During the earlier years of his own pecuniary prosperity, Forrest lent at various times sums of money ranging from one dollar to five hundred dollars to a large number of his more improvident theatrical associates. In very few instances were these sums repaid. In most cases the obligation was suffered to go by default, and in many the favor of the loans, so far from being felt as a claim for gratitude, proved a source of uneasiness and alienation. To a man of his just, careful, straightforward character and habits this multiplied experience of dishonesty, often coupled with treachery and slander, was extremely trying. It nettled him, it embittered him, it tended strongly to close his originally over-free hand against applications to borrow, and made him sometimes suspicious that friendly attentions were designed, as they not unfrequently were, as means to get at his purse. The rich man is much exposed to this experience, with its hardening and souring influence on character, especially the rich man in a profession like the dramatic abounding with impecunious and unthrifty members. Under these circumstances it was certain that many unsuccessful applicants for pecuniary favors, persons whom he refused because he thought them unworthy, would slander him. But throughout his life his heart and hand were generously open to the appeals of all distressed actors or actresses on whom he believed assistance would not be thrown away. In many an instance of destitution and suffering among his unfortunate brethren and sisters sick, deserted, dying, did his bounty come to relieve and console. Among his papers a score or more of letters were found, with widely-separated dates, from well-known members of the profession, containing requests of this sort or thanks for his prompt responses. For example, there was one from the estimable gentleman and veteran actor George Holland gratefully acknowledging a gift of two hundred dollars. The kind deeds of Forrest were not blazoned, but carefully concealed. Yet the few friends who had his inmost confidence, who were themselves the frequent channels of his secret beneficence, knew how free and full his charities were, especially to worthy and unfortunate members of the dramatic profession. In the course of his career he gave over fifty benefits for needy associates, dramatic authors, and public charities,—from Porter, Woodhull, Devese, and Stone, to John Howard Payne and J. W. Wallack and the Dramatic Fund Association,—the proceeds of which were upwards of twenty-five thousand dollars. And when, in consequence of the thickening requests for such favors and the invidiousness of a selection, he made a rule not to play for the benefit of any one, unless in some exceptional case, he would still often give towards the object his price for a single performance, two hundred dollars. Yet, such is the unreasonableness of censorious minds, he was severely blamed for showing an avaricious and