The everlasting refrain in the cry of the weak or snarling critics of Forrest was that he overdid everything,—striding, screeching, howling, tearing passions to tatters, disregarding the sacred bounds of propriety. That there was an apparent modicum of justice in this charge must be admitted. And yet when all the truth is seen the admission makes but a very small abatement from his merit. There is a comparatively raw elemental language of human nature, such as is seen in the sneer, the growl, the hiss, the grinding of the teeth, muscular contortion, which is progressively restrained, sifted out and left behind with the advance of polished dignity and refinement. In his impersonations Forrest unquestionably retained more of this than is tolerated by the standard of courtly fashion. His democratic soul despised courtly fashion and paid its homage only at the shrine of native universal manhood. But, on the other hand, it is unquestionable that these vigorous expressions were perfectly in accordance with truth and nature as represented in men of such exceptional strength and intensity as he and the types of character he best loved to portray. He gave extraordinarily vigorous expression to an extraordinarily wide gamut of passion because he sincerely felt it, and thus nature informed his art with it. He did not in cold blood overstep truth for effect, but he earnestly set forth the truth as he conceived and felt it. With the mould and furnishing given by his physique and soul for the great rôles he essayed, efforts were easy and moderate which pale and feeble spindlings might well find extravagant or shocking. The fault clearly is more theirs than his. Power, sincerity, earnestness, are always respectable except to the envious. His total career is proof enough how profound and conscientious and popularly effective his sincerity, earnestness, and power were. But he must needs run the scathing gauntlet which all bold originality has to run. It is the same in all the arts. Nine-tenths of the current criticism is worthless and contemptible, because ignorant or corrupt. Beethoven was ridiculed as a madman and a bungler, Rossini sneered at as a shallow trickster, Bellini, Donizetti, and Verdi denounced as impostors, and Wagner systematically scouted as an insufferable charlatan. As Lewes says, “The effort to create a new form is deprecated, and a patient hearing denied. Repeat the old forms, and the critics denounce the want of originality. Present new forms, and the critics, deprived of their standards, denounce the heresy. It remains with the public to discover real genius in the artist, and it does so by its genuine response to his work.”