a great sorrow to us and to his country. The papers show that all
mourn his loss, for he and his fame belonged to the public. I knew
Forrest well; except yourself, no man knew him better than I did. He
was a man of genius, of great will and energy, and, without much
education, by his own untiring efforts raised himself to the very
highest pinnacle of fame in his profession. There was a grandeur in
the man, in every thing he did and said, and hence the great
admiration his friends had for him. He was a truly noble and
generous man, one who loved his friends with devotion, and despised
his enemies. I first made his acquaintance at Lexington, Kentucky,
in the fall of 1822. He came there with Collins & Jones as one of
their theatrical corps. He was then between sixteen and seventeen,
and was the pet of us college boys. He made his first appearance as
Young Norval, and the boys were so much taken with him that after
the play was over we went to the greenroom, and took him, dressed as
he was in character, to a supper. That night he slept with me in my
boarding-house. We had breakfast in my room, and it was late before
he left. I wanted to lend him a suit to go home in; but no, he would
go in his Highland costume, a feather in his hat, straight down Main
Street, with a crowd of boys following him to his hotel. He played
all that winter in Lexington, and when the Medical and Law Colleges
broke up in the spring he went to Cincinnati. That was in March or
April, and he boarded at Mrs. Bryson’s, on Main Street. In the
summer of 1823 he came to Newport with Mrs. Riddle and her daughter
and two or three actors, and rented a house on the bank of the
river. I assisted him in fixing up a small theatre in the old frame
buildings of the United States barracks at the Point of Licking, and
we had plays there until October. My brother-in-law, Major Harris,
played Iago to his Othello. I was to have played Damon to his
Pythias, but some difficulty occurred which prevented it. Forrest
was then very poor, but kept up his spirits, and spent many nights
with me in my father’s old office. His great delight was to get in a
boat and sail for hours on the river when the wind was high. In the
fall of 1823 he returned with Collins & Jones to Lexington, the
Drakes, I think, uniting, and played the winter of 1823-24. He
played with Pelby and his wife, and Pemberton, an actor from
Nashville. He improved rapidly in his profession, and had always one
of the most prominent characters cast to him. In fact, he would play
second to no man. I was very intimate with him that whole winter,
and on the first day of January, 1824, Tom Clay and several of us
gave a fine dinner at Ayers’s Hotel, and he was the _distinguished
guest_. We all made speeches and recitations, and before we had
finished the entertainment we had an extensive audience. Forrest had
many intimate friends among the students, and he often attended the
college declamations. He had a great admiration for the eloquence of
Doctor Holley, our President, and has often told me of the benefit
he derived from the style of this remarkable orator. In March of
1824 I returned home, after the breaking up of the Law School, and
played Zanga, in Young’s Revenge, at the Columbia Street Theatre,
for the benefit of old Colonel John Cleve Symmes. We had a crowded
house. Sallie Riddle played in the same piece. It was to enable Mr.
Symmes to get to his Hole at the North Pole; but, poor man, he never
got further than New York. I think Mr. Forrest went that spring to
New Orleans. I am very certain he was not in Cincinnati when I
played in the Revenge, otherwise he would have performed in the same
play. It has been published in the papers that Forrest was once a
circus rider and tumbler. No such thing. The only time he was ever
connected with a circus was when with the circus company in
Lexington he played Timour the Tartar. Mrs. Pelby and others were in
the same piece. He looked Grandeur itself when mounted on Pepin’s
famous cream-colored horse. After March, 1824, I did not meet Mr.
Forrest again until the spring of 1828. He was then playing in New
York, and I saw him in his great character of Othello. His star had
then begun to rise, and it continued to rise until it reached its
zenith, and there it continued to shine until the last hour of his
life. His place cannot be filled in this country. Great actors are
born, and not made. To be a great tragedian a man must possess the
soul, the passion, and the eloquence to delineate the character he
represents. Forrest had that beyond most men.
“I thank you for the paper containing his will and other
reminiscences of him. My wife has been since his death clipping from
the newspapers all that has been written about him, and has put the
notices in her scrap-book. Some of the journals have done him
justice, others have not; but posterity will cherish his memory and
feel proud of the man. In 1870 I had a copy made of my portrait of
George Frederick Cooke by Sully, and sent it to him. I think you saw
it. He wrote me at Fire Island, New York, a long and affectionate
letter acknowledging the receipt of the portrait and pressing me to
spend a week with him at his house. My daughter, Mrs. Jones, has the
letter, and has copied it in her book of original letters written to
my father by Henry Clay and many other distinguished men of our
country. The last time Mr. Forrest was in Cincinnati he walked over
one morning to see me and the family. We took him back in my
carriage to his hotel, and as he parted from my daughter Martha and
myself his eyes were filled with tears, and he exclaimed, ‘God bless
you!’ and left us. This was the last time I ever saw our
distinguished and much beloved friend. My daughter, only last night,
was speaking of this event of our parting, and how much affected Mr.
Forrest seemed to be.
“Forrest was a great favorite with my wife. She knew him in 1823 and
1824, and, before our marriage, had often witnessed his performances
at Lexington when a girl. She well knew the great friendship that
united us: hence in referring to our boy and girl days in Lexington,
Kentucky, she often speaks of Forrest, and how much he was respected
and his company sought by the college boys at Old Transylvania. I
have a very fine daguerreotype picture of our friend, and two quite
large photographs he sent me through you several years ago. They
will be faithfully preserved and handed down to my children and to
their children as the picture of a man concerning whom it may well
be said, ‘Take him for all in all, we shall not look upon his like
again.’
“All we have left to us, my friend, is to meet and talk over the
pleasure we once enjoyed in the company of our friend. He was so
full of wit and humor! And how well he told a story! I remember the
day, some years back, he and you spent at my house. All my family
were present, together with several friends, and he fascinated us
all at dinner by his eloquence, and his incidents of foreign travel.
How heartily we laughed at the anecdotes which he told with such
fine effect! Then we had music at night, and he recited the ‘Idiot
Boy,’ to the delight of every one, and it was the ‘witching time of
night’ when the company broke up.
“I am very truly your friend and obedient servant,
“JAMES TAYLOR.”
Alas, how easy it is, and how congenial it seems to be to many, to let
down and tarnish the memory of a great man by an estimate in which his
vices are magnified and his virtues omitted! So did old Macklin say of
David Garrick, “He had a narrow mind, bounded on one side by suspicion,
by envy on the other, by avarice in front, by fear in the rear, and with
self in the centre.” But against every unkind or demeaning word spoken
of the departed Forrest a multitude of facts protest. Two of these may
be cited to show the genius he had to make himself loved and admired and
remembered.
On receiving intelligence of the death of his benefactor, a literary
gentleman who had been tried by severe misfortunes of poverty and
blindness and paralysis, and had experienced extreme kindness as well as
generous aid at the hands of Forrest, wrote to Oakes a long letter,
eloquent with gratitude and admiration, and closing with the poetic
acrostic which follows. The writer thoroughly knew and loved the actor
both personally and professionally,—a fact that adds value to his
eulogistic appreciation:
Ever foremost in histrionic fame,
Death cannot dim the lustre of thy name.
Wondrously bright the record of thy life,
In spite of wrongs that drove thee into strife.
Nobler by far than titled lord or peer!
Friend of thy race, philanthropist sincere,
On earth esteemed for charms of intellect,
Renowned as well for manhood most erect;
Reserved, but kind, from ostentation free,
Envying no one of high or low degree,
Scorning all tricks of meretricious kind,
Thy course is run, thy glory left behind!
LOUIS F. TASISTRO.
On the first anniversary of his death a company of gentlemen, actuated
by purely disinterested motives, met in New York and organized the Edwin
Forrest Club, with a president, vice-president, and seven directors.
“The primary object of the club shall be to foster the memory of the
great actor, to erect a statue of him in the Central Park, and to
collect criticisms, pictures, and all things relating to him, for the
purpose of forming a Forrest Museum.” After the memory of Forrest had
been drunk standing, Mr. G. W. Metlar, a friend from his earliest
boyhood, paid an affectionate eulogy to his worth. Others offered
similar tributes. And the corresponding secretary of the club, Mr.
Harrison, said, “Gentlemen, however well the world may know Mr. Forrest
as an actor, it knows comparatively nothing of him as a man. A kinder
heart never beat in the bosom of a human being. In the finer sympathies
of our nature he was more like a child than one who had felt an undue
share of the rude buffets of ingratitude. When speaking with him of the
troubles of others I have often seen his eyes suffused with tears. The
beggar never knocked at his door and went away unladen. And many is the
charity that fell from his manly hand and the relieved knew not whence
it came; but
‘Like the song of the lone nightingale,
Which answereth with her most soothing song
Out of the ivy bower, it came and blessed.’
And I may say with conscientious pride that however much any of the
great actors may have done for their national stage, Mr. Forrest, equal
to any of them, has done as much for the theatre of his country, and
will remain a recognized peer in the everlasting group.
‘He stands serene amid the actors old,
Like Chimborazo when the setting sun
Has left his hundred mountains dark and dun,
Sole object visible, the imperial one
In purple robe and diadem of gold.
Immortal Forrest, who can hope to tell,
With tongue less gifted, of the pleasing sadness
Wrought in your deepest scenes of woe and madness?
Who hope by words to paint your Damon and your Lear?
Their noble forms before me pass,
Like breathing things of a living class.’
The longer I allude to the tragedian the stronger becomes the sadness
that tinctures my feelings to think that he is no more, and that the
existence of the gifts Nature had so liberally bestowed on him had to
cease with the cessation of his pulse.”
Everything set down by the biographer in this volume has been stated in
the simple spirit of truth. And if the pen that writes has distilled
along the pages such a spirit of love for their subject as makes the
reader suspect the writer possessed with a fond partiality, he asks, Why
is it so? His love is but a response to the love he received, and to the
grand and beautiful qualities he saw. A dried-up and malignant heart
does not breathe such effusive words in such a sincere tone as those
which, in 1869, Forrest wrote to Oakes: “The good news you send of the
restored health of our dear friend Alger gives me inexpressible relief.
Now I go into the country with abounding joy.”
The fortune Forrest had laboriously amassed would amount, it was
thought, when it should all be made available, to upwards of a million
dollars. It was found that in his will he had left the whole of it—
excepting a few personal bequests—to found, on his beautiful estate of
“Spring Brook,” about eight miles from the heart of Philadelphia, the
EDWIN FORREST HOME, for the support of actors and actresses decayed by
age or disabled by infirmity.
The trustees and executors have arranged the grounds and prepared the
buildings, removed thither all the relics of the testator, his books,
pictures, and statues, and made public announcement that the home is
ready for occupation. Thus the greatest charity ever bequeathed in the
sole interest of his own profession by any actor since the world began
is already in active operation, and promises to carry the name it wears
through unlimited ages. It pleasantly allies its American founder with
the old tragedian Edward Alleyn, the friend of Shakspeare, who two
hundred and fifty years ago established munificent institutions of
knowledge and mercy, which have been growing ever since and are now one
of the princeliest endowments in England.
Those who loved Forrest best had hoped for him that, reposing on his
laurels, pointed out in the streets as the veteran of a hundred battles,
the vexations and resentments of earlier years outgrown and forgotten,
enjoying the calls of his friends, luxuriating in bookish leisure,
overseeing with paternal fondness the progress of the home he had
planned for the aged and needy of his profession, taking a proud joy in
the prosperity and glory of his country and in the belief that his
idolized art has before it here amidst the democratic institutions of
America a destiny whose splendor and usefulness shall surpass everything
it has yet known,—the days of his mellow and vigorous old age should
glide pleasantly towards the end where waits the strange Shadow with the
key and the seal. Then, they trusted, nothing in his life should have
become him better than the leaving of it would. For, receding step by
step from the stage and the struggle, he should fade out in a broadening
illumination from behind the scenes, the murmur of applause reaching him
until his ear closed to every sound of earth.
It would have been so had he been all that he should have been. It was
ordained not to be so. Shattered and bowed, he was snatched untimely
from his not properly perfected career. But all that he was and did will
not be forgotten in consequence of what he was not and did not do.
He will live as a great tradition in the history of the stage. He will
live as a personal image in the magnificent Coriolanus statue. He will
live as a learned and versatile histrionist in the exact photographic
embodiments of his costumed and breathing characters. He will live as a
diffused presence in the retreat he has founded for his less fortunate
brethren. Perhaps he will live, in some degree, as a friend in the
hearts of those who perusing these pages shall appreciate the story of
his toils, his trials, his triumphs, and his disappearance from the eyes
of men. He will certainly live in the innumerable and untraceable but
momentous influences of his deeds and effluences of his powerful
personality and exhibitions caught up by sensitive organisms and
transmitted in their posterity to the end of our race. And, still
further, if, as Swedenborg teaches, there are theatres in heaven, and
all sorts of plays represented there, those who in succeeding ages shall
recall his memory amidst the shades of time may think of him still as
acting some better part before angelic spectators within the unknown
scenery of eternity.
Here the pen of the writer drops from his hand in the conclusion of its
task, and, with the same words with which it began, ends the story of
EDWIN FORREST.
APPENDIX.
I.
THE WILL OF EDWIN FORREST.
I, EDWIN FORREST, of the city of Philadelphia, State of Pennsylvania, do
make and publish this my last Will and Testament.
I give, bequeath and devise unto my friends JAMES OAKES, Esquire, of
Boston, JAMES LAWSON, Esquire, of New York, and DANIEL DOUGHERTY,
Esquire, of Philadelphia, all my property and estate, real and personal,
of whatsoever description and wheresoever situated, upon the trusts and
confidences hereinafter expressed; and I also appoint them my executors
to administer my personal estate and bring it into the hands of said
trustees; that is to say, upon trust,
_First._ That they the said trustees, the survivors and survivor of
them, shall be authorized to sell all my real estate, at public or
private sale, at such times as in their judgment shall appear to be for
the best advantage of my estate, excepting from this power my country
place, in the Twenty-third Ward of the city of Philadelphia, called
“Springbrook,” and to convey to purchasers thereof a good title, in fee
simple, discharged of all trusts and obligation to see to the
application of the purchase moneys; and such purchase moneys, and the
proceeds of all the personal estate, shall be invested in such
securities and loans as are made lawful investments by the laws of
Pennsylvania, and shall be in the joint names of the trustees under my
Will. The investments which I shall have made my executors or trustees
may retain or change as they may think for the best advantage of my
estate.
_Secondly._ Upon trust, to pay to my two sisters, Caroline and Eleanora,
jointly, while both remain single, and to the survivor of them until her
marriage or death, which shall first happen, an annuity of six thousand
dollars, in equal quarterly payments, in advance, from the date of my
decease; and should one marry, then to pay the said annuity of six
thousand dollars unto the other until marriage or death, whichever event
shall first happen; said annuity, however, not to be a charge upon any
real estate which shall be sold, but only upon the proceeds, and upon
trust to permit my said sisters, and the survivor of them, to use and
occupy my country place called Springbrook, with the necessary furniture
and utensils, and stock, until marriage or death as aforesaid, free of
all charge for rent, and to take the income and profits thereof; and the
said trustees shall pay the taxes thereon, and keep the same in repair.
_Thirdly._ To take and hold all said property and estate in trust for an
institution, which they will call “THE EDWIN FORREST HOME,” to embrace
the purposes of which I hereinafter give the outlines; which institution
shall be established at my country place called Springbrook, certainly
within twenty-one years after the decease of the survivor of my said
sisters, and sooner if found judiciously practicable.
The following is an _Outline of my Plan_ for said Home, which may be
filled out in more detail by the Charter and By-Laws.
ARTICLE 1st. The said Institution shall be for the support and
maintenance of Actors and Actresses, decayed by age, or disabled by
infirmity, who if natives of the United States shall have served at
least five years in the Theatrical profession; and if of foreign birth
shall have served in that profession at least ten years, whereof three
years, next previous to the application, shall have been in the United
States; and who shall in all things comply with the laws and regulations
of the Home, otherwise be subject to be discharged by the Managers,
whose decision shall be final.
ARTICLE 2d. The number of inmates in the Home shall never exceed the
annual net rent and revenue of the Institution; and after the number of
inmates therein shall exceed twelve, others to be admitted shall be such
only as shall receive the approval of the majority of the inmates as
well as of the Managers.
ARTICLE 3d. The said corporation shall be managed by a Board of
Managers, seven in number, who shall in the first instance be chosen by
the said Trustees, and shall include themselves so long as any of them
shall be living, and also the Mayor of the city of Philadelphia for the
time being; and as vacancies shall occur, the existing Managers shall,
from time to time, fill them, so that, if practicable, only one vacancy
shall ever exist at a time.
ARTICLE 4th. The Managers shall elect one of their number to be the
President of the Institution; appoint a Treasurer and Secretary,
Steward, and Matron, and, if needed, a Clerk; the said Treasurer,
Secretary, Steward, Matron, and Clerk subject to be at any time
discharged by the Managers; except the Treasurer, the said officers may
be chosen from the inmates of the Home; and the Treasurer shall not be a
Manager, nor either of his sureties. The Managers shall also appoint a
Physician for the Home.
ARTICLE 5th. Should there be any failure of the Managers to fill any
vacancy which may occur in their board for three months, or should they
in any respect fail to fulfil their trust according to the intent of my
Will and the Charter of the Institution, it is my will, that upon the
petition of any two or more of said Managers, or of the Mayor of the
City, the Orphans’ Court of Philadelphia county shall make such
appointments to fill any vacancy or vacancies, and all orders and
decrees necessary to correct any failure or breach of trust, which shall
appear to said court to be required, as in case of any other
testamentary trust, so that the purposes of this charity may never fail
or be abused.
ARTICLE 6th. The purposes of the said “Edwin Forrest Home” are intended
to be partly educational and self-sustaining, as well as eleemosynary,
and never to encourage idleness or thriftlessness in any who are capable
of any useful exertion. My library shall be placed therein in precise
manner as now it exists in my house in Broad Street, Philadelphia. There
shall be a neat and pleasant theatre for private exhibitions and
histrionic culture. There shall be a picture gallery for the
preservation and exhibition of my collection of engravings, pictures,
statuary, and other works of art, to which additions may be made from
time to time, if the revenues of the Institution shall suffice. These
objects are not only intended to improve the taste, but to promote the
health and happiness of the inmates, and such visitors as may be
admitted.
ARTICLE 7th. Also as a means of preserving health, and consequently the
happiness, of the inmates, as well as to aid in sustaining the Home,
there shall be lectures and readings therein, upon oratory and the
histrionic art, to which pupils shall be admitted upon such terms and
under such regulations as the Managers may prescribe. The garden and
grounds are to be made productive of profit as well as of health and
pleasure, and, so far as capable, the inmates not otherwise profitably
occupied, shall assist in farming, horticulture, and the cultivation of
flowers in the garden and conservatory.
ARTICLE 8th. “The Edwin Forrest Home” may also, if the revenues shall
suffice, embrace in its plan, lectures on science, literature and the
arts; but preferably oratory and the histrionic art, in manner to
prepare the American citizen for the more creditable and effective
discharge of his public duties, and to raise the education and
intellectual and moral tone and character of actors, that thereby they
may elevate the drama, and cause it to subserve its true and great
mission to mankind, as their profoundest teacher of virtue and morality.
ARTICLE 9th. The “Edwin Forrest Home” shall also be made to promote the
love of liberty, our country and her institutions, to hold in honor the
name of the great Dramatic Bard, as well as to cultivate a taste and
afford opportunity for the enjoyment of social rural pleasures.
Therefore there shall be read therein, to the inmates and public, by an
inmate or pupil thereof, the immortal Declaration of Independence, as
written by Thomas Jefferson, without expurgation, on every Fourth day of
July, to be followed by an oration under the folds of our National flag.
There shall be prepared and read therein before the like assemblage, on
the birthday of Shakspeare, the twenty-third of April in every year, an
eulogy upon his character and writings, and one of his plays, or scenes
from his plays, shall, on that day, be represented in the theatre. And
on the first Mondays of every June and October the “Edwin Forrest Home”
and grounds shall be opened for the admission of ladies and gentlemen of
the theatrical profession, and their friends, in the manner of social
picnics, when all shall provide their own entertainments.
The foregoing general outline of my plan of the Institution I desire to
establish, has been sketched during my preparations for a long voyage by
sea and land, and should God spare my life, it is my purpose to be more
full and definite; but should I leave no later Will or Codicil, my
friends, who sympathize in my purposes, will execute them in the best
and fullest manner possible, understanding that they have been long
meditated by me and are very dear to my heart.
They will also remember that my professional brothers and sisters are
often unfortunate, and that little has been done for them either to
elevate them in their profession or to provide for their necessities
under sickness or other misfortunes. God has favored my efforts and
given me great success, and I would make my fortune the means to elevate
the education of others, and promote their success and to alleviate
their sufferings, and smooth the pillows of the unfortunate in sickness,
or other disability, or the decay of declining years.
These are the grounds upon which I would appeal to the Legislature of my
Native State, to the Chief Magistrate of my Native City, to the Courts
and my Fellow-Citizens to assist my purposes, which I believe to be
demanded by the just claims of humanity, and by that civilization and
refinement which spring from intellectual and moral culture.
I, therefore, lay it as a duty on my Trustees to frame a bill which the
Legislature may enact as and for the Charter of said Institution, which
shall ratify the Articles in said Outline of Plan, shall authorize the
Mayor of the City to act as one of its Managers, and the said Court to
exercise the visitatorial jurisdiction invoked; and prevent streets from
being run through so much of the Springbrook grounds as shall include
the buildings and sixty acres of ground. Such a Charter being obtained,
the corporation shall be authorized, at a future period, to sell the
grounds outside said space, the proceeds to be applied to increase the
endowment and usefulness of the Home. And so far as I shall not have
built to carry out my views, I authorize the said Managers, with consent
of my sisters, or survivor of them, having a right to reside at
Springbrook, to proceed to erect and build the buildings required by my
outline of plan, and towards their erection apply the income,
accumulated or current, of my estate. And should my sisters consent, or
the survivor of them consent, in case of readiness to open the Home, to
remove therefrom, a comfortable house shall be procured for them
elsewhere, furnished, and rent and taxes paid, as required in respect to
Springbrook, at the cost and charge of my estate, or of the said
corporation, if then in possession thereof. Whensoever the requisite
Charter shall be obtained, and the corporation be organized and ready to
proceed to carry out its design, then it shall be the duty of said
Trustees to assign and convey all my said property and estate unto the
said “Edwin Forrest Home,” their successors and assigns forever; and for
the latter to execute and deliver, under the corporate seal, a full and
absolute discharge and acquittance forever, with or without auditing of
accounts by an auditor of the court as they may think proper, unto the
said Executors and Trustees.
In testimony whereof, I have hereunto set my hand and seal, this fifth
day of April, eighteen hundred and sixty-six.
EDWIN FORREST, [SEAL.]
Signed, sealed, declared and published as and for his last Will and
Testament by Edwin Forrest, in our presence, who at his request and
in his presence, and in presence of each other, have hereunto set
our hands as witnesses thereto.
ELI K. PRICE,
H. C. TOWNSEND,
J. SERGEANT PRICE.
Whereas I, EDWIN FORREST, of the city of Philadelphia, State of
Pennsylvania, having made and duly executed my last Will and Testament
in writing, bearing date the fifth day of April, eighteen hundred and
sixty-six. Now I do hereby declare this present writing to be as a
Codicil to my said Will, and direct the same to be annexed thereto, and
taken as a part thereof.
And I do hereby give and bequeath unto my friend James Lawson, Esq., of
the city of New York, the sum of five thousand dollars.
And, also, to my friend Daniel Dougherty, Esq., the sum of five thousand
dollars.
And, also, to my beloved friend Miss Elizabeth, sometimes called Lillie
Welsh, eldest daughter of John R. Welsh, broker, of Philadelphia, the
sum of five thousand dollars.
And, also, to my friend S. S. Smith, Esq., of Cincinnati, Ohio, the sum
of two thousand dollars.
And, also, to the benevolent society called the Actors’ Order of
Friendship, “the first one of that name established in Philadelphia,” I
will and bequeath the like sum of two thousand dollars.
In witness whereof, I, the said Edwin Forrest, have to this Codicil set
my hand and seal, this fifth day of April, eighteen hundred and sixty-
six.
EDWIN FORREST, [SEAL.]
Published and declared as a Codicil to his Will in our presence, by
E. Forrest, who in his presence and at his request have signed as
witnesses in presence of each other.
ELI K. PRICE,
H. C. TOWNSEND,
J. SERGEANT PRICE.
Whereas I have this day, October 18th, 1871, provided my friend James
Oakes with an annuity of twenty-five hundred dollars during his life, I
have erased from this Codicil and do revoke the five thousand dollars’
legacy to him, and now do bequeath the said sum of five thousand dollars
intended for James Oakes, to my beloved friend Miss Elizabeth, sometimes
called Lillie Welsh, eldest daughter of John R. Welsh, broker, of
Philadelphia. This five thousand dollars is to be given in addition to
the sum of five thousand dollars already bequeathed to the said Miss
Welsh, making in all to her the gift of ten thousand dollars ($10,000).
In witness hereof I set my hand and seal.
EDWIN FORREST, [SEAL.]
Witnesses present at signing:
GEO. C. THOMAS,
J. PAUL DIVER.
[Illustration:
FORREST MEDALS.
]
II.
THE FORREST MEDALS.
The duplicate of the first medal in gold was presented by Mr. Forrest to
the New York Historical Society, at a meeting held June 22d, 1868,
through the hands of James Lawson. It was accepted, with a vote of
thanks to the donor, and placed in the archives of the Society.
The legend or motto on the second medal is from a sonnet by James Lawson
“To Andrew Jackson,” which may be found in Duyckinck’s Cyclopædia of
American Literature, vol. ii. p. 280, New York edition, 1855.
The tokens were issued by tradesmen as a mode of advertisement. They are
an interesting proof of the great popularity of the tragedian.
I.
_Ob._—A profile head of Forrest, facing to the left. Below the head
engraver’s initials, “C. C. W., Sc.”
_Leg._—“Histrioni optimo Eduino Forrest, viro præstanti, MDCCC.
XXXIV.”
_Rev._—The muse of Tragedy seated, holding in one hand a wreath, the
other holding a dagger, and resting on her lap. A mask resting
beside her.
_Leg._—“Great in mouths of wisest censure.”
_Ex._—“C. INGHAM, Del.”
Metal, silver; size, 1–11/16 inch; edge plain. Two struck in
gold, twenty-six in silver.
II.
_Ob._—A profile bust of Forrest, facing to the left.
_Leg._—“Edwin Forrest.”
_Ex._—In small letters, “_A. W. Jones, Del._ F. B. Smith & Hartmann,
N. Y., fecit.”
_Rev._—A wreath bound with a ribbon, on which are inscribed the names
of Mr. Forrest’s celebrated characters. Within the wreath, “Born
in the City of Philadelphia, Pa., March 9, 1806.” “Just to
opposers, and to friends sincere.”
Metal, copper; size, 3 inches; edge plain. Two struck in
silver; also struck in tin.
III.
_Ob._—A profile head of Forrest, facing to the left. Below the head
the engraver’s name, “Merriam, Boston.”
_Leg._—“Edwin Forrest, born March 9, 1806.”
_Rev._—An olive wreath, enclosing the words, “Rose by his own
efforts,” also engraver’s name, “Merriam, Boston.” Outside of
the wreath, “Just to opposers, and to friends sincere.”
Metal, copper; size, 1⅕ inch; edge plain. Also struck in
tin.
THE FORREST TOKENS.
I.
_Ob._—A profile bust of Forrest enclosed with laurel branches, and
facing to the right.
_Rev._—“E. Hill, Dealer in Coins, Medals, Minerals, Autographs,
Engravings, Old Curiosities, &c., No. 6 Bleecker St., N. York,
1860.”
Metal, tin; edge plain; size, 1⅛ inch.
II.
_Ob._—Same as last.
_Rev._—Half-length figure of a man smoking. Legend, “No pleasure can
exceed the smoking of the weed.”
Metal, tin; edge milled; size, 1⅛ inch.
III.
_Ob._—Same as No. I.
_Rev._—A box of cigars (regalias), two pipes crossed above the box.
Legend, “Levick, 904 Broadway, New York, 1860.”
Metal, tin; edge milled; size, 1⅛ inch.
IV.
_Ob._—Same as No. I.
_Rev._—“F. C. Key & Sons, Die Sinkers and Medalists, 123 Arch St.,
Phila.,” enclosed within a circle of thirty-two stars.
Metal, tin; edge plain; size, 1⅛ inch.
V.
_Ob._—A profile bust of Forrest, facing to the right. Legend, “Edwin
Forrest.”
_Rev._—Same as Rev. IX., last.
Metal, tin; edge plain; size, 1⅛ inch.
VI.
_Ob._— Same as No. V.
_Rev._—Profile bust of Webster, facing to the right. Legend, “Daniel
Webster.”
Metal, tin; edge plain; size, 1⅛ inch.
VII.
_Ob._—Same as No. V.
_Rev._—“Dedicated to Coin and Medal Collectors,” enclosed by two palm
branches crossed. Ex., “1860.”
Metal, tin; edge plain; size, 1⅛ inch.
VIII.
_Ob._—Same as No. V.
_Rev._—A race-horse standing, and facing to the left. “Mobile Jockey
Club.” “Member’s Medal.”
Metal, tin; edge plain; size, 1⅛ inch.
IX.
_Ob._—Same as No. V.
_Rev._—A witch riding on a broomstick. “We all have our hobbies.” “G.
H. L.”
Metal, tin; edge plain; size, 1⅛ inch.
X.
_Ob._—Same as No. V.
_Rev._—The name “Key” in large letters occupying the entire centre of
the field; within the name are enclosed in small letters the
following, “Ornamental Medal and Seal Die Sinkers, &c., &c., 329
Arch St., Phila.” The whole surrounded by a constellation of
stars.
Metal, tin; edge plain; size, 1⅛ inch.
XI.
_Ob._—Same as No. V.
_Rev._—“Not transferable, 1853.”
Metal, tin; edge plain; size, 1⅛ inch.
XII.
_Ob._—Same as No. V.
_Rev._—Cupid on a dolphin. Ex., “1860.”
Metal, tin; edge plain; size, 1⅛ inch.
XIII.
_Ob._—Same as No. V.
_Rev._—“F. C. Key & Sons, Die Sinkers and Medalists, 123 Arch St.,
Philadelphia.”
Metal, tin; edge plain; size, 1⅛ inch.
INDEX.
Acrostic on Forrest, 845.
Actions, the ninth dramatic language, 467.
Actor, fame of, not perishable, 338.
Actors, generosity of, 526.
lives of, 20.
Adams, Samuel, 24.
Æsthetic gymnastic, 659.
Albany, speech of Forrest there in 1864, 559.
Alger, William R., 846.
Allen, Caridora, 324.
Alleyn, Edward, 847.
America, characteristic faults of, 49.
composite of races in, 47-52.
future of drama in, 547.
idea and genius and destiny of, 40-44.
lessons for, from the East, 48.
American Drama, 421.
American School of Acting, 17.
Americanism, intense, of Forrest, 39, 40.
Angelo, Michael, 480.
Animal magnetism, 468, 469.
Animals, societies for preventing cruelty to, 86.
Aristocratic code of manners, 669.
Artistic School of Acting, 646, 658-662.
Asp, hisses the Cleopatra of Marmontel, 479.
Asses, Feast of, in the Church, 685.
Astor Place Opera-House Riot, 430-432.
Atheists, 576.
Athletic development, its glory, 251.
Attitudes, the second dramatic language, 464.
Auld Lang Syne, 422.
Ball, Thomas, sculptor, his Coriolanus statue, 631-633.
Bannister, John, Forrest’s admiration of, 30.
his retort on the jealous actors, 480.
his vast popularity, 585.
Barnwell, George, moral power of the play, 703.
Baron, the French actor, 643.
Barrett, Mrs. George, 533.
Barry, Thomas, 527.
Bath, Russian, Forrest’s first one, 283.
Battle of the Theatre and the Church, 682-695.
Beecher, Henry Ward, on theatre, 693.
Bertinazzi, the pantomimist, 544.
Betty, Master, the Infant Roscius, 595.
Biddle, Nicholas, 325.
Bird, Robert M., 169.
Black, Colonel Samuel, 574.
Blake, William R., his Jesse Rural, 545.
Bob, Forrest’s mocking-bird, 824.
Bogota, Broker of, 350.
Bohemians, dramatic critics, 438, 549.
Bonaparte, Jerome, Forrest’s interview with, 413.
Booth, Edwin, abusive criticism of, 457.
the elder, 540.
Wilkes, affecting anecdote of, 546.
Borgia, Rosalia de, Forrest appears as, 60.
Bowie, Colonel James, 118-120.
Bozzaris, Marco, 192, 289.
Brady, James T., 618.
Breeding, animals and human species, laws of, 46.
Broker of Bogota, 350.
Brooke, Gustavus Vasa, plays Iago to Forrest’s Othello, 401.
Brownie, Forrest’s horse, 823.
Browning, Elizabeth Barrett, 563.
Brutus, 220.
Bryant, William Cullen, 338.
speech at Forrest Banquet, 417.
Bryson, Mrs., Forrest boards with, 105.
Burns, Robert, birthday festival in memory of, 403.
Burton, W. G., his toast, 339.
Cade, Jack, by R. T. Conrad, 360.
Caldwell, James H., 71, 111, 116, 137.
California, official honors to Forrest, 555.
visit of Forrest there, 570.
Cass, Lewis, gives a banquet in honor of Forrest, 593.
Catullus, his threnody, 624.
Chamouni, Forrest reads Coleridge’s hymn there, 281.
Chandler, Joseph R., 333.
verses on Forrest, 67.
Channing, William Ellery, 563.
Character, three types of, in every man, 460.
Charm, fourteen-fold, of the theatre, 688.
Children, Forrest’s love for, 581, 824-826.
Childs, George W., 836.
Chinese Drama, 683.
Choate, Rufus, death of, 573.
Church and Theatre reconciled, 718.
Circus, Forrest engages as a rider in, 112.
Claqueurs, hired, 594.
Classic School of Acting, 640.
Clay, Henry, anecdote of, 593.
Clown, secret of the vulgar delight in, 698.
Club, the Edwin Forrest, 845.
Coleridge, 24.
Columbine and Harlequin, 697.
Columbus, 698.
Comer, Thomas, subjected to priestly bigotry, 694.
Comparisons, personal, uses of, 673.
Conrad, Robert T., 169, 332, 615, 616.
Consuelo letter, the, 486.
Contradictory accounts of Forrest’s Claude Melnotte, 458.
Conway, the ill-fated actor, 136.
Cooke, George Frederick, 456.
Cooper, J. Fenimore, tribute to, 601.
Cooper, Thomas A., interview of Forrest with, 68, 533.
Coriolanus, as played by Forrest, 762-769.
Leggett on, 324.
Criticism, dramatic, in newspapers, 458.
need of, for the critics, 439.
Critics, Forrest grateful to three classes of, 434-436.
Cushman, Charlotte, her Nancy Sykes, 457.
Damon, 211.
Davenport, E. L., 540.
his tribute to Forrest, 541.
Dawson, Moses, 104.
Death always essentially the same, 831.
and immortality, Forrest on, 814.
of actors, 831.
of Forrest, 832.
Definition of the Drama, 22, 459.
Delsarte, François, 657-662.
Democracy, ideal of, in Forrest, 53.
Democratic code of manners, 669.
Democratic Review on Forrest’s second reception in England, 399.
Dewey, Rev. Orville, his eloquence, 339.
Dougherty, Daniel, 16, 577, 834, 836.
Drake, the theatrical manager, 536.
Drama, definition of, 22, 459.
Dramatic Art, definition of, 87.
illustrated in fables, 84.
in animals, 78-80.
in children, 83, 84.
in savages, 80-82.
Dramatic Art, in society and in the theatre, 90.
varieties and levels of the, 95.
Dramatic literature, American, patronized by Forrest, 167-170.
Duane, William, first criticism on Forrest, 66.
Dunlap, William, letter of, 336.
Durang, Charles, 149.
Durivage, F. A., letter by, 620.
poem by, 833.
Elssler, Fanny, 563.
Emperor, the American, 634.
England, Forrest’s first appearance in, 298.
American actors in, 296.
Envy, 173.
vanity, and jealousy among actors, 387.
Eshcol, grapes of, 62, 278.
Evans, Platt, and the Distressed Tailor, 109.
Expression, laws of, 463.
Facial expression, the fifth dramatic language, 465.
Fame defined, 583.
not to be despised, 582.
Farragut, Admiral, funeral of, 823.
Feast of Asses, 685.
of Fools, 685.
Febro, Richelieu, and Lear, as represented by Forrest, 354.
Fennell, James, 532.
Five classes of censorious critics, 436-439.
Focal points in society where human nature is revealed, 674-680.
Fonthill Castle, 484, 485.
Fools of Shakspeare, 540.
Forgiveness of enemies, beauty and wisdom of, 605.
Forms, the first dramatic language, 464.
Formula of central law of dramatic expression, 793.
Forney, John W., 577, 593, 836.
Forrest, Mrs. Catherine N., 483.
letters by her, 382, 493, 506.
Forrest, Edwin, the author’s first interview with, 15.
misrepresentations of him, 26, 27.
his father, 33.
his mother, 35.
his brothers and sisters, 36-39.
intended for Christian ministry, 56.
first appearance on the stage, 60, 61.
takes nitrous oxide in the Tivoli Garden, 63.
his spirit of revenge, 64, 65.
his early practice of gymnastics, 96.
sickness of, in New Orleans, 130.
chased by a shark, 139.
his gymnastics, 141.
forswears gambling, 147.
his débût in New York, 150.
pays his father’s debts, 167.
makes his mother and sisters independent, 167.
attacks on, and enmity to, 173-179.
public dinner to, in New York, 181.
disliked to impersonate ignoble characters, 259.
visits the grave of Talma, 266.
public dinner to, in Philadelphia, 325.
nominated for Congress, 348.
his letter on the giving of benefits by actors, 378.
hisses Macready, 410.
anecdotes of, at Edinburgh, 412.
his limitations as an actor, 472.
flings off his wig on the stage, 478.
tribute to, by James E. Murdoch, 480.
his jealousy of his wife, 488-490.
first appearance on the stage after divorce, 502.
his tremendous strength, 539.
portraits of, at different ages, 586, 587.
originality of, 664.
thrice thought of leaving the stage, 795.
his letter on Lear, 797.
his last appearance in New York, 801-810.
last appearance on the stage, 811.
defects in character of, 816.
his love of his mother, 822.
estimates of, after his death, 836-840.
his lasting memory, 847, 848.
Fourth-of-July celebration, oration by Forrest, 339.
in London, 413.
French notice of Forrest in Parisian journal, 398.
Friendship, its rarity, its nature, its meaning, 606-609.
Future of the Drama in America, 547.
Gallagher, William D., 101, 105, 614.
Gambling, its fearful power, 147.
Garrick, 455.
and Lekain in Paris, 546.
his couplet on Nature and Art, 667.
tomb of, 189.
Garrick Club, banquet to Forrest by, 316.
Gaylord, Tom, 841.
Gazonac, the gambler and duellist, 122-124.
Genealogy, its interest and importance, 32.
Genius of the Drama in Shakspeare, 524.
Genoa, Forrest boards an American man-of-war at, 277.
Georges, Mademoiselle, 264.
Gestures, the fourth dramatic language, 465.
Gilfert, Charles, the manager, 147, 150, 154, 155.
Gospel and Drama have the same end, 682.
Government, the ideal of, 51.
Graham, Captain, 126, 131.
Graham, John, 618.
Grant, General, 610.
Great men, 23, 24.
Greek Drama, 683.
Greene, Charles Gordon, 614.
Gymnastic, æsthetic system, 563-566.
ecclesiastic contempt for, 561.
the Greek, 560.
training of Forrest, 564.
Hackett, James H., 191.
the American Falstaff, 540.
Halleck, Fitz-Greene, 192, 403.
Hamlet, as played by Forrest, 751-762.
Harlequin and Columbine, 697.
Harrison, Gabriel, 542.
acknowledgments to, 31.
speech by, 845, 846.
Harrison, William Henry, his kindness to Forrest, 105.
Heenan, John C., 563.
Henry Clay, burning of the steamer, 554.
Hereditary qualities in Forrest, 45.
Heredity, law of, 44, 45.
Hernizer, George, teaches Forrest to spar, 160, 161.
Heywood, Thomas, lines to, 524.
Hissing justified by Forrest, 411.
Holland, George, 531.
subject of priestly bigotry, 694.
Holley, President Horace, 101, 102, 842.
Home, the Edwin Forrest, for Decayed Actors, 847.
Hooper, Lucy H., poem by, 825.
Hospital, secrets of human nature discovered in, 676.
Humboldt, Forrest’s tribute to, 820.
Humor, a happy attribute, 818.
Humorous anecdotes of Forrest, 819.
Hunter, James, a valuable critic of Forrest, 434.
Iago, the canal-boatman on Forrest’s, 477.
Idea, the American, Asiatic, and European, 54.
Ideal of life, the ecclesiastic and the dramatic, 689.
Ideals expressed in acting, 195, 196.
Immigration to America, 40, 41.
Indian summer, 575.
Ingersoll, Charles, his speech at the Forrest banquet in Philadelphia,
336.
Ingersoll, Joseph R., 327.
Ingham, C. C., the artist, 182.
Ingraham, D. P., 166.
Irving, Washington, 338.
Jackson, Andrew, Forrest’s visit to, 384.
Jamieson, George W., 486, 610.
Japanese Drama, 683.
Jealousy, its different levels, 513-522.
the, of Forrest, 488-490.
Jefferson, Joseph, his letter to Forrest, 544.
Jefferson, Joseph, the elder, 456, 534-536.
Forrest’s tribute to, 827.
Jefferson, Thomas, tribute to, by Forrest, 343.
Johnson, Dr. Samuel, on Garrick, 585.
Jones, the theatrical manager, 537.
Juliet, actress in, first awakened love in Forrest, 532.
Kean, Edmund, 141-146.
belittling and insulting critiques on, 456.
Kellogg, Miss Gertrude, 537.
Kemble, Charles, presents two swords to Forrest, 317.
Kemble, John Philip, 456.
Kennedy, John P., 338.
King, Starr, tree in Mammoth Grove, 571.
Kingship and priesthood of man, 53.
Kneller, Sir Godfrey, on Addison, 678.
Knowles, James Sheridan, 275.
his anecdote of Siddons, 545.
Lablache, his facial picture of a thunder-storm, 657.
Labor and Cost, 682.
La Fayette, Forrest sees him, 133.
Lafitte, the pirate, 125.
Landor, Walter Savage, 577.
Languages, the nine dramatic, 464.
Laughter, abuse of, 702.
Laws of dramatic expression, 793.
Lawson, James, 152, 491, 506, 836.
a great friend of Forrest, 613, 645.
Lawyer, a New York, taught love of nature by Forrest, 576.
Lear, as played by Forrest, 781-792.
Forrest’s letter on, 797.
Leggett, William, 152, 192.
anecdotes of, 373.
desires to write a play on Jack Cade, 325.
his death in 1838, 372.
letter of Forrest to, 316.
letter of, to mother of Forrest, 297.
speech in Philadelphia, 337.
toast in memory of, 422.
Leggett, William, tributes to, by Bryant and Whittier, 374.
Lekain, the French actor, 643.
and Garrick in the Champs Elysées, 546.
Lesson of Coriolanus, 791.
of Rip Van Winkle, 792.
Lessons in the acting of Forrest, 792, 793.
Library, the, of Forrest, 578.
Lillie, Miss, 537.
Limitations of Forrest as an actor, 472.
Love, in human life and in dramatic art, 508-510.
the six tragedies of, 510-513.
Macbeth, as played by Forrest, 737-746.
Mackaye, James Steele, 567.
Mackenzie, Dr. R. Shelton, 448.
Macklin, Charles, 455.
on Garrick, 844.
Macready, William Charles, 389-391.
Magnetism, human, 26, 118.
personal, its power, its grades and law, 721-726.
Magoon, Rev. E. L., 556.
Man, his inherent kingship and priesthood, 53.
his nine dramatic languages, 464.
Manliness of Forrest as an actor, 664.
Manners, index of souls, 667.
the art of, seen on the stage, 706.
the four codes of, 668.
Marionette-play, or a puppet-show, 699.
Marriage of Forrest and Miss Sinclair, 321.
Mars, Mademoiselle, Forrest’s introduction to, 270.
Marshall, Chief-Justice, Forrest sees him, 132.
Mazurier, the famous Punchinello, 699.
McArdle, Joseph, 819, 840.
McCoun, Chancellor, his speech at the Forrest Banquet, 1855, 185-187.
McCullough, John, 527, 542, 840.
McMichael, Morton, 331.
Melnotte, Claude, by Lord Lytton, 356.
Melodrama, defined, 696.
Melodramatic acting, 543, 643.
justified, 250.
Memory, the, of Forrest, 847, 848.
Metamora, 237.
London Times on, 476.
Miles, George H., 169.
Millennial state, how to be secured, 682.
Mills, John F., his report of Forrest’s talk at Cohasset, 579, 580.
Milman, Henry Hart, 321.
Mob, the Forrest-Macready, dispersed by military, 431.
Mohammed, 697.
Money, evils of the intense struggle for, 682.
Forrest’s alleged love of, 552, 553.
ingratitude of borrowers of, 530.
Moralities and Mysteries, 686.
Moray, John S., 802.
Morrell, T. H., a friend of Forrest, 31.
Mossop, 455.
Mother, Forrest’s love for his, 423-428, 822.
Motions, tend to produce the emotions they express, 568.
Movements, automatic, the third dramatic language, 464.
Murdoch, James E., his tribute to Forrest, 480.
Music, revelation of characters by, 695.
Mysteries and Moralities, 686.
Napoleon, Louis, 698.
Natural School of Acting, 643.
Nature and art in acting, 648, 663.
Negro, Forrest the earliest impersonator of, on the stage, 108, 109.
New Orleans, characteristics of, 113, 114.
Newspapers, their good and evil, 432.
Nine dramatic languages of man, the, 464.
Noises, inarticulate, the sixth dramatic language, 466.
Oakes, James, at the bier of Forrest, 833.
causes this biography to be written, 14-16.
his description of Forrest in Virginius, 650.
his first meeting with Forrest, 164.
his friendship with Forrest, 624-638.
his impression of Mrs. Wheatley, 533.
letters of Forrest to, 571, 573, 813, 814.
nurses Forrest, 812, 826, 830.
sketch of him, 619-624.
Oblivion speedily overtakes most men, 34.
O’Conor, Charles, his attack on Forrest, 486.
Originality has to buffet detraction, 475.
Othello, as played by Forrest, 769-781.
Padishah, Forrest’s adventure with, 288.
Page, William, his portrait of Forrest as Spartacus, 586.
Paine, Thomas, letter of, to Washington, 574.
Palace of king, secrets of human nature discovered in, 675.
Paralysis, Forrest attacked by, 569.
Parasites, 595.
Passions, the great dramatic, 463.
Paulding, James K., his advice to Forrest, 238.
Penalties of fame, 594.
Personal criticism, two evils of, 672.
Physical training, 158, 159.
Pike, Albert, 623, 624.
Pilmore, Dr. Joseph, 56.
Placide, Henry, 282.
Placide, Miss Jane, 137, 291.
Player, the perfect, his requirements, 472.
Plebeian code of manners, 669.
Politeness, principle of, 667.
Popularity, formerly and now, 172.
Porter, Charles S., the manager, 59, 147.
Prentiss, Sargent S., 24.
Press, its abuses in America, 432, 433.
Pride and vanity, 388.
Priest and player, their hostility, 689-695.
Priesthood and kingship of man, 53.
Prison, secrets of human nature discovered in, 676.
Prizes and penalties of fame, 594.
Profanity a safety-valve sometimes, 580.
Professional habits, 523.
Professions, the, 674-682.
the academic, 681.
the artistic, 678.
the dramatic, 679.
the imperial, 675.
the legal, 676.
the medical, 676.
the military, 675.
the priestly, 667.
Puppet-show, 699.
Push-ma-ta-ha, the young Choctaw chief, 125, 128, 138.
Quaker, cruelty of, to young Forrest, 65.
Quarrel, the Macready and Forrest, 422, 428-431.
Quin, 455.
Rachel, Forrest’s early prophecy of her greatness, 266.
her astonishing power, 707.
Readings, dramatic, by Forrest, 829.
Rees, James, 577, 813.
anecdote by, 478.
Richard, as played by Forrest, 746-751.
Richelieu, as played by Forrest, 728-737.
Riddle, Mrs., 99, 106, 110, 537.
Riot, Astor Place Opera-House, 430-432.
Robson, William, his “Old Play-Goer,” 456.
Rolla, 199.
Roman Drama, 684.
Romantic School of Acting, 641.
Royal code of manners, 668.
Russian Bath, Forrest’s, at Hamburg, 283.
Salvini, his La Civile Morte, 354.
his Othello compared with Forrest’s, 769.
inconsistent judgments on, 458.
San Francisco, Forrest’s first appearance there, 570.
Sarcasm, contradiction of tone and word, 470.
Satire of priests by players, 692, 693.
Saul, representation of, by Salvini, 712-718.
Sayers, Thomas, the pugilist, his funeral, 583.
Schools of Acting, 630-670.
Scoggan, the fool, 698.
Sedley, Henry, 439, 802.
Servility to the newspaper press an American vice, 600, 601.
Shakspeare, 524.
Forrest’s tribute to, 820.
remarkable tribute to, 578.
Shakspearean characters, interest of Forrest in, 737-739.
Shark, a, chases Forrest, 139.
Siddons, Mrs. Sarah, 456, 523, 525.
verses by, 596.
Sinclair, Catherine Norton, Forrest first meets, 320.
Sinclair, Mrs. C. N., 650.
Sinister and benign aspects of the four codes of manners, 668-670.
Smith, Sol, 104, 112, 618.
Sonnet to Forrest, 406.
Spartacus, 249.
Spinoza, Benedict, his Ethics, 578.
Standard, true, of criticism, 459, 469.
Standards for judging men, primary and secondary, 672.
Steevens, George, satirizes Mrs. Siddons, 456.
Stone, John A., 169.
Stratford-upon-Avon, Forrest’s visit there, 291.
Stuart, Gilbert, his last portrait one of Forrest, 586.
Studio, secrets of human nature discovered in, 676.
Sunshine, Forrest’s love of, 564.
Swift, Colonel John, 63, 333.
Talfourd, Thomas Noon, 316.
Talma, 189, 266, 317, 455.
Tartuffe, 692.
Tasistro, Louis F., acrostic on Forrest by, 845.
Taylor, James, 101, 616-618.
letter by, 841-844.
Tell, 204.
Temperaments, the chief varieties enumerated, 461.
Temple, secrets of human nature discovered in, 667.
Tent of general, secrets of human nature discovered in, 675.
Terrible fall from a balustrade, 796.
Theatre, alleged decline of, 828.
a nation in itself, 19.
fourteen-fold charm of, 688.
its future, 19.
its relation to church and state, 52.
secrets of human nature discovered in, 679.
the whole universe a divine one, 77.
Theatres of Greece and Rome, 639.
Theatricality, Forrest’s freedom from, off the stage, 821, 822.
Timon and parasitic friendship, 611.
Tivoli Garden, 329.
Tones, inflected, the seventh dramatic language, 466.
Tragedy, melodrama, and comedy compared, 91-93.
Training, physical, 158, 159, 161.
Tree, Ellen, 324.
Trowbridge, J. T., his “Darius Green,” 629.
Union, the American, Forrest on, 573.
Uses, social, of the dramatic art, 695.
Verses written by Forrest, 134-136.
Vincent, Mount Saint, Catholic sisterhood, 554.
Virginius, 230.
Voice of Braham, 655.
of Henry Russell, 653.
Voice, the perfection of, 653-656.
Voyage to Europe, 263.
Wagner, James V., 614.
Wallace, William Ross, poem on Forrest, 558.
Walpole, Horace, 455.
Walsh, Mike, his attack on Forrest, 375.
Webster, Daniel, 25, 388.
Wetmore, Prosper M., verses by, 156.
Wheatley, Mrs. Sarah, 538.
Wheatley, William, 538, 545.
Willis, N. P., 498.
Wilson, Alexander, the ornithologist, 57, 58.
Winter, William, 712, 651, 802.
Woffington, Peg, 459.
Woodhull, the actor, Forrest plays for his benefit, 149.
Words, articulated, the eighth dramatic language, 467.
Wright, C. C., the artist, 182.
Wright, Silas, and Daniel Webster, 610.
Wyman, Col. Powell T., 574, 622.
Zoroaster, 564.
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TRANSCRIBER’S NOTES
1. Silently corrected typographical errors and variations in spelling.
2. Anachronistic, non-standard, and uncertain spellings retained as
printed.
3. Enclosed italics font in _underscores_.