The father and mother of Edwin Forrest were thoroughly Americanized, and taught him none of the special peculiarities of his Scottish or German ancestry. So far as his conscious training was concerned, in language, religion, social habits, he grew up the same as if his parentage had for repeated generations been American. This was so emphatically the case that all his life long he felt something of the Native American antipathy for foreigners, and cherished an exaggerated sympathy for many of the most pronounced American characteristics. Yet there never was any bigotry in his theoretical politics. His creed was always purely democratic; and so was the core of his soul. He was only superficially infected by the illogical prejudices around him. Whatever deviations he may have shown in occasional word or act, his own example, in his descent and in his character, yielded a striking illustration of the genuine relation which should exist between all the members of our nationality, from whatever land they may hail and whatever shibboleths may have been familiar to their lips. Namely, they should, as soon as possible, forget the quarrels of the past, and hold everything else subordinate to the supreme right of private liberty and the supreme duty of public loyalty, recognizing the true qualifications for American citizenship only in the virtues of American manhood, the American type of manhood being simply the common type liberalized and furthered by the free light and stimulus of republican institutions. Overlook it or violate it whoever may, such is the lesson of the facts before us. And it is a point of the extremest interest that, however much Forrest may sometimes have failed in his personal temper and prejudices to practise this lesson, the constantly emphasized and reiterated exemplification of it in his professional life constitutes his crowning glory and originality as an actor. He was distinctively the first and greatest democrat, as such, that ever trod the stage. The one signal attribute of his playing was the lifted assertion of the American idea, the superiority of man to his accidents. He placed on the forefront of every one of his celebrated characters in blazing relief the defiant freedom and sovereignty of the individual man. Thus an understanding of the ground traversed in the present chapter is necessary for the appreciation of his position and rank in the history of the theatre. Boldly rejecting the mechanical traditions of the stage, shaking off the artificial trammels of the established schools of his profession, he looked directly into his own mind and heart and directly forth upon nature, and, summoning up the passionate energies of his soul, struck out a style of acting which was powerful in its personal sincerity and truth, original in its main features, and, above all, democratic and American in its originality.