• 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, 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, 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.

Passi 8/61348-h/61348-h.htm#Page_156" class="pgexternal">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.