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See also:MACREADY, See also:- WILLIAM
- WILLIAM (1143-1214)
- WILLIAM (1227-1256)
- WILLIAM (1J33-1584)
- WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
- WILLIAM (c. 1130-C. 1190)
- WILLIAM, 13TH
WILLIAM See also:CHARLES (1793—1873) , See also:English actor, was See also:born in See also:London on the 3rd of See also:March 1793, and educated at See also:Rugby. It was his intention to go up to See also:- OXFORD
- OXFORD, EARLS OF
- OXFORD, EDWARD DE VERE, 17TH EARL
- OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
- OXFORD, PROVISIONS OF
- OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
- OXFORD, ROBERT HARLEY, 1ST
Oxford, but in 1809 the embarrassed affairs of his See also:father, the lessee of several provincial theatres, called him to See also:share the responsibilities of theatrical management. On the 7th of See also:June 1810 he made a successful first See also:appearance as Romeo at See also:Birmingham. Other Shakespearian parts followed, but a serious rupture between father and son resulted in the See also:young See also:man's departure for See also:Bath in 1814. Here he remained for two years, with occasional professional visits to other provincial towns. On the 16th of See also:September 1816, Macready made his first London appearance at Covent See also:garden as See also:Orestes in The 'Distressed See also:Mother, a See also:translation of See also:Racine's Andromaque by See also:Ambrose See also:Philips. Macready's choice of characters was at first confined chiefly to the romantic See also:drama. In 1818 he won a permanent success in See also:Isaac See also:Pocock's (1782—1835) See also:adaptation of See also:Scott's Rob See also:Roy. He showed his capacity for the highest tragedy when he played See also:Richard III. at Covent Garden on the 25th of See also:October 1819. Transferring his services to See also:Drury See also:Lane, he gradually See also:rose in public favour, his most conspicuous success being in the See also:title-role of See also:Sheridan See also:Knowles's William Tell (May II, 1825). In 1826 he completed a successful engagement in See also:America, and in 1828 his performances met with a very flattering reception in See also:Paris. On the 15th of See also:December 1830 he appeared at Drury Lane as See also:Werner, one of his most powerful impersonations. In 1833 he played in Antony and See also:Cleopatra, in See also:Byron's .See also:Sardanapalus, and in See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
King See also:Lear. Already Macready had done something to encourage the creation of a See also:modern English drama, and after entering on the management of Covent Garden in 1837 he introduced See also:Robert See also:Browning's See also:Strafford, and in the following See also:year Bulwer's See also:Lady of See also:Lyons and See also:Richelieu, the See also:principal characters in which were among his most effective parts. On the loth of June 1838 he gave a memorable performance of See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry V., for which See also:Stanfield prepared sketches, and the mounting was superintended by Bulwer, See also:Dickens, See also:Forster, See also:Maclise, W. J. See also:Fox and other See also:friends. The first See also:production of Bulwer's See also:Money took See also:place under the See also:artistic direction of See also:Count d'Orsay on the 8th of December 184o, Macready winning unmistakable success in the See also:character of See also:Alfred See also:Evelyn. Both in his management of Covent Garden, which he resigned in 1839, and of Drury Lane, which he held from 1841 to 1843, he found his designs for the See also:elevation of the See also:stage frustrated by the See also:absence of adequate public sup-See also:port. In 1843—1844 he made a prosperous tour in the See also:United States, but his last visit to that See also:country, in 1849, was marred by a See also:riot at the See also:Astor See also:Opera See also:House, New See also:York, arising from the See also:jealousy of the actor See also:Edwin See also:Forrest, and resulting in the See also:death of seventeen persons, who were shot by the military called out to quell the disturbance. Macready took leave of the stage in a farewell performance of See also:Macbeth at Drury Lane on the 26th of See also:February 1851. The See also:remainder of his See also:life was spent in happy retirement, and he died at See also:Cheltenham on the 27th of See also:April 1873. He had married, in 1823, See also:Catherine Frances Atkins (d. 1852). Of a numerous See also:family of See also:children only one son and one daughter survived. In 186o he married Cecile See also:Louise Frederica See also:Spencer (1827—1908), by whom he had a son.
Macready's performances always displayed See also:fine artistic perceptions See also:developed to a high degree of perfection by very comprehensive culture, and even his least successful personations had the See also:interest resulting from thorough intellectual
study. He belonged to the school of See also:Kean rather than of See also:Kemble; but, if his tastes were better disciplined and in some respects more refined than those of Kean, his natural temperament did not permit him to give proper effect to the See also:great tragic parts of See also:Shakespeare, King Lear perhaps excepted, which afforded See also:- SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)
scope for his pathos and tenderness, the qualities in which he specially excelled. With the exception of a See also:voice of See also:good See also:compass and capable of very varied expression, Macready had no especial See also:physical gifts for acting, but the defects of his See also:face and figure cannot be said to have materially affected his success.
See Mlacready's Reminiscences, edited by See also:Sir See also:Frederick See also:Pollock, 2 vols. (1875) ; William Charles Macready, by William See also:Archer (1890).
End of Article: MACREADY, WILLIAM CHARLES (1793—1873)
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