They met little encouragement at Lebanon, and proceeded to Dayton, where they had still poorer success. In fact, their funds and their hopes gave out together, and they agreed to disperse. Forrest had not one cent in his pocket. He started on foot for Cincinnati, a distance of about forty miles. Journeying along on the bank of the Big Miami River, he spied a canoe on the other shore. How much easier it would be to float than to walk! He stripped, plunged, and swam. As soon as he was near enough to see that the boat was chained and locked, the owner of it appeared and pointed a gun at him. He made backward strokes to his clothes, and resumed his plod. It was evening when he reached Cincinnati, pretty well fagged out. Some of his acquaintances met him in the street, said an amateur club were that night to play the farce of Miss in her Teens across the river at Newport, that one of the fellows was drunk, and asked him if he would fill the vacancy. He consented to do it for five dollars. They agreed to give that price, and he went and did it. The excessive fatigue probably made it the hardest-earned, as it was the sorest-needed, five dollars he ever received. It nearly exhausted the proceeds of the performance. In a short time the scattered strollers rejoined their forces at Louisville to try one more experiment. They succeeded moderately well. But Archibald Woodruff, keeper of the Globe Inn in Cincinnati, had fitted up a hasty and cheap structure adjoining his tavern, and christened it the Globe Theatre. He invited the Louisville company to come and open it. They did so on the evening of June 2d, 1823, with Douglas, Forrest as Norval. June 4th they gave the play of The Iron Chest, Forrest as Sir Edward Mortimer, Mrs. Riddle as Lady Helen. On subsequent nights he sustained among other characters those of George Barnwell, Octavian in The Mountaineers, Jaffier in Venice Preserved, and Richard the Third, besides several parts in low comedy. But perhaps the most surprising fact connected with this portion of his career is that he was the first actor who ever represented on the stage the Southern plantation negro with all his peculiarities of dress, gait, accent, dialect, and manners. This he did ten years before T. D. Rice, usually denominated the originator of the Ethiopian drama, made his début at the Bowery in the character of Jim Crow. Rice deserves his fame, for, though preceded first by Forrest, and then in a more systematic fashion by George W. Dixon, he was the man who really popularized the burnt-cork and burlesque minstrelsy and made it the institution it became.