New-York tribune., 1881-09-25

him the private life of Betterton with his owl
nndeniable genins. No man knew the right way
better than he no man, when his imperl0us VIII
was opposed. more often stubbornly chose the
wrong; At the very moment when bis reputation
seemed tne most ASSURED, IT received It's deatD
blow, and at his own hands. IL bis headstrone
obstinacy had but yielded to the importantly OF
ms ms real friends and his own better Judgment al
tne most momentous periods OF his lIfe mad he
studied the effect of his conduct upon the then
struggling American drama, had he sho gn less
care for his pride and more for his art there would
have been no divorce trial. riot in Astor-place.
I The one would have been quietly settled without
public scandal. the other prevented by the power
which he could have exercised over his iniudcious
admirers. The first gave to his private life noto-
i riety which will ever be remembered to his dis,
credit the last identified him in his professional
life with the passions Of a mob. and served to
increase the prejudice aeady felt in refined society
against his too emphatic democracy. The high
place to which FORESTS genius had raised him
demanded sacrifice his part of his personal
feeling and in his lamentable hastiness he out,
ragged good taste and public opinion, and sulled
his own good name.
Forrest was great lover of books All his life
he had been an extensive reader. anG he often
asserted that the successful actor could not help
acquiring liberal education in the course of his
work. He was an excellent illustration OF his own
theory In this respect for he gained all he ever had
in the way of knowledge after he entered the
profound love and reverence, but none for dogma
Tor the authority of the Church: He loved his
friends. He hated his enemies. A lie 10 him was
the most objectionable of offences He had strong
passions and they often became his master. In
frame he was giant. and he had many of the
weaknesses of character that often attend magn
lccnt physical gifts.
Forrest lived to see the reign of meodrama and Of
sensatonalism. The hero of the old classical
stood face to face with the light-armed, naked
bodied intruder who had for time won the popular
regard. He fell before il, and his own Efforts were
neglected and forsakcn by the admirers of an un-
namable outrage upon the stage OF any reputable
theatre.
Forests greatest Shakespearean parts were Lear
OteNo and COytotanus. The first grew mellow and
rich rs the actor grew in years: while il still re:
rlarf flDfI.
with the decline of his faculties. although his
clear conception of all he did apparent TO The
end in his acting of every of his parts. C0ro
lqnus died with him. the last of ali the Romans
lie greatest. however in such roles as Virgnitts
Udham !eu and span tdcas Here his mannerisms
ol gait ana OF utterance were less noticeable than in
his Shakespearean characters were overlooked
in the rugged massiveress OF the creation. Hamlet,
htchdrd and Macbeth were out of his temperament.
and added nothing to his fame; but kickeleu said
to have been one OF his noblest and most Impressive
performances. He was in all things marked and
distinctive. His obtrusiye personality often ne
stroyed the harmony of the portrait he paint
ing but N his inspired moments which were mpuv
his touches we're sublime. He passed over u" nnief
scenes with little elaboration. and dwelt strongly
upon the grand features of the characters he
represented his Lear, in the great scenes, rose to
a majestic height. but fell in places almost TO
mediocr,ty. Hs art was nneaua to his natural
gifts lie was fotally unlike his great contem-
porarv and rival Macready whose attention TO
detail gave TO every performance the harmony of
Fore SITS voice, as has been said, was powerfu
and musical, and he used it with marvellous effect.
lie never oVer-eXcited himself or tired his listener
lie displayed at each rising stage OF great passion
new capabilities, and when seemed that his
onderful strength could bear no more, he cleo
trlhed ms audiences by a greater and still more
powerful ouiburst of eoquence. His tenderness lay
IN the tones of bis voice, the almost womanly
sweetness OF his utterance. His grief was manly,
never maudlin or souess. His presence was com
manding and impressive beyond that of any actor
of his time. During his life be was surrounded by
lmitators who caught only the imperfectons, the
outward manner of the man; but he founded no
school, he created stve of acting. by which hls
lis nd axaI
hlm for all IN ALL we shall not look upon his like
again.