published in Nuremberg in 1501, in folio, bound in old wooden covers
with brass clamps. This work, which contains some wood-engravings equal
to etchings, probably the work of Durer, is fully described by Mengerand
in his "Esprit des Journaux"; Pisoni's "Historia," with engravings of
birds, animals, and fishes, that would excite the surprise of the
naturalist of the present day; "Novus Marcellus Doctrina," published at
Venice in 1476, on large paper, with colored initials; a curious folio,
manuscript history of the "Starre Chamber"; and Lithgow's "Rare
Adventures and Painful Peregrinationes," published in 1632, interlined
with the author's manuscript emendations, and evidently intended for a
new edition. This work is rare--the copy owned by King Charles brought
£42 at Jadis's sale.
The collection has a large number of old Bibles, many thousand biblical
illustrations, a large number of other illustrated works, and many books
and prints especially devoted to the Cromwellian era of English life.
The Shakespeare department contains many separate editions of the works
of the immortal bard, each of which is distinguished by some
peculiarity. First among these stand the four folios published in 1623,
1632, 1664, and 1685, with a number of the original quartos of separate
plays, illustrated copies, some of which belonged to able scholars, and
are enriched by their manuscript notes.
Mr. Burton sought to possess every work that alludes to the early
editions of Shakespeare, or which serves in any way to illustrate the
text. Among these are to be found many of the original tracts, the
scarce romances, the old histories, and the rare ballads, upon which he
founded his wonderful plays, or which are alluded to in the text. The
collection contains the book alluded to by the quaint and facetious
_Touchstone_, in "As You Like It," by which the gallants were said to
quarrel with the various degrees of proof,--"the retort courteous, the
countercheck quarrelsome, and the lie direct"; the "Book of Good
Manners," the "Book of Sonnets" mentioned in the "Merry Wives of
Windsor," the "Book of Compliments," and the "Hundred Merry Tales"; and
Montaigne, translated by Florio, who is supposed by some to be the
Holofernes in "Love's Labor's Lost"; the edition of Holinshed, so
freely used by Shakespeare in his historical plays, with the lines
quoted by him underscored with red ink.
Among the collected editions of Shakespeare is the first quarto, in
seven volumes, edited by Pope, which, besides having the reputation of
being the least reliable of any edition of Shakespeare's works, is
defaced by an engraving of King James I. of England, which the
publishers sought to palm upon the public as the likeness of the great
dramatist. It is engraved by Vertue from an original painting in the
Harleian collection, and does not possess the slightest resemblance to
any of the various portraits of Shakespeare.
The collection contains a large-paper copy of Hanmer's beautiful quarto
edition, published in 1744, with Gravelot's etchings, which is now quite
rare; also, the reprint of the same work, made in 1770, and a fine copy
of the quarto edition, known as Heath's, in six volumes, with proof
plates after Stothard; a beautiful and undoubtedly unique copy of the
Atlas folio edition in nine volumes, published by Boydell in 1802,
elegantly bound and tooled with great richness of design. This copy was
selected by Boydell, with great care, for Miss Mary Nicol, sister of
George Nicol, printer to the king, and a relative of Boydell. It
contains proof impressions of the engravings, and an extra volume of
original etchings. This work was purchased at the sale of the Stowe
library. The certificates of Nicol and the librarian of the Duke of
Buckingham, testifying to the value and rarity of this picked specimen
of typography and engraving, are bound in the first volume of the work.
The collection contains Mr. Boydell's own private portfolio, with the
original etchings, artist's proof, and proof before letter, of every
engraving, with the portraits, now so difficult to meet with, of the
large elephant folio plates, upward of one hundred in number.
But the crowning glory is a folio copy of Shakespeare, illustrated by
the collector himself, with a prodigality of labor and expense that
places it far above any similar work ever attempted. The letter-press of
this great work is a choice specimen from Nicol's types, and each play
occupies a separate portfolio. These are accompanied by costly
engravings of landscapes, rare portraits, maps, elegantly colored plates
of costumes, and water-color drawings, executed by some of the best
artists of the day. Some of the plays have over two hundred folio
illustrations, each of which is beautifully inlaid or mounted, and many
of the engravings are very valuable. Some of the landscapes, selected
from the oldest cosmographies known, illustrating the various places
mentioned in the pages of Shakespeare, are exceedingly curious as well
as valuable.
In the historical plays, when possible, every character is portrayed
from authoritative sources, as old tapestries, monumental brasses, or
illuminated works of the age in well-executed drawings or recognized
engravings. There are in this work a vast number of illustrations, in
addition to a very numerous collection of water-color drawings. In
addition to the thirty-seven plays, are two volumes devoted to
Shakespeare's life and times, one volume of portraits, one volume
devoted to distinguished Shakespearians, one to poems, and two to
disputed plays,--the whole embracing a series of forty-two folio
volumes, and forming, perhaps, the most remarkable and costly monument
in this shape ever attempted by a devout worshipper of the Bard of Avon.
The volume devoted to Shakespeare's portraits was purchased by Mr.
Burton at the sale of a gentleman's library, who had spent many years in
making the collection, and includes various "effigies" unknown to many
laborious collectors. It contains upward of one hundred plates, for the
most part proofs. The value of this collection may be estimated by the
fact that a celebrated English collector recently offered its possessor
£60 for this single volume.
In the reading-room, directly beneath the main library, are a number of
portfolios of prints illustrative of the plays of Shakespeare, of a
size too large to be included in the illustrated collection just
noticed. There is likewise another copy of Shakespeare based upon
Knight's pictorial royal octavo, copiously illustrated by the owner; but
although the prints are numerous, they are neither as costly nor as rare
as those contained in the large folio copy.
Among the curiosities of the Shakespeare collection are a number of
copies of the disputed plays, printed during his lifetime, with the name
of Shakespeare as their author. It is remarkable, if these plays were
not at least revised by Shakespeare, that no record of a contradiction
of their authorship should be found. It is not improbable that many
plays written by others were given to Shakespeare to perform in his
capacity as a theatrical manager, requiring certain alterations in order
to adapt them to the use of the stage, which were arranged by his
cunning and skilful hand, and that these plays afterward found their way
into print with just sufficient of his emendations to allow his
authorship of them, in the carelessness in which he held his literary
fame, to pass uncontradicted by him.
There is a copy of an old play of the period, with manuscript
annotations, and the name of Shakespeare written on the title-page. It
is either the veritable signature of the poet or an admirably imitated
forgery. Mr. Burton inclined to the opinion that the work once belonged
to Shakespeare, and that the signature is genuine. If so, it is probably
the only scrap of his handwriting on this continent. This work is not
included in the list given of Ireland's library, the contents of which
were brought into disrepute by the remarkable literary forgeries of the
son, but stands forth peculiar and unique, and furnishes much room for
curious speculation.
These forgeries form a curious feature in the Shakespeare history of the
last century. They were executed by William Henry Ireland, the son of a
gentleman of much literary taste, and a devoted admirer of Shakespeare.
Young Ireland, who was apprenticed to an attorney, possessed the
dangerous faculty of imitating the handwriting of another person with
such perfection as to deceive the most careful critic. His occupation
led him much among old records, by which means he acquired a knowledge
of the phraseology used in them, and the general appearance imparted by
age to the paper and ink, all of which he was enabled to imitate very
closely.
His father's reverence for Shakespeare induced him to endeavor to palm
off upon himself and friends, probably at first as a good joke, some
originals of the great poet. One of these was a declaration of his faith
in the Protestant church, which, when shown to Dr. Parr, drew from this
great scholar the observation that, although there were many fine things
in the church service, here was a man who distanced them all.
Mr. Boaden, a gentleman of great taste, states that when he first saw
these papers he looked upon them with the purest delight, and touched
them with the greatest respect, as veritable and indisputable relics. A
number of gentlemen met at Mr. Ireland's house, and after carefully
inspecting the manuscripts, subscribed a paper vouching their
authenticity. Among these were Dr. Parr, Dr. Valpy, Pye, the
Poet-Laureate, Herbert Croft, and Boswell. It is said that when Boswell
approached to sign the paper he reverentially fell upon his knees,
thanked God that he had witnessed the discovery, and, in the language of
Simeon, exclaimed: "_Nunc dimittis servum tuum, Domine, in pace_."
It was now too late for young Ireland to retreat, if he ever intended to
have done so, and the discovery of the imposture remained for Malone and
Chalmers fully to develop. The disclosure is said to have brought the
elder Mr. Ireland in sorrow to his grave, and to have bestowed upon the
young scapegrace, who, either thoughtlessly, or with malice
aforethought, had embittered the last years of the life of a tender
parent, the epithet (which clung to him ever afterward) of "Shakespeare
Ireland."
The contemporaries of Shakespeare are quite numerous. In the cases
devoted to the old English drama are the original and best editions of
Chapman, Marston, Heywood, Dekker, Greene, Rowley, Massinger, Ford,
Jonson, and Field. Besides the original quartos, the library contains
most of the collected editions of the old dramatists, and in this
department it is quite complete.
Three book-cases are devoted to works pertaining to the history of the
stage, in every country and language, from the commencement of the art
to the present time, and scarcely a work relating to the history,
progress, or criticism of the stage can be named which is not to be
found in the collection.
A full-length statue of Shakespeare in freestone, placed in a niche upon
the northern side of the room, and surrounded by carved tracery of a
Gothic design, has already been noticed. Upon the eastern side the
Stratford bust is placed on a bracket of the age of Elizabeth. The
celebrated antiquary, Cottingham, devoted his personal attention to this
work, and no other copy has been given to the world. This bust, the
bracket upon which it rests, a curious old drinking-vessel of stone with
a metal lid, all found in the garden of Shakespeare's house at New
Place, a well-carved head of a Nubian girl, and the key-stone of an
entrance arch of the theatre at Pompeii, were purchased by the owner of
the present collection at the extensive sale of the personal effects of
Mr. Cottingham.
There is also a beautifully carved tea-caddy, made from the wood of
Shakespeare's mulberry-tree, which formerly belonged to Garrick, and a
small copy of Roubilliac's statue of Shakespeare, which is the first
specimen of china-ware executed at Chelsea, in England. This likewise
belonged to Garrick. There are likewise two drinking-cups with silver
rims, said to be made of the wood of a crab-tree under which Shakespeare
slept during his celebrated frolic, formerly in the possession of
Betterton.
CONCLUSION.
IN depicting the career of William E. Burton as Actor, Author, and
Manager, we are aware of the secondary value of his authorship, as
compared with his dramatic achievements. Nevertheless, his pen was a
ready and fertile one, and produced much that was meritorious, though
belonging to an ephemeral order. His plays, however, continue in the
list of present theatrical publications. Of his editorship it may be
affirmed that his conduct of "The Gentleman's Magazine" and "Literary
Souvenir" was marked by taste and discrimination; and nothing but
unqualified praise can be bestowed upon his superintendence of the
compilation of humorous literature known as Burton's "Cyclopædia of Wit
and Humor." It is by far the most complete repository of mirthful
composition ever published in this country--or elsewhere, so far as we
know,--and enjoys the peculiar advantage of being the only one in which
the productions of American humor have any thing approaching an adequate
representation. The selections throughout are indicative of great
critical sagacity, and a keen perception and sympathetic appreciation,
in the general arrangement, are everywhere suggested. As manager he
certainly fulfilled all conditions, as we believe the relation of his
successes in that sphere will sufficiently attest. But whatever his
capacity in the vocations named, all is dwarfed by his transcendent
powers as a comedian. He is remembered, and will be remembered, not as
the author or manager, but as the great actor who swayed mankind with
his supreme gift of humor. Many of the creations of his genius went away
with him in death; and the traditions of his triumphs will long be
distinguished in dramatic annals. Lastly, we have seen him a
Shakespearian student and the possessor of a library perfectly glorious
in its expression of devotion and homage to the great poet,--and linked
with that proud association we leave his memory and his name.
INDEX.
Abbot, Mr., 14, 15
Abbott, Mrs., 97
"A Chapter of Accidents," song, 12
Albany, N. Y., 90, 101
"All at Coventry," 116
American Theatre, Phila., 20
"Amilie; or, The Love Test," 23
"An Alarming Sacrifice," 116
"Animal Magnetism," 112
"Antigone," 22
"Antony's Orations," 15
"An Unwarrantable Intrusion," 58
"Apollo in New York," 115
Arch Street Theatre, Phila., 9, 13, 26
Astor Place Opera-House, 97
"As You Like It," 97, 113
Atlanta, Ga., 155
"Bachelors' Torments," 53
Balls, Mr., 15
Baltimore, Md., 26, 37
"Banker's Daughter," the, 132
"Barbers at Court," 116
Barlow, S. L. M., 179
Barnett, Morris, 98, 156
Barrett, Geo., 38, 45;
extended mention, 75, 76
Barry, Thos., 38
"Beehive," the, 115
"Betsey Baker," 116
Biddle, Nicholas, 24
Blake, W. R., 38, 45, 51;
extended mention, 51-55;
mention, 68, 72, 78, 92, 111, 169, 175
Bland, Humphrey, 45, 51;
extended mention, 74, 97, 169
"Blighted Being," a, 73
"Blue Devils," 112, 140
Booth, Edwin, 47, 101
Boston, Mass., 37, 102
Boston Theatre, 102
Boucicault, Dion, 47, 98, 101, 132
"Box and Cox," 114
"Breach of Promise," the, 94, 113, 163, 171
Broadway Theatre, 38; 67, note
"Broken Heart," the, 114
Brooklyn, N. Y., 39
Brougham, Jno., 37, 45;
extended mention, 55-64, 71, 92, 149
Brougham's Lyceum, 60
Brougham, Mrs., 60
Buckland, Mrs. Kate, 45
Buckstone, J. B., 36, 131
Burton's Company in Chambers Street;
extended review of particular players, 45-92
"Burton's N. Y. Directory," 114
Burton's New Theatre, 88, 99, 100, 101, 102
Burton, Robert, 158
Burton's Theatre, Chambers Street, 27, 29, 34, 36, 39, 40, 42,
44, 47, 56, 63, 74, 85, 88, 93, 97, 99, 149, 168, 169, 172, 175
Burton, Wm. Evans, subject of memoir, mention, preface;
birth and parentage, education, 3;
edits a monthly magazine, amateur acting, 4;
adopts the profession, first appearance in London, 5;
succeeds Listen at Haymarket, plays with E. Kean, 6;
his play of "Ellen Wareham," 7;
progress and arrival in America, 8;
first appearance in America, 9;
portrait by Inman, 9;
his success in Philadelphia, 9 _et seq._;
his musical talent, 12;
development and versatility, 13;
popularity and benefits, 14;
busy with pen, 16;
starts "The Gentleman's Magazine," 16;
connection with E. A. Poe, 16, 17;
letter to Poe, 18;
literary ventures, 19, 20;
President Martin Van Buren an auditor, 20;
amusing experience at Napoleon, 20 _et seq._;
speech for the author of "Antigone," 22;
first appearance in New York, 22;
sundry appearances, 23;
opens National Theatre, Phila.; produces "Naiad Queen";
at Providence; manager in New York, 24;
loss by fire, 25;
returns to Philadelphia, 26;
survey of career in Phila., 27 _et seq._;
opens Chambers St. Theatre, 36;
energy and perseverance, 37;
charitable benefits, 38;
popularity of theatre, 39;
his power of attraction, 40, 41;
encomium of Jos. N. Ireland, 42, 43;
extended mention of members of company, 45-92;
produces "Dombey and Son," 56;
pleasantries with Brougham, 58;
stage incident, 59;
surprised by Thompson, 84;
amusing correspondence with Norton, 85, note;
relations with Mrs. Hughes, 88;
his attributes as manager, 95;
Shakesperian revivals, 95, 96;
plays for Dramatic Fund and Centenary Festival, 97, 98;
plays at Niblo's, 99;
closes Chambers St. and opens New Theatre, 99;
progress, 100;
plays _Dogberry_, appears in Albany, 101;
in Boston, 102;
New Theatre closed, starring tour, 102;
last appearance in New York, 103;
engagement in Canada, and letter to his children, 103-110;
last appearance on any stage, and death, 110;
list of parts acted, 111-117;
personal appearance, 121;
mental equipment, 122, 123;
an expounder and representative of the humor of the drama, 124, 125;
his comic power mentioned by Wemyss, 125;
his performances in farce, 123:
"The Mummy," 134 _et seq._;
_Madame Vanderpants_, 137 _et seq._;
"The Wandering Minstrel," _Pillicoddy_, 139.
His specially famous parts:
_Paul Pry_, 144 _et seq._;
_Captain Cuttle_, 148 _et seq._;
Ireland's tribute to _Cuttle_ 151, note;
Aminadab Sleek, 152 _et seq._;
stage incident of "Serious Family," 153;
ushered in with thunder, 155;
_Timothy Toodles_, 156 _et seq._
His performances in comedy, 158 _et seq._:
_Micawber_, 160;
_Mr. Bumble_, 161;
_Squeers_, _Sam Weller_, 162;
_Bob Acres_, 164;
_Tony Lumpkin_, _Chas. Goldfinch_, 165;
_Dr. Ollapod_, 166;
_Sir. Geo. Thunder_, _Job Thornberry_ (see 59 and 68), 167;
_Sir Oliver Surface_, 167;
_Mr. Graves_, _Mock Duke_, _Adam Brock_, _Van Dunder_, 168;
"Nature's Nobleman," 168;
_John Smith_, 170;
_Mr. Sudden_, _Thomas Trot_, _Don Whiskerandos_, _Triplet_, 171.
His performances in Shakespeare:
"A Midsummer-Night's Dream," 171;
_Bottom_, 172 _et seq._;
_Sir Toby Belch_, 174;
_Caliban_, _Autolycus_, _Falstaff_, 175;
one of the _Carriers_ in "Henry IV.," 176.
His residence and library; story of the painter, Elliot, 179;
description of library, 181 _et seq._
Burton, Wm. Geo., father of subject, 3, 4
"Busybody," the, 117
Campbell, Thos., 142
Carey & Hart, 20
"Caste," 132
Castle Garden, 98
"Catspaw," the, 114
Chambers Street Theatre (see Burton's Theatre, Chambers St.)
Chapman, Caroline, 45;
extended mention, 60, 61
Chapman, Mr., 97
"Charles II.," 94, 116
"Charles XII.," 94, 116, 163, 168
Chatham Garden Theatre, 53
Chatham Theatre, 97
Chestnut Street Theatre, 13, 15, 26
Chippendale, Mr., 97
"Cinderella," 113
Clapp, W. W., preface.
Clarke, C. W., 45
"Cockney," the, 116
Cole, John O., 90
Collins, John, 101
Colman, Geo. (the Younger), 9, 131, 167
"Comedy of Errors," 111
"Comfortable Lodgings," 116
Cooke's Circus Building, Phila., 24
Cooke, Geo. Fred., 126
"Cork Leg," the, song, 12
Covent Garden Theatre, 166
"Crimson Crimes," 116
"Critic," the, 113, 163
"Cupid," 14
"Cure for the Heartache," a, 69, 114
Curwen, Henry, 17, note
Cushman, Charlotte, 24, 91, 97
Cushman, Susan, 24
Daly, Augustin, 132
Daly's Theatre, 38
Dance, Chas., 65
"Dan Keyser de Bassoon," 36
"David Copperfield," 61, 62, 74, 88, 93, 113, 160
Davidge, Wm., 20, 21
Dawson, Mr., 38
"Deaf as a Post," 11, 14, 116
"Delicate Ground," 65
Devlin, Mary, 45, 46, 47
Dickens, Charles, 62, 63, 73, 122, 149, 152, 161, 162
"Dombey and Son," extended mention, 56, 60, 62, 63,
88, 93, 112, 149, 152, 160
Don, Sir Wm., 98
Doran, Dr., 7, note
"Duel in the Dark," a, 116
"Dutch Governor," the, 112, 163, 168
Dyott, Jno., 45, 71;
extended mention, 76, 77, 167, 169
Edinburgh, Scotland, 127
"Education," 115
"Ellen Wareham," 7, 8, 115
Elliot, C. L., painter, incident, 179, 180
Elliston, R. W., 3, 11
Elphinstone, Miss, 10
Emerson, R. W., 69
"Every Man in His Humor," 75, 115
"Evil Genius," 112
"False Pretences," 115
"Family Jars," 94, 115
Farren, Wm., 85, 159
"Fascination," 115
"First Night," the, 49
Fisher, Chas., 45, 55, 70, 76;
extended mention, 78-82, 171
Florence, Mrs. W. J., 45, 46, 47
Florence, W. J., 92
Ford's Theatre, Boston, 37
Forrest, Edwin, 38, 51, note
"Forty Winks," 23, 111
"Fox Hunt," the, 98, 115
Francis, Jno. W., 126
"French Spy," the, 114
"Friend Waggles," 114
Front Street Theatre, Baltimore, 26
"Genevieve," 115
George IV. (king), 5
Gilbert, Mrs., 38, 97
Gilbert, John, 55
"Giralda," 117
Glen Gove, L. I., 179
Glover, Mrs., 7, note
"Good Night's Rest," a, 113
"Great Tragic Revival," a, 115
"Gretna Green," 114
"Guy Mannering," 113
Hackett, James, 175
Hamblin, Thos., 97
Hamilton, Canada, 43, 88, 103
"Hamlet," 117
"Hamlet Travestie," 116
"Happiest Day of my Life," the, 94, 113, 140
"Haunted Man," the, 114
Haymarket Theatre, London, 6, 10
"Hazel Kirke," 132
Hazlitt, Wm., 125, 164
"Heart of Gold," 115
"Heir-at-Law," 13, 82, 87, 112
"Helping Hands," 115
"Henry IV.," 175
"High Life Below Stairs," 113
Hoey, Mrs. (see Mrs. Russell)
Hoey, John, 46
Holland, Geo., 45, 49, 85
Holland House, 129
Holman, Geo., 45, 71, 85
Holmes, O. W., 93
"Home," 132
"Honeymoon," the, 74, 113, 163
Hood, Thos., 41, 130
Hough, Mrs., 45
"How to Die for Love," 15
"How to Make Home Happy," 94, 117
Hughes, Hon. Chas., 88
Hughes, Mrs., 45, 51;
extended mention, 87, 90, 102, 103, 139, 160, 162, 167, 169
"Hunchback," the, 74
Hunt, H., 38
Hunt, Mrs., 20
Hutton, Lawrence, preface;
mention, 35, 36, 62
"Hypocrite," the, 13, 116
"Ill Playing with Edged Tools," 'Tis, 115
"Innkeeper's Daughter," the, 112
Inman, Henry, painter, 9
"Invisible Prince," the, 116
Ireland, Jos. N., preface;
mention, 28, 37, 39, 42, 101, 102, 103, 111, 151, note
"Irish Dragoon," the, 36
"Janet Pride," 116
Jefferson, Jos. (1st), 11
Jefferson, Jos. (3d), 92, 101, 132, 142, 164
"John Bull," 59, 69, 77, 112, 163
"John Jones," 12, 14, 22, 110, 117
"John of Paris," 15
Johnston, T. B., 45;
extended mention, 61, 73, 92, 160, 167
Jonson, Ben, 75, 76
Jordan, Geo., 45, 71;
extended mention, 74, 75, 97
Kean, Edmund, 6, 7, note, 142
Kemble, J. P., 141
Kent, England, 5
"Kill and Cure," 23, 114
"King's Gardener," the, 114
"Kiss in the Dark," a, 113
Knowles, J. Sheridan, 10
"Ladies' Man," the, 12, 14, 116
"Lady of Lyons," the, 114
"Lancers," the, 115
"Last Man," the, 52
"Laughing Hyena," the, 112
"Laugh When You Can," 98, 115
Laura Keene's Theatre, 101
"Leap Year," 36, 112
"Led Astray," 132
"Lend Me Five Shillings," 116
Leonard and Church Sts. Theatre, 24
Lester, J. W. (see Lester Wallack)
Lewis, W. T., 166
Library, Mr. Burton's, 181 _et seq._
"Life Among the Players," 114
List of Characters, 111-117
Liston, J., 6, 11, 41, 125, 144, 168
"Little Toddlekins," 84
"Loan of a Lover," 113
London, England, 3, 5, 9, 10, 11, 17, note, 41
"London Assurance," 113
Longfellow, H. W., 124
"Lottery Ticket," the, 5, 8, note, 9, 14, 113
"Love Chase," the, 113
"Love in a Village," 114
"Love in Humble Life," 114
"Love in a Maze," 116
"Lucia di Lammermoor," 33
"Lucy Did Sham Amour," 36
"Macbeth," 117
"Macbeth Travestie," 114
Macready, W. C., 37
"Maidens, Beware," 36
Malvina, Miss (see Mrs. W. J. Florence)
"Man of Many Friends," 116
"Married an Actress," 115
"Married by Force," 115
"Married Life," 13, 113
"Masks and Faces," 81, 112, 163
Mathews, Chas. (elder), 3
Mathews, Chas. (younger), 45, 46, 84, 131
Maywood & Co. (managers), 9, 13
Mechanics Hall, Hamilton, Canada, 110
"Merchant of Venice," the, 13, 98, 112
"Merry Wives of Windsor," the, 77, 84, 95, 111, 175
Metropolitan Theatre (see Burton's New Theatre)
"Midnight Watch," the, 114
"Midsummer-Night's Dream," a, 75, 76, 80, 95;
extended mention, 96, 112, 171
"Miller's Maid," the, 83
"Mind Your Own Business," 117
Mississippi River, 20
Mitchell, Maggie, 97
"Money," 113, 163
"Mormons," the, 115