At that moment statesmen were hopefully estimating the chances of a peaceful adjustment and solution of the sectional controversy. With the prophet instinct of the artist he knew better. Though at no time taking an active interest in politics or giving expression to party bias of any kind, his personal associations led him into a familiar knowledge of the trend of political opinion and the portent of public affairs, and I can truly say that during the fifty years that passed thereafter I never discussed any topic of current interest or moment with him that he did not throw upon it the side lights of a luminous understanding, and at the same time an impartial and intelligent judgment. His mind was both reflective and radiating. His humor though perennial was subdued; his wit keen and spontaneous, never acrid or wounding. His speech abounded with unconscious epigram. He had his beliefs and stood by them; but he was never aggressive. Cleaner speech never fell from the lips of man. I never heard him use a profanity. We once agreed between ourselves to draw a line across the salacious stories so much in vogue during our day; the wit must exceed the dirt; where the dirt exceeded the wit we would none of it. He was a singularly self-respecting man; genuinely a modest man. The actor is supposed to be so familiar with the pubic as to be proof against surprises. Before his audience he must be master of himself, holding the situation and his art by the firmest grip. He must simulate, not experience emotion, the effect referable to the seeming, never to the actuality involving the realization. Mr. Jefferson held to this doctrine and applied it rigorously. On a certain occasion he was playing Caleb Plummer. In the scene between the old toy-maker and his blind daughter, when the father discovers the dreadful result of his dissimulation—an awkward hitch; and, the climax quite thwarted, the curtain came down. I was standing at the wings. “Did you see that?” he said as he brushed by me, going to his dressing-room. “No,” said I, following him. “What was it?” He turned, his eyes still wet and his voice choked. “I broke down,” said he; “completely broke down. I turned away from the audience to recover myself. But I failed and had the curtain rung.” The scene had been spoiled because the actor had been overcome by a sudden flood of real feeling, whereas he was to render by his art the feeling of a fictitious character and so to communicate this to his audience. Caleb’s cue was tears, but not Jefferson’s.