I have no frank—but I have at least the pleasure of being able to give you good news, & I think you had rather pay postage than not hear it. After a degree of contention & torment & suspense such as I cannot describe—one of my plays, my last & favourite play is I do really believe on the point of representation with my favourite Actor for the [hero]. He (Mr. MacreadyWilliam Charles Macready | Born: 1793-03-03 in London, England. Died: 1873-04-27 in Cheltenham, Gloucestershire, England.
English actor, one of the most prominent tragedians of his era. He appeared at Covent Garden and Drury Lane Theatres in London and also toured the United States. He appeared in Sheridan Knowles's William Tell, Byron's Sardanapolus, and Bulwer-Lytton's Money (1840), as well as in many Shakespearean roles. He also managed both Covent Garden and Drury Lane Theatres. In his role as actor-manager, Macready was a correspondent and collaborator with Mary Russell Mitford. The first play on which they worked was Mitford's Julian. Mitford dedicated to Macready the print edition of Julian: To William Charles Macready, Esq., with high esteem for those endowments which have cast new lustre on his art; with warm admiration for those powers which have inspired, and that taste which has fostered the tragic dramatists of his age; with heartfelt gratitude for the zeal with which he befriended the production of a stranger, for the judicious alterations which he suggested, and for the energy, the pathos, and the skill with which he more than emhodied its principal character; this tragedy is most respectfully dedicated by the author. Macready retired from the stage in 1851. —lmw
) read it in the green room on Wednesday, & I suppose it will be out in ten days or a fortnight—Charles KembleCharles Kemble | Born: 1775-11-25 in Brecon, South Wales. Died: 1854-11-12 in England.
British actor, the younger brother of John Phillip Kemble and Sarah Siddons. Although he was considered by some to be as fine an actor as his sister and brother, he mostly appeared in secondary rather than leading roles. Father of Frances Kemble. One of the co-proprietors of Covent Garden Theatre . He served as Examiner of Plays in the early nineteenth-century, reviewing plays for licensing by the Lord Chamberlain.—lmw
does not play in it—in revenge [del: .]perhaps for MacreadyWilliam Charles Macready | Born: 1793-03-03 in London, England. Died: 1873-04-27 in Cheltenham, Gloucestershire, England.
English actor, one of the most prominent tragedians of his era. He appeared at Covent Garden and Drury Lane Theatres in London and also toured the United States. He appeared in Sheridan Knowles's William Tell, Byron's Sardanapolus, and Bulwer-Lytton's Money (1840), as well as in many Shakespearean roles. He also managed both Covent Garden and Drury Lane Theatres. In his role as actor-manager, Macready was a correspondent and collaborator with Mary Russell Mitford. The first play on which they worked was Mitford's Julian. Mitford dedicated to Macready the print edition of Julian: To William Charles Macready, Esq., with high esteem for those endowments which have cast new lustre on his art; with warm admiration for those powers which have inspired, and that taste which has fostered the tragic dramatists of his age; with heartfelt gratitude for the zeal with which he befriended the production of a stranger, for the judicious alterations which he suggested, and for the energy, the pathos, and the skill with which he more than emhodied its principal character; this tragedy is most respectfully dedicated by the author. Macready retired from the stage in 1851. —lmw
's refusing to play the DogeDoge Foscari
character in Mitford’s play Foscari See also historical counterpart: Doge Foscari.—ebb in FoscariFoscari: A Tragedy. London : G. B. Whittaker . 1826. (for you know I suppose that that Play page 2
has been actually in rehearsal &  was obliged is for the present withdrawn)—but Mr. KembleCharles Kemble | Born: 1775-11-25 in Brecon, South Wales. Died: 1854-11-12 in England.
British actor, the younger brother of John Phillip Kemble and Sarah Siddons. Although he was considered by some to be as fine an actor as his sister and brother, he mostly appeared in secondary rather than leading roles. Father of Frances Kemble. One of the co-proprietors of Covent Garden Theatre . He served as Examiner of Plays in the early nineteenth-century, reviewing plays for licensing by the Lord Chamberlain.—lmw
has behaved very fairly & honourably in other ways—has given MacreadyWilliam Charles Macready | Born: 1793-03-03 in London, England. Died: 1873-04-27 in Cheltenham, Gloucestershire, England.
English actor, one of the most prominent tragedians of his era. He appeared at Covent Garden and Drury Lane Theatres in London and also toured the United States. He appeared in Sheridan Knowles's William Tell, Byron's Sardanapolus, and Bulwer-Lytton's Money (1840), as well as in many Shakespearean roles. He also managed both Covent Garden and Drury Lane Theatres. In his role as actor-manager, Macready was a correspondent and collaborator with Mary Russell Mitford. The first play on which they worked was Mitford's Julian. Mitford dedicated to Macready the print edition of Julian: To William Charles Macready, Esq., with high esteem for those endowments which have cast new lustre on his art; with warm admiration for those powers which have inspired, and that taste which has fostered the tragic dramatists of his age; with heartfelt gratitude for the zeal with which he befriended the production of a stranger, for the judicious alterations which he suggested, and for the energy, the pathos, and the skill with which he more than emhodied its principal character; this tragedy is most respectfully dedicated by the author. Macready retired from the stage in 1851. —lmw
full power in getting up the Play & [del: .] with that admirable Actor (certainly the best since GarrickDavid Garrick | Born: 1717-02-19 in Angel Inn, Hereford, Herefordshire, England. Died: 1779-01-20 in Adelphi Buildings, London, England.
English actor and theatrical manager, considered the greatest actor of his era, and advocate of a more naturalistic style of acting. Prominent in Whig circles of the late eighteenth century. Frequently painted by Joshua Reynolds. Mary Robinson was one of his last acting mentees before his retirement from the stage. His greatest contributions as a playwright are his adaptations of Shakespeare for the eighteenth-century stage. He was the first actor to be buried in Westminster Abbey.—lmw
) & this Play (certainly worth a thousand of FoscariFoscari: A Tragedy. London : G. B. Whittaker . 1826. ) we can do very well without him. "JulianJulian; a Tragedy in Five Acts. London New York: G. B. Whittaker W. B. Gilley . 1823. " or "The MelfiJulian; a Tragedy in Five Acts. London New York: G. B. Whittaker W. B. Gilley . 1823. " (for I really don't know which they call it) is a Tragedy on a [del: .] fictitious story—I am afraid to tell you what the Critics say of it—but not afraid to stake on it my dramatic hopes. MacreadyWilliam Charles Macready | Born: 1793-03-03 in London, England. Died: 1873-04-27 in Cheltenham, Gloucestershire, England.
English actor, one of the most prominent tragedians of his era. He appeared at Covent Garden and Drury Lane Theatres in London and also toured the United States. He appeared in Sheridan Knowles's William Tell, Byron's Sardanapolus, and Bulwer-Lytton's Money (1840), as well as in many Shakespearean roles. He also managed both Covent Garden and Drury Lane Theatres. In his role as actor-manager, Macready was a correspondent and collaborator with Mary Russell Mitford. The first play on which they worked was Mitford's Julian. Mitford dedicated to Macready the print edition of Julian: To William Charles Macready, Esq., with high esteem for those endowments which have cast new lustre on his art; with warm admiration for those powers which have inspired, and that taste which has fostered the tragic dramatists of his age; with heartfelt gratitude for the zeal with which he befriended the production of a stranger, for the judicious alterations which he suggested, and for the energy, the pathos, and the skill with which he more than emhodied its principal character; this tragedy is most respectfully dedicated by the author. Macready retired from the stage in 1851. —lmw
will be supported by Mr. BennettGeorge John Bennett, Mr., or: Mr. Bennett | Born: 1800 in Ripon, Yorkshire, England. Died: 1879.
Versatile actor who played both comic and tragic roles with success. Performed in the provinces, then at Drury Lane from 1825-1826, in Dublin from 1826-28, and at Covent Garden in 1828 before moving to the suburban London theater of Sadler's Wells. Acted under Mr. Bennett. Retired from acting in 1862. Said to have inaugurated a new, more sympathetic and serious style of playing Caliban, which had previously been considered a comic wild man character.—lmw
(the new Actor)—Mr. AbbottWilliam Abbott, Mr., or: Mr. Abbott | Born: 1790-06-12 in Chelsea, London, England. Died: 1843-06-01 in Baltimore, Maryland, USA.
Actor who appeared in Mitford's plays, Julian at Covent Garden Theatre in 1823 and Charles I at the Victoria Theatre in 1834. Acted under Mr. Abbott. In 1833, he opened the Victoria Theatre, formerly known as the Coburg, with Daniel Egerton. He also served as manager at the Haymarket Theatre and later moved to America, where he managed the New Charleston Theatre in Charleston, South Carolina, in 1837.—lmw —Miss LacyMiss Lacy Lacy Miss
Actor who appeared in Rienzi at the Theatre Royal, Drury Lane in 1828. Acted under Miss Lacy. Forename unknown. Dates unknown. —lmw—& Miss FooteMaria Foote Stanhope | Born: 1797-07-24 in Plymouth, Devonshire, England. Died: 1867-12-27 in Whitehall, London, England.
Well-known English theater actor. She was the daughter of Samuel Foote. She played Alfonso, the King of Sicily in Julian. She performed at Drury Lane from 1814 to 1825 and then began to perform at Covent Garden in 1826.—ejb
.—So you must write to your play going friends—for I am sure that ardent spirit MacreadyWilliam Charles Macready | Born: 1793-03-03 in London, England. Died: 1873-04-27 in Cheltenham, Gloucestershire, England.
English actor, one of the most prominent tragedians of his era. He appeared at Covent Garden and Drury Lane Theatres in London and also toured the United States. He appeared in Sheridan Knowles's William Tell, Byron's Sardanapolus, and Bulwer-Lytton's Money (1840), as well as in many Shakespearean roles. He also managed both Covent Garden and Drury Lane Theatres. In his role as actor-manager, Macready was a correspondent and collaborator with Mary Russell Mitford. The first play on which they worked was Mitford's Julian. Mitford dedicated to Macready the print edition of Julian: To William Charles Macready, Esq., with high esteem for those endowments which have cast new lustre on his art; with warm admiration for those powers which have inspired, and that taste which has fostered the tragic dramatists of his age; with heartfelt gratitude for the zeal with which he befriended the production of a stranger, for the judicious alterations which he suggested, and for the energy, the pathos, and the skill with which he more than emhodied its principal character; this tragedy is most respectfully dedicated by the author. Macready retired from the stage in 1851. —lmw
will drive the matter on—It is page 3
odd enough that I & this zealous friend of mine have never met. He is just such another soul of fire as HaydonBenjamin Robert Haydon | Born: 1786-01-26 in Plymouth, England. Died: 1846-06-22 in London.
Benjamin Robert Haydon was a painter educated at the Royal Academy, who was famous for contemporary, historical, classical, biblical, and mythological scenes, though tormented by financial difficulties and incarceration. He painted William Wordsworth's portrait in 1842 and painted a cameo of Keats in his epic canvas Christ's Entry into Jerusalem(1814-20). MRM was introduced to him at his London studio in the spring of 1817, and Sir William Elford was a mutual friend, and Haydon’s own acquaintances included several prominent British Romantic literary figures. He completed The Raising of Lazarus in 1823 . He wrote a diary and an autobiography, both of which were published only posthumously, and he committed suicide in 1846. George Paston's Little Memoirs of the Nineteenth Century (1893) contends that Mitford was asked to edit Haydon's memoir, but declined.—rnes, ebb—highly educated & a man of great literary acquirement, consorting entirely with poets & young men of talent—indeed it is to his knowledge of my friend Mr. TalfourdThomas Noon Talfourd | Born: 1795-05-26 in Reading, Berkshire, England. Died: 1854-03-13 in Stafford, Staffordshire, England.
Close friend, literary mentor, and frequent correspondent of Mary Russell Mitford. A native of Reading, Talfourd was educated at the Reading’s newly-established Mill Hill school, a dissenting academy, from 1808 to 1810. He attended Dr. Richard Valpy’s Reading School from 1810 to 1812. His career in law began with a legal apprenticeship with Joseph Christy, special pleader, in 1817. He was called to the bar in London in 1821 and ultimately earned a D.C.L. (Doctor of Civil Laws) from Oxford on June 20, 1844. While establishing his practice as a barrister and special pleader, he worked as legal correspondent for The Times, reporting on the Oxford Circuit, and also continued his literary interests. After 1833, he was appointed Serjeant at Law, as well as a King’s and Queen’s Counsel. He was elected and served as Member of Parliament for Reading from 1835 to 1841 and from 1847 to 1849 ; he served with Charles Fyshe Palmer, Charles Russell, and Francis Piggott. Highlights of his political and legal career included introducing the first copyright bill into Parliament in 1837 (for which action Charles Dickens dedicated Pickwick Papers to him) and defending Edward Moxon’s publication of Percy Shelley’s Queen Mab in 1841 . He was appointed Queen’s Serjeant in 1846 and Judge of Common Pleas in 1849 , at which post he served until his death in 1854. He was knighted in 1850 .
Talfourd’s literary works include his plays Ion (1835), The Athenian Captive (1837) and Glencoe, or the Fate of the MacDonalds(1839).
—lmw, cmm, ebb
that I owe the first introduction of my plays to his notice.—I hope your brother still continues comfortable—Tell him that Mr. CrowtherMr. Crowther Crowther Mr.
The dandy Mitford pokes fun at in her letters of 9 and 10 January, 1819 . Possibly husband to Isabelle Crowther. According to Coles, his forename may be Phillip; Coles is not completely confident that the dandy Mr. Crowther and Mr. Phillip Crowther are the same person. The second Mr. Crowther is a correspondent of Mitford's, whom she writes to at Whitley cottage, near Reading. He may also have resided at Westbury on Trim near Bristol. William Coles is uncertain of whether Crowtheris the same Phillip Crowthermentioned in Mitford's Journal. Source: William Coles, Letter to Needham, 10 November 1957, NeedhamPapers, Reading Central Library.
—lmw, scw's Aunt has found immense benefit from the use of Mr. Hutchinson's prescription (the [rust] of iron) & that that, as a strengthener & preventative, joined to the Reading remedy [3] The letter is torn from the last four letters of the word "remedy," which are visible on the small piece of paper that is adhered to the seal that is apparently attached to the top of the letter surface.—bas in case of an attack is said to be most efficacious—is very impertinent in me to say this—but I do take so real an interest in him that I am sure you will forgive me—Pray make my best Compts to him & to dear Miss ElfordGrace Chard Elford, or: Miss Elford | Born: 1781-11-05 in Plympton, Devon, England. Died: 1856-02-24 in St. Thomas, Devon, England.
Elder daughter of Sir William Elford and Mary Davies Elford; she was baptised at Plympton, Devon on November 11, 1781. Her middle name, Chard, is derived from her maternal lineage; Grace’s maternal grandmother was born Mary Chard. Grace Elford remained unmarried and later came to reside with her sister Elizabeth Elford Adams and her family, according to census records.—lmw.[4] Mitford mentions Hutchinson's rust of iron again in her letter to Sir William Elford of 21 August 1823 in connection with his brother to inquire if he has tried it or the Reading remedy for his ailment. Hutchinson's rust (or carbonate) of iron was used to treat tic douloureux (trigeminal neuralgia), a chronic pain disorder that affects the nerves in the face. Hutchinson reported "occasionally the happiest results" with his treatment, which he advised to be taken in doses of two scruples repeated two to three times a day, in an article in The Lancet London of 30 September 1837. We have located a reference to a celebrated Reading Remedy in an advertisement in the Brighton Gazette of 7 July 1864, where it is referred to as BOULTE'S EMBROCATION (the celebrated Reading Remedy), and only certain cure for Rheumatism, Neuralgia, Face-ache, Loss of Power in the Limbs, Weak and Contracted Muscles, Stiff Joints, Feeble Circulation, Lumbago, Sore Throats, Hooping Cough, Chilblains, &c. Boulte's remedy, according to the advertisement, was sealed by a Sarah Boulte, Reading, and indicates that 40,000 persons have received benefit, suggesting that this has been in use for a long time.—bas, ebb—Forgive page 4
this short note—I have many letters to write—& have been for the last fortnight exceedingly unwell—but this news would Cure me if I were dying. I know that I shall be quite well tomorrow.—Kindest regards from all—