352 ARTISTS AND AUTHORS farewell banquet was tendered him by the citizens of New York, and a meda! was struck in honor of the occasion. Bryant, Halleck, Leggett, Ingraham and other distinguished men were present. This was an honor which had never be- fore been paid to an American actor. He had been absent about two years when he landed in New York in Sep- tember, 1836. On his appearance at the Walnut Street Theatre, Philadelphia, he was received with unprecedented enthusiasm. He gave six performances only, on this occasion, and each saw a repetition of the scene at the beginning of the engagement. The receipts were the largest ever known in that house. On September 19, 1836, Forrest embarked once more for the mother coun- try, this time with serious purpose. After a speedy and uneventful passage he reached England, and at once set about the preliminary business of his British engagement, which began October 17, 1836. He was the first really great Amer- ican actor who had appeared in London as a rival of the English tragedians ; for Cooper was born in England, though always regarded as belonging to the younger country. His opening part was Spartacus in the "Gladiator." The play was condemned, the actor applauded. In Othello, in Lear, and in Macbeth, he achieved instant success. He began his engagement October 17th and closed December 19th, having acted Macbeth seven times, Othello nine, and King Lear eight. A dinner at the Garrick Club was offered and accepted. Here he sat down with Charles Kemble and Macready ; Sergeant Talfourd was in the chair. It was during this engagement he met his future wife, Miss Catherine Sin- clair. In the latter part of June, 1837, the marriage took place in St. Paul's Church, Covent Garden. Mr. and Mrs. Forrest soon after embarked for Amer- ica. The tragedian resumed his American engagements November 15, 1837, at the old Chestnut Street Theatre, Philadelphia. Presented to his friends, his wife at once made a deep and lasting impression. Her native delicacy of mind and refinement of manners enchanted those who hoped for some such influence to be exerted in softening the rough vigor and democratic downrightness of the man. Domestic discord came too soon, however, and in an evil hour for himself, in an evil hour for his art and for the struggling drama in America, Edwin Forrest threw open the doors of his home to the scrutiny of the world, and appealed to the courts to remove the skeleton which was hidden in his closet. With the proceedings of that trial, which resulted in divorce, alimony, and separation, this memoir has nothing to do. Edwin Forrest, leaving the court-room a defeated man, was instantly raised to a popularity with the masses beyond anything even he had before experienced. He began an engagement soon after at the Broadway Theatre, opening as Da- mon. The house was crowded to suffocation. The engagement of sixty nights was unparalleled in the history of the American drama for length and profit. But despite the flattering applause of the multitude, life never again had for him the smiling aspect it had so often worn before. The applause which filled his ears, the wealth which flowed in upon him could not improve that temper which had never been amiable, and all the hard stories of his life belong to this period
