The result of that night’s work was the death of twenty-two victims, either shot dead upon the spot or mortally wounded, so that they died within a few days; and the wounding of some thirty more, many of whom will be maimed for life. Into the causes which led to a result so fatal, and all the circumstances attending it, it will now be our duty to inquire.
CHAPTER SECOND.
FORREST AND MACREADY.
Mr. Edwin Forrest, the American Tragedian, was born, some forty-five years ago, in the city of Philadelphia. He was born in humble life, and worked his way up from poverty and obscurity to wealth and fame, by the power of genius. When a boy, he made his first histrionic efforts in an amateur company; afterwards, he made a professional tour at the west.
After various adventures, young Forrest found himself in the city of New York, in the year 1826, when Gilfert was about to open the Bowery Theatre. He wanted a star of powerful attraction, and his experienced eye fell on Forrest. He was engaged—puffed in all the papers as the Native Tragedian—the patriotism of New-Yorkers was appealed to—Forrest used his mental gifts and great personal advantages with discretion and effect, and became a star of the first magnitude; so that, in a short time, he demanded and received two hundred dollars a night for his performances; and, with energy and temperate habits, has been able to accumulate an ample fortune.
After his first successes—determined to shine alone as a star of the first magnitude—he offered a prize of five hundred dollars for the best tragedy—suiting his powers as the hero; and the result was, Mr. Stone’s “Metamora.” Soon after, he secured the “Gladiator,” written by Dr. Bird. These have been his most successful performances, and in them he has had no competitor, nor is it likely that he would find an equal.
Mr. William C. Macready is an English actor of great eminence. He was born in the city of Cork, (Ireland,) and must now be nearly seventy years old. In the early part of his theatrical career, he was most distinguished in such parts as “Virginius,” “William Tell,” “Pierre,” “Carwin,” &c.; but of late, he has given his chief attention to the plays of Shakspeare—in which he has shown himself a thorough artist.
In 1827—one year after the successful commencement of Mr. Forrest’s career as a star of the first magnitude—Mr. Macready visited the United States. In a fit of petulance, in which such actors are too apt to indulge, Mr. Macready came near fomenting a disturbance in Baltimore, which, but for his adroit management, might have caused him then to have been driven from the American stage. In playing “William Tell,” the property-man had forgotten to furnish the arrow to be broken; and Macready was obliged to break one of his shooting arrows. In his anger at the offending party, he said—“I can’t get such an arrow in your country, sir!” or, as it was reported—“I can’t get wood to make such an arrow in your country!” This was construed into an insult to the country. Anonymous letters were sent to the newspapers; but, as these were sent to Mr. M., he had an opportunity to make an explanation, and avoid a row.
Macready and Forrest were starring through the country, playing alternate engagements—but not, so far as we know, developing any very decided feelings of rivalry. Their roles of characters, and spheres of action, were quite apart; and when they met each other, their intercourse—as it was many years afterward—was of the most gentlemanly character.
About the year 1835, Mr. Forrest went to Europe, and spent some time in travelling on the continent; after which, he returned to America for a short time; and then went back to England, to fulfil professional engagements—in which he was so highly successful, that on his return, he was honored with a public dinner in Philadelphia; and about this time, he was tendered a nomination to Congress by the Democracy of New York—before whom he delivered a Fourth of July oration.