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There is still lingering in many minds, especially in the so-called religious world, a strong prejudice against the dramatic profession. Analyzed27 down to its origin, the long warfare28 of church and theatre, the instinctive29 aversion of priest and player, will be found to be rooted in the essential opposition30 of their respective ideals of life. The ecclesiastical ideal is ascetic31, its method painful obedience32 and prayer, its chief virtues33 self-restraint and denial; the dramatic ideal is free, its method self-development and culture, its ruling aims gratification and fulfilment The votaries35 of these distinctive36 sets of convictions and sentiments have from an early age formed two hostile camps. Accordingly, when one known as a clergyman was said to be writing the life of an actor, the announcement created surprise and curiosity and elicited37 censorious comment. The question was often asked, how can this strange conjunction be explained? It is therefore, perhaps, not inappropriate for the author of the present work to state the circumstances and motives38 which caused him to undertake it. The narrative39 will be brief, and may, with several advantages, take the place of a formal preface. Conventional prefaces are rarely read; but the writer trusts that the statement he proposes to make will be not only interesting to the reader but likewise helpful, by furnishing him with the proper key and cue to the succeeding chapters. It may serve as a sort of preparatory lighting40 up of the field to be traversed; a kind of prelusive sketch41 of the provinces of experience to be surveyed, of the lessons to be taught, and of the credentials42 of the author in the materials and other conditions secured to him for the completion of his task. This statement is to be taken as an explanation, not as an apology. The only justification needed lies in the belief that the theatrical43 life may be as pure and noble as the ecclesiastical; that the theatre has as sound a claim to support as the church; that the great actor, properly equipped for his work, is the most flexible and comprehensive style of man in the world, master of all types of human nature and all grades of human experience; and that the priestly profession in our day has as much to learn from the histrionic as it has to teach it.
In the winter of 1867, a man of genius, a friend in common between us, having been struck by paralysis44 and left without support for his family, I encountered James Oakes engaged in the benevolent46 business of raising funds for the relief of the
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sufferers from this calamity47. Propitious48 conditions were thus supplied for the beginning of our acquaintance in respect and sympathy. There were characteristic cardinal49 chords in our breasts which vibrated in unison50, and, in consequence, a strong liking51 sprang up between us.
For forty years James Oakes had been the sworn bosom52 friend of Edwin Forrest. He regarded him with an admiration53 and love romantic if not idolatrous. He had, as he said, known him as youth, as man, in all hours, all fortunes; had summered him and wintered him, and for nigh half a century held him locked in the core of his heart, which he opened every day to look in on him there. He resembled him in physical development, in bearing, in unconscious tricks of manner, in tastes and habits. Indeed, so marked were the likeness55 and assimilation, despite many important differences, that scores of times the sturdy merchant was taken for the tragedian, and their photographs were as often identified with each other.
No one could long be in cordial relations with Oakes and not frequently hear him allude56 to his distinguished57 friend and relate anecdotes58 of him. Besides, I had myself recollections of Forrest warmly attracting me to him. He was one of the first actors I had ever seen on the stage; the very first who had ever electrified61 and spell-bound me. When a boy of ten years I had seen him in the old National Theatre in Boston in the characters of Rolla, Metamora, and Macbeth. The heroic traits and pomp of the parts, the impassioned energy and vividness of his delineations, the bell, drum, and trumpet62 qualities of his amazing voice, had thrilled me with emotions never afterwards forgotten. I had also, in later years, often seen him in his best casts. Accordingly, when, on occasion of a visit of Forrest to his friend in Boston in the early autumn of 1868, the offer of a personal interview was given me, I accepted it with alacrity63.
There were three of us, and we sat together for hours that flew unmarked. It was a charmed occasion. There was no jar or hindrance64, and he without restraint unpacked65 his soul of its treasures of a lifetime. The great range of experience from which he drew pictures and narratives66 with a skill so dramatic, the rare ease and force of his conversation, the deep vein67 of sadness obviously left by his trials, the bright humor with which he so
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naturally relieved this gloom and vented68 his heart, the winning confidence and gentleness with which he treated me, no touch or glimpse of anything coarse or imperious perceptible in that genial69 season,—all drew me to him with unresisted attraction. I seemed to recognize in him the unquestionable signals of an honest and powerful nature, magnanimous, proud, tender, equally intellectual and impassioned, harshly tried by the world yet reaping richly from it, capable of eloquent70 thoughts and great acts, not less fond and true in friendship than tenacious71 in enmity, always self-reliant, living from impulses within, and not, like so many persons, on tradition and conventionality.
Such was the beginning of my private acquaintance with Forrest. Between that date and his death I had many meetings and spent considerable time with him. He took me into his confidence, unbosomed himself to me without reserve, recounted the chief incidents of his life, and freely revealed, even as to a father confessor, his inmost opinions, feelings, and secret deeds. The more I learned of the internal facts of his career, and the more thoroughly72 I mastered his character, constantly reminding one—as his friend Daniel Dougherty suggested—of the character of Guy Darrell in the great novel of Bulwer, the more I saw to respect and love. It is true he had undeniable faults,—defects and excesses which perversely73 deformed74 his noble nature,—such as frequent outbreaks of harshness and fierceness, occasional superficial profanity, a vein of unforgiving bitterness, sudden alternations of repulsive75 stiffness with one and too unrestrained familiarity with another. Still, in his own proper soul, from centre to circumference76, undisturbed by collisions, he was grand and sweet. When truly himself, not chafed77 or crossed, a more interesting man, or a pleasanter, no one need wish to meet.
Oakes had long felt that the life of his friend, so prominent and varied78 and comprehensive, eminently79 deserved to be recorded in some full and dignified81 form. He was seeking for a suitable person to whom to intrust the work. With the assent82 of Forrest he urged me to assume it. I did not at first accede83 to the proposal, but took it into consideration, making, meanwhile, a careful study of the subject, and arriving finally at the conclusions which follow.
I found in Edwin Forrest a man who must always live in the
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history of the stage as the first great original American actor. This place is secured to him by his nativity, the variety, independence, vigor84, and impressiveness of his impersonations, the important parts with which he was so long exclusively identified, the extent and duration of his popularity, and the imposing85 results of his success. Other distinguished actors who have had a brilliant reputation in this country have been immigrants or visitors here, as Cooke, Cooper, Conway, Kean, Booth; or have been eminent80 only in some special part, as Marble, Hackett, Setchell, Jefferson; or have enjoyed but a local celebrity87, as Burton, Warren, and others. But Forrest, home-born on our soil, intensely national in every nerve, is indissolubly connected with the early history of the American drama by a career of conspicuous eminence88, illustrated89 in a score of the greatest characters, and reaching through fifty years. During this prolonged period his massive physique, his powerful personality, his electrifying90 energy, his uncompromising honesty and frankness, his wealth, the controversies91 that raged around him, the unhappy publicity92 of his domestic misfortune, and other circumstances of various kinds, combined, by means of the newspapers, pamphlets, pictures, statuettes, caricatures, to make him a familiar presence in every part of the country. Therefore, whatever differences there may have been in the critical estimates of the rank of his particular presentments or of his general style of acting60, it is impossible to deny him his historic place as the first great representative American actor. He likewise deserves this place, as will hereafter be recognized, by his pronounced originality94 as the founder95 of a school of acting—the American School—which combined, in a manner without any prominent precedent96, the romantic and the classic style, the physical fire and energy of the melodramatic school with the repose97 and elaborate painting of the artistic99 school.
It cannot be fairly thought that the great place and fame of Forrest are accidental. Such achievements as he compassed are not adventitious100 products of luck or caprice, but are the general measure of worth and fitness. Otherwise, why did they not happen as well to others among the hundreds of competitors who contended with him at every step for the same prizes, but were all left behind in the open race? If mere54 brawniness101, strut102
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ting, rant86, purchased favor, and clap-trap could command such an immense and sustained triumph, why did they not yield it in other cases, since there were not at any time wanting numerous and accomplished103 professors of these arts? A wide, solid, and permanent reputation, such as crowned the career of Forrest, is obtained only by substantial merit of some kind. The price paid is commensurate with the value received.
The common mass of the community may not be able to judge of the supreme105 niceties of merit in the different provinces of art, to appreciate the finest qualities and strokes of genius, and award their plaudits and laurels106 with that exact justice which will stand as the impartial verdict of posterity107. In these respects their decisions are often as erroneous as they are careless and fickle108; and competent judges, trained in critical knowledge, skilled by long experience to detect the minutest shades of truth and falsehood, beauty and ugliness, desert and blameworthiness, will not hesitate to overrule the passing partialities of the contemporary crowd, and rectify109 their errors for the record of history. But the multitude are abundantly able—none more so—to respond with admiring interest to the impression of original power, recognize the broad outlines of a sublime110 and fiery111 soul, thrill under the general signs of genius, and pay deserved tribute to popular exhibitions of skill. And when this great coveted112 democratic tribute has been given to a public servant, in an unprecedented113 degree, for half a century, throughout the whole extent of a nation covering eight millions of square miles and including more than thirty millions of inhabitants, securing him a professional income of from twenty to forty thousand dollars a season, and filling three dozen folio volumes with newspaper and magazine cuttings composed of biographic sketches114 of him and critical notices of his performances,—to undertake to set aside the overwhelming verdict, as deceived and vulgar, is both idle and presumptuous115. To account for a career like that of Edwin Forrest it is necessary to admit that he must have embodied116 force, intellect, passion, culture, and perseverance117 in a very uncommon118 degree. And in perceiving and honoring the general evidences of this the great average of the people are better judges, fairer critics, than any special classes or cliques119 can be; because the former are free from the finical likes and dislikes, the local whims120
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and biases, the envy and squeamishness which prejudice the feelings and corrupt121 the judgments123 of the latter.
The historic place and power of Forrest are of themselves one good reason why his life should be fully124 and fairly written while all the data are within reach. For it can hardly be a matter of doubt that the theatre is destined125 in future ages to have in this country a rank and a space assigned to it in the education and entertainment of the public such as it has not yet known. The interest in types of human nature, in modes of human life, in all the marvels126 of the inner world of the soul, will increase with that popular leisure and culture which the multiplication127 of labor98-saving machinery128 promises to carry to an unknown pitch; and as fast as this interest grows, the estimate of the drama will ascend129 as the best school for the living illustration of the experience of man. It is not improbable that the scholars and critics of America a hundred or two hundred years hence will be looking back and laboring130 with a zeal131 we little dream of now to recover the beginnings of our national stage as seen in its first representatives. For then the theatre, in its splendid public examples and in its innumerable domestic reduplications, will be regarded as the unrivalled educational mirror of humanity.
Of no American actor has there yet been written a biography worthy132 of the name; though scarcely any other sphere of life is so crowded with adventure, with romance, with every kind of affecting incident, and with striking moral lessons. The theatre is a concentrated nation in itself. It is a moving and illuminated133 epitome134 of mankind. It is a condensed and living picture of the ideal world within the real world. It has its old man, its old woman, its king and queen, its fop, buffoon136, and drudge137, its youth, its chambermaid, its child, its fine lady, its hero, its walking gentleman, its villain,—in short, its possible patterns of every style of character and life. On the surface of that little mimic138 world play in miniature reflection all the jealousies139 and ambitions, hopes and fears, joys and sorrows, plots and counterplots, of the huge actual world roaring without. A clear portrayal140 of this from the interior, or even a constant suggestion of it in connection with the history of one of its representatives, must be full of interest and edification.
It is very singular, and lamentable141 too, that while there are
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hundreds of admirable and celebrated142 biographies of kings, generals, statesmen, artists, inventors, merchants, authors, there is said not to exist a single life of an actor which is a recognized classic, a work combining standard value and popular charm. This is especially strange when we recollect59 that the genius of the player has an incomparable claim for literary preservation143, because the glorious monuments of the deeds of the others remain for the contemplation of posterity, but the achievements of the actor pass away with himself in a fading tradition. Architect, sculptor144, painter, poet, composer, legislator, bequeath their works as a posthumous145 life. The tragedian has no chance of this sort unless the features and accents of the great characters he created are photographed in breathing description on the pages that record his triumphs and make him live forever, who otherwise would soon become a bodiless and inaudible echo.
The highest value and service of histrionic genius consist herein; that the magical power of its performances evokes146 in the souls of those who throng147 to gaze on them the noblest thoughts and sentiments in a degree superior to that in which they experience them in ordinary life. They thus feel themselves exalted to a grander pitch than their native one. If the great impersonations of Forrest can in a permanent biography be pictured adequately in the colors of reality, each copy of the book will perpetuate148 a reflex Forrest to repeat in literature on succeeding generations what he did so effectively in life on his contemporaries; namely, strike the elemental chords of human nature till they vibrate with intense sympathy to sublimer149 degrees than their own of the great virtues of manly150 sincerity151, heroism152, honor, domestic love, friendship, patriotism153, and liberty, which he illustrated in his chief parts.
Furthermore, every actor who excelling in his art maintains a high character and bearing, and wins a proud social position and fortune, exerts an effective influence in removing the traditional odium or suspicion from his class, and thus confers a benefit on all who are hereafter to be members of it. His example deserves to be lifted into general notice. In the case of Forrest this consideration received an unprecedented emphasis from the fact of his devoting the vast sum of money amassed154 in his laborious155 lifetime to the endowment of a home for aged45 and dependent
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members of his profession, and of a school for the public teaching of the dramatic art.
Besides, he was a man of extraordinary strength and originality of character, an imperious, self-defending personality, living steadfastly156 at first hand from his own impulses, perceptions, and purposes, not shiftily in faded reflections of the opinions and wishes of other people at the second or third remove. He was a standing157 refutation of the common prejudice against actors, that simulating so many fictitious158 traits they gradually cease to have genuine ones of their own, and become mere lay figures ready for every chance dress. If any man ever was true to his own fixed159 type, Forrest was. The study of such a character is always attractive and strengthening, a valuable tonic160 for more dependent and aimless natures.
He lived a varied, wide, and profound life. He travelled extensively, mingled161 with all sorts of people, the noble and the base, the high and the low, observed keenly, reflected much, was exposed to almost every sort of trial, and assimilated into his experience the principal secrets of human nature. The moral substance of the world passed into his soul, and the great lessons of human destiny were epitomized there. He knew the inebriating162 sweetness of popular applause, and the bitter revulsions consequent on its change into public disfavor and censure163. He wore the honors, suffered the penalties, and proved both the solidity and the hollowness of fame on its various levels, from the wild idolatry of ignorant throngs164 to the admiring friendship of gifted and refined spirits. There are swarms165 of men of dry and contracted souls, and of a poor, wearisome monotony of conventional habits, with no spiritual saliency or relish166, no free appropriation167 of the treasures of the world, whose lives if written would have about as much dignity and interest as the life of a dorbug or a bat. But when a man's faculties are expansive, and have embraced, in a fresh, impulsive168 way, a great range of experiences, the story is worth telling, and, if truly told, will not fail to yield matter for profitable meditation169.
In addition, Forrest always showed himself a man of sterling170 integrity, inflexible171 truth, whose word was as good as his bond, who toiled173 in the open ways of self-denial and industry to build his name and position. He bribed174 no one to write him up,
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bought no one from writing him down, stooped to no startling eccentricities175 or tricks to get himself talked about, arranged no conspiracies176 to push his own claims or hold others back, but by manly resolution, study, and effort paid the fair price for all he won, triumphantly177 resisting those insidious178 lures179 of indolence, dissipation, and improvidence180 so incident to a theatrical career, and steadily182 raising himself to the summit of his difficult profession, where he sat in assured mastery for two generations. There was a native grandeur about him which attracted admiring attention wherever he moved.
The life of one who for so long a time and in so great a degree enjoyed the favor of his countrymen may be said to belong to the public. The man who has been watched with such eagerness in the fictitious characters of the stage kindles183 a desire to see him truly in his own. It is proper that the story should be told for the gratification of the natural curiosity of the people, as well as for the sake of the numerous lessons it must inculcate. The lesson of an adventurous184 and ascending185 career surmounting186 severe hardships and obstacles,—the lesson of a varied, fresh, full, racy, and idiosyncratic experience,—the lesson of an extraordinary knowledge of the world, transmuting187 into consciousness the moral substance of the sphere of humanity,—the lesson of self-respect and force of character resisting the strongest temptations to fatal indulgence,—the lesson of strong faults and errors, not resisted or concealed188, but unhappily yielded to, and the bearing of their unavoidable penalties,—the lesson of resolute190 devotion to physical training developing a frail191 and feeble child into a man of herculean frame and endurance,—the lesson of talent and ambition patiently employing the means of artistic mental improvement by independent application to truth and nature,—the lesson of a brilliant fortune and position bravely won and maintained,—these and other lessons, besides all those numerous and highly important ones which the theatrical world and the dramatic art in themselves present for the instruction of mankind, have not often been more effectively taught than they may be from the life of Edwin Forrest.
The subject-matter of the drama, understood in its full dignity, is nothing less than the science of human nature and the art of commanding its manifestations192. The exemplification of this in the
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theatre in our country, it is believed, will hereafter be endowed with a personal instructiveness and a social influence greater than it has ever had anywhere else. For the moral essence and interest of representative playing on the stage ultimately reside in the contrasts between the varieties of reality and ideality in the characters and lives of human beings. All spiritual import centres in the conflict and reconciliation193 of actuals and ideals. In this point of view the biography of the principal American as yet identified with the histrionic profession assumes a grave importance for Americans. Such a narrative will afford opportunity to show what are the elements of good and bad acting both in earnest and in fiction; to contrast the folly194 of living to gain applause with the dignity of living to achieve merit; to exhibit the valuable uses of competent criticism, the frequency and ridiculous arrogance195 of ignorant and prejudiced criticism; to expose the mean and malignant196 artifices197 of envy, jealousy198, and ignoble199 rivalry200. It will, in a word, give occasion for illustrating201 the true ideal of life, the harmonious202 fruition of the full richness of human nature, with instances of approaches to it and of departures from it. To get behind the scenes of the dramatic art is to get behind the scenes of the sources of power, the arts of sway, the workings of vice15 and virtue34, the deepest secrets of the historic world.
In the distinguishing peculiarities203 of his structure and strain Edwin Forrest was one of those extraordinary men who seem to spring up rarely here and there, as if without ancestors, direct from some original mould of nature, and constitute a breed apart by themselves. Alexander, Cæsar, Demosthenes, Mirabeau, Chatham, Napoleon, draw their volitions from such an unsounded reservoir of power, have such latent resources of intuition, can strike such all-staggering blows, that common men, appalled206 before their mysteriousness, instinctively207 revere208 and obey. In the primeval time such men loomed209 with the overshadowing port of deities210 and were worshipped as avatars from a higher world. One of this class of men has, if we may use the figure, a sphere so dense135 and vast that the lighter211 and lesser212 spheres of those around him give way on contact with his firmer and weightier gravitation. Wherever he goes he is treated as a natural king. He carries his royal credentials in the intrinsic rank of his organism. There is in his nervous system, resulting from the free
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connection and uninterrupted interplay of all its parts, a centralized unity104, a slowly swaying equilibrium213, which fills him with the sense of a saturating214 drench215 of power. His consciousness seems to float on his surcharged ganglia in an intoxicating216 dreaminess of balanced force, which, by the transcendent fearlessness and endurance it imparts, lifts him out of the category of common men. The dynamic charge in his nervous centres is so deep and intense that it produces a chronic217 exaltation above fear into complacency, and raises him towards the eternal ether, among the topmost heads of our race. Each of these men in his turn draws from his admiring votaries the frequent sigh of regret that nature made but one such and then broke the die. This high gift, this unimpartable superiority, is a secret safely veiled from vulgar eyes. Fine spirits recognize its occult signals in the pervasive218 rhythm of the spinal219 cord, the steadiness of the eye, the enormous potency220 of function, the willowy massiveness of bearing, and a certain mystic languor221 whose sleeping surface can with swift and equal ease emit the soft gleams of love to delight or flash the forked bolts of terror to destroy. This gift, as terrible as charming, varies with the temperament222 and habits of its possessor. In Coleridge its profuse223 electricity was steeped in metaphysical poppy and mandragora. In our American Samuel Adams it was gathered in a battery that discharged the most formidable shocks of revolutionary eloquence224. In Sargent S. Prentiss, one of the most imperial personalities225 this continent has known, it stood at a great height, but his body was too much for his brain, and, as in a thousand other melancholy226 examples of splendid genius ruined, the authentic227 divinity continually gave way to its maudlin228 counterfeit229. Where the spell of this supernal230 inspiration has been inbreathed, unless it be accompanied by noble employment and gratified affection, either the mind topples into delirium231 and imbecility, or the temptation to drunkenness is irresistible232. It can know none of the intermediate courses of mediocrity, but must still touch some extreme; and one of the five words, ambition, love, saintliness, madness, or idiocy233, covers the secret history and close of genius on the earth.
In his basic build, his informing temperament, the habitual234 sway of his being, Forrest was a marked specimen235 of this dominating class of men. The circumstances of his life and the training
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of his mind were unfavorable to the full development of his power, in the highest directions; and it never came in him to a refined and free consciousness. Had it done so, as it did in Daniel Webster, he would have been a man entirely236 great. Webster was scarcely better known by his proper name than by his popular sobriquet237 of the godlike. He and Forrest were fashioned and equipped on the same scale, and closely resembled each other in many respects. The atlantean majesty238 of Webster seemed so self-commanded in its immense stability that the spectator imagined it would require a thousand men planting their levers at the distance of a mile to tip him from his poise239. When he drew his hand from his bosom and stretched it forth240 in emphatic gesture, the movement suggested the weight of a ton. It was so with Forrest. The slowness of his action was sometimes wonderfully impressive, suggesting to the consciousness an imaginative apprehension241 of immense spaces and magnitudes with a corresponding dilation242 of passion and power. His attitudes and gestures cast angles whose lines appeared, as the imagination followed them, to reach to elemental distances. And it is the perception or the vague feeling of such things as these that magnetizes a spell-bound auditory as they gaze. The organic foundation for this exceptional power is the unification of the nervous system by the exact correlation244 and open communication of all its scattered245 batteries. This heightens the force of each point by its sympathetic reinforcement with all points. The focal equilibrium that results is the condition of an immovable self-possession. This is an attainment246 much more common once than it is in our day of external absorption and frittering anxieties. Its signs, the pathetic and sublime indications of this transfused247 unity, are visible in the immortal248 masterpieces of antique art, in the statues of the gods, kings, sages249, heroes, and great men of India, Egypt, Greece, and Rome. It is now excessively rare. Most of us are but as collections of fragments pieced together, so full of strictures and contractions250 that no vibratory impact or undulation can circulate freely in us. But Forrest had this open and poised251 unity in such a degree that when at ease he swayed on his centre like a mountain on a pivot252, and when volition205 put rigidity253 into his muscles the centre was solidaire with the periphery254. And he was thus differenced from his average fellow-men just as those two or three matchless thorough
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bred stallions who have so startlingly raised the breed of horses in this whole country were differenced from their plebeian255 brothers in the dray and at the plough.
The truth here indicated is one of surpassing importance. However overlooked by the ignorant multitude, it was blindly felt by them, and it was clearly seen by all who had the key to it, especially by women of rich intuitions. With these Forrest was always an especial favorite. Not only did the magnetizing signs of his power so work upon hundreds of men all over the land that he was imitated by them, his habitudes of bearing and voice copied and transmitted, but they also wrought256 more deeply still on more sensitive imaginations, producing reactions there to be transmitted thence upon their offspring and perpetuate his traits in future generations. This is one of the historic prerogatives257 of the potent258 and brilliant artist, one of the chosen modes by which selective nature or providence181 improves the strain of our race. No biography can have a stronger claim on public attention than one which promises to throw light on the law for exalting259 the human organism to its highest perfection,—a secret which belongs to the complete training of a dramatic artist and the fascination260 with which it invests him in the eyes of sensibility.
Still further, Forrest has a claim for posthumous justice as one who was wronged in important particulars of his life and misjudged in essential elements of his character. Outraged261, as he conceived, in the sanctities of his manhood, he bore the obloquy262 for years with outward silence, but with an inner resentment93 that rankled263 to his very soul. Endowed with a tender and expansive heart, cultivated taste, and a scrupulous264 sense of justice, shrinking sensitively from any stain on his honor, he was in many circles considered a selfish despot addicted265 to the most unprincipled practices. His enemies, combining with certain sets of critics, incompetent266, prejudiced, or unprincipled, caused it to be quite commonly supposed that he was a coarse, low performer, merely capable of splitting the ears of the groundlings; while, in fact, his intellectual vigor, his conversational267 powers, his literary discernment, and his sensibility to the choicest delicacies268 of sentiment were as much superior to those of the ordinary run of men as his popular success on the stage was greater than that of the ordinary stock of actors. Betrayed—as he and his intimate
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friends believed—in his own home, he was, when at length, after long forbearance, moved to seek legal redress269, himself accused, and as he always felt, against law, evidence, and equity270, loaded with shameful271 condemnation272 and damages. Standing by his early friends with faithful devotion and open purse, he was accused of heartlessly deserting them in their misfortunes. A penniless boy, making his money not by easy speculations273 which bring a fortune in a day, but by hard personal labor, he gave away over a quarter of a million dollars, and then was stigmatized274 as an avaricious275 curmudgeon276. Cherishing the keenest pride in his profession and in those who were its honor and ornament,—bestowing greater pecuniary278 benefactions on it than any other man who ever lived, and meditating279 a nobler moral service to it than any other mere member of it has conferred since Thespis first set up his cart,—he was accused of valuing his art only as a means of personal enrichment and glorification280, and of being a haughty281 despiser of his theatrical brothers and sisters. As a result of these industrious282 misrepresentations, there is abroad in a large portion of the community a judgment122 of him which singularly inverts283 every fair estimate of his deserts after a complete survey. It seems due to justice that the facts be stated, and his character vindicated284, so far as the simple light of the realities of the case will vindicate285 it.
Two definite illustrations may here fitly serve to show that the foregoing statements are to be regarded not as vague generalities, but as strict and literal truth. One is in relation to the frequent estimate of Forrest as a quarrelsome, fighting man. Against this may be set the simple fact that, with all his gigantic strength, pugilistic skill, and volcanic286 irritability287, from his eighteenth year to his death he never laid violent hand in anger on a human being, except in one instance, and that was when provocation288 had set him beside himself. The other illustration is concerning his alleged289 pecuniary meanness. When he was past sixty-five, alone in the world with his fast-swelling fortune, under just the circumstances to give avarice290 its sharpest edge and energy, he set apart the sum of fifty thousand dollars for an annuity291 to an old friend, to release him from toil172 and make his last years happy. Even of those called generous, how many in our day are capable of such a deed in answer to a silent claim of friendship?
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One more element or feature in this life, of public interest, of attraction and value for biographic use, is its strictly292 American character. All the outlines and setting of Forrest's career, the quality and smack293 of his sentiments, the mould and course of his thoughts, the style of his art, were distinctly American. His immediate294 descent, on both sides, from European immigrants suggests the lesson of the mixture in our nationality, the providential place and purpose of the great world-gathering of nationalities and races in our republic. His personal prejudice against foreigners, with his personal indebtedness to the teachings and examples of foreigners,—Pilmore, Wilson, Cooper, Conway, Kean,—brings up the question of the just feelings which ought to subsist295 between our native-born and our naturalized citizens; that true spirit of human catholicity which should blend them all in a patriotism identical at last with universal philanthropy and scorning to harbor any schismatic dislikes. And then his intimate relations, at critical periods of his life, with the most marked specimens296 of our Western and Southern civilization, bring upon the biographic scene many illustrations of those unique American characters, having scarcely prototypes or antitypes, which have passed away forever with the state of society that produced them.
His experience arched from 1806 to 1872, a period perhaps more momentous297 in its events, discoveries, inventions, and prophetic preparations than any other of the same length since history began. He saw his country expand from seventeen States to thirty-seven, and from a population of six millions to one of forty millions, with its flag floating in every wind under heaven. Washington, indeed, and Franklin, were dead when the life of Forrest began; but Jefferson, Adams, Madison, Marshall, and a throng of the Revolutionary worthies298 were still on the stage. When he died, every one of the second great cluster of illustrious Americans, grouped in the national memory, with Clay, Calhoun, Webster, Irving, Cooper, and Channing in the centre, was gone; and even the third brilliant company, Emerson, Hawthorne, Bryant, Bancroft, and their peers, was already broken and faltering299 under the blows of death and decay. During this time his heart-strings stretched out to embrace, the vascular300 web of his proud sympathies was woven over, every successive State and
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Territory added to our domain301, till, in his later age, his enraptured302 eyes drank in the wondrous303 loveliness of the landscapes of California. By his constant travels and sojourns304 in all parts of the land, by his acquaintance with innumerable persons representing all classes and sections, by the various relationships of his profession with literature, the press, and the general public, there are suggestive associations, for more than fifty years, between his person, his spirit, his fortunes, and everything that is most peculiar204 and important in the historic growth and moral changes and destiny of his country.
The composition of a narrative doing justice to a life with such contents and such relations may well be thought worth the while of any one. And if it be properly composed, if the programme here laid down be adequately filled up, the result cannot fail to offer instructions worthy the attention of the American people.
For the reasons now explained, the most intimate friends of Forrest had often tried to induce him to write his own memoir305. They knew that such a work would possess extreme interest and value, and they felt that he had every qualification to do it better than it could be done by anybody else. But their efforts were vain. Pride in him was greater than vanity. He had as much self-respect as he had self-complacency. He was, therefore, not ruled by those motives which caused Cicero, Augustine, Petrarch, Rousseau, Gibbon, and a throng of lesser men, to take delight in painting their own portraits, describing their own experiences, toning up the details with elaborate touches. To the reiterated306 arguments urged by his friends, he replied, "I have all my life been surrounded, as it were, by mirrors reflecting me to myself at every turn; subjected to those praises and censures307 which keep consciousness in a fever; accompanied at every step by a constant clapping of hands and stamping of feet and pointing of fingers, with the shout or the whisper, 'There goes Forrest!' I have for years been sick of this fixing of attention on myself. I can enjoy sitting down alone and recalling the scenes and occurrences of the past, regarding them as objects and events outside. But to call them up distinctly as parts of myself, and record them as a connected whole, with constant references to the standards in my own mind and the prejudices in the minds of my friends and my enemies,—I cannot do it. The pain of the reminiscences, the
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distress of the fixed self-contemplation, would be too much. It would drive me mad. Give over. No persuasion308 on earth can induce me to think of it."
Every attempt to secure an autobiography309 having failed, the author of the present work was led, under the circumstances before stated, and with the promise that every facility should be afforded him, to assume the task. In the first conversation held with him on the undertaking310, Forrest said, "Tell the truth frankly311. Let there be no whitewashing312. Show me just as I have been and am." As he thus spoke313, he took down from a shelf of his library the first volume of the "Memoirs314 of Bannister the Comedian," by John Adolphus, and read, in rich sweet tones mellowed315 by the echoes of his heart, the opening paragraph, which is as follows: "A friendship of many years' duration, terminated only by his death, impels316 me to lay before the public a memoir of the life of the late John Bannister. In executing this task I am exempted317 from the difficulties that so frequently beset318 the author of a friendly biographical essay: I have no vices319 to conceal189, no faults to palliate, no contradictions to reconcile, no ambiguities320 of conduct to explain. I purpose to narrate321 the life of a man whose characteristic integrity and buoyant benevolence322 were always apparent in his simulated characters, and who in real life proved that those exhibitions were not assumed for the mere purposes of his profession, but that his great success in his difficult career arose in no small degree from that truth and sincerity which diffused323 their influence over the personages he represented." As the admiring cadence324 of his voice died sadly away, he laid down the volume and said to his auditor243, "For your sake, in the work on which you have entered, I wish it were with me as it was with Bannister. But it is otherwise. My faults are many, and I deserve much blame. Yet, after every confession325 and every regret, I feel before God that I have been a man more sinned against than sinning; and, if the whole truth be told, I am perfectly326 willing to bear all the censure, all the condemnation, that justly belongs to me. Therefore use no disguising varnish327, but let the facts stand forth."
Such were the words of Forrest himself; and in their spirit the author will proceed, sparing no pains to learn the truth, neither holding back or trimming down foibles and vices nor magnify
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ing virtues, recording328 his own honest convictions without fear or favor, hoping to produce as the result a book which shall do justice to its subject, and contain enough substantial worth and interest to repay the attention its readers may bestow277 on it. The work will be written more from the stage point of view than from the pulpit point of view, but most of all from that popularized academic or philosophic329 point of view which surveys the whole field of human life in a spirit at once of scientific appreciation, poetic330 sympathy, and impartial criticism.
It is to be understood that the acts or traits herein described which reflect particular credit on Edwin Forrest have not been paraded or proclaimed by himself, but have either been drawn331 from him by questioning or been discovered through inquiries332 set on foot and documents brought to light by friends who loved and honored him, knew how grossly he had been belied333, and were determined334 that his true record should be set before the public. The writer hopes his readers will not here take a prejudice, imagining that they spy that frequent weakness of biographers, a tendency to undue laudation. All that he asks is that a candid335 examination be given to the evidence he adduces, and then that a corresponding decision be rendered. While he tries to do justice to the good side of his subject, he will be equally frank in exposing the ill side and pointing its morals.
The sources of information and authority made use of are as follows: First, conversations and correspondence, for five years, with Forrest himself; second, conversations and correspondence with his chief friends and intimates; third, half a dozen biographical sketches of considerable length, several of them in print, the others in manuscript; fourth, magazine articles and newspaper notices and criticisms, extending through his entire career, and reaching to the number of some twenty thousand; fifth, the mass of letters and papers left by him at his death, and made available for my purpose by the kindness of his executors. I must also make grateful acknowledgment, in particular, of valuable suggestions and aid from Gabriel Harrison and T. H. Morrell, two enthusiastic admirers of the player, whose loving zeal for him did not end with his exit.
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1
annually
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| adv.一年一次，每年 | |
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inundated
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| v.淹没( inundate的过去式和过去分词 )；（洪水般地）涌来；充满；给予或交予（太多事物）使难以应付 | |
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motive
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| n.动机，目的；adv.发动的，运动的 | |
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emphatic
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| adj.强调的，着重的；无可置疑的，明显的 | |
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wholesome
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| adj.适合；卫生的；有益健康的；显示身心健康的 | |
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faculties
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| n.能力( faculty的名词复数 )；全体教职员；技巧；院 | |
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contemplate
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| vt.盘算，计议；周密考虑；注视，凝视 | |
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conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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analyze
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| vt.分析，解析 (=analyse) | |
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impartial
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| adj.(in,to)公正的，无偏见的 | |
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grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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biases
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| 偏见( bias的名词复数 )； 偏爱； 特殊能力； 斜纹 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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15
vice
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| n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的 | |
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justification
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| n.正当的理由；辩解的理由 | |
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esteeming
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| v.尊敬( esteem的现在分词 )；敬重；认为；以为 | |
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censuring
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| v.指责，非难，谴责( censure的现在分词 ) | |
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partisan
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| adj.党派性的；游击队的；n.游击队员；党徒 | |
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20
clique
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| n.朋党派系，小集团 | |
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21
fusion
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| n.溶化；熔解；熔化状态，熔和；熔接 | |
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22
undue
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| adj.过分的；不适当的；未到期的 | |
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antipathy
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| n.憎恶；反感，引起反感的人或事物 | |
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unfamiliar
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| adj.陌生的，不熟悉的 | |
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25
outgrow
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| vt.长大得使…不再适用；成长得不再要 | |
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26
appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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analyzed
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| v.分析( analyze的过去式和过去分词 )；分解；解释；对…进行心理分析 | |
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warfare
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| n.战争(状态)；斗争；冲突 | |
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29
instinctive
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| adj.(出于)本能的；直觉的；(出于)天性的 | |
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opposition
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| n.反对，敌对 | |
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ascetic
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| adj.禁欲的；严肃的 | |
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obedience
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| n.服从，顺从 | |
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virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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votaries
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| n.信徒( votary的名词复数 )；追随者；（天主教）修士；修女 | |
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distinctive
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| adj.特别的，有特色的，与众不同的 | |
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elicited
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| 引出，探出( elicit的过去式和过去分词 ) | |
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motives
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| n.动机，目的( motive的名词复数 ) | |
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narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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40
lighting
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| n.照明，光线的明暗，舞台灯光 | |
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41
sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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42
credentials
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| n.证明，资格，证明书，证件 | |
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43
theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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44
paralysis
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| n.麻痹(症)；瘫痪(症) | |
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aged
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| adj.年老的，陈年的 | |
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benevolent
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| adj.仁慈的，乐善好施的 | |
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calamity
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| n.灾害，祸患，不幸事件 | |
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propitious
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| adj.吉利的；顺利的 | |
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cardinal
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| n.(天主教的)红衣主教；adj.首要的，基本的 | |
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50
unison
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| n.步调一致，行动一致 | |
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51
liking
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| n.爱好；嗜好；喜欢 | |
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52
bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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53
admiration
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| n.钦佩，赞美，羡慕 | |
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54
mere
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| adj.纯粹的；仅仅，只不过 | |
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55
likeness
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| n.相像，相似（之处） | |
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56
allude
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| v.提及，暗指 | |
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57
distinguished
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| adj.卓越的，杰出的，著名的 | |
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anecdotes
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| n.掌故，趣闻，轶事( anecdote的名词复数 ) | |
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59
recollect
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| v.回忆，想起，记起，忆起，记得 | |
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60
acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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61
electrified
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| v.使电气化( electrify的过去式和过去分词 )；使兴奋 | |
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62
trumpet
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| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
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63
alacrity
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| n.敏捷，轻快，乐意 | |
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64
hindrance
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| n.妨碍，障碍 | |
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65
unpacked
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| v.从（包裹等）中取出（所装的东西），打开行李取出( unpack的过去式和过去分词 )；拆包；解除…的负担；吐露（心事等） | |
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narratives
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| 记叙文( narrative的名词复数 )； 故事； 叙述； 叙述部分 | |
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67
vein
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| n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络 | |
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vented
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| 表达，发泄（感情，尤指愤怒）( vent的过去式和过去分词 ) | |
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genial
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| adj.亲切的，和蔼的，愉快的，脾气好的 | |
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eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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tenacious
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| adj.顽强的，固执的，记忆力强的，粘的 | |
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thoroughly
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| adv.完全地，彻底地，十足地 | |
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perversely
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| adv. 倔强地 | |
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deformed
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| adj.畸形的；变形的；丑的，破相了的 | |
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repulsive
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| adj.排斥的，使人反感的 | |
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circumference
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| n.圆周，周长，圆周线 | |
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77
chafed
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| v.擦热（尤指皮肤）( chafe的过去式 )；擦痛；发怒；惹怒 | |
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varied
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| adj.多样的，多变化的 | |
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eminently
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| adv.突出地；显著地；不寻常地 | |
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eminent
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| adj.显赫的，杰出的，有名的，优良的 | |
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dignified
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| a.可敬的，高贵的 | |
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82
assent
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| v.批准，认可；n.批准，认可 | |
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accede
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| v.应允，同意 | |
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vigor
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| n.活力，精力，元气 | |
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imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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rant
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| v.咆哮；怒吼；n.大话；粗野的话 | |
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celebrity
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| n.名人，名流；著名，名声，名望 | |
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eminence
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| n.卓越，显赫；高地，高处；名家 | |
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89
illustrated
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| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
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electrifying
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| v.使电气化( electrify的现在分词 )；使兴奋 | |
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91
controversies
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| 争论 | |
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publicity
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| n.众所周知，闻名；宣传，广告 | |
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resentment
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| n.怨愤，忿恨 | |
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originality
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| n.创造力，独创性；新颖 | |
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Founder
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| n.创始者，缔造者 | |
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precedent
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| n.先例，前例；惯例；adj.在前的，在先的 | |
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repose
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| v.(使)休息；n.安息 | |
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labor
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| n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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adventitious
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| adj.偶然的 | |
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101
brawniness
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| n.肌肉结实，顽强 | |
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102
strut
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| v.肿胀，鼓起；大摇大摆地走；炫耀；支撑；撑开；n.高视阔步；支柱，撑杆 | |
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103
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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104
unity
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| n.团结，联合，统一；和睦，协调 | |
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105
supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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106
laurels
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| n.桂冠，荣誉 | |
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107
posterity
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| n.后裔，子孙，后代 | |
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108
fickle
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| adj.(爱情或友谊上)易变的，不坚定的 | |
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109
rectify
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| v.订正，矫正，改正 | |
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110
sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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111
fiery
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| adj.燃烧着的，火红的；暴躁的；激烈的 | |
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112
coveted
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| adj.令人垂涎的；垂涎的，梦寐以求的v.贪求，觊觎(covet的过去分词)；垂涎；贪图 | |
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113
unprecedented
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| adj.无前例的，新奇的 | |
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114
sketches
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| n.草图( sketch的名词复数 )；素描；速写；梗概 | |
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115
presumptuous
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| adj.胆大妄为的，放肆的，冒昧的，冒失的 | |
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116
embodied
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| v.表现( embody的过去式和过去分词 )；象征；包括；包含 | |
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117
perseverance
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| n.坚持不懈，不屈不挠 | |
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118
uncommon
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| adj.罕见的，非凡的，不平常的 | |
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119
cliques
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| n.小集团，小圈子，派系( clique的名词复数 ) | |
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120
WHIMS
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| 虚妄，禅病 | |
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121
corrupt
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| v.贿赂，收买；adj.腐败的，贪污的 | |
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122
judgment
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| n.审判；判断力，识别力，看法，意见 | |
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123
judgments
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| 判断( judgment的名词复数 )； 鉴定； 评价； 审判 | |
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124
fully
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| adv.完全地，全部地，彻底地；充分地 | |
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125
destined
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| adj.命中注定的；(for)以…为目的地的 | |
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126
marvels
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| n.奇迹( marvel的名词复数 )；令人惊奇的事物（或事例）；不平凡的成果；成就v.惊奇，对…感到惊奇( marvel的第三人称单数 ) | |
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127
multiplication
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| n.增加，增多，倍增；增殖，繁殖；乘法 | |
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128
machinery
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| n.(总称)机械，机器；机构 | |
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129
ascend
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| vi.渐渐上升，升高；vt.攀登，登上 | |
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130
laboring
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| n.劳动，操劳v.努力争取(for)( labor的现在分词 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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131
zeal
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| n.热心，热情，热忱 | |
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132
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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133
illuminated
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| adj.被照明的；受启迪的 | |
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134
epitome
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| n.典型，梗概 | |
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135
dense
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| a.密集的，稠密的，浓密的；密度大的 | |
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136
buffoon
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| n.演出时的丑角 | |
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137
drudge
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| n.劳碌的人；v.做苦工，操劳 | |
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138
mimic
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| v.模仿，戏弄；n.模仿他人言行的人 | |
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139
jealousies
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| n.妒忌( jealousy的名词复数 )；妒羡 | |
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140
portrayal
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| n.饰演；描画 | |
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141
lamentable
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| adj.令人惋惜的，悔恨的 | |
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142
celebrated
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| adj.有名的，声誉卓著的 | |
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143
preservation
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| n.保护，维护，保存，保留，保持 | |
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144
sculptor
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| n.雕刻家，雕刻家 | |
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145
posthumous
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| adj.遗腹的；父亡后出生的；死后的，身后的 | |
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146
evokes
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| 产生，引起，唤起( evoke的第三人称单数 ) | |
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147
throng
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| n.人群，群众；v.拥挤，群集 | |
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148
perpetuate
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| v.使永存，使永记不忘 | |
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149
sublimer
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| 使高尚者，纯化器 | |
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150
manly
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| adj.有男子气概的；adv.男子般地，果断地 | |
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151
sincerity
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| n.真诚，诚意；真实 | |
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152
heroism
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| n.大无畏精神，英勇 | |
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153
patriotism
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| n.爱国精神，爱国心，爱国主义 | |
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154
amassed
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| v.积累，积聚( amass的过去式和过去分词 ) | |
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155
laborious
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| adj.吃力的，努力的，不流畅 | |
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156
steadfastly
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| adv.踏实地，不变地；岿然；坚定不渝 | |
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157
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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158
fictitious
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| adj.虚构的，假设的；空头的 | |
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159
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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160
tonic
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| n./adj.滋补品，补药，强身的，健体的 | |
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161
mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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162
inebriating
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| vt.使酒醉，灌醉（inebriate的现在分词形式） | |
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163
censure
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| v./n.责备；非难；责难 | |
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164
throngs
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| n.人群( throng的名词复数 )v.成群，挤满( throng的第三人称单数 ) | |
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165
swarms
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| 蜂群，一大群( swarm的名词复数 ) | |
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166
relish
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|
| n.滋味，享受，爱好，调味品；vt.加调味料，享受，品味；vi.有滋味 | |
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167
appropriation
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| n.拨款，批准支出 | |
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168
impulsive
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| adj.冲动的，刺激的；有推动力的 | |
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169
meditation
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| n.熟虑，（尤指宗教的）默想，沉思，（pl.）冥想录 | |
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170
sterling
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| adj.英币的(纯粹的，货真价实的)；n.英国货币(英镑) | |
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171
inflexible
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|
| adj.不可改变的，不受影响的，不屈服的 | |
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172
toil
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| vi.辛劳工作，艰难地行动；n.苦工，难事 | |
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173
toiled
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| 长时间或辛苦地工作( toil的过去式和过去分词 )； 艰难缓慢地移动，跋涉 | |
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174
bribed
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| v.贿赂( bribe的过去式和过去分词 )；向（某人）行贿，贿赂 | |
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175
eccentricities
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| n.古怪行为( eccentricity的名词复数 )；反常；怪癖 | |
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176
conspiracies
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| n.阴谋，密谋( conspiracy的名词复数 ) | |
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177
triumphantly
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| ad.得意洋洋地；得胜地；成功地 | |
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178
insidious
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| adj.阴险的，隐匿的，暗中为害的，（疾病）不知不觉之间加剧 | |
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179
lures
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| 吸引力，魅力（lure的复数形式） | |
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180
improvidence
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| n.目光短浅 | |
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181
providence
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| n.深谋远虑，天道，天意；远见；节约；上帝 | |
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182
steadily
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| adv.稳定地；不变地；持续地 | |
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183
kindles
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| （使某物）燃烧，着火( kindle的第三人称单数 )； 激起（感情等）； 发亮，放光 | |
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184
adventurous
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| adj.爱冒险的；惊心动魄的，惊险的，刺激的 | |
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185
ascending
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|
| adj.上升的，向上的 | |
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186
surmounting
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|
| 战胜( surmount的现在分词 )； 克服（困难）； 居于…之上； 在…顶上 | |
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187
transmuting
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| v.使变形，使变质，把…变成…( transmute的现在分词 ) | |
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188
concealed
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| a.隐藏的，隐蔽的 | |
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189
conceal
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| v.隐藏，隐瞒，隐蔽 | |
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190
resolute
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| adj.坚决的，果敢的 | |
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191
frail
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| adj.身体虚弱的；易损坏的 | |
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192
manifestations
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| n.表示，显示（manifestation的复数形式） | |
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193
reconciliation
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| n.和解，和谐，一致 | |
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194
folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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195
arrogance
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| n.傲慢，自大 | |
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196
malignant
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| adj.恶性的，致命的；恶意的，恶毒的 | |
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197
artifices
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| n.灵巧( artifice的名词复数 )；诡计；巧妙办法；虚伪行为 | |
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198
jealousy
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| n.妒忌，嫉妒，猜忌 | |
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199
ignoble
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| adj.不光彩的，卑鄙的；可耻的 | |
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200
rivalry
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| n.竞争，竞赛，对抗 | |
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201
illustrating
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| 给…加插图( illustrate的现在分词 )； 说明； 表明； （用示例、图画等）说明 | |
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202
harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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203
peculiarities
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| n. 特质, 特性, 怪癖, 古怪 | |
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204
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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205
volition
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| n.意志；决意 | |
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206
appalled
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| v.使惊骇，使充满恐惧( appall的过去式和过去分词)adj.惊骇的；丧胆的 | |
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207
instinctively
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| adv.本能地 | |
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208
revere
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| vt.尊崇，崇敬，敬畏 | |
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209
loomed
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| v.隐约出现，阴森地逼近( loom的过去式和过去分词 )；隐约出现，阴森地逼近 | |
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210
deities
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| n.神，女神( deity的名词复数 )；神祗；神灵；神明 | |
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211
lighter
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| n.打火机，点火器；驳船；v.用驳船运送；light的比较级 | |
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212
lesser
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| adj.次要的，较小的；adv.较小地，较少地 | |
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213
equilibrium
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| n.平衡，均衡，相称，均势，平静 | |
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214
saturating
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| 浸湿，浸透( saturate的现在分词 )； 使…大量吸收或充满某物 | |
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215
drench
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| v.使淋透，使湿透 | |
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216
intoxicating
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| a. 醉人的,使人兴奋的 | |
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217
chronic
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| adj.(疾病)长期未愈的，慢性的；极坏的 | |
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218
pervasive
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| adj.普遍的；遍布的，(到处)弥漫的；渗透性的 | |
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219
spinal
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| adj.针的，尖刺的，尖刺状突起的；adj.脊骨的，脊髓的 | |
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220
potency
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| n. 效力，潜能 | |
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221
languor
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| n.无精力，倦怠 | |
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222
temperament
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| n.气质，性格，性情 | |
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223
profuse
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| adj.很多的，大量的，极其丰富的 | |
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224
eloquence
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| n.雄辩；口才，修辞 | |
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225
personalities
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| n. 诽谤，（对某人容貌、性格等所进行的）人身攻击； 人身攻击；人格, 个性, 名人( personality的名词复数 ) | |
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226
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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227
authentic
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| a.真的，真正的；可靠的，可信的，有根据的 | |
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228
maudlin
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| adj.感情脆弱的，爱哭的 | |
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229
counterfeit
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| vt.伪造，仿造；adj.伪造的，假冒的 | |
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230
supernal
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| adj.天堂的，天上的；崇高的 | |
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231
delirium
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| n. 神智昏迷,说胡话;极度兴奋 | |
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232
irresistible
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| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
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233
idiocy
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| n.愚蠢 | |
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234
habitual
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| adj.习惯性的；通常的，惯常的 | |
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235
specimen
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| n.样本，标本 | |
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236
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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237
sobriquet
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| n.绰号 | |
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238
majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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239
poise
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| vt./vi. 平衡，保持平衡；n.泰然自若，自信 | |
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240
forth
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| adv.向前；向外，往外 | |
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241
apprehension
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| n.理解，领悟；逮捕，拘捕；忧虑 | |
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242
dilation
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| n.膨胀，扩张，扩大 | |
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243
auditor
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| n.审计员，旁听着 | |
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244
correlation
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| n.相互关系，相关，关连 | |
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245
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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246
attainment
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| n.达到，到达；［常pl.］成就，造诣 | |
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247
transfused
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| v.输（血或别的液体）( transfuse的过去式和过去分词 )；渗透；使…被灌输或传达 | |
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248
immortal
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| adj.不朽的；永生的，不死的；神的 | |
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249
sages
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| n.圣人( sage的名词复数 )；智者；哲人；鼠尾草（可用作调料） | |
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250
contractions
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| n.收缩( contraction的名词复数 )；缩减；缩略词；（分娩时）子宫收缩 | |
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251
poised
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| a.摆好姿势不动的 | |
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252
pivot
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| v.在枢轴上转动；装枢轴，枢轴；adj.枢轴的 | |
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253
rigidity
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| adj.钢性，坚硬 | |
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254
periphery
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| n.(圆体的)外面；周围 | |
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255
plebeian
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| adj.粗俗的；平民的；n.平民；庶民 | |
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256
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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257
prerogatives
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| n.权利( prerogative的名词复数 )；特权；大主教法庭；总督委任组成的法庭 | |
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258
potent
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| adj.强有力的，有权势的；有效力的 | |
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259
exalting
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| a.令人激动的，令人喜悦的 | |
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260
fascination
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| n.令人着迷的事物，魅力，迷恋 | |
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261
outraged
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| a.震惊的，义愤填膺的 | |
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262
obloquy
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| n.斥责，大骂 | |
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263
rankled
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| v.（使）痛苦不已，（使）怨恨不已( rankle的过去式和过去分词 ) | |
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264
scrupulous
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| adj.审慎的，小心翼翼的，完全的，纯粹的 | |
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265
addicted
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| adj.沉溺于....的，对...上瘾的 | |
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266
incompetent
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| adj.无能力的，不能胜任的 | |
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267
conversational
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| adj.对话的，会话的 | |
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268
delicacies
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| n.棘手( delicacy的名词复数 )；精致；精美的食物；周到 | |
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269
redress
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| n.赔偿，救济，矫正；v.纠正，匡正，革除 | |
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270
equity
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| n.公正，公平，（无固定利息的）股票 | |
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271
shameful
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| adj.可耻的，不道德的 | |
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272
condemnation
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| n.谴责; 定罪 | |
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273
speculations
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| n.投机买卖( speculation的名词复数 )；思考；投机活动；推断 | |
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274
stigmatized
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| v.使受耻辱，指责，污辱( stigmatize的过去式和过去分词 ) | |
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275
avaricious
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| adj.贪婪的，贪心的 | |
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276
curmudgeon
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| n. 脾气暴躁之人，守财奴，吝啬鬼 | |
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277
bestow
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| v.把…赠与，把…授予；花费 | |
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278
pecuniary
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| adj.金钱的；金钱上的 | |
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279
meditating
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| a.沉思的，冥想的 | |
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280
glorification
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| n.赞颂 | |
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281
haughty
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| adj.傲慢的，高傲的 | |
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282
industrious
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| adj.勤劳的，刻苦的，奋发的 | |
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283
inverts
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| v.使倒置，使反转( invert的第三人称单数 ) | |
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284
vindicated
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| v.澄清（某人/某事物）受到的责难或嫌疑( vindicate的过去式和过去分词 )；表明或证明（所争辩的事物）属实、正当、有效等；维护 | |
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285
vindicate
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| v.为…辩护或辩解，辩明；证明…正确 | |
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286
volcanic
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| adj.火山的；象火山的；由火山引起的 | |
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287
irritability
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| n.易怒 | |
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288
provocation
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| n.激怒，刺激，挑拨，挑衅的事物，激怒的原因 | |
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289
alleged
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| a.被指控的，嫌疑的 | |
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290
avarice
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| n.贪婪；贪心 | |
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291
annuity
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| n.年金；养老金 | |
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292
strictly
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| adv.严厉地，严格地；严密地 | |
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293
smack
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| vt.拍，打，掴；咂嘴；vi.含有…意味；n.拍 | |
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294
immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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295
subsist
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| vi.生存，存在，供养 | |
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296
specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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297
momentous
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| adj.重要的，重大的 | |
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298
worthies
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| 应得某事物( worthy的名词复数 )； 值得做某事； 可尊敬的； 有（某人或事物）的典型特征 | |
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299
faltering
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| 犹豫的，支吾的，蹒跚的 | |
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300
vascular
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| adj.血管的，脉管的 | |
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301
domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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302
enraptured
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| v.使狂喜( enrapture的过去式和过去分词 ) | |
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303
wondrous
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| adj.令人惊奇的，奇妙的；adv.惊人地；异乎寻常地；令人惊叹地 | |
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304
sojourns
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| n.逗留，旅居( sojourn的名词复数 ) | |
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305
memoir
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| n.[pl.]回忆录，自传；记事录 | |
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306
reiterated
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| 反复地说，重申( reiterate的过去式和过去分词 ) | |
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307
censures
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| v.指责，非难，谴责( censure的第三人称单数 ) | |
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308
persuasion
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| n.劝说；说服；持有某种信仰的宗派 | |
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309
autobiography
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| n.自传 | |
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310
undertaking
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| n.保证，许诺，事业 | |
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311
frankly
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| adv.坦白地，直率地；坦率地说 | |
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312
whitewashing
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| 粉饰，美化，掩饰( whitewash的现在分词 )； 喷浆 | |
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313
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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314
memoirs
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| n.回忆录；回忆录传( mem,自oir的名词复数) | |
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315
mellowed
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| （使）成熟( mellow的过去式和过去分词 )； 使色彩更加柔和，使酒更加醇香 | |
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316
impels
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| v.推动、推进或敦促某人做某事( impel的第三人称单数 ) | |
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317
exempted
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| 使免除[豁免]( exempt的过去式和过去分词 ) | |
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318
beset
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| v.镶嵌；困扰，包围 | |
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319
vices
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| 缺陷( vice的名词复数 )； 恶习； 不道德行为； 台钳 | |
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320
ambiguities
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| n.歧义( ambiguity的名词复数 )；意义不明确；模棱两可的意思；模棱两可的话 | |
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321
narrate
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| v.讲，叙述 | |
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322
benevolence
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| n.慈悲，捐助 | |
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323
diffused
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| 散布的，普及的，扩散的 | |
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324
cadence
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| n.（说话声调的）抑扬顿挫 | |
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325
confession
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| n.自白，供认，承认 | |
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326
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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327
varnish
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| n.清漆；v.上清漆；粉饰 | |
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328
recording
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| n.录音，记录 | |
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329
philosophic
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| adj.哲学的，贤明的 | |
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330
poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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331
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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332
inquiries
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| n.调查( inquiry的名词复数 )；疑问；探究；打听 | |
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333
belied
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| v.掩饰( belie的过去式和过去分词 )；证明（或显示）…为虚假；辜负；就…扯谎 | |
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334
determined
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| adj.坚定的；有决心的 | |
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335
candid
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| adj.公正的，正直的；坦率的 | |
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