Another element of strong interest in actors, giving them an imaginative attraction, is the obvious but profound symbolism of their art, the analogies of scenic life and human life. Harley, while playing Bottom in Midsummer Night’s Dream, was stricken with apoplexy. Carried home, the last words he ever spoke were the words in his part, “I feel an exposition to sleep coming over me.” Immediately it was so, and he slept forever. The aged Macklin attended the funeral of Barry. Looking into the grave, he murmured, “Poor Spranger!” One would have led him away, but the old man said, mournfully, “Sir, I am at my rehearsal; do not disturb my reverie.” The elements of the art of acting are the applied elements of the science of human nature. They are the same on the stage as in life, save that there they are systematized and pronounced, set in relief, and consequently excite a more vivid interest. How rich it would have been to share in the fellowship of Lekain and Garrick when in the Champs Elysées they practised the representation of drunkenness! “How is that?” said Lekain. “Very well,” replied Garrick. “You are all drunk except your left leg.” Such works as Colley Cibber’s Apology, the several lives of Garrick, Boaden’s Life of Kemble, Macklin’s Memoirs, Campbell’s Life of Mrs. Siddons, Galt’s Lives of the Players, Proctor’s Life of Kean, Collier’s Annals of the Stage, Doran’s His Majesty’s Servants, were familiar to Forrest. His memory was well stored with their contents. He had reflected carefully and much on the general topics of which they treat, and he conversed on them with eloquence and with wisdom. He cherished an eager interest in everything pertaining to his profession viewed in its most comprehensive aspect. His intelligent and profound enthusiasm for the theatre gave him an entire faith that the drama is destined to flourish as long as human nature shall be embodied in men. Its seeming eclipse by cheaper and coarser attractions he held to be but temporary. Its perversion and degradation in meaningless spectacles and prurient dances will pass by, and its restoration to its own high mission, the exhibition of the grandest elements of the soul in the noblest situations, the teaching of the most beautiful and sublime lessons by direct exemplification in breathing life, will give it, ere many generations pass, a glory and a popular charm it has never yet known. Then we may expect to see a great purification and enrichment of the subject-matter presented on the stage. The mere animal affections will cease to have an exaggerated and morbid attention paid to them. Justice will be done to the generic moral sentiments of man, and to his noblest historic and ideal types. The passions of love of truth and spiritual aspiration will dilate in treatment, those of individual jealousy and social ambition dwindle. Instructive and inspiring plays will be constructed out of the veracious materials furnished by characters and