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Life of Edwin Forrest, the American Tragedian. Volume 2 (of 2)

Chapter 37: INDEX.
By William Rounseville Alger
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About This Book

The volume traces a celebrated actor's later career, examining how newspapers and critics shaped his reputation, contrasting sympathetic, competent, and lay reviewers whose advice he valued with hostile censors motivated by envy, cliques, or hired bias. It recounts incidents of libel and public accusation, his legal and temperate responses, and his attentiveness to criticism as a tool for artistic growth. Interwoven are reflections on principles of dramatic art, standards for criticism, and the social forces that elevate or debase theatrical life.

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.
  • 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, 433.
  • 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, 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.