ver did an actor more
thoroughly identify and merge himself with his part than
Forrest did in 'Metamora.' He was completely transformed from
what he appeared in other characters, and seemed Indian in
every particular, all through and all over, from the crown of
his head to the sole of his foot."]

He had been absent about two years when he landed in New York in
September, 1836. On his appearance at the Walnut Street Theatre,
Philadelphia, he was received with unprecedented enthusiasm. He gave
six performances only, on this occasion, and each saw a repetition of
the scene at the beginning of the engagement. The receipts were the
largest ever known in that house.

On September 19, 1836, Forrest embarked once more for the mother
country, this time with serious purpose. After a speedy and uneventful
passage he reached England, and at once set about the preliminary
business of his British engagement, which began October 17, 1836. He
was the first really great American actor who had appeared in London
as a rival of the English tragedians; for Cooper was born in England,
though always regarded as belonging to the younger country. His
opening part was Spartacus in the "Gladiator." The play was condemned,
the actor applauded. In Othello, in Lear, and in Macbeth, he achieved
instant success. He began his engagement October 17th and closed
December 19th, having acted Macbeth seven times, Othello nine, and
King Lear eight. A dinner at the Garrick Club was offered and
accepted. Here he sat down with Charles Kemble and Macready; Sergeant
Talfourd was in the chair.

It was during this engagement he met his future wife, Miss Catherine
Sinclair. In the latter part of June, 1837, the marriage took place in
St. Paul's Church, Covent Garden. Mr. and Mrs. Forrest soon after
embarked for America. The tragedian resumed his American engagements
November 15, 1837, at the old Chestnut Street Theatre, Philadelphia.
Presented to his friends, his wife at once made a deep and lasting
impression. Her native delicacy of mind and refinement of manners
enchanted those who hoped for some such influence to be exerted in
softening the rough vigor and democratic downrightness of the man.
Domestic discord came too soon, however, and in an evil hour for
himself, in an evil hour for his art and for the struggling drama in
America, Edwin Forrest threw open the doors of his home to the
scrutiny of the world, and a