At that time, as has been said, the influence of English literature and talent held almost exclusive possession of the field in this country, most especially in theatrical matters. All the great travelling stars of the stage, until Forrest rose, had been drawn from the English galaxy. The chief dramatic critics were Englishmen. There was a strong banded interest to keep these things so. But the rising spirit of nationality was beginning to assert itself. In the conflict that ensued, Forrest was made a central figure around whom the struggle raged most fiercely. The English clique were pledged to maintain the supremacy of their own school and its representatives, while the Americans stood up distinctively in support and praise of whatever was native. A majority of the worst critiques against Forrest were written by foreigners under the instigation of the English clique. The extent and power of this passionate bias on both sides are now so nearly a mere matter of the past that it is not easy for the present generation to realize them. The manager of a prominent New York journal enlisted on the English side, who had a strong antipathy to Forrest on personal grounds, resolved to write him down, cost what it might. A friend of the actor said to the editor, "You cannot do it; he is too popular." The editor replied, "The continual dropping of water wears away the stone," and made his columns pour an incessant rain of satire and abuse. Many a damaging estimate was levelled against him simply as the first American tragedian who had by his original power acquired a national reputation and promised through his increasing imitators to found a school.