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CONTENTS.
| CHAPTER I. | ||
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Introduction—Birth and birth-place—Horoscope of her nativity—Condition in life of her father—Her account of her early days—Becomes an orange-girl at the theatre—Effects of the Restoration—Revival of the stage—Two theatres allowed—Scenery and dresses—Principal actors and actresses—Duties and importance of the orange-girls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
1 | |
| CHAPTER II. | ||
Pepys introduces us to Nelly—Character of Pepys—Nelly at the Duke's Theatre—Who was Duncan?—Nell's parts as Lady Wealthy, Enanthe, and Florimel—Charles Hart—Nell's lodgings in Drury Lane—Description of Drury Lane in the reign of Charles II.—The May-pole in the Strand—Nell and Lord Buckhurst—Position in society of actors and actresses—Character of Lord Buckhurst—Nelly at Epsom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
22 | |
| CHAPTER III. | ||
Epsom in the reign of Charles II.—England in 1667—Nelly resumes her engagement at the King's Theatre—Inferior in Tragedy to Comedy—Plays Mirida in "All Mistaken"—Miss Davis of the Duke's Theatre—Her song, "My lodging it is on the Cold Ground," parodied by Nell—Influence of the Duke of Buckingham in controlling the predilections of the King—Charles II. at the Duke's Theatre—Nelly has leading parts in three of Dryden's new Plays—Buckhurst is made a Gentleman of the Bedchamber, promised a peerage, and sent on a sleeveless errand into France—Nell becomes the Mistress of the King—Plays Almahide in "The Conquest of Granada"—The King more than ever enamoured—Parallel case of Perdita Robinson and George IV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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