Parke, Tessie, as Baby Mermaid in Peter Pan, (i)
Parry, Dolly (later Ponsonby, q.v.), (i), (ii), (iii), (iv), (v)
Parry, Sir Hubert, (i), (ii)
Parry, Lady, (i), (ii)
Partridge, Bernard, (i); in Allahakbarries, (i); illustration for Tommy and Grizel, (i)
Peter Ibbetson (Du Maurier), (i), (ii), (iii), (iv)
Peter Pan (Barrie), (i), (ii); quoted, (i), (ii), (iii), (iv), (v); Dedication to, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii); genesis in schoolboy pirate crew, (i); anticipated in Boy Castaways, (i); ‘creation’ of Tinker Bell, (i); notes for, (i), (ii); ‘boy who can't grow up’ theme, (i); work begun on, (i); original titles for, (i), (ii), (iii), (iv); opening page of, (i); writing of, (i); Davies boys' contribution to, (i), (ii), (iii), (iv), (v); quintessence of Barrie in, (i); negotiations for production of, (i); massive stage requirements, (i); notebook entry for, (i); Frohman's acceptance of, (i); Peter as a girl's role, (i), (ii); secrecy of rehearsals, (i); designs for, (i); flying system, (i); rumours concerning, (i); rehearsal mishaps and revisions, (i); Nina Boucicault's 1904 script, (i), (ii); first night, (i); programmes of, (i), (ii); success, (i); Peter as ‘tragic boy’, (i); confused emotional response to him, (i); revivals, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi); effect on Michael, (i); incorporation of Black Lake into new Act III, (i), (ii); American success, (i); performance in Michael's nursery, (i), (ii); Barrie's only ‘professional’ performance, (i); idea of statue of Peter Pan, (i), (ii); in Dublin, (i); earnings from, (i); idea for sequel to, (i); sole performance of ‘Afterthought’ showing Wendy as old married woman, (i); Barrie's solitary author's call at, (i); in Paris, (i), (ii); Peter's loathing of association with, (i); Peter Pan statue in Kensington Gardens, (i); measuring of Lost Boys actors, (i); ‘true meaning’ of, (i)
Peter Pan in Kensington Gardens (Barrie), (i); Rackham illustrations, (i), (ii), (iii), (iv), (v); origins of, (i), (ii); publication of, (i)
‘Peter and Wendy’, original title of Peter Pan, (i), (ii)
Peter and Wendy (Barrie), quoted, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii); Bedford illustrations, (i), (ii); elements of Michael in Peter Pan, (i); writing of, (i), (ii)
‘Peterkin: A Marvel of Nature’ (Barrie), quoted, (i)
Pickford, Mary, (i)
Pinero, Arthur Wing, (i)
‘Pippa, The, and Porthos’ (Barrie), (i), (ii)
Ponsonby, Arthur (later Baron Ponsonby), (i), (ii), (iii)
Ponsonby, Dolly (later Lady Ponsonby) (née Parry, q.v.), (i); Sylvia's letters to, (i), (ii), (iii); diary records of Davies family, (i), (ii), (iii), (iv), (v), (vi), (vii); on Arthur's illness, (i), (ii), (iii), (iv); on Sylvia's devotion, (i), (ii), (iii); on Barrie, (i), (ii); and Sylvia's illness, (i); on Barrie's indulgence of boys, (i)
Porthos (St Bernard dog), (i), (ii), (iii), (iv); featured in ‘The Pippa and Porthos’, (i); in Kensington Gardens, (i), (ii), (iii), (iv); in ‘The Greedy Dwarf’, (i); in The Boy Castaways, (i), (ii), (iii); death of, (i), (ii)
Postbridge (Devon), Davies holiday at, (i), (ii)
Potter, Paul, (i)
‘Pretty Boys’ (Barrie), (i)
Professor's Love Story, The (Barrie), ideas for, (i), (ii)
Punch, Du Maurier cartoons in, (i)
Punch (Barrie), (i)
Quality Street (Barrie), (i); American production, (i); London production, (i)
Quartermaine, Leon, (i)
Querist's Album: Barrie's 1877 entry, (i); Michael's entry, (i); four entries in, (i)
Quiller-Couch, Arthur, (i); Barrie's letters to, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Quiller-Couch, Bevil (‘the Pippa’), (i), (ii), (iii); ‘my favourite boy in the wide, wide world’, (i); exploits photographed for ‘The Pippa and Porthos’, (i)
Rackham, Arthur: illustrations for Peter Pan in Kensington Gardens, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Ramsgate, Davies boys at, (i), (ii), (iii), (iv), (v)
‘Rekollekshuns of a Skoolmaster’, Barrie's contribution to school magazine, (i)
Rendel, Dr, (i), (ii), (iii), (iv)
Richard Savage (Barrie and Watson), (i), (ii)
Richmond, Sir William Blake, portrait of Mary Crompton (later Llewelyn Davies), (i)
Roberts, Lord, (i)
‘Rooks begin to Build, The’ (Barrie), (i)
‘Room with 2 Beds, The’, Barrie's serial story for Nico, (i), (ii), (iii)
Roosevelt, Theodore, (i)
Rosemary (Parker and Carson), (i)
Rosy Rapture, or The Pride of the Beauty Chorus (Barrie): revue written for Gaby Deslys, (i), (ii); rehearsals, (i); failure, (i)
Royal Academy of Dramatic Art, (i)
Russell, Bertrand, (i)
Rustington (Sussex), Davies holidays at, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
Ruthven, Margaret (Mrs Peter Llewelyn Davies), (i)
St Andrews University: Barrie's honorary degree from, (i); Barrie's address on Courage at, (i), (ii), (iii), (iv), (v); Barrie elected Rector of, (i), (ii)
St Eloi, George's death in action near, (i)
St James's Gazette: ‘Auld Licht’ articles published in, (i), (ii); and Barrie's other work, (i)
Saturday Review, (i)
Savoy Theatre, Cinema Supper at, (i), (ii)
Scotsman, The, (i)
Scott, Kathleen (née Bruce, later Lady Kennet), (i), (ii); courted by Cannan and Scott, (i); marriage to Scott, (i); Barrie's letters to, (i), (ii), (iii); reluctance for Barrie to become son's guardian, (i), (ii)
Scott, Peter (now Sir): as Barrie's godson, (i), (ii), (iii), (iv); question of his guardianship, (i), (ii); Barrie's letters to, (i), (ii), (iii); at Peter Pan, (i); painting of Barrie in ingle-nook, (i)
Scott, Captain Robert Falcon, (i), (ii), (iii); Barrie's letter to, (i); at Dhivach, (i), (ii); marriage to Kathleen Bruce, (i), (ii); ill-fated Antarctic expedition, (i), (ii); coolness with Barrie, (i), (ii); his Message to the Public, (i); last letter to Barrie, (i); as variation of Peter Pan theme, (i)
Scourie Lodge (Sutherland), holiday at, (i)
Scribner, Charles, (i), (ii)
Senhouse, Roger: obsession with Michael, (i); renewed friendship with Michael, (i), (ii), (iii), (iv); at Eilean Shona, (i), (ii); effect of Michael's death, (i)
Sentimental Tommy (Barrie), (i); quoted, (i), (ii); origin and writing of, (i), (ii); notebook entry for, (i); introduction about Margaret Ogilvy, (i), (ii); Margaret Henley's brief appearance in, (i); sequel to, (i); film version, (i)
‘Sentimentalist, The’ (later Sentimental Tommy), notes for, (i), (ii)
Serpentine, (i), (ii); Peter Pan and, (i); Bird Island, (i)
Shall We Join the Ladies? (Barrie), murder play written for Michael, (i), (ii)
Shaw, Bernard, (i), (ii); on Frohman, (i); on Peter Pan, (i); satirized in one-act Punch, (i)
Shaw, James W., as model for Peter Pan statue, (i)
Sheerness, (i); George and Peter training at, (i), (ii), (iii)
Shelton, George, as Smee in Peter Pan, (i), (ii), (iii)
Shields, Sir Douglas, (i)
Shropshire Lad, A (Housman), (i), (ii)
Shulbrede Priory, (i), (ii)
Sketch, interview with Mary Ansell, (i)
Somme, Battle of (1916), (i), (ii)
‘Souvenir of Thrums’ picture postcard, (i)
Stanway (Glos), (i), (ii)
Stevenson, Robert Louis, (i)
Strachey, Lytton, (i), (ii), (iii)
Sutherland, Millicent, Duchess of: Barrie's flirtation with, (i), (ii), (iii); letters to, (i), (ii), (iii); at Scourie Lodge, (i)
Swanson, Gloria, in Male and Female, (i)
Tag, Der (Barrie), (i), (ii), (iii); quoted, (i)
Talbot, Evan, (i)
Tempest, Marie, (i)
Tennyson, Aubrey, account of George's death, (i)
Tennyson, C
harles, in Allahakbarries, (i), (ii)
Terriss, Ellaline, (i); in Bluebell in Fairyland, (i), (ii); as Phoebe in Quality Street, (i)
Terry, Ellen, (i), (ii); in Alice Sit-by-the-Fire, (i), (ii)
Thorndike, Sybil, (i)
‘Thrums’: pseudonym for Kirriemuir, (i), (ii); picture postcard of, (i)
Tilford (Surrey), Davies holiday cottage at, (i), (ii)
Tillington (Sussex), (i), (ii)
Times, The, (i); on Barrie's ‘cruelty’, (i); on Walker, London, (i); on Little White Bird, (i); on Little Mary, (i); Barrie's obituary of Addison Bright in, (i); Scott appeal in, (i)
Titheradge, Madge, (i); as Peter Pan, (i)
Tommy and Grizel (Barrie), quoted, (i), (ii), (iii), (iv), (v), (vi); self-analysis in, (i), (ii), (iii), (iv), (v); writing of, (i), (ii); Partridge illustration for, (i); ‘lost boy’ theme, (i); ‘Wandering Child’ story in, (i), (ii); poor reception, (i); and seeking of childhood haunts, (i)
Toole, J. L., (i)
Tree, Herbert Beerbohm, (i); poor opinion of ‘Peter and Wendy’, (i), (ii)
Tree, Lady, (i)
Trevelyan, Hilda, (i), (ii), (iii), (iv), (v); as Wendy, (i), (ii), (iii); in What Every Woman Knows, (i)
Trilby (Du Maurier), (i), (ii), (iii)
Turley Smith, Charles, (i); in Allahakbarries, (i); Barrie's letters to, (i), (ii), (iii), (iv), (v)
Twain, Mark, on Peter Pan, (i)
Twelve-Pound Look, The (Barrie), quoted, (i); self-portrayal in, (i)
Van Thal, Herbert, on Peter's death, (i)
Vanbrugh, Irene, (i), (ii); in Ibsen's Ghost, (i); in Walker, London, (i); in Admirable Crichton, (i)
Vanbrugh, Violet, (i)
Vaudeville Theatre (London): Bluebell in Fairyland at, (i), (ii); Quality Street at, (i); (Paris) Peter Pan at, (i)
Vedrenne, J. E., (i)
Voormezeele, George's grave at, (i), (ii)
Voshimid, Loch (Outer Hebrides), Mary Rose's island on, (i), (ii)
Walbrook, H. M., on Admirable Crichton, (i)
Walker, London (Barrie), (i), (ii); Mary Ansell's success in, (i), (ii)
Walkley, A. B.: on Admirable Crichton, (i); on Peter Pan, (i); on Dear Brutus, (i)
Wallasey High School for Girls, Barrie's speech to, (i)
Waste (Granville-Barker), (i)
Watson, H. B. Marriott, (i)
Wedding Guest, The (Barrie), (i); quoted, (i); unfavourable reception, (i)
Well-Remembered Voice, A (Barrie), quoted, (i); inspired by George, (i); father-son relationship in, (i)
Wells, H. G., (i), (ii), (iii); supports Mary over divorce, (i); postscript doodle, (i); Mary's letter to, (i)
What Every Woman Knows (Barrie), quoted, (i); material for, (i), (ii), (iii); writing of, (i); rehearsals, (i); success of, (i); Barrie's lukewarm opinion of, (i)
‘What makes a Gentleman’, Michael's essay on, (i)
When a Man's Single (Barrie), quoted, (i)
Wilhelm II, Kaiser, (i); chief figure in Der Tag, (i)
Wilkinson, Mr (schoolmaster), (i); precursor of Captain Hook, (i); portrayed as Pilkington in Little White Bird, (i), (ii), (iii)
Wilkinson's preparatory school: George at, (i), (ii), (iii); Peter at, (i), (ii), (iii); Michael at, (i), (ii), (iii); Nico at, (i)
Will, The (Barrie) (formerly ‘The Accursed Thing’), (i); theme of vice as disease, (i), (ii), (iii); George remark used in, (i)n
Willoughby, Vera, (i), (ii)
Window in Thrums, A (Barrie), (i), (ii), (iii)
Winter, Rev. James, (i), (ii)
Winter, Willie, (i), (ii)
Wodehouse, P. G., (i)
Women's Co-operative Guild, (i)
Woodward, Nurse, (i)
Woolf, Virginia, (i)
Wrest Park (Beds), (i), (ii), (iii), (iv)
Wrigley, T., (i)
Wyndham's Theatre, Little Mary at, (i)
Yeats, W. B., (i)
York, Frederick, Duke of, (i)
‘Have I been too cunning, or have you seen through me all the time? Have you discovered that I was really pitying the boy who was so fond of boyhood that he could not with years become a man?’
Tommy and Grizel
J.M. Barrie and the Lost Boys Page 43