"Your affectionate son,
"Edwin."
For three years now his income had been large and his investments sagacious. The time had arrived for carrying out his design. It was the autumn of 1829, when he was but twenty-three years old. Collecting everything he possessed, he went from New York to Philadelphia, paid the debts his father had left at his death twelve years before, bought a house in the name of his mother and sisters, and deposited in the bank to their account all he had remaining, thus securing them a handsome support whatever might happen to him. What a luxury it must have been to him to do this! It was the proudest and sweetest day he had known in his life. The deed was an unobtrusive one, with no scenery to emblazon it, no crowd to applaud; but the most eloquent climax he ever made on the stage could not speak so strongly to the heart. His own heart must have made blessed music in his breast as he returned to New York thinking that for his dear mother and sisters, after so many years of bitter poverty and toil, now there was to be no more drudgery or anxiety. Meeting his friend Lawson the evening after his return, he exclaimed, "Thank God, I am not worth a ducat!" and, relating what he had done, received his heartiest congratulations on it.
At this time American literature in all its forms was chiefly derived from English sources. As yet it scarcely had any vigorous, independent existence. This was emphatically true of the drama. Hardly a play of any success or note had been produced in this country by a native author. All the literary circles were slavishly subjected to English authority, and this whole province of life, both in respect of intellectual production and taste and in respect to the business management of it, was principally under English control. The managers of our theatres felt that their interest lay in getting tested plays from abroad at a merely nominal price, rather than in expending larger sums on the risky experiment of securing original productions at home. But Forrest was never an unthinking conformist in anything, accepting what was customary simply because it was easiest and because others did so. He had a bold individuality which was constantly showing itself. The feeling of nationality and patriotic pride, too, was always intense in him. Moved by this sentiment, as well as by the desire to secure some parts which should be exclusively his own, he began a series of liberal offers, from five hundred to three thousand dollars each, for original plays by American authors. He hoped thus to do something towards the creation of an American Dramatic Literature in the plays which our writers would be stimulated to produce, and to contribute in his own representations of them some original types of acted characters to the youthful stage of his country. He was the first American actor who had ever had the enterprise, ambition, and liberality to do this. It shows generous qualities of character,—the boldness of genius and faith,—especially when it is remembered that he was only twenty-two years old when he issued his first proposal, which was published by his friend Leggett with a brief preface in a weekly review of which he was then proprietor and editor:
"We have received the following note from Edwin Forrest, and take great pleasure in communicating his generous proposition to the public in his own language. It is much to be desired that native genius may be aroused by this offer from native genius, and that writers worthy to win may enter the laudable competition.
"'Dear Sir,—Feeling extremely desirous that dramatic letters should be more cultivated in my native country, and believing that the dearth of writers in that department is rather the result of a want of the proper incentive than of any deficiency of the requisite talents, I should feel greatly obliged to you if you would communicate to the public, in the next number of the 'Critic,' the following offer. To the author of the best Tragedy, in five acts, of which the hero or principal character shall be an aboriginal of this country, the sum of five hundred dollars, and half of the proceeds of the third representation, with my own gratuitous services on that occasion. The award to be made by a committee of literary and theatrical gentlemen.'"
The committee selected by Forrest consisted of his friends Bryant, Halleck, Lawson, Leggett, Wetmore, and Brooks. Fourteen plays were presented in competition, and the prize was adjudged to Metamora, or the Last of the Wampanoags, by John Augustus Stone, of Philadelphia. Afterwards, at intervals, a similar or a larger premium was offered, until he had secured, in all, nine prize plays: Metamora, Oraloosa, and The Ancient Briton, by Stone; The Gladiator, Pelopidas, and The Broker of Bogota, by Robert Montgomery Bird; Caius Marius, by Richard Penn Smith; Jack Cade, by Robert T. Conrad; and Mohammed, by George H. Miles. In the last instance about eighty productions were forwarded to the judges, and, as not one of them was thought to meet the conditions assigned, Forrest sent his check for a thousand dollars to the author of Mohammed, as that was considered the most effective composition, though not well adapted to the stage. The result of his efforts in fostering a native drama was indirectly wide and lasting, in calling general attention to this province of letters and stimulating much able work in it. The result directly was the writing of about two hundred plays, nine of which received prizes. Of these nine-five proved failures after a few trials. But four, namely, Metamora, The Gladiator, The Broker of Bogota, and Jack Cade, possessed remarkable merits, acquired an immense popularity, and are permanently identified both with his personal fame and with the history of the American stage. An analysis of their plots, specimens of their language, and a description of the dramatic character of Forrest in his imposing power and purest originality as the impersonator of their heroes will be given in the next chapter. In leaving this feature of his career, its substance may be briefly summed up. In one way and another, first and last, he paid out from his private purse for the encouragement of a native dramatic literature as much as twenty thousand dollars, in premiums, benefits, and gratuities to several of the unfortunate authors. Recalling his early poverty, scanty education, and hard struggles, this fact speaks for itself. And the ridicule often in his life cast on him for the comparative failure of the undertaking in a high literary sense, is cheap and unmanly. It was a noble example. Its success personally, and pecuniarily, was emphatic and brilliant in the extreme. Its public influence was neither small nor dishonorable.
While Forrest was filling an engagement in Augusta, Georgia, in 1831, there appeared in the "Chronicle" of that city, from the pen of its editor, A. H. Pemberton, a spirited and vigorous article, entitled "Calumny Refuted, A Defence of the Drama." It was written in response to an article called "Theatre versus Sunday-Schools," published in "The Charleston Observer" by a Presbyterian clergyman named Gildersleeve. The "Chronicle" had warmly commended a favorite actress to the patronage of the citizens of Augusta on occasion of her benefit; whereupon Gildersleeve attacked, from a sectarian point of view, the editor, the actress, and the theatrical art and profession, displaying a narrow and intolerant spirit. Forrest was so much pleased with the ability and catholic temper of the reply which followed, that he had it printed in a pamphlet, with this dedication:
"To Mrs. Brown:
"Madam,—With much pleasure we dedicate to you the following pages from the pen of the editor of the Augusta 'Chronicle,' whose testimony to your amiable qualities in private life and your talents in the dramatic profession we cordially concur in, convinced that the base and unmerited attack which has drawn forth the present publication will meet the reprobation of an enlightened community, and ensure you the public favor you so truly deserve. Wishing you all health and happiness, we remain, Madam, your obedient servants."