CHAPTER X.
TWO YEARS OF RECREATION AND STUDY IN THE OLD WORLD.
The parting cheers died into silence, the ship began to speed through the spray, the forms of his friends receded and vanished, the roofs and spires of the city lowered and faded, the sun sank in the west, the hills of Neversink subsided below the horizon, and only the gliding vessel and her foamy wake broke the expanse of ocean and sky, when the outward-bound Forrest for the first night sought his berth, relieving the sadness of his farewell to America with thoughts of what awaited him in Europe and Asia.
Life spread before him an alluring prospect, and nothing which he could ask to encourage and stimulate his aspirations seemed to be wanting. When he looked back, he could not fail to be grateful. Beginning the struggle under such depressing circumstances,—poor, friendless, uneducated,—he had won a handsome fortune, a national fame, a host of admiring friends, and no inconsiderable amount of cultivation and miscellaneous knowledge. And now, at twenty-eight, with two long years of freedom from all responsibility and care before him, blessed with superabundant health and strength and hope, he was on his way to the enchanted scenes of the Old World,—the famous cities, battle-fields, monuments, art-galleries, and pleasure-gardens,—of which he had read and dreamed so much. He was going with an earnest purpose to improve himself as well as to enjoy himself. This spirit, with a well-filled purse, and the fluent knowledge of the French language which he had acquired in New Orleans, were important conditions for the realization of his aim. And thus, with alternate recollections of those left behind, observations of the scenery and experiences of marine life, mapping out the series of places he meant to visit, and thinking over what he would do, the days wore by. He spread his cloak sometimes on the deck in the very prow of the vessel, and lying on it upon his back, so that he could see nothing but the sky and clouds, continued there for hours, allowing the scene and the strong sensations it awoke to sink into his soul, feeling himself a little speck floating on a larger speck between two infinities. He said he often, years afterwards, associated the remembrance of this experience with speeches of Lear and Hamlet when representing those characters on the stage.
EDWIN FORREST.
ÆT 21
A fortnight of monotony and nausea, sprinkled with a few excitements, passed, and the transatlantic shore hove in view, as welcome a vision as his eyes had ever seen. Landing at Havre, he bade adieu to Captain Forbes and the good ship Sully, made his way at once to Paris, and, taking apartments, settled down to that delightful course of mingled recreation and study to which he had long been looking forward.
A voyage across the ocean and a two years' residence in Europe for a young American full of eager curiosity and ambition, cut loose from the routine and precedents of home and friends, cannot but constitute an epoch of extreme importance in his life. This must be true in its effects on the development of his personal character, detaching him and bringing out his manhood; and, if he is the votary of any liberal art, true also in its influence on his professional culture. In 1834 such an enterprise was a greater event than it is now. The number of American travellers in Europe was nothing like what it has grown to be since. Furthermore, the multiplication of books and descriptive letters, giving the most minute and vivid accounts of all that is most interesting in a journey or residence in the different countries then visited by Forrest, has been so great, that any prolonged presentation of his adventures and observations there would now seem so out of date and out of place as to be an impertinence. It will suffice for all the legitimate ends of a biography if a few characteristic specimens of what befell him and what he saw and did are furnished from his letters, his diary, and his subsequent conversation. These will indicate the spirit of the man at that time, and show something of the advantages, personal and professional, which he gained from the social and artistic sources of instruction opened to him while abroad. It will be seen that, however strong the attractions of pleasure were to him, he did not neglect the opportunities for substantial profit, but, keeping his faculties alert to observe new phases of human nature and fresh varieties of social life, he was especially careful to drink in the beauties of natural scenery and to study the expressive possibilities of the human form, as illustrated in the works of the greatest artists of ancient and modern time.
The following letter was written shortly after his arrival in Paris:
"To say that I am pleased with what I have thus far seen of Paris would be a phrase of very inadequate meaning: I am surprised and delighted. I have been to the Louvre, the Tuileries, Place Vendôme, St. Cloud,—here, there, and everywhere,—and I have not yet seen a twentieth part of the objects which claim a stranger's attention. One cannot go into the streets for a moment, indeed, but something new attracts his curiosity; and it seems to me that my senses, which I have heretofore considered adequate to the usual purposes of life, ought now to be enlarged and quickened for the full enjoyment of the objects which surround me. I have, of course, visited some of the theatres, of which there are upwards of twenty now open. A number of the best actors, however, are absent from the city, fulfilling provincial engagements, and may not be expected back for a month or more. I went to the Théâtre Porte St. Martin the other night, to see Mademoiselle Georges, now, on the French stage, the queen of tragedy. I saw her perform the part of Lucrece Borgia, in Victor Hugo's drama of that name. Her personation was truly beautiful,—nay, that is too cold a word; it was grand, and even terrible! Though a woman more than fifty years old, never can I forget the dignity of her manner, the flexible and expressive character of her yet fine face, and the rich, full, stirring, and well-modulated tones of her voice. How different is her and nature's style from the sickly abortions of the present English school of acting, lately introduced upon the American stage!—the snakelike writhing and contortion of body, the rolling and straining of the eyeballs till they squint, the shuffling gait, and the whining monotone,—how different, I say, from all this is the natural and easy style of Mademoiselle Georges! In her you trace no servile imitations of a bad model; but you behold that sort of excellence which makes you forget you are in a theatre,—that perfection of art by which art is wholly concealed,—the lofty and the thrilling, the subdued and the graceful, harmoniously mingling, the spirit being caught from living nature. I had been led to believe that, in France, the highest order of tragic excellence had died with Talma. It is not so. I consider Mademoiselle Georges the very incarnation of the tragic muse.