description of a locomotive, 281;
  a new sensation, 283;
  an idea of religion, 285;
  a warm reception in Dublin, 288;
  repugnance to work, 298;
  a distressing letter from John Kemble, 293;
  a West Indian yarn, 295;
  at Birmingham, 295;
  an exhilarating ride, 298;
  Lord Huskisson’s death, 298;
  evenings at Heaton, 300;
  the guests at Heaton, 302;
  to Liverpool for the opening of the new railroad, 303;
  “The Jew of Aragon,” 305;
  “The Jew of Aragon” and “Griselda,” 306;
  failure of “The Jew of Aragon,” 307;
  consenting to go with Tom Taylor and Charles Reade to see “The King’s
    Wager” for first time, 308;
  thoughts of publishing the plays and verses, 309;
  the editor of the Age thrashed, 310;
  on drawing and painting, 311;
  about managing children, 312;
  the Age newspaper, 314;
  playing “The Provoked Husband,” 315;
  failure of “The Fair Penitent,” 318;
  working on and getting published “The Star of Seville,” 319;
  dinner at Mr. Cartwright’s, 321;
  Christmas-eve at Mrs. Siddons’, 322;
  public opinion about acting with her father, 323;
  Bianca in “Fazio,” 323;
  Juliet, Calista, Mrs. Haller, and Lady Townley, 323;
  a run around Brighton, 328;
  advantage of Mrs. Siddons and Miss O’Neill in their tragic
    partners, 336;
  the Chancery case again, 331;
  a few words about Byron, 331;
  about children’s letters, 332;
  more about Byron, 333;
  “Cenci,” 334;
  “Fazio,” Mrs. Beverley and Belvidera, 334;
  Burns, 335;
  acting Belvidera, 336;
  learning the part of Beatrice in one hour, 336;
  Goethe, 338;
  discussion as to destiny of human soul, 337;
  reading Channing’s Essay on Milton, 337;
  Goethe’s love for Madame Kestner, 337;
  the journal, 340;
  “Francis I.,” 341;
  a pleasant party, 342;
  a little sculpture, 343;
  the Reform Bill, 344;
  the Kemble jawbone, 345;
  production of “Francis I.” an annoyance, 350;
  the “White Devil,” 353;
  benefit at Covent Garden, 356;
  playing Lady Macbeth, 357;
  playing Belvidera, 357;
  Constance, for a benefit, 359;
  success in Constance, 360;
  portrait by Mr. Pickersgill, 362;
  “Chiedo sostegno,” 365;
  Pickersgill, Lawrence, and Turnerelli, 365;
  about Portia and Camiola, 369;
  in want of a chapter on, 371;
  first friendship with Earl and Countess of Ellesmere, 374;
  about management, 373;
  on gestures, 373;
  a new friendship begun at Bridgewater House, 374;
  opinions as to success of “The Hunchback,” 376;
  in Mariana, 377;
  opinion of “The Hunchback,” 378;
  contrasting Shakespeare’s Juliet with Knowles’ Julia, 379;
  all about Lady Cork, 379;