The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1898-12-10

TO do bat to 60 on or 70 60 OF. and then
ne desperately rss0g.ed 10 the sxpeEssent
OF throwing n his oEn ~e<As sata ne had
Why didn't you prompt me wnsn 1
glanced at youY' said Murdoch 10 bis sel-
iow-aesor when he retired TO the wings
a s.p dsa.if.sning burst Q. apaaa .as,
never did better IN your life. but where
csd you get the new hres7" II forgot my
lines replied Murdoch, and spoke the
afst that came into my mind. and ] can't
tsIa you now what / really did say"
Neither can l." said Tnayer. '+nevsrrne-
less. the accent ard the rhythm were per-
feet. and the effect fine"
OF a vocal irnisator. BY every exercise OF
uTeaihing. enlargement OF the chest, en1rs-
cation. a-tscula ton and pronunciation be
developed al the power which nature had
gwen him In ms vocal apparatus But he
took care nos 10 fall into the common habit
o. reproducing the tone, manner and IN
HecIcns OF some mode. or instructor. but
70 YET Dis speech harmonize sitn his own
original impulsa or expression Still there
was no human voice which he thought
came so near 70 perfection as Junsus Bru-
isis Booths, IN its deep, resonant, varied.
soui-stIrring power He always thought
mad been srupsrfectiy trained In his young
er days. and had lost the charms OF variety
ana melody IN h.z intense efforts 10 D" res
offaut or emphatic. He had been led into
setting UP Edmund Kean a. vocal model.
and in studying Kean's cultural voice he
acquired the heavy, deep and deliberate
tore which became his chief characteristic
az tragedsan. Murdoch thoroughly APP
precfated Forests powers. although not
aserse 20 crsficsssng his methods; but he
believed that In cuIE.yating this bass-iike
and soncrous quality Of his voice he sacri-
heed the light. fine and subtle capacity Tor
discrimination In Evolutionary effects
But Forrest was always proud or his
voice. His friends say that he was prone
to believe that no other man on the stage
could compass IL in power. He was unde-
csiysSt, however. On ole OF his visits 10
England, where he met Gustayus '.
Brooke the Irish actor. who afterwards ac-
country as a trageaian. On this occasion
Brooke had been assigned TO support For
rest. and was told that the American had
such voice that would drown everything
simply replied. wei, I'll show him some
thing, too. IL he tries it on me-" The play
was Otheilo--Forrest In the title role and
Brooke as .Iago." All went we'll until
the Moor demands the ocular proof. Then
Forrest threw the full force Of hig fhun-
derous tones into the impassioDed lines:
III thou dost SANDER her and torture me.
Never pray more: abandon all remorxe;
On horrors head horrors accumulate;
DO deeds to make heaven weep. all earth
amazed:
For nothing canst thou to damnation add
Greater than that"
IL Is here customary for ''Iago'' TO s.rnu-
late trembling or gasping. and in an eager,
half frightened tone to exeiainl, 20, grace.
q, heaven. defend me, are you many'
etc. But Brooke. after having heard For
rests appalling voice, thought that here
Was the ehancs TO teach him lesson.
lagos expostulating appeal shook the
very roof Of the theater. 1t seemed as IL
''Ofheiios" voice of a minute before had
become absolutely nothing. Forrest was
astounded. In the first place, Brooke had
no right 10 speak his Ines in such a tone.
and nc knew il. But he had been told so
often about Forests voice that he could
not resist the temptation To show that his
own was even more sonorous-