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Source global Wall Street Journal     time 2022-01-14 21:11:29
Typefacelarge in Small
"The Gladiator," written by Robert Montgomery Bird, was another prize-play, in which Forrest acquired a popularity which, if less general, was more intense, than that secured for his Metamora. If the admiration and applause given to it were drawn less universally from men and women, from old and young, they were more fervent and sustained, being fed by those elementary instincts which are strongest in the robust multitude. The Spartacus of Forrest was more abused and satirized by hostile critics than any of his other parts, because it was the most "physical" and "melodramatic" of them all. Muscular exertion and ferocious passion were carried to their greatest pitch in it, though neither of these was displayed in a degree beyond sincerity and fitness or the demands of the given situations on the given embodiment of the character. There are actual types of men and actual scenes of life which are transcendently "physical" and "melodramatic." No actor can truly represent such specimens of human nature and such conjunctures of human history without being highly "physical" and profoundly "melodramatic." Is it not the office of the player, the very aim of his art, correctly to depict the truth of man

The following tribute was paid to him in one of the papers of his native city on the day of his burial:

Carrying a fresh laurel crown under his cloak, he sought out the consecrated place among the crowd of undistinguished graves, reverently laid his tribute there, and lingered long in meditation on the career, the genius, the renown of the greatest stage-actor of France, and the lessons to be learned from his life and character by ambitious successors in his art. Thus, like Byron at the grave of Churchill, did the player draw his profitable homily from "the glory," though, unlike the morbid bard, he did not think of "the nothing, of a name."

"My dear mother, that your years may be long and increase in comforts is the sincere prayer of your truly affectionate son,

Like rose-leaves scattered.'"

Taking a horse and a guide, Forrest started out from Aloupka to explore one of the neighboring Tartar villages.

And, swift as motion of the human arm can make it, the knife pierces her heart. The storm has burst, the lightning has wreathed its folds around the consecrated instrument of the work, and now the thunder-tones of his voice crash through the theatre in the awful exclamation,—

Forrest had seen the rôle of Damon filled by Cooper with transcendent dignity and energy, and the remembrance had been burned into his brain. It was one of the most finished and famous impersonations of that celebrated actor, who charged it with honest passion and clothed it with rugged grandeur. The representation by Cooper, though unequal and careless, was so just in its general outlines to the idea of the author, that when Forrest first hesitatingly essayed the character, he had as a disciple of truth, perforce, largely to repeat the example. But he came to the part with a fresher youth, a more concentrated nature, a keener ambition, and a more elaborate study; and, original in many details as well as in the more conscientious working up of the harmony of the different scenes, it was soon conceded that


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