visitors from Greenwich, Deptford, &c. a Coach calls at the Theatre a Quarter before Eleven. At which time the Performances terminate.” 82 . BL Playbills 170. First announced in the playbill for September 18, 1820, and repeated on October 5, the presentation of the prize Wherry took place at the Coburg on October 9, 1820. 83 . Moody, Illegitimate Theatre , 172–73. 84 . Under the headline “Disastrous Occurrences,” two such rescues were reported in Bell’s Weekly Messenger , No.1828 (Sunday, April 10, 1831): “On Tuesday morning, about five o’clock, a middle aged French lady, elegantly attired, hired a waterman, named Oxley, belonging to Waterloo bridge, to row her to the Old Barge House stairs. On the man being about to land her, she desired him to return back and proceed to Westminster bridge. He instantly pulled round, but, previous to his arriving near the bridge, he asked the lady which stairs she would like to be landed at? To which she replied the lower one. When nearing them the lady placed her muff and purse in the boat, and taking a portrait out of her bosom, and taking her bonnet off, she precipitated herself into the river before the waterman could pre- vent her. By great exertion, however, he succeeded in catching hold of her after she had floated through the second arch, and by prompt Notes 251

assistance, she was rescued from the death she meditated. She was conveyed into the Swan tap, where every attention was paid her, but she would neither give any explanation of her rash conduct, nor her name or place of residence. Her friends, however, by some means, became acquainted with the circumstance, and they sent a coach for her, the coachman being desired to drive to Thornhaugh street. On the same evening a young man of the name of Gillingship, the son of a respectable tradesman residing near Astley’s Amphitheatre, endeavoured to terminate his existence by precipitating himself off the East side of Waterloo bridge. Fortunately a waterman, named Fishwick, was conveying two passengers across the water at the time, and he succeeded in saving him from destruction. On his being con- veyed ashore, the unhappy young man said, ‘Why did you prevent me dying.—I have no wish to live.’ He was taken in a coach to his father’s house, and from what we are given to understand, it was a touch of the ‘tender passion’ that distressed him; he jumped into the river as the most speedy and only sure means of cooling it.” 85 . Boger, Bygone Southwark (1895), 78–79. 86 . Donaldson, Recollections of an Actor (1865), 119. 87 . Because children’s books of the period often lack a date of printing, some of the dates are conjectural. Others are very clearly dated well before Poole’s Paul Pry . Paul Pry’s poems for girls and boys (1813–1855?); Marks, The adventures of Paul Pry, and his young friend in London (1820?); Paul Pry’s Magic Lantern (1840?); Bruce, The Adventures of Paul Pry (1815); Peter Pry’s Puppet Show for Good Children (1815); W. Belch’s Droll adventures of Paul Pry. (1820); Paul Pry’s Merry Minstrel; or, Budget of new songs (1822); Peter Plume; Paul Pry at a party, or, A visit to the little folks (1823). 88 . Frey, Sobriquets and Nicknames , 267: “The idea was really suggested by an old invalid lady who lived in a very narrow street, and who amused herself by speculating on the neighbors, and identifying them, as it were, by the sound of the knocks they gave . . . It was not drawn from an indi- vidual, but from a class. I could mention five or six persons who were contributors to the original play.” 89 . Peter Pry, Esq. (= Thomas Hill), Marmion travestied, a Tale of Modern Times [travesty of Sir , Marmion ] (1809). 90 . Tegg’s Caricatures . [illustrations only; 65 engraved plates] ; Isaac R. Cruikshank; Thomas Rowlandson; James Gillray; Henry William Bunbury, G. Woodward, Paul Pry, Squire Doodel, T. Jones, W. E., &c. (1795). 91 . Paul Pry’s “Hope I don’t intrude,” followed previous comic characters in the use of a frequently repeated catchphrase. Kenney’s Jeremy Diddler in Raising the Wind (1804) and Holcroft’s Goldfinch in Road to Ruin (1792) are both examples of how the catchphrase could contribute effec- tively to marking a character. As performed by popular comedians— Quick, Elliston, Liston, Mathews— the catchphrase alone could generate laughter. Hazlitt, The Life of Thomas Holcroft (1816), in Works , 3:122–23: Commenting on performance as Goldfinch, Hazlitt 252 Notes

declared that it became a perennial favorite because of the catchphrase. Nine out ten persons who went to the play, Hazlitt asserted, went to see Goldfinch and they roared in laughter every time he repeated the phrase “That’s your sort,” and he repeated it some 50 times. Not in itself a very funny line, the catchphrase works in terms of character and context. 92 . Allarde and Cornu, Monsieur Broullion , ou L’Ami de Tout le Monde (1813). A one-act comedy, first seen at the Théâtre des Variétés in September 1813. Pigault-Lebrun, L’officieux, ou Les Présens de Noces (1820). 93 . BL Playbills 175, 1824–33, Coburg, November 27, 1827. 94 . Opie, The Father and Daughter (1801). 95 . Opie, The Father and Daughter . Ed. Shelley King and John B. Pierce (2003). 96 . Agnese: drama semiserio in due atti = Agnese: eine ernsthaft- komische Oper in 2 Aufzügen . Musical Score: Ferdinando Paër; Italian Libretto: Luigi Buonavoglia; German text: August Eberhard Müller. Printed music with vocal score (1814). 97 . L’Agnes: dramma semiserio, per musica, in due atti: a serio-comic opera, in two acts: represented at the King’s Theatre in the Haymarket, May 15, 1817 (1817). 98 . Goury de Champgrand Bawr, La suite d’un bal masque (1813). 99 . Adams, A Dictionary of the Drama , 189. No relation to Junius Brutus Booth, Sarah Booth had a successful London career; during the previous season at Covent Garden, she played the leading female role in . 100 . Knight, “West, M rs . (1790–1876),” Dictionary of National Biography , 60:323–24. Miss Cooke made her first appearance at Covent Garden on September 28, 1812, as Desdemona, and in the next ten years on the London stage had performed all of Sarah Siddons tragic roles. Her por- trait, “Mrs W West as Cordelia” (1820) was painted by Thomas Charles Wageman. 101 . The wife of William Barrymore, the actor, playwright, and stage man- ager, Ann Barrymore exhibited her versatility by playing in a wide vari- ety of roles, and in Winning a Husband; or, Seven’s the Main (Coburg, September 20, 1819) she appeared as eight different characters. 102 . BL Playbills 174, Coburg, 1818–23, April 24, 1820. 103 . Ibid. 104 . Ibid. 105 . Burwick, “The Theatrical Chauvinism of William Thomas Moncrieff’s The Shipwreck of Medusa (1820) and The Cataract of the Ganges (1823),” in Liberty, Emancipation and Freedom in Romantic British Theatre , 117–36. 106 . Burwick, “The Faust Translations of Coleridge and Shelley on the London Stage,” Keats- Shelley Journal . 59 (2010): 30–42. 107 . An adaptation of Mary Shelley’s Frankenstein (1818) had appeared the previous month. Peake’s Presumption; or, The Fate of Frankenstein (English Opera House, July 28, 1823) featured T. P. Cooke as the terrifying Monster. Milner’s version was later revived as The Man and The Monster; or The Fate of Frankenstein (Coburg,July 3, 1826). Giving emphasis to Notes 253

Frankenstein’s laboratory and the creation of the Monster, Milner was the first to have Frankenstein utter the astonished cry, “It lives!” 108 . BL Playbills 174, Coburg, 1818–23. The Temple of Death (Coburg, December 26, 1821), translated, altered, and arranged for the English Stage by H. M. Milner. 109 . Moncrieff, Songs, parodies, duets, chorusses . . . Tom & Jerry, or, Life in London (1821). “First performed at the Adelphi Theatre, Strand, Monday, November 26, 1821; the music selected and modified . . . by Mr. G.W. Maddison . . . ; the costume [sic]” & scenery superintended by Mr. J. R. Cruikshanks [sic] from the drawings of himself and his brother Mr. G. Cruikshanks [sic] Copy 1 has frontispiece “Mr. Wrench as Corinthian Tom . . . ” copy 2 has “Mr. as Jerry . . . ,” by I.R.C. 110 . Egan, The Life of an Actor (1825), the poetical descriptions by T. Greenwood; embellished with 27 characteristic scenes etched by Theodore Lane; enriched also with several original designs of wood, executed by Mr. John Thompson. 111 . Conolly, The Censorship of English Drama , 128–29. 112 . BL Playbills 174, Coburg, 1818–23, December 2, 1822, and June 2, 1823. MacFarren’s piece was also billed as Tom and Jerry ’Tother Side of the Water . 113 . Egan, Anecdotes (original and selected) of the turf, the chase, the ring, and the stage. Embellished with thirteen coloured plates, designed from nature, and etched by Theodore Lane (1827). In spite of its typi- cal Eganesque , this edition fared well among it intended audience. A more polished version of his Life in London , involving higher class counterparts to Tom and Jerry, it was immediately recognized as having been written by a formally schooled author. Egan[? ascribed], Real life in London (1821–22); see Cambridge History of English Literature , 14:248: it “is a pleasanter book than its prototype . . . the author had a purer style, a cleaner mind and a wider knowledge of London than Egan.” 114 . Huston, The Actor’s Instrument : Body, Theory, Stage , 114. 115 . BL Playbills 175, Coburg, 1824–33, August 1, 1825. 116 . Ibid. 117 . BL Playbills 175, Coburg, 1824–1833, August 8, 1825.

B i b l i o g r a p h y

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Abbey Lands, The, 153 Amherst, John H., 76 , 77 , 195 Abbott, William, 199 Glenarvon , a melodrama, 72 , as Osbaldistone in Pocock’s Rob 75 , 76 Roy , 123 The Reign of Terror , or The à Beckett, Gilbert Abbott Horrors of the French Man-Fred , 80 Revolution , 145 Abershaw, Jerry, 134 , 136 ancien régime, 148 Abolitionist Movement, 134 Anderson, Maxwell Adamson, John Bad Seed , 10 Inês de Castro , 129 Anti-Jacobin, 106 Adcock anti-Semitic stereotypes, 133 as Baron Fierpance in Red Riding Archer, Thomas Hood , 59 as Gessler in William Tell , 115 as Laska in Zapolya , 59 Arden of Faversham , 152 as Old Pickle in Spoiled Child , 59 Ariosto, Ludovico, 87 as pirate in Lolonois , 59 Arnold, Samuel James Adelphi, 120 , 157 , 159 , 163 , 169 , Devil’s Bridge , 38 175 , 183 , 184 , 185 , 207 injunction against Covent Aeschylus Garden, 195 Oresteia , 152 The Maid and the Magpye , 161 Alasco, Johannes, 130 manager at Drury Lane, 205 Alcalá Galiano, Antonio, 127 manager of the Lyceum, 52 Aldridge, Ira on M. P.,or The Blue-Stocking , 52 as Aaron in Titus Andronicus , 135 stage composer, 30 , 33 , as Three-Finger’d Jack, 135 51 , 179 title role in Othello , 135 Artistotle Alfieri, Vittorio, 87 Poetics , 166 Mirra , 82 Ashford, Mary Allarde and Cornu murder victim, 156 , 157 , 158 , Monsieur Broullion , 203 159 , 166 Almar, George Ashford, William, 158 Jack Ketch , 144 Astley, Philip, 1 , 3 Altick, Richard, 15 production of William Tell, the on Master Betty’s acting as ‘a Hero of Switzerland , 111 child’s mimicry’, 24 Astley’s, 1 , 175 , 199 , 202 , 203 Alzora and Nerine, 199 Athenaeum, 108 292 Index

Atkins Bean, Alexander as Jew of Murcia in The Gipsy a.k.a. Sawney Bean, 152 Princ e, 31 Beazley, Samuel Atkins, Mrs., née Warrell, 31 Ivanhoe , 126 Auld Philandering , 38 as Malinski in Shee’s Alasco , 131 Beckmann, Dederich, 102 Behn, Aphra, 144 Baer, Marc, 2 Bellamy Baillie, Joanna as Motley in The Castle Spectre , 24 Constantine Paleologus Bello, Andrés, 127 (Constantine and Valeria ), 190 Bengough De Montfort , 29 as Bolingbroke in Wat Tyler and Rayner ( The Victim ), 145 , 190 , 192 Jack Straw , 120 Bampton, Thomas, 119 as Holford in The Gamblers Banks, John (Coburg), 164 Albion Queens , 110 as Mosby in Abbey Lands , 153 The Island Queens , 109 Berkeley, Mary Cole, Lady, 52 Bannister, John, 187 Betty, William Henry West, 4 , 9 , as Captain Allclack in The 15 , 22 Invisible Girl , 136 as Captain Flash in Miss in her as Sylvester Daggerwood, 187 Teens , 16 Barbican, 12 as Frederick in Lovers’ Vows , 16 , 22 Barnett, George as Hamlet, 9 fires gun at Fanny Kelly, 150 as Mortimer in The Iron Chest , 16 Barras, Paul François Jean Nicolas, at Newcastle, 23 Vicomte de, 188 as Osmond in The Castle Spectre , Barrymore, Ann, née Adams 9 , 16 , 22–25 as Agnes in The Lear of Privte performs with Elizabeth Satchell Life , 205 Kemble, 23 Barrymore, Drew in rehearsal, 23 as Charlie in The Firestarter, 11 as Richard III, 16 Barrymore, William, 194 , 195 as Rolla in Pizarro , 9 founder and manager of the as Romeo, 9 Coburg, 124 as Tancred in Tancred and Glenarvon , a melodrama, 72 , 76 Sigismunda , 16 Robert the Bruce , 124 as Young Norval in Douglas , 9 , 16 Trial by Battle or Heaven Defend Beverly, Henry, 156 the Right , 135 , 158 , 199 Chateau Bromege; or, The Clock Wallace , 124 Struck Four., 156, 157 Báthory, Countess Elizabeth Beverly, William Roxby the “Blood Countess”, 58 manager of the Regency, 156 Battle of Stirling Bridge, 124 Bible Battle of Vienna, 130 Genesis, expulsion of Adam and Bawr, Goury de Chapgrand, Eve, 62 La suite d’un bal masqué , 205 Gospel of Luke, 67 Index 293

Bickerstaffe, Isaac Bradley Padlock , 32 as Jean-Paul Marat in Milner’s Spoiled Child , 59 Reign of Terror , 148 Bishop, Henry R. as Shakebag in Abby Lands , 154 music for Byron’s Manfred , 80 Brandenburgh House, music for Soane’s Masaniello , 104 , 105 89 , 196 Brigade de la Sûreté, 172 music for Planché’s Maid Brighton Theatre Royal, Marian , 120 179 , 180 Blackfriars Bridge, 199 Britten, Benjamin Blackfriars Theatre, 12 The Turn of the Screw , 10 Blackwood’s Edinburgh Magazine , Brooke, Henry 112 , 133 Gustavus Vasa , 133 Blair, Linda Brown, Henry, 25 as Regan in The Exorcist , 11 Browne, Mather Blake, William, 9 , 178 illustrations to Byron’s The Blanchard, Thomas Corsair , 81 as Conrad in Shee’s Alasco , 131 Brunton, John as Linden in Amherst’s as Belville in The Country Girl , 19 Glenarvon , 77 Brunton, Miss Blanco-White, José, 127 as Alithea in The Country Girl , 18 Bland, Maria Theresa, née Brussels, 179 Romanzini Buckstone, John Baldwin as Beda in Blue-Beard , 48 as Billy in Jerrold’s Paul Pry , 204 as child actress, 14 on playing the villain, 135 as Wowski in Inkle and Yarico , 48 Presumptive Evidence , Blatty, William 159 , 160 The Exorcist , 10 , 11 Vidocq, the French Police Spy , 172 Bonsall, Brian Bunn, Alfred title role in Mikey , 11 stage-manager at Covent Booth, Junius Brutus, 179 , 205 Garden, 80 as Fitzarden in The Lear of Bunn, Margaret Agnes Private Life , 205 , 206 as Emma in William Tell , 115 as Iago, 179 as Queen Elizabeth in Mary moves to the United States, 180 Stuart , 115 title role in King Lear , 205 Buonavoglia, Luigi title role of Richard III , 179 libretto to Paër, Agnese , 204 Booth, Michael, 7 , 174 Burges, Sir James Bland Booth, Sarah Tricks upon Travellers , 38 as Cordelia, 205 Burke, Edmund Bow Street Runners, 168 on theater vs. public execution, 143 boxing match on stage, 210 burletta, 14 , 57 , 58 , 120 , 139 , 141 , Boydell, John 144 , 176 , 177 , 183 , 189 , 200 , Shakespeare Gallery , 13 202 , 203 , 207 Bradford, Jonathan, 154 Burns, Robert, 121 294 Index

Burroughs, Henry The Two Foscari , 6 , 81 , 87 , 90 , machinist for the Coburg, 126 , 91 , 92 131 , 195 Werner , 81 Burroughs, Watkins, 131 , 195 Byronic hero, 6 , 72 , 79 , 81 , 134 as Frank Tyrrel in Another Piece of Presumption , 169 Caigniez, Louis-Charles, and J. M. manager at the Surrey, 131 T. Badoin d”Aubigny manager of the Coburg, 133 La pie voleuse , 161 Burton, Mrs Calcraft, William, 143 , 144 title role in Don Juan, or The Calderón de la Barca, Pedro, 129 Libertine Destroyed , 179 El mágico prodigioso , 129 Byron, George Gordon, Lord, 5 , Fortune Mends ( Mejor está que 27 , 71 , 72 , 73 , 74 , 76 , 80 , 81 , estaba ), 129 82 , 84 , 85 , 87 , 134 From Bad to Worse ( Peor está que Bride of Abydos , 29 , 82 estaba ), 129 The Deformed Transformed , 83 La Dama Duende , 129 Cain , 79 Caledonian Theatre, 124 Childe Harold’s Pilgrimage , 6 , 79 Cambrian Society, 125 Corsair , 81 , 82 cannibalism, 54 , 68 , 151 death at Missolunghi, 80 Cannon, Tom Don Juan , 5 , 72 , 73 , 76 , 79 , 80 , bare-knuckle boxer, 210 130 , 204 , 206 Capote, Truman doppelgänger , 72 , 74 , 84 , 85 The Innocents, 10 at Drury Lane, 72 Captain Rock, 6 , 110 , 118 , 133 on Edmund Kean, 82 Carbonari, 88 , 89 A Fragment, 73 Carey, Master. see Kean, Edmund Giaour , Corsair , Lara , 6 , 134 readings of Shylock and Richard impersonated by H. Kemble and III, 25 H. H. Rowbotham, 72 Carlyle, Thomas, 112 , 151 impersonators, 84 Life of Schiller , 112 in exile from Britain, 72 on Schiller’s Wilhelm Tell , 112 informed of Glenarvon , 73 Caroline of Brunswick- The Island , 81 Wolfenbüttel, Queen consort, Lady Byron parodied as Donna 93 , 144 , 159 Inez in Don Juan , 72 Carpenter, John Manfred , 79 , 80 , Village of the Damned , 11 81 , 82 Catholic Emancipation, 27 , 43 Marino Faliero , 79 , 184 Cato Street Conspiracy, 93 Mazeppa , 81 , 134 censorship, 4 , 27 , 39 , 40 , 42 , 51 , 101 , ridicule of Robert Southey in 103 , 105 , 106 , 110 , 116 , 117 , Don Juan , 72 118 , 119 , 133 , 159 , 180 , 186 rumored affair with Charlotte Centlivre, Susanna Mardyn, 82 Bold Stroke for a Wife , 132 rumors of incest, 79 Busy Body, The , 202 Sardanapalus , 81 Chapman, George, 12 Index 295

Charles II, 144 , 177 Colburn, Henry Charles V, 90 editor of the New Monthly Charles X, 149 Magazine , 85 Charlotte Corday; or, The French Coleridge, Samuel Taylor, 29 Revolution , 149 Biographia Literaria , 55 Cherry, Andrew, 50 on comic as negative instance, 61 child actors, 3 , 4 , 10 , 11 , 12 , 16 , 25 The Fall of Robespierre , 119 , 147 on the Elizabethan and Jacobean Faustus , 207 stage, 12 on Jesus and the wild man, Luke, Children of Paul’s, 12 8 , 26–39 , 67 Children of the Chapel, 12 on Grill in Fairie Queen , 67 Children’s Theatre, 13 Lectures: On Literature , 61 Chronicle , 80 , 134 on mind altering the senses, Cibber, Theophilus 59 , 67 The Harlot’s Progress , 175 Osorio , 103 City of London Theatre, 129 Poetical Works , 53 Civil War, 120 Remorse , 29 , 103 , 129 Clarke, John Bertridge ridicule of “this age of Ravenna, or Italian Love, 108 prodigies”, 15 Clarke, Stephen Statesman’s Manual , 55 , 56 , 180 translation of Schiller’s Clayton, Jack Wallenstein , 103 The Innocents , 10 ‘willing suspension of disbelief’, 23 Clifford, Mrs. W. Zapolya , 5 , 53–70 , 139 , 151 , 183 , as Amantha in Shee’s Alasco , 131 190 , 191 Cobb, James, 29 Colman, George and David Garrick The Haunted Tower , 28 The Clandestine Marriage , 44 , 28 , 31 Colman, George, the Younger, 28 , 29 Cobham, Thomas, 198 Actor of All Work , 188 as Arden in Abby Lands , 154 Blue-Beard, 28 , 29 , 31 , 48 as Henri de Florville in Farrell’s Examiner of Plays (1824–1836), The French Revolution , 149 105 , 132 , 194 as Iago, 198 , 199 Heir at Law , 30 , 32 , 44 as Richard II in Wat Tyler and Inkle and Yarico, 33 , 48 Jack Straw , 120 John Bull , 44 as Rob Roy in Roy’s Wife , 124 manager at Haymrket, 28 Coburg, 5 , 69 , 71 , 72 , 74 , 76 , 77 , New Hay at the Old Market , 187 78 , 85 , 86 , 89 , 90 , 110 , 113 , prologue to The Fatal 119 , 124 , 125 , 126 , 127 , 128 , Curiosity , 154 129 , 134 , 135 , 137 , 142 , 144 , Poor Gentleman , 30 145 , 146 , 152 , 153 , 158 , 162 , Colppits, Frances, 145 163 , 164 , 165 , 166 , 172 , 174 , Committee for the Spanish 175 , 182 , 194 , 195 , 196 , 197 , Refugees, 127 199 , 200 , 202 , 203 , 204 , 205, Conolly, L. W. 206 , 207 , 209 , 210 , 211 on censorship, 119 296 Index

Constantinople, 93 Cowley, Hannah Conway, Augustus Every One has his Fault , 30 as Mossop in The Gamester , 182 Cox, Charlotte, 19 7 Cook, Dutton, 133 Cox, Jeffrey Cooke, Thomas Porter, 79 , 84 , 185 Obi, or Three-Fingered Jack , 135 in brass armor Industry and Craven, Elizabeth Berkeley, Lady Idleness , 190 production of Schiller’s The as Carwin in Maddox’s Thérèse , 196 Robbers , 104–106 as the Creature in Presumption , Abdoul et Nourjad , 104 77 , 195 La Folle du Jour , 104 as Darby O’Kelly in Amherst’s Love in a Convent , 104 Glenarvon , 77 Modern Anecdotes of the Family of as Dirk Hatteraick in The Witch of Kinvervankotsprakengatchdern , Derncleugh , 78 104 as Duke Dorgan in Presumptive Nicodemus in Despair , 104 Evidence , 160 Poor Tony , 104 one-eyed brigand in Industry and Princess of Georgia , 104 Idleness , 190 Puss in Boots , 104 title role in Jerrold’s Vidocq , 172 Somnambule , 104 as Lord Ruthven in Planché’s Tankard , 104 Vampire , 77 , 78 , 195 Yorkshire Ghost , 104 as Vanderdecken in The Flying Crawford, Mrs. Dutchman , 185 , 186 , 196 as Calista in Fair Penitent, 150 as William in Black-Eyed Crawley, Peter Susan , 160 bare-knuckle boxer, 210 Corday, Charlotte, 148 Crofton, George Cordell, Allen as Bertrand in Chateau as Don Ferdinand in Don Juan, Bromege , 157 or The Libertine Destroyed , 179 Cross, John Cartwright, 183 as Emerick in Zapolya , 58 Crouch, Anna Maria, 28 , 37 , 38 as Reginald Front-de-Boeuf in as Fatima in Blue-Beard, 28 Ivanhoe , 58 as Katherine in The Siege of title role in Othello , 179 Belgrade , 28 Corder, William, 166 as Lady Elinor in The Haunted Counter Reformation, 130 Tower , 28 County Police Act, 168 as Louisa in No Song, No Court of Chancery, 195 Supper , 28 Covent Garden, 1 , 6 , 8 , 17 , 20 , 24 , title role in Lodoiska , 28 25 , 30 , 31 , 32 , 79 , 80 , 81 , 85 , Crow Street Theater, Dublin, 111 87 , 90 , 91 , 104 , 105 , 108 , 109 , Cruickshank, George, 161 , 162 113 , 119 , 120 , 121 , 122 , 123 , Elliston as Sylvester Daggerwood , 126 , 129 , 130 , 131 , 133 , 135 , 186 , 187 , 188 142 , 143 , 144 , 150 , 153 , 171 , Culkin, Macaulay 176 , 179 , 182 , 183 , 184 , 195 , as Henry Evans in The Good 200 , 205 Son , 11 Index 297

Cumberland, Richard musical setting for Wordsworth’s The Armorer , 119 Rob Roy’s Grave , 122 Richard the Second , 119 Dawson, Master The Wheel of Fortune , 75 as Verdun in Lovers’ Vows , 22 De Quincey, Thomas Daly, Mrs. On Murder Considered as One of as Cathleen in Presumptive the Fine Arts, 169 Evidence , 160 On the Knocking at the Gate in Daly, Richard Macbeth , 170 William Tell , 111 Defoe, Daniel, 137 Danson Delacroix, Eugène scene painter for the Liberty Leading the People, 149 Coburg, 126 Delannoy, Marie Christine Daru, Pierre Anton Noel Bruno, Adelaide, 179 Comte Dent, Miss History of Venice , 91 , 92 as Mrs. Snarewell in Industry and Darwin, Erasmus Idleness , 189 The Loves of the Plants , 44 Denvil, Henry Gaskell, 84 Davidge, George Bolwell as Shylock in Merchant of as Jack Straw in Wat Tyler and Venice , 80 Jack Straw , 120 in The Queen’s Lover , 80 in The Man of Two Thousand , 138 title role in Bertam , 80 manager of the Royal Coburg, title role in Manfred , 80 89 , 145 , 147 , 195 , 196 title role in Richard III , 80 title role in Moncrieff’s Jack Deverell, Mrs. M. Sheppard , 137 , 139 Mary Queen of Scots, 109 Davidge, Mrs. Dibdin, Charles, 1 , 14 , 20 , 25 , as Crimp in Jerrold’s Paul 29 , 106 , 174 , 176 , 177 , Pry , 204 183 , 186 , 189 Davidge, W. P. acting academy for title role in Jerrold’s Paul Pry , 203 children, 14 Davies Life in London , 209 Equestrian manager at the Edward and Susan , 151 Surrey, 190 The Lancashire Witches , 177 Davis, Tracy, 193 The Waterman , 200 Davy, John Philharmonic Academy for chil- composer for Covent dren, 176 Garden, 122 production of William music for Holman’s What a Tell , 111 Blunder! , 122 Royal Circus, 176 music for Pocock’s Rob Roy , 122 Dibdin, Charles and Thomas, 50 music for T. Dibdin’s Family Dibdin, Charles, Jr. Quarrels , 122 The Corsair , 81 music for Terry’s Guy Paul Pry , 203 Mannering , 122 The Rake’s Progress , 193 298 Index

Dibdin, Nancy, née Hillier Don Quixote, 129 as Countess Sarolta in Zapolya , 58 Donegal, George Augustus as Countess Zaterloo in The Chichester, 2nd Marquess, 209 Victim , 192 Donner, Richard, 11 Dibdin, Thomas, 5 , 7 , 56 , 162 , Doppelgänger, 72 , 74 , 83 , 85 174 , 183 Doyle, Arthur Conan adaption of Ivanhoe , 58 Sherlock Holmes, 171 , 172 adaptation of Coleridge’s Zapolya , Dramatic Appellant , 113 53 , 59 Dramatic Censor , 28 adaptation of plays by Joanna Dramatic Literature Act, 184 Baillie, 190 Dramatic Mirror , 202 adaptations of Waverley Drayton, Michael novels, 186 werewolf in “Man in the correspondence with Lady Moon,” 66 Caroline Lamb, 71 Drury Lane, 1 , 4 , 7 , 14 , 24 , 25 , 27 , Family Quarrels , 122 29 , 32 , 37 , 44 , 57 , 72 , 79 , 81 , The Fatal Experiment , 154 82 , 85 , 89 , 105 , 109 , 110 , 114 , The Gipsies , 37 116 , 121 , 123 , 124 , 125 , 127 , Heart of Midlothian , 169 129 , 132 , 133 , 138 , 150 , 152 , The Lady of the Lake , 191 163 , 173 , 174, 176 , 179 , 180 , Masonry , 193 , 194 182 , 183 , 184 , 186 , 195 , 196 , Murder and Madness, or, A 197 , 200 , 202 , 205 Traveller’s Tale , 154 Dryden, John, 144 The Murder’d Guest , 154 Ducange, Victor The President and the Peasant’s Thérèse, ou, L’Orpheline de Daughter , 108 Genève , 195 Red Riding Hood,or, The Wolf of Duchovny, David the Forest of Arden, 58 , 59 , 68 in Californication , 10 Reminiscences , 86 Duke’s Theater, 177 Rob Roy , 123 Dundas, Thomas, 1st Baron Spain and Portugal , 128 Dundas, 193 Who’s the Murderer? or, A True Dutnall, Martin Tale of the Twelfth Century , 153 title role as Mad-Fred , 81 Digges, West The Red Barn , 166 East End theatres, 6 , 87 , 102 Dimond, William, 29 East London Theatre, 115 The Bride of Abydos , 82 Edinburgh Theatre, 166 The Hero of the North , 133 Edward I, 126 , 159 The Lady and the Devil , 129 Egan, Pierce, 164, 168 , 170 Dirce! Or, the Fatal Tea Pot , 196 Boxiana, or, Sketches of Modern Dirce, The Fatal Urn , 196 Pugilism , 209 documentary drama, 3 , 147 , 164 , 166 Life in London , 164 , 207 domestic drama, 173 , 205 Egerton, Daniel, 199 Don Juan, 5 , 72 , 73 , 76 , 79 , 80 , 84 , as Sir Frederick Vernon in 85 , 129 Pocock’s Rob Roy , 123 Index 299

Egerton, Sarah, 25 factory workers, 7 , 173 as Helen Macgregor in Pocock’s Fairburn, John Rob Roy , 123 The Affecting Case of Mary Elephant and Castle, 175 Ashford , 156 Elizabeth Poole Fancy at Warwick, The , title role as Helen McGregor in 210 , 211 Roy’s Wife , 124 Farrell, John Elliston, Robert William, 1 , 14 , 89 , The French Revolution , or The 174 , 183 , 184 , 185 , 186 , 187 , Massacre of Paris on the 27th, 190 , 195 , 196 28th and 29th of July ( Les Trois acting academy for children, 15 Glorieuses), 149 acting school for children, 186 Farren, Elizabeth as Sylvester Daggerwood, 187 , 188 as Baroness of Bruchsal inThe Elrington, Thomas Disbanded Officer , 38 as Beverley in The Gamester , 182 Farrington, Joseph, 130 as Petruccio in Catherine and Fawcett, John, 108 Petruccio , 182 as Caleb Quotem in Throw Physic title role in The Stranger , 182 to the Dogs , 30 Emery, John as Dr. Pangloss in The Heir at as Able Drugger in The Law , 30 Tobacconist , 32 as Farmer Gerard in The Maid as Farmer Ashfield in Speed the and the Magpye , 161 Plough , 32 as Jemmy Jump in Farmer , 30 as Sam in Raising the Wind , 32 Obi, or Three-Finger’d Jack , 33 as Silky in Road to Ruin , 32 as Ollapod in The Poor as Zekiel Homespun in The Heir Gentleman , 30 at Law , 32 as Placid in Every One has his Encyclopedists, French, 55 Fault , 30 English Opera House, 5 , 76 , 77 , 78 , as Rincon in The Gipsy 169 , 195 Prince , 30 equestrian drama, 1 , 14 , 81 , 128 , Female Freemason, The, or, The 134 , 176 , 183 , 190 Secret Blabbed , 194 Erving, George Fenning, Eliza on Zapolya , 55 cook for the Turner family, Euripedes 161–162 Medea , 11 feral child, 5 , 54 , 66 , 151 Examiner of Plays, 117 Ferdinand I, 88 see also John Larpent and George Fernando VII, 127 , 128 Colman Ferrara, 85 , 92 Execution, 7 , 99 , 128 , 134 , 135 , Fielding, Henry, 57 , 137 136 , 137 , 141 , 143–145 , 147 , establishes Bow Street 148 , 149 , 162 , 165 , 190 , 192 , Runners, 168 193 , 207 The Life and Death of Jonathan Execution scene in Mary Stuart , Wild , 171 108 , 109 Tom Thumb , 57 , 139 300 Index

Fisher, Clara, 4 , 25 Furnace, Jerry, 119 as Crack in The Turnpike Gate , 25 as Little Pickle in The Spoil’d Gaboriau, Émile Child , 25 Monsieur Lecoq , 172 as Richard III, 25 Gallot as Tell’s son Albert in William as Baron Hohendahl in Shee’s Tell , 115 Alasco , 131 move to New York, 25 Galt, John multiple roles in Actress of All The Invisible Witness , 190 Work , 25 Gamblers, The Fitzball, Edward at the Surrey, 162–163 Jonathan Bradford , or, the Gamblers, The; or, The Murderers at Murder at the Roadside Inn , the Desolate Cottage 154 , 155 , 156 at the Coburg, 162 The Flying Dutchman , or, The Garrick Theatre, 3 Phantom Ship , 184 Garrick, David, 14 , 17 , 21 , 44 , The Innkeeper of Abbeville , 154 117, 176 Florence, 74 , 92 , 138 adaptation of Fatal Marriage , 4 , 14 Florian, Jean-Pierre Claris de Catherine and Petruccio , 182 Guillaume Tell, Ou La Suisse The Country Girl , 17 Libre , 111 , 11 4 Lilliput , 25 Florville, Henri de, 149 Miss in her Teens , 16 , 21 Foakes, Reginald, 12 , 13 Gaudry, Anne Ford, John as Blanch in The Gipsy Prince , 30 ‘Tis Pity She’s a Whore , 82 Gay, John Forneret, Xavier The Beggar’s Opera , 137 L’Homme Noir; or, The Genest, John, 17 , 38 , 98 , 107 , Executioner of Paris , 149 108 , 109 Foscolo, Ugo, 87 on Mitford’s Foscari , 99 Foster, Jodi on The Beacon of Liberty , 114 as Iris in Taxi Driver, 10 on The Island Queens , 109 Foucault, Michael, 7 , 141 , 143 on the performance of Mary France Stuart , 108 British war with, 2 on T he Red-Cross Knights , 107 Napoleonic Wars, 49 on William Tell , 115 Francis II, 188 on Mrs. Deverell, 110 Frederick, Miss, 25 Gentleman, Francis Freemasons, 193 The Tobacconist , 32 Freer, Charles George I, 102 , 121 title role in Faustus , 116 George II, 102 title role in William Tell , 116 George III, 42 French performers, 3 attempted assassination at Drury French Revolution, 103 , 118 , 145 , Lane, 150 146 , 147 , 149 defense of Benjamin West, 117 Friedkin, William, 11 George IV, 93 , 144 Index 301

George, Prince of Wales, Prince Children’s Theatre, 13 , 21 , 22 Regent, 27 , 42 , 51 , 144 , 159 Grieve, Thomas German Museum, The , 103 scenery for Byron’s Manfred , 80 Giles, Thomas, 12 Griffin, Gerald Gillies, Robert Pierce ‘Card-Drawing’, 160 review of Wilhelm Tell , 112 Grimaldi, Giuseppe, 21 , 176 Gillray, James as Harlequin, 14 bestial caricatures, 67 as Harlequin in The Lancashire La Belle Espagnole (Feb. 25, Witches , 177 1796), 129 teaching child performers, 176 Blowing-up the Pic-Nics (April 2, Grimaldi, Joe, 176 1802), 106 Grosett, Henry William Girioux, Gabriel William Tell, or the Hero of dance-master at the Surrey, 14 Switzerland, a Musical Glendower, Owen, 125 , 126 farce , 113 Glenlyon, Duke of Athol, 193 Guillotin, Joseph-Ignace, 145 Globe, 175 guillotine, 145 , 147 , 148, 149 Glossop, Joseph, 195 , 197 Goethe, Johan Wolfgang von Habsburg , 130 Faust , 116 , 129 , 207 Hackman, James, Reverend Going to Execution; or, The Spanish murder of Martha Reay, 150 Princess , 144 Hadfield, James Goldoni, Carlo, 103 attempted regicide at Drury Goldsmith, 204 Lane, 150 as Tankard in Jerrold’s Paul Haines, John Thomas Pry , 204 The Factory Boy , 7 , 174 Goldsmith, Oliver Hallem, Lewis, the Younger She Stoops to Conquer , 182 New York theater, 59 González del Castillo, Juan Ignacio Hamilton, Ralph El Recluta por Fuerza , 129 Elphi Brey , 38 Gothic melodrama, 3 , 9 , 16 , 53 , 78 , Hampden Club, 52 82 , 87 , 207 Hanseatic League, 102 Graham, James, Duke of Harding Montrose., 121 as Forder in Vaughan’s The Red Green in France, or, Tom and Jerry’s Barn , 166 Tour , 209 title role in The Wehr-Wolf , 167 Greenwood, Thomas Harlequin, 14 , 139 , 176 The Death of Life in London , 209 Harlequinades, 88 , 129 , Grétry, André 144 , 176 Amphitryon , 111 Harley, John Pritt Guillaume Tell , 111 as Bailie Jarvie in Pockock’s Rob Raoul Barbe-Bleue , 111 Roy , 124 Richard Coeur-de-lion , 111 Harlowe, Mrs. Greuze, Jean Baptiste, 10 , 20 as the Farmer’s wife in The Maid Greville, Henry Francis and the Magpye , 161 302 Index

Hart, J. P. Hill, Benson The Freemason, or, The Secret of as Lewy Madigan in Presumptive the Lodge Room , 194 Evidence , 160 Harvey, Miss Hill, James as Jacqueline in Farrell’s The as Sir Roderick Arundel in Twm French Revolution , 149 John Catty , 124 Hatton, Mrs. Hill, Thomas, 202 as Miss Flirt in Industry and as Charles Worthy in Industry Idleness , 189 and Idleness , 189 Haymarket, 1 , 4 , 27 , 28 , 32 , 33 , 37 , Hillier, Nancy, 192 38 , 103 , 104 , 105 , 122 , 132 , see also Dibdin, Nancy 135 , 143 , 144 , 145 , 154 , 176 , historical drama, 120 , 126 177 , 181 , 186 , 187 , 200 , 202 , Hoare, Prince 203 , 204 Indiscretion , 150 Hazlitt, William, 164 Mahmoud, Prince of Persia, 31 Headsman, The; or, The Axe and the No Song, No Supper , 28 Sword , 144 Hoffmann, E. T. A. Hebrew, The, 133 The Devil’s Elixiers , 83 Hebrew Family , 133 Hogarth, William Hegelian dialectic, 158 Industry and Idleness , 7 , Hemmings, Henry 174 , 189 as Capt. Haselton in Jerrold’s The Rake’s Progress , 193 Paul Pry , 204 The Southwark Fair , 175 as King Edward in The Hogg, James Welshman , 126 The Private Memoirs and Henriette, or Farm of Senange , 195 Confessions of a Justified Henry IV, 125 , 126 Sinner , 83 Henry VIII, 152 , 153 Holcroft, Fanny Herald , 80 translation of Calderón’s com- Herbert, Master edies, 129 as Carlos in Miss in her Teens , 21 Holcroft, Thomas as Count Cassel in Lovers’ Vows , 22 editor of Theatrical Recorder , 112 heroic rebels, 120 , 139 The Life of Baron Frederick Heywood, Thomas, and Richard Trenck , 184 Brome The Road to Ruin , 32 , 132 The Late Lancashire Witches , 17 7 Holinshed’s Chronicles, 153 Hibner, Esther Holland, Henry Richard Vassall- her execution, 145 Fox, 3rd Baron Highland Rogue translation of Calderón’s com- anon. account of Rob Roy, 1 edies, 129 Highland Society of London, 124 Holman, Joseph G. highway robbers, highwaymen 6 , 7 , The Red-Cross Knights , 103 , 118 , 134–143 , 178 106 , 107 Hill What a Blunder! , 122 as Mervin in The Gamblers Holmes, Mary Ann, 180 (Coburg), 164 Holroyd, Edward, 157 , 159 Index 303

Holst, Matthias von Lovers’ Vows , adapted from Die drei Freier , 21 Kotzebue, 16 , 22 Home, John injunction, to halt performance, Douglas , 7 , 9 , 16 , 132 119 , 184 , 195 , 196 Hone, William, 161–162 Inseparables, The The Maid and the Magpie , 161 altered title of The Gamblers Hook, James (Coburg), 163 The Invisible Girl , 135 Hope, 175 Jacobin, Jacobinical, Jacobinism, Horn, Charles Edward 55 , 104 , 105 , 148 as Captain Canvas in M. P., or Jamaica, 118 , 134 The Blue-Stocking , 38 James I, 154 stage composer, 37 , 38 James, Henry Howard, Robert The Turn of the Screw , 10 The Committee , 170 Jephson, Robert Hughes, Charles, 14 , 174 , Two Strings to your Bow , 44 176 , 183 Jerrold, Douglas William Hughes, Thomas Black-Eyed Susan , 160 , 185 composer and conductor at the The Factory Girl , 7 , 174 Coburg, 78 , 125 The Flying Dutchman, or, The Hugo, Victor Spectral Ship , 185 Cromwell , 190 The Island , 81 Hungarian Civil War, 53 John Overy , 200 Hunt, Joseph, 164 , 165 , 166 Mr. Paul Pry , 203 , 210 Hunt, Leigh, 2 , 51 Vidocq! the French Police on the horserace in M. P. , 51 Spy , 172 on Jonathan Bradford, 155 Jerry Abershaw, the Notorious on M. P. , 50 , 51 , 52 Highwayman , 136 Huntley, Francis (Frank), 195 Jervis, Mrs. as Bethlen in Zapolya , 58 as Charlotte Corday in Milner’s as Douglas in The Lady of the Reign of Terror , 148 Lake , 191 Jervis, William as Frederick in The Victim , 191 as Jack in Obi, or Three-Finger’d as Isaac in Ivanhoe , 58 Jack , 157 as the London merchant in as Thornville in Chateau Dibdin’s Industry and Bromege , 157 Idleness , 191 Jew, The , 133 as Prince Alidor or the Wolf in Jew and the Doctor, The , 133 Red Riding Hood , 58 Jew of Mogadore The , 133 title role in Alfred the Great , 191 Jewish characters and performers, title role in Twm John Catty , 124 3 , 133 Jewish Courtship , 133 Inchbald, Elizabeth Jewish Education , 133 Animal Magnetism , 144 John of Gaunt, 119 as the Lady in Mourning in The John Oliver Richer Disbanded Officer , 38 title role in William Tell , 111 304 Index

John Rann Jouy, Étienne de, and Hippolyte alias Sixteen-string Jack, 135 Louis-Florent Bis John St. John libretto for Rossini’s Guillaume Mary Stuart , 109 Tell , 111 Johnson, Samuel Juan VI of Portugal, 128 definition of lycanthropy, 54 Johnstone, James Kant, Immanuel The Disbanded Officer , 38 Critique of Judgment , 169 Johnstone, Miss Kean, Edmund, 4 , 80 , 82 , 83 , 84 , as Calantha in Amherst’s 86 , 179 , 197 , 198 , 199 , 205 Glenarvon , 77 affair with Charlotte Cox, 197 Jonas, Emma as child actor Master Carey, 25 as Agib in Timour the Tartar , 182 engagement at the Coburg, 197 Jonas, John, 174 , 178 , 180 , impersonations of Byron, 82 183 , 196 as Rolla in Pizarro , 132 actor and theatre manager, 57 as Selim in Byron’s T he Bride of as Clownish Servant to Abydos , 82 Othello, 179 sexual scandal, 82 as Sanballat in Timour the title role in King Lear , 197 , 199 Tartar , 182 title role in Othello , 197 , as Scaramouch in Don Juan, or 198 , 199 The Libertine Destroyed , 179 title role in Richard III , 104 , 197 as Wartz in The Victim, 191 Kelly, Frances Maria (Fanny) Jonas, Maria as Annette in The Maid and the as Princess Selima in Timour the Magpye , 161 Tartar , 182 as Miss Hartington in M. P., or Jonas, Mary, née Penley, 178 The Blue-Stocking , 38 Jonas, Susannah, 183 as Nan in The Merry Mourners , as Alice in The Victim , 191 151 as Fisherwoman in Don Juan, or Kelly, Joseph, 28 The Libertine Destroyed , 179 Kelly, Michael, 4 , 28 , 38 as Glycene in Zapolya , 57 , 139 as Count Floreski in Lodoiska , 28 as Lydia Melfort in Humphry as Frederick in No Song, No Clinker , 57 , 139 Supper , 28 as Princess Huncamunca in Tom as Lord William in The Haunted Thumb , 57 , 139 Tower , 28 Jones as Selim in Blue-Beard , 28 , 48 as Lord Avondale in as Seraskier in The Siege of Glenarvon , 166 Belgrade , 28 Jones as stage composer, 29 , 38 stage artist (Coburg), 164 music for Dimond’s Hero of the Jones, George, 183 North , 133 Jones, Miss, 25 music to Byron’s The Bride of Jordan, Dorothy Abydos , 82 as Peggy in The Country Girl , music to The Gipsy Prince , 27 , 17 , 19 28 , 29 Index 305

music to The Lady and the Kemble, Marie Thérèse Devil , 129 Smiles and tears, or, The widow’s Reminiscences , 28 stratagem , 204 , 206 title role in The Gipsy Prince , Kemble, Stephen, 131 27 , 28 manager of Newcastle Theatre Kemble, Charles, 189 Royal, 23 as child actor, 14 as Orozembo in Pizarro , 132 as Harcourt in The Country Kenney, James Girl, 19 Raising the Wind , 32 Kemble, Elizabeth Satchell Wedding Present , 38 as Angela in The Castle Kensington Theatre, 80 Spectre , 23 Kerr, Deborah performs with Master Betty, 23 as governess in The Innocents , 10 Kemble, Henry Stephen,, 72 , 77 , Kerr, John 78 , 84 , 131–132 Presumptive Guilt, Or The Fiery as Alonzo in Pizarro , 132 Ordeal, 159 as Black Will in Abby Lands , 154 Ketch, Jack, 143 , 144 as Don Julio in Bold Stroke for a Kilkenny Theatre, 48 Wife , 132 Killigrew, Thomas, 12 Harry Dornton in The Road to King John, misrule of, 120 Ruin , 132 King, George, 3rd Earl of as Mordaunt in The Kingston, 193 Gamblers , 164 King, Shelley, and John B. Pierce as Norval in Douglas , 132 editors of Opie, The Father and as Octavian in The Daughter , 204 , 205 Mountaineers , 132 King, Stephen as Robespierre in Milner’s Reign The Firestarter , 11 of Terror , 148 King’s Revels Children, 12 as Romeo in Romeo and King’s Theatre, 87 Juliet , 132 Klancher, Jon, 2 as Ruthwold in Moncrieff’s The Kleist, Heinrich von Vampire , 76 Prinz Friedrich von Homburg , 190 as Wat Tyler in Wat Tyler and Knight, Edward Jack Straw , 120 as Joey in The Merry Mourners , title role in Barrymore’s 151 Glenarvon , 5 , 72 , 76 , 77 , 78 The Veteran Soldier , 126 title role in George Barnwell , 132 Knight, Thomas title role in Maturin’s as Blaisot in The Maid and the Bertram , 132 Magpie , 161 title role in Shee’s Alasco , 131 The Turnpike Gate, 25 title role in Sigesmar the Knowles, James Sheridan Switzer , 132 William Tell , 114 , 116 title role in Zenaldi , 132 Kotzebue, August von, Kemble, John Philip, 14 , 20 , 104 , 103 , 104 131 , 188 Das Kind der Liebe , 22 Lodoiska , 28 , 31 The Dangerous Neighbourhood , 142 306 Index

Kubrick, Stanley, 10 LeClercq, Charles, 195 Kyd, Thomas, 152 dance master at the Coburg, 78 La Romaine, Madame, 130 Lee Laing, David, 68 as MacTurk in Planché’s St. Lamb, Charles Ronan’s Well , 169 Ellistoniana, 183 as the Monster in Another Piece of on John Bannister, 187 Presumption , 169 Lamb, Lady Caroline, , née Ponsonby as Phillippe the Gamekeeper in Ada Reis , 85 Chateau Bromege , 157 affair with Lord Byron, 71 stage manager at the Adelphi, 16 9 Glenarvon , 5 , 6 , 8 , 71 , 72 , 73 , Lee, Henry, and Samuel Arnold 74 , 75 , 76 , 77 , 78 , 83 , 85 , Throw Physic to the Dogs , 30 166 , 206 Lee, Nathaniel Graham Hamilton , 85 Alexander the Great , 181 A New Canto, 72 , 82 , 83 , 84 , 85 Leigh, Augusta, 79 as patron of the Royal Coburg, 71 attends performance of Penruddock , 85 Manfred , 80 Lamb, Mrs. Leopold of Saxe-Coburg, Prince as Elinor St. Clair in Barrymore’s patron of the Royal Coburg Glenarvon , 74 Theatre, 124 as Lady Georgia in Florence Lessing, Gotthold Ephraim Macarthy , 74 Minna von Barnhelm , 38 , 45 Lamb, William, Viscount Lester, Mark, 11 Melbourne, 71 , 74 , 77 , 166 lettre de caché, 148 hinders circulation of Lewis, E. L. Glenarvon , 71 as Louis XVI in Milner’s Reign of Lane, Adam, 10 Terror , 148 Larkin, John as Michael in Abby Lands , 154 as Tom Tug in The Waterman , 200 as Sir Spangle Rainbow in Larpent, Anna Margaretta, 107 Jerrold’s Paul Pry , 204 Larpent, John, 4 , 39 , 42 , 43 , 75 , Lewis, Matthew Gregory 107 , 108 The Castle Spectre , 9 , 16 , 22 , Examiner of Plays (1778–1824), 29 , 113 27 , 51 , 103 , 105 , 106 , 119 , 144 The Harper’s Daughter , 108 Lascelles, Thomas The Minister , 103 as Mersenne in Chateau Timour the Tartar , 182 Bromege , 157 Lewis, Mrs. Lawler, Dennis as Maria in Abby Lands , 154 Industry and Idleness , 7 , 174 , 189 , Lewis, William Thomas 192 as Lothario in Fair Penitent , 150 New Hay at the Old Market , Liberal Guizpuzcoano, 127 187 , 189 Licensing Act of 39 , 105 , 141 , 174 , The Siege of Ciudad Rodrigo , 128 182 , 186 , 206 , 1737 Le Mierre, Antoine-Marin Life and Death of Jack Straw, Guillaume Tell, tragédie , 110 The , 119 Index 307

Lillo, George, 205 Luiz, Nicola Arden of Faversham , 152–154 Inês de Castro , 129 The Fatal Curiosity , 154 Lycanthropy, 54 , 67 The London Merchant, or, the his- Lyceum, 4 , 37 , 38 , 44 , 50 , 51 , 52 , of George Barnwell , 132 , 161 , 180 , 184 154 , 173 , 181 , 189 , 192 , 193 Lyly, John, 12 , 13 Lincoln’s Inn Fields, 137 , 144 Lyon, Sue Liston, John title role in Lolita , 10 Bailie Nicol Jarvie in Pocock’s Rob Roy , 123 Macaulay, Miss title role in Paul Pry , 202 title role in Mary Stuart , 108 Little Kenton Theatre, 178 MacFarren, George London immigration, 1 Sir Peter Pry , 202 London Journal , 155 Tom and Jerry in London Literary Gazette , 159 France , 209 London population, 1 , 3 , 151 MacGregor, Robert Roy, 120 London transportation, 3 Machiavelli, Niccolò, 88 Londoner deutsches Wochenblatt , 102 Macready, William Charles London’s Little Italy, 6 , 87 , 88 title-role in Knowles’s William Looking Glass Curtain at the Royal Tell , 115 , 123 Coburg, 207 , 208 title-role in Pocock’s Rob Lord Byron in Athens; or, The Roy , 123 Corsair’s Isle , 134 Maddox, Frederick More Loredan, Piero, 93 Thérèse , 195 Louis XVI , 147 , 148 , 149 Magnuson, Paul Loveday on Tytler’s translation of The as the Catholic Prior in Shee’s Robbers , 106 Alasco , 131 Malkin, Benjamin Heath, 15 Lovegrove, William A Father’s Memoirs of his as Dr. Pangloss in Heir at Law , 44 Child , 15 as Job Thornberry in John Bull , 44 Malle, Louis, 10 as Lazarillo in Two Strings to your Manley, T. W. Bow , 44 manager of Stamford as Leatherhead in M.P., or The Theatre, 201 Blue-Stocking , 44 Mansong, Jack, or Three-Fingered as Lord Ogleby in The Jack, 118 , 134 Clandestine Marriage , 44 Marat, Jean-Paul, 148 as Sir Bashful Constant in The Marchant, Frederick Way to Keep Him, 44 The Thieftaker of Paris , 172 Low, Donald, 170 Marchbanks Lucas, Miss stage painter, 128 , 189 as Millwood in George Barnwell , Mardyn, Charlotte 181 as Zuleika in Byron’s The Bride of Ludlam, George Abydos , 82 Mysterious Murder, Or, What’s the Maria II, 128 Clock , 156 , 158 Marprelate controversy, 12 308 Index

Marriage Act of 209 , 1822 Middleton, Thomas, 12 Marston, John, 12 , 13 Midnight Revelry , 199 Antonio and Mellida , 12 Midon, Francis Antonio’s Revenge , 12 on Masaniello , 90 Marten, Maria Milan, 92 , 93 , 94 murder victim, 166 Millingen, John Gideon Martin, Madeleine The Bee-Hive , 180 in Californication , 10 Milner, Henry M., 146 , 195 Masaniello (Tommaso Aniello), 6 , Faustus , 207 89 , 90 , 110 , 118 , 196 Frankenstein , 207 Masonic Institution, 193 The Hertfordshire Tragedy, revi- Massinger, Philip, 180 sion of The Gamblers (Coburg), Mathews, Charles 163 , 165 in Actor of All Work , 188 Magna Charta , 145 one-man performance in Paul Pry The Man of Two Thousand , 138 Married and Settled , 203 Masaniello, the Fisherman of Maturin, Charles Naples , 89 , 90 , 196 Bertram , 80 , 132 Mazeppa , 81 , 134 Mays, J. C.C. The Reign of Terror , 146 , 148 on Zapolya , 53 , 55 , 57 , 66 Siege of Acre , 145 Mazeppa; or, The Wild Horse of the The Temple of Death , 207 Ukraine , 134 Tippoo Saib , 145 Mazzini, Giuseppe, 87 , 89 The Welshman , 125 , 126 McCormack, Patty Milton, John as Rhoda Penmark in Bad Seed , 10 Paradise Lost , 62 Mellish, Joseph Charles Miranda, Francisco, 127 translation of Schiller’s Mary Mitchell Stuart , 103 , 108 title role as Man-Fred , 81 melodrama, 5 , 6 , 7 , 9 , 27 , 53 , 69 , Mitford, Mary Russell 76 , 81 , 82 , 87 , 89 , 90 , 101 , Foscari , 6 , 87–100 104 , 105 , 108 , 110 , 112 , 113 , Inez de Castro , 129 114 , 115 , 116 , 118 , 121 , 125 , Juilian , 87 , 91 134 , 135 , 139 , 141 , 142 , 144 , Rienzi , 87 147 , 148 , 149 , 154 , 155 , 158 , Mogul and the Cobbler; or, Sailors in 159 , 160 , 162 , 165 , 166 , 170 , the Air , 202 171 , 172 , 174 , 186 , 189 , 191 , Molière, Jean-Baptiste Poquelin 196 , 200 , 205 , 207 Dom Juan ou le Festin de Mendibil, Pablo, 127 pierre , 73 Menotti, Ciro, 89 Molina, Tirso de Merton, Maria Don Juan , 73 murder victim, 156 Moncrieff, William Thomas, 174 , metadrama, metatheatre, 2 , 11 , 192 179 , 194 Metastasio, Pietro Jack Sheppard the Il Demofonte , 196 Housebreaker , 137 Metropolitan Police, 168 The Lear of Private Life , 204 , 205 Index 309

The Man-Wolf , 69 Morton, Thomas, music by Arnold, The Prize Wherry , 200 Samuel The Shipwreck of the Medusa , 206 Children in the Wood , 37 Tom and Jerry , or, Life in London , Mountain, Rosemond, née 164 , 168 , 207 , 209 , 210 Wilkinson, 25 The Vampire , 68 , 76 , 195 , 206 as Antonia in The Gipsy Montagu, John, 4th Earl of Prince , 32 Sandwich, 150 as child actress, 14 Monthly Review , 114 as Fidelia in The Foundling , 32 Moody, Jane, 2 , 3 , 199 , 214 , as Leonora in Padlock , 32 245 , 250 Mudie, Miss, 4 , 16 , 17 , 18 , 19 , 20 Moor, Mrs. as Amelia Wildenhaim in Lovers’ as Catherine in Catherine and Vows , 22 Petruccio , 182 as Fribble in Miss in her Teens , 21 as Mrs. Beverley in The as Peggy in The Country Gamester , 182 Girl , 17 , 19 as Mrs Haller in The Stranger , 182 with Greville’s Children’s Moore, Edward Theatre, 21 The Foundling , 32 Mudie, Mrs., 16 , 17 Moore, John Hamilton Murphy, Arthur Voyages and Travels , 92 Old Maid , 44 on Francesco Foscari, 90 The Way to Keep Him , 44 Moore, Susan, 30 Murray, John, 18 , 20 , 72 , 73 , 81 , Moore, Thomas 84 , 184 as Sir Lucius O’Trigger in The believes Vampire to be Byron’s Rivals , 48 work, 73 The Gipsy Prince , 4 , 27 , 28 , 29 , Byron’s publisher, concern with 30 , 34 , 36 , 38 , 39 , 132 reception of Don Juan , 73 Intercepted Letters, Or the Two Murray, William Penny Post-Bag , 43 as Moody in The Country Girl , Irish Melodies , 27 19 , 20 Lalla Rookh , 5 , 27 Murray, William Henry M. P., or The Blue-Stocking , 4 , 27 , Rob Roy , 121 37 , 38 , 39 , 50 stage adaptations of Waverley Memoirs of Captain Rock , 5 , 27 novels, 121 music for M.P., or the Blue- Stocking , 45 Nabokov, Vladimir Morgan, Sydney Owenson, Lolita , 10 Lady, 135 Napoleon Bonaparte, 93 , 101 , 127 , Florence Macarthy , 74 128 , 186 Morning Post , 17 , 20 , 37 , 80 marriage to Josephine, 188 Morton, Thomas marriage to Marie Louise, 188 The School of Reform, or How To New Monthly Magazine, 73 , 78 , 85 Rule A Husband , 179 New Royal Circus and Speed the Plough , 32 , 182 Philharmonic Academy, 183 310 Index

New Theatre, 120 Osbaldiston, David, 185 Newcastle Theatre Royal, 22 , 23 , Osbaldistone, Rashleigh, 122 , 24 , 25 , 183 123 , 124 Newgate Calendar, 6 , 134 , 138 , Oulton, W. C. 142 , 143 , 152 , 168 , 170 Sleep Walker , 180 Newgate Execution Scaffold, 7 Owen, Prince of Powys; or, Welsh Newgate Ned, or, The Prig of Feuds , 127 Pimlico , 168 Oxberry, William Nicoll, Allardyce, 174 , 220 , 232 , Actress of Al l Work, 25 233 , 242 as Sir Charles Canvas in M.P., or Nodier, Charles The Blue-Stocking , 39 Le Vampire , 76 on Henry Kemble, 132 Noehden, Georg Heinrich The Spoil’d Child , 25 Don Carlos , 108 Fiesco , 103 Paddy’s Resource , 43 Northcote, James Paër, Ferdinando King John , 13 Agnese , 204 , 206 Richard III , 13 Paisiello, Giovanni, 33 , 37 Nurseries, 12 Palmer, Jack Nursery Theatre, 12 as Gessner in William Tell , 116 as Mephistopheles in Faustus , 116 O. Smith Palmer, John, 183 in iron armor in Industry and as Col. Holberg in The Disbanded Idlenes , 190 Officer , 38 Obi, or Three-Finger’d Jack , panto- Pantisocracy, 119 mime, 135 Pantomime, 104 , 105 , 112 , 114 , Obi, or Three-finger’d Jack ; a popu- 128 , 129 , 131 , 135 , 145 , 175 , lar melo-drame, 135 , 157 176 , 177 , 178 , 179 , 183 , 186 O’Keeffe, John Parry, John, Welsh musician and Farmer , 30 composer, 125 The Merry Mourners , 150 Fair Cheating , 125 Wicklow Gold Mine , 171 Welsh musical score for Old Bailey, 7 , 142 , 143 , 152 , Thompson’s Oberon’s Oath , 125 161 , 192 patriots, British and foreign, Old Price riots, Covent Garden, 2 118 , 149 Old Vic, 199 Paul Pry see also Royal Victoria character in children’s Olympic, 175 , 209 literature, 202 Opie, Amelia Paul Pry (1819), 202 The Father and Daughter , 204 , Paul Pry on Horseback 205 , 206 equestrian adaptation, 203 Opie, John Pavilion, 3 , 68 , 102 , 115 , 133 , 136 , Leontes and Antigonus in 149 , 162 , 166 , 172 , 175 Winter’s Tale (II.iii), 13 Payne, John Howard Mother Jourdain in Henry VI, Thérèse, the Orphan of Part 2 (I.iv), 13 Geneva , 195 Index 311

Peacock Thomas Love Perrone Maid Marian , 120 leader of Neapolitan banditti, 90 Peake, Richard Brinsley, 5 phantasmagoria, 3 Another Piece of Presumption , 169 Phelps, Samuel Presumption, or The Fate of title role as Manfred , 81 Frankenstein , 5 , 77 , Phillips 169 , 195 stage artist (Coburg), 164 Peasants’ Revolt, 118 , 119 Phillips, Thomas Peckham Theatre, 174 , 178 , 180 , portrait of Byron, 81 182 , 199 Pigault-Lebrun Peel, Sir Robert, 84 , 168 L’officieux, ou Les Présens de Peers, Edward, 12 Noces , 203 Penley, Lucy, née Finch, 178 Pitt, William, 20 as Emilia in Othello , 179 Pixérécourt, René, 103 as Juliana in The Honey Polder, or The Executioner of Moon , 180 Amsterdam , 144 Penley, Miss Emma Planché, James Robinson, 5 , 169 as child performer, 180 on Henry Gaskell Denvil, 80 Penley, Rosina Maid Marian , 120 as Donna Anna in Don Juan, or Sherwood Forest , 120 The Libertine Destroyed , 179 The Vampire , 5 , 68 , 76 , 78 as Roxana in Alexander the Pocock, Isaac, 162 Great , 181 The Miller and his Men , 142 as Zorilda in Timour the Rob Roy Macgregor , 121 Tartar , 182 Poe, Edgar Allan Penley, Sampson, 156 , 174 , 178 , Murders in the Rue Morgue , 172 179 , 180 , 196 Mystery of Marie Rogêt , 172 actor and theatre manager, 57 The Purloined Letter , 172 in Ella Rosenberg , 180 William Wilson , 83 in Harlequin’s Invasion , 180 Poetomachia , War of the Theatres, 12 in The Honey Moon , 180 Polack, Elizabeth in The Irishman in London , 180 Esther, the Royal Jewess , 133 as Oglau in Timour the Tartar , 182 Polidori, John in Polly , 180 The Vampire , 68 , 69 , 73 , 76 , 78 , in The Weathercock , 180 84 , 85 , 195 , 207 Penley, Sampson, Jr. Vampire thought to be Byron’s as Duke Aranza in The Honey work, 73 Moon , 180 Poole, Elizabeth as Sir Patrick Maguire in Sleep as Mira in The Victim , 192 Walker , 181 Poole, John title role in Alexander the Paul Pry , 8 , 202 Great , 181 Pope, Miss title role in George Barnwell , 181 as Elinor, Lady of Llandisent, in title role in Timour the Twm John Catty , 124 Tartar , 182 Porter, Jane Pepe, Guglielmo, 88 , 89 Thaddeus of Warsaw , 133 312 Index

Power, Tyrone Reynolds, George as Bulmer in Another Piece of Wagner, the Wehr-Wolf , 69 Presumption , 169 Reynolds, Lucy prig-napper, 168 as Peggy in The Country Girl , 17 Pritchard, Henry, 25 Reynolds, Sir Joshua as Frederick in Lovers’ Vows , 22 The Witches in Macbeth (IV.i), 13 Pritchard, Henry, Sr. Richard the Lionheart, 120 as Father Philip in The Castle Richard Turpin, the Spectre , 24 Highwayman , 136 private theatricals, 21 , 104 , 105 , 106 Richer, Master Probert, William, 164 , 165 as the Little Devil, 130 Punch’s Opera , 175 Riego y Nuñez, Rafael del, 6 , 110 , Punch-and-Judy, 88 118 , 127 Rienzi, Cola di, 88 Queen Emma, , 159 Rilla, Wolf Quita, Domingo Village of the Damned , 11 Inês de Castro , 129 Risorgimento, 6 , 87 , 89 Ritt, Elke Ramo Samee, 208 on Mellish’s translation of Maria Ramsey, JonBenét Patricia, 17 Stuart , 108 Rann, Jack, 134 Rivolta, Mrs. Rea, Thomas as Emily in Industry and on translations of Schiller, 105 , 114 Idleness , 189 Reay, Martha Rob Roy, 6 , 110 , 118 , 120 , 121 , murdered at Covent Garden, 150 122 , 123 , 124 Red Barn, or, the Mysterious Robespierre, Maximilien, 119 , 147 , Murder, The , 166 148 , 149 Red Barn; or, the Polstead Murder, Robin Hood, 6 , 110 , 118 , 120 , The , 166 121 , 124 , 134 Rede, William Leman Robin Hood and Little John: or, Sixteen String Jack , 135 , 137 Merry Sherwood Forest , 120 Reeve, John Robinson, Mary as Jerry in Moncrieff’s Tom and Nobody , 163 Jerry , 253 Robinson, Samuel Reeve, William translation of Schiller’s William Don Juan, or The Libertine Tell , 114 Destroyed , 179 Robson, William music to Byron’s The Corsair , 81 The Old Play-goer , 48 Reformation, 102 , 132 Roche, Eugenius Reformists’ Register , 162 William Tell , 113 Regency Theatre, 156 , 157 , Rodwell, James T. and Willis Jones 158 , 179 managers of the Adelphi, 120 Regulations of Aliens Act, 3 , 214 Rogers, Samuel Reign of Terror, 145 , 146 , 147 , 148 Italy , 92 Restoration theatre, 117 Rolls Rooms, Chancery Reynold, J. G. Lane, 25 The Wehr Wolf, 68 , 167 roman à clef, 5 , 74 Index 313

Romany language sadism, 7 , 141 Hindu roots of, 33 Sadler’s Wells, 1 , 81 , 89 , 111 , 130 , Roscius 134 , 149 , 151 , 154 , 168 , 175 Quintus Roscius Gallus, Roman Saglia, Diego actor, 15 on Mitford’s Rienzi , 87 Rose, The, 175 Sailor’s Grave, or, The Hidden Rossini, Gioacchino Treasure , 200 Guillaume Tell , 111 St. Bridget, Nun of Leinster, 35 Rovers, The , a parody of The St. Quintin, Madame, 87 Robbers , 106 Sanderson, James Rowbotham, H. H., 78 , 84 music for Siege of Ciudad as Colonel Walsingham in Shee’s Rodrigo , 128 Alasco , 131 overture and music to Industry as Green in Abby Lands , 154 and Idlenes , 190 as Llewyllen in The Welshman , 126 Sans Pareil, 137 as Oldbutton in Jerrold’s Paul Sans Souci, 2 , 4 , 20 , 102 , 142 Pry , 204 Sanson, Charles Henri title role in Amherst’s Glenarvon , Royal Executioner of France, 149 5 , 72 , 77 , 78 Sawney Bean, 54 , 152 as Woodville in The Gamblers , 164 Sawney Bean, the Terror of the R owe, Nicholas North , 152 The Fair Penitent , 150 Schiller, Friedrich, 27 , 104 , 105 , 106 , The Fall of Bajazet , 175 107 , 112 , 114 , 116 , 134 , 191 Rowell, George, 197 anon. translation of Cabal and Rowley, William Love , 103 Birth of Merlin , 53 The Bride of Messina , 82 Royal Amphitheatre, 81 , 111 , 128 , The Death of Wallenstein , 103 134 , 136 , 203 Don Carlos , 53 , 103 , 108 Royal Circus, 14 , 153 , 174 , 176 , Fiesco , 103 177 , 183 , 186 , 190 , 200 imitation of Shakespeare, 112 Royal Masonic School for Girls, 194 Kabale und Liebe , 108 Royal Victoria, 7 , 174 , 199 Maria Stuart , 108 , 109 , 110 see also Old Vic Mary Stuart , 103 , 109 Royalty Theatre, 3 , 102 , 115 , 135 , 144 melodramatization of his Russel, Gillian, 2 plays, 101 Russell, John, Lord The Piccolomoni , 103 Don Carlos , 108 quality of translations, 101 Ryder, Corbett Die Räuber , 27 , 101 , 110 Rob Roy , 124 The Robbers , 6 , 103 , 106 , 190 Rzepka, Charles Wallenstein , 53 on Three-Finger’d Jack , 135 Wilhelm Tell, 6 , 101 , 108 , 110–113 S.N. E. William Tell, the Hero of The Murdered Maid , or, The Clock Switzerland , 110 Struck Four!!! , 156 , 158 Schirmer, Friedrich Sade, Donatien Alphonse François, German theatre at Sans Souci, Marquis de, 9 21 , 102 314 Index

Schlegel, August Wilhelm, 129 As You Like It , 11 Vorlesungen über dramatische Cymbeline , 11 , 53 Kunst , 11 Hamlet , 23 , 156 , 207 Schlegel, Friedrich, 129 Henry IV, Part 1, 126 Schoenfield, Mark, 2 Henry VI, Part 2, 13 Scorese, Martin, 10 Jacques in As You Like It , 13 Scotland Yard, 168 King John , 13 Scott, Eliza King Lear , 197 , 199 , 205 as Clorinda in Planché’s Sherwood Macbeth , 13 , 113 Forest , 120 Merchant of Venice , 11 , 80 Scott, Sir Walter, 121 Midsummer Night’s Dream , 141 The Antiquary , 68 Othello , 135 , 179 , 197 , 198 , 199 Demonology and Witchcraft , 68 Richard II , 118 Fortunes of Nigel , 123 Richard III , 5 , 13 , 16 , 23 , 25 , , 78 55 , 80 , 149 , 197 Heart of Mid Lothian , 123 Romeo and Juliet , 23 , 132 Ivanhoe , 58 , 123 Shylock in Merchant of Venice , 25 The Lady of the Lake , 191 Titus Andronicus , 135 , 175 The Pirate , 123 Twelfth Nigh t, 11 , 47 Rob Roy, 121 Two Gentlemen of Verona , 11 St. Ronan’s Well , 168 Winter’s Tale , 13 , 53 , 55 , 123 Shapiro, Michael, 11 trial by battle in Ivanhoe , 158 Shee, Sir Martin Archer Waverley novels, 123 , 186 Alasco, a Tragedy , 130 , 131 Scottish nationalism, 123 , 124 Shelley, Mary. née Wollstonecraft Scribe, Augustin Eugéne Godwin, 73 The Queen’s Lover , 80 Frankenstein , 73 , 77 , 169 , Searle, Miss 195 , 207 as Peggy in The Country Gir l, 20 Shelley, Percy Bysshe Sedaine, Michel–Jean Prometheus Unbound , 6 , 83 , 134 librettist for Grétry. see Grétry, translation of Calderón’s El André mágico prodigioso , 129 Seltzer, David translation of scenes from The Omen , 11 Goethe’s Faust , 207 Serle, Thomas Sheppard, Jack, 6 , 118 , 134 , 136 , as Pantaloon in the 137 , 141 , 171 Harlequinades, 201 Sheridan, Richard Brinsley title role in Hamlet , 201 Pizarro , 9 , 29 , 132 title role in John Overy , 201 The Rivals , 48 Settle, Elkinah Sheriff of Nottingham, 120 , 134 The Siege of Troy , 175 Shields, Brooke Shadwell, Thomas as Violet in Pretty Baby , 10 The Lancashire Witches , 177 shipwrecks and naval battles, 3 Shakespeare, William, 3 , 5 , 11 , 13 , Siddons, Henry, 4 53 , 104 , 112 , 117 , 129 , 134 , as child actor, 14 152 , 175 , 187 William Tell , 111 Index 315

Siddons, Sarah, 14 , 104 , 131 Stamford Theatre, 166 , 201 as Isabella in The Fatal Stanfield, W. Marriage , 4 , 14 stage artist (Coburg), 164 as Queen Elizabeth in Mary Stanley, Mrs. Stuart , 109 as Elinor in The Hertfordshire Sismondi, Jean-Charles-Léonard de Tragedy , 166 Italian Republics , 91 , 92 Stanley, Steven Slader, Samuel as Captain Allclack in The as Jack Hopeless in Industry and Invisible Girl , 135 , 138 Idleness , 189 as Glendower in Barrymore’s Smith, O. Wallace , 135 Lolonois , 58 , 59 as Teague in Florence Smolett, Tobias Macarthy , 135 Humphry Clinker , 57 , 139 title role in Rede’s Sixteen String Soane, George Jack , 135 , 136 Faustus, or the Demon’s Bond , Stephens, Catherine 115 , 116 as Diana in Pocock’s Rob Roy , 123 Masaniello, the Fisherman of Stephens, Harvey Naples , 89 , 196 as Damien Thorn in The Rob Roy, the Gregarach , 121 Omen , 11 S outherne, Thomas Stephens, John Russell Isabella or The Fatal The Censorship of English Marriage , 4 , 14 Drama , 133 Southey, Robert, 72 Stoddart, Dr. J., 103 The Fall of Robespierre , 147 Strand Theatre, 80 Wat Tyler , 119 Straw, Jack, 119 , 120 , 137 Southwark Bridge, 199 Strickland Spanish Bonds; or, Wars on as Paul the milkman in Chateau Wedlock , 144 Bromege , 157 Spanish Civil War, 127 Stubb, Peter Spanish Martyrs; or, The Death of the “Werewolf of Bedburg,” 68 Riego , 127 , 128 Suett, Richard Sparks, Mrs. as Don Roderick in The Gipsy as Lady Bab Blue in M.P., or The Prince, 31 Blue-Stocking , 44 as Ibrahim in Blue-Beard , 31 title role in Old Maid , 44 as Popoli in The Red-Cross spectacle, 104 , 113 , 119 , 124 , Knights , 107 128 , 155 as the Sultan in Mahmoud, Prince Spectatorship, 2 , 7 , 142 , 178 , of Persia , 31 209 , 245 as Varnel in Lodoiska , 31 Spenser, Edmund as Yusuph in Siege of Belgrade , 31 Fairie Queen , 67 Sugg, Miss E. Lee Sponza, Lucio, 88 as Arietta Dolet in Chateau Staël, Germaine de Bromege , 157 tells Byron of Glenarvon , 73 supernatural, 53 , 62 , 67 , 80 , Staffa’s Cave, 76 151 , 166 316 Index

Sûreté Nationale, 172 Théâtre-Français, 205 Surrey Theatre, 1 , 4 , 5 , 7 , 14 , 15 , Theatrical Inquisitor , 3 , 56 25 , 57 , 59 , 68 , 81 , 89 , 108 , Theatrical Observer , 199 120 , 123 , 128 , 130 , 131 , 132 , Theatrical Recorder , 112 , 129 133 , 138 , 139 , 144 , 145 , 154 , Thespian Dictionary , 31 , 44 155 , 159 , 160 , 162 , 163 , 164 , Thomas, Thomas 165 , 172 , 174 , 175 , 182 , 183 , on Owen Glendower, 126 184 , 185 , 186 , 187 , 188 , 189 , Thompson, Benjamin 190 , 191 , 192 , 193 , 194 , 195 , Inês de Castro , 129 197 , 199 , 200 , 202 , 203 Oberon’s Oath , 125 , Prince Augustus Frederick, The Stranger , 75 , 182 Duke of, 193 Thomson, James Swain, Dominique Tancred and as Lolita , 10 Sigismunda , 16 , 23 Swan, 175 Thornton, Abraham, 156 , 158 , 166 Tasso, Torquato, 87 Thorslev, Peter Taylor The Byronic Hero , 81 as Duncan Galbraith in Rob Roy Thuente, Mary, 5 Macgregor , 121 Thurtell, John Taylor, G. F. amateur boxer, murderer, The Factory Strike, or Want, 162–166 Crime, and Retribution , Tieck, Ludwig, 104 7 , 174 Der gestiefelte Kater , 104 Taylor, Jeremy Times , 80, 81, 147 The Worthy Communicant , 54 Tobin, Jack Taylor, Miss The Faro Table , 163 as Governor’s Daughter in Tobin, John Lolonois , 58 The Honey Moon , 180 as Rebecca in Ivanhoe , 58 Tottenham Street title role in Zapolya , 58 Theatre, 120 Taylor, William, of Norwich Townsend, William Thompson on Robinson’s translation of The Life and Death of Eliza Wilhelm Tell , 114 Fenning , 162 on Schiller’s Wilhelm Tell , 112 , 113 transgendering, 11 Teatro Ponte d’Attaro, 204 transpontine theatres, 4 , 7 , Terry, Daniel 173–212 Guy Mannering , 122 Tree, Ellen Thackery, Thomas James as Helen McGregor in Pockock’s The Executioner; or, Vanrick of Rob Roy , 124 Voorn , 144 as Witch of the Alps in Theater an der Wien, 175 Manfred , 80 Théâtre de la Porte-Saint-Martin, Treue Verkündiger, Der , 102 76 , 161 trial by battle, 158 , 159 , 166 Théâtre Ghent, 179 trial by fire, 159 Index 317

Trials for Breach of Promise on Master Herbert as Count proceedings from Court of King’s Cassel in Lovers’ Vows , 22 Bench, 204 on Miss in her Teens , 21 True Discourse .of Stubbe Peeter, a on Miss Mudie as wretched Most Wicked Sorcerer , 68 actress, 24 True Sun , 80 on performance of children, 25 Trussler, John, Rev. steals Master Betty’s glove, 23 Hogarth Moralized , 189 Walker, C. E. Turner, Charlotte, 161 S igesmar the Switzer , 132 Turpin, Richard, 134 , 136 Walker John Twm John Catty, the Welsh Rob Roy , The Factory Lad , 7 , 174 , 194 6 , 110 , 118 , 124 Wallace, Lady Eglantine Tyburn gallows, 7 , 138 , 142 , 143 , 144 The Ton, or, Follies of Tyler, Wat, 118 , 119 , 120 , 137 Fashion , 163 Tyrer, Miss Wallack, James William, 80 as Josephine in Children in the title role in Pocock’s Wood , 37 Rob Roy , 124 as Poppee in The Gipsy Prince , 37 Walpole, Horace Tytler, Alexander Fraser The Castle of Otranto , 58 The Robbers , 103 , 106 Walter as Benjamin in Chateau Vaughan, Thomas Bromege , 157 as police officer in Vaughan’s The Ward, Jem Red Barn , 166 , 167 bare-knuckle boxer, 210 Vauxhall, 32 , 125 Ward, Sarah, née Hoare Vauxhall Bridge, 199 title role in Mary Stuart , 109 Venice, 11 , 79 , 90 , 91 , 92 , 93 , Warwick, 156 94 , 95 , 99 Wat Tyler and Jack Straw; or, Vidocq, Eugène François, 172 The Life and Death of King Mémoires , 172 Richard II, 119 Villa Diodati, 73 Waterloo Bridge, 199 Visconti, Filippo Maria, Duke of Watermen, on the Thames, 177 Milan, 92 Watkins Voltaire, François-Marie Arouet as Casimir in Zapolya , 191 on Mazeppa, 134 as Count Orgeric in Red Riding Hood , 58 Waldie, John, 175 as Don Sebastian in on Die drei Freier , 21 Lolonois , 191 on Henry Pritchard as Frederick as Ferdinand von Senek in The in Lovers’ Vows , 22 President and the Peasant’s on Lovers’ Quarrels , 21 Daughter , 191 on Master Betty’s acting as inter- as Theodore in Castle of nalizing adult passions, 24 Otranto , 58 on Master Betty as Osmond in Count Zaterloo in The The Castle Spectre , 22–24 Victim , 191 318 Index

Watson, Miss West, Benjamin, 118 as Alice in Wat Tyler and Jack Westcott, Sebastian, 12 Straw , 120 Westminster , 2 as Alicia in Abbey Lands , 154 Wewitzer, Ralph as Calantha in Barrymore’s as Count Bellair in The Glenarvon , 74 , 76 Disbanded Officer , 38 as Desdemona, 179 as La Fosse in M.P., or The as Elinor St. Clair in Amherst’s Blue-Srocking , 45 Glenarvon , 77 Wild, Jonathan, 137 , 171 , 172 as Fisherwoman in Don Juan, or Wilhelm Tell, 88 , 118 , 132 The Libertine Destroyed , 179 [William Tell] The Beacon of Liberty as Lady Malvina in Moncrieff’s melodramatic spectacle at Covent The Vampire , 76 Garden, 113 , 115 as Liska in Timour the William Tell Tartar , 182 as children’s book, 111 as Maria in George Barnwell , 181 William Tell, the Hero of as Mary Overy in John Overy , 201 Switzerland as Statira in Alexander the melodramatic spectacle at the Great , 181 Coburg, 113 as Volante in The Honey William, Hereditary Prince of Moon , 180 Orange, 179 title role in Maddox’s Windsor Theatre Royal, 16 , Thérèse, 196 179 , 180 Waylett, Harriett wolf-man, 54 , 58 ; see also werewolf as Clara Mowbry in St. Ronan’s Wordsworth, William, 8 , 122 , 151 Well , 169 Ode: Intimations of as Madge Wildfire in Heart of Immortality , 13 Midlothian , 169 Rob Roy’s Grave sung at Covent Weare, William Garden, 122 murder victim, 156 , 162 , 164 , The Borderers , 103 , 192 165 , 166 Working-Class Audiences, 7 , 173 Webb, Miss Worrall, David, 2 , 131 , 133 as Maria Warten in Vaughan’s Theatric Revolution , 156 , 158 , The Red Barn , 167 159 , 166 as the werewolf’s daughter in The Wrench, Benjamin, 183 Wehr-Wolf , 167 Wycherley, William Wehr Wolves of St. Grieux , 69 The Country Wife , 17 Weimar, 101 , 112 , 142 Wellington, Arthur Wellesley, 1st Yarnold, Edward Duke of, 128 manager at the Pavilion, 116 Welsh Festival, 125 Yates, Frederick Henry werewolf, 5 , 54 , 55 , 56 , 59 , 60 , manager of the Adelphi, 184 61 , 62 , 64 , 65 , 66 , 67 , 68 , as Pryce Kinchela in Presumptive 152 , 167 Evidence , 160 Index 319

Yates, Mrs. as Pommade in Jerrold’s Paul as Pernnie M’Loughlen in Pry , 204 Presumptive Evidence , 160 Young, Mrs. Yiddish performers, 3 as Laura in Jerrold’s Paul York and Lancaster, 120 Pry , 204 Young Lady, A as Maria Sorbier in Chateau Zenaldi; or, Day of St. Mark , 132 Bromege , 157 Ziter, Edward Young, Charles Mayne on Byron’s The Bride of as Osbaldistone in Roy’s Wife , 124 Abydos , 82