The pathos with which Forrest rendered portions of the play of Metamora was one of its most remarkable excellences and one of his most distinctive trophies as a dramatic artist. No theory of the passions or mere mechanical drill in their expression can ever teach a man to be pathetic. Only a disagreeable mockery of it can thus come. Pathos is the one particular affection that knows no deceit, but comes in truth direct from the soul and goes direct to the soul. It may lie dormant in us, as music lies in the strings of a silent harp, till a touch gives it life. Speaking more or less in all, it speaks most in those who cherish it most; and when it speaks it is felt by all,--red man and white man, barbarian and philosopher. The pathos of Metamora was not like that of Damon when he parted with his family to go to his execution, not like that of Brutus when he sentenced his son to death, not like that of Virginius when he slew his daughter. It was a pathos without tears or gesture. The Indian warrior never weeps. It was almost solely a pathos of the voice, and was as broad and primitive as the unperverted faith and affection of man. The supreme example of this quality in the play was finely set off by the contrast that immediately foreran it, its soft, sad shades following a scene of lurid fury and grandeur. A peace-runner brings Metamora the news that Nahmeokee is a captive in the power of his enemies. Leaving fifty white men bound as hostages to secure his own safety, he starts alone to deliver her. As he approaches the English camp, he hears Nahmeokee shriek. With one bound he bursts in upon them, levels his gun, and thunders,-- "Which of you has lived too long? Dogs of white men, do you lift your hands against a woman?" "Seize him!" they cry, but shrink from his movement. "Hah!" he scornfully exclaims, "it is now a warrior who stands before you, the fire-weapon in his hands. Who, then, shall seize him? Go, Nahmeokee; I will follow thee." Then, reminding them of his hostages, he turns on his heel and departs.