THE ASTOR PLACE RIOT

One of the worst disasters in the history of the theatre took place May 10, 1849 at the Astor Place Opera House. Two of the most famous stars of the day, American Edwin Forrest (left) and "the eminent tragedian, " Englishman William Charles Macready (below, right), were announced to play Macbeth on the same night. A professional feud, fueled by jingoism erupted into a scene of violence not seen before or since in the annals of the theatre. When the smoke cleared, twenty men lay dead, and the theatre destroyed. Its history is a cautionary tale to those who would harbor jealousies, professional or otherwise. "Forgive, if you have aught against any..."

The incident began over a public disagreement about the interpretation of the character of Hamlet. Here is John Coleman's eyewitness account of the hissing Macready received while playing Hamlet in Edinburgh.

FORREST HISSES MACREADY
Edwin Forrest retaliates against the eminent tragedian for the slight he received in London.

The house was crowded in all parts by an eager and excited audience. When the scene drew off, Macready was discovered amidst a tempest of applause. I could not realize why on earth the people applauded him. With the modesty of youth, I mentally ejaculated, "What an antiquated guy!"

He wore a dress the waist of which nearly reached his arms; a hat with a sable plume big enough to cover a hearse; a pair of black silk gloves, much too large for him; a ballet shirt of straw-coloured satin, which looked simply dirty; and, what with his gaunt, awkward, angular figure, his grizzled hair, his dark beard close shaven to his square jaws, yet unsoftened by a trace of pigment, his irregular features, his queer, extraordinary nose -- unlike anything else in the shape of a nose I have ever seen -- and his long skinny neck, he appeared positively hideous. But, after all, "mind is the brightness of the body," and, O ye gods! when he spoke, how he brightened, illumined, irradiated the atmosphere; his gaucherie, his ugliness, disappeared, and he became transformed into the very beau-ideal of the most poetic, subtle, intellectual, dramatic, and truly human Prince of Denmark I have ever seen. But although he lifted you to heaven one moment, he brought you to earth the next with some weird eccentricity. For example, in the Play scene, he strutted from side to side, waving his handkerchief above his head, in the most extravagant manner. As he uttered the words, "Of the chameleon's dish, I eat the air, promise crammed, you cannot feed capons so!" a mighty hiss arose in front-a hiss like that of a steam-engine. At the sound, he trembled and turned pale; then he became livid, and convulsed with passion, absolutely hysterical with rage. Turning to the quarter whence the sibilation proceeded, he bowed derisively, then staggered back and sank into a chair.

Looking to the upper side boxes, on the right, I saw the American tragedian. A conspicuous figure at all times, Forrest was now more conspicuous than ever. At this moment, from the Students' Gallery (which was separated from the upper boxes only by some interfollated iron work) a cry arose of "Turn him out!" I can see him now. The square brow, the noble majestic head, the dark eyes flashing fire, the pallor of the white face enhanced by his blue-black beard, which contrasted with his turned down collar (an unusual mode of wearing the collar at that time), his jaw set like a bulldog's, his arms folded on his broad chest. As he rose and faced his would-be assailants, he looked exactly as he used to look in "The Gladiator," when he said, "Let them come, we are prepared

The people on the other side of the screen absolutely recoiled, as if they expected some king of the forest to leap from his iron den amongst them; they then concluded to let the American alone.

On the stage the actors were at a standstill; in the auditorium the multitude were awed into a silence. After a short pause, I suppose the man's better nature prevailed, for Edwin Forrest slowly turned away, and left the house.

Then Macready, like a man possessed, leaped into the breach, and took the house by storm. Surely he must have been inspired by the ordeal through which he had passed. Such a delirium of excitement for actors and audience as followed that Play scene and the Closet scene I have rarely, if ever, witnessed.

The following comes from Forrest's first biographer and friend. They are excerpts from John Rees' Life of Edwin Forrest with Reminiscences and Personal Recollections Pertaining to the Astor Place Riot

AN IMPARTIAL REVIEW OF THE LAMENTABLE OCCURRENCES AT THE
ASTOR PLACE OPERA HOUSE,
On the 10th of May, 1849

In another part of these Reminiscences we gave the cause of the original quarrel between Mr. Forrest and Mr. Macready. We have shown conclusively that it originated in feelings of professional jealousy on the part of the latter, who insidiously strove to have the former driven from the British stage. It is also said that this natural jealousy was still further aggravated by Mr. Forrest's domestic relations. As an Englishwoman, his wife was still mindful of her having been born on the same soil with Mr. Macready, and it is a proverbial fact that no nation upon earth clings so obstinately to their native prejudices as the English. A writer says: "If we may believe rumor, Mrs. Forrest on many occasions allowed her prejudices to interfere with the most serious duty of a wife to sympathize with and uphold her husband."

It will be remembered that on Mr. Forrest's former visit to England, he was not only well received, but the press, with but one or two exceptions, was enthusiastic in his praise. All this to Macready was gall and wormwood; and in consultation with his friends -- and more particularly John Forster -- a plan was adopted to crush his successful rival -- with what success we have already detailed. Mr. Forrest, on English ground, resented the insults offered him, and openly accused Macready of being the instigator of them. The hissing of Macready at Edinburgh, although not endorsed by us at the time, was the climax to the enmity between these two popular tragedians. The quarrel between them had now assumed something of a national character, and when Macready's visit to this country was announced, there was a low murmuring sound heard throughout the land of an approaching storm; and had the great English tragedian kept his tongue still about their quarrel in England when he was called before the curtain, we question if the storm would have burst and caused so serious a calamity as that of the Astor Place Opera House Riot, on the 10th of May, 1849.

Mr. Macready, after an absence of three years, reappeared at the Astor Place Opera House, then under the management of Chippendale & Sefton; Lessee, William Niblo. The play was announced -- Mr. Macready's first appearance, on Monday, September 4th, 1848, as Macbeth, supported by Mr. Ryder, as Macduff, and Mrs. G. Jones as Lady Macbeth. This engagement closed on the 25th, when he appeared in the Merchant of Venice. This engagement, unmolested was a brilliant one.

The Park Theatre was under the management of Mr. Simpson, being the last season of that highly esteemed gentleman and actor. It opened on the 4th of August, 1847. On the 31st of August, Mr. Forrest commenced an engagement as King Lear, but his triumphant career was interrupted by an attack of hoarseness, so severe, that it compelled him to withdraw for several nights.

He did not perform again until October 27th, when he opened in Metamora, and on the 28th as Spartacus, being his last appearance on the Park boards.

Mr. Macready, after playing an engagement at Baltimore, Philadelphia, Boston, and other cities, and receiving a public dinner in New Orleans, arrived in New York on Friday, April 27th, 1849, and almost immediately made an engagement with the lessees of the Astor Place Opera House (Messrs. William Niblo and James H. Hackett), for four weeks, commencing on Monday, May 7th. This was announced some days previous, in the following card, in the city papers:

"Astor Place Opera House, Monday, May 7th, 1849. First night of Mr. Macready's farewell engagement will be presented Shakespeare's Tragedy of Macbeth. Macbeth, Mr. Macready."

In the meantime Mr. Forrest had been playing a splendid engagement at the Broadway Theatre, opening there on the 28th of August, 1848, as Othello. During this engagement, which lasted until the 22nd of September, he appeared as Virginius, Richelieu, and Damon. On the 23rd of April, 1849, he commenced a three weeks' engagement. The houses were crowded, and his reception, on every occasion, was an ovation to his genius, and a tribute to his merit as an actor and an American gentleman. This engagement, beginning with that of Macready's, naturally excited the public mind. Discussion and dispute ran high between the friends of the two rival tragedians. Not only the journals which usually devote a large portion of their columns to the drama, but even the commercial papers, took up the theme, and tended to fan the flame of discord to a burning point. There was one element far more dangerous to the English actor than that of the one controlled by the press; it was an element as mysterious in its origin, as it proved to be fearful when aroused. It was a human motive-power propelled into action by surrounding circumstances, composed in part of American prejudices and national associations connected with certain events which are patriotically recorded under four ominous figures, viz., "1776." Not to leave our readers in the dark, or continue the mystery, this element was the Boys of New York, known then and up to the present by a phrase more suitable to the element producing them--"The B-hoys." A writer, speaking of them, says: "To those abroad it may be necessary to state that the term does not by any means imply extreme youth. On the contrary, the class to which it is applied, consists, for the most part, of those who have already attained the years of manhood."

MR. MACREADY'S FIRST MOVE

On the 4th of October, 1848, at the conclusion of the performance, being called before the curtain, he delivered the following:

"LADIES AND GENTLEMEN: -- It is not my custom on such occasions as the present to address an audience, but I am moved to do so by an impulse which I cannot resist, and which is strengthened by the judgment just pronounced by a gentleman in the gallery (referring to somebody who had hissed) on the performance of the evening. I feel much gratified by the kind of reception with which you have honored me, and I value it, as well on its own account as because on my arrival in your country, which, believe me, I always visit with pleasure. Some journals in New York asserted that I am superannuated, and am incapable of presenting the impersonation of Shakespearean character. Ladies and gentlemen, I appeal to your judgment"

MR. MACREADY'S SECOND MOVE

On the night of the 25th of October, 1848, in answer to the call of the audience, he delivered a speech of some length, from which we make the following extract:

"But I have a motive for trespassing further on your patience. There is something apart from this, for which I would thank you. It cannot be disproved, however the failure of the plan may be quoted in denial of its existence, that a project was on foot to excite on this, my farewell visit to the American stage, a hostile feeling against me with the American public. Your most kind and flattering reception of me has baffled the intentions of my unprovoked antagonists," etc.

The imagination of Mr. Macready, excited by the recollection of the wrong he did Mr. Forrest in England, conjured up this hostile faction. The reader will remember that both of these speeches were delivered during his first engagement (during the performance of which he met no opposition or interference worthy of notice), and nearly one month before he appeared in Philadelphia. The last speech, so uncalled for, and of such singular character, induced the publication of the article in the Boston Mail, on the 30th of October, 1848,which Mr. Macready's counsel considered sufficient grounds for libel. This article was headed: "More about McReady -- His Abuse of Mr. Forrest in Europe -- Endeavors to put him down in Paris, London and Edinburgh -- His intrigue with Bulwer to prevent Forrest Playing in Bulwer's Plays -- His Abuse of Americans," etc., etc.

In Chapter XVIII of these Reminiscences, we gave an account of Mr. Forrest's reception in England, and the part Mr. Macready took in provoking the quarrel. As our account differs very little from that of the Mail, we need not repeat it here. One passage, however, we give, as it shows, in connection with the whole article, how Macready provoked and emeute, which his friends so persistently denied: "Although Macready saw fit on his opening night in New York, on being called out by some friends, to slur 'a certain penny paper' that had 'dared' to express an opinion regarding his talents and conduct, we shall not, by any means, give him the retort churlish; we only pity his ignorance of the institutions of this country, and hope, for his own credit's sake, that he will not, when he gets home, write a black book about American manners, etc., a la Trollope, and others," etc.

Immediately after the publication of the article in the Boston Mail, Macready committed to his counsel, Messrs. Reed and Meredith, of Philadelphia, authority to commence such legal proceedings as they might deem advisable; and preparatory thereto, he obtained from England certain documentary evidence relative to the quarrel between him and Mr. Forrest in England. All this was a mere trick of the actor and his counsel; no suit was ever begun, nor did the required proofs arrive from England. True, one or two letters came -- one from a man signing himself A. Fonblanque, another from a John Mitchell, and one intended to terrify Mr. Forrest and his friends from the High Sheriff of Edinburgh As the Persians say, it was all BOSH!

These letters were directed to W. C. Macready, Esq., Philadelphia, and were never used in court, but were published as evidence of Mr. Macready's childlike innocence. If these letters told anything as we read them, they told how far Mr. Macready's English friends could falsify truth and pervert facts. Reed and Meredith knew this, for no more was heard of the suit at court. They no doubt thought with Virgil, who said on a similar occasion:

"Non nostrum inter vos tantas componere lites."

CHAPTER XXIX

WILLIAM B. REED'S LETTER. -- DIGNIFIED SILENCE. - THE B'HOYS. -- MAY 7TH, 1849. -- ASTOR PLACE. -- FIRST SYMPTOMS OF A RIOT. -- JOHN BULL DEFYING BROTHER JOHNATHAN
On the 20th of November, 1848, Mr. Macready appeared at the Arch Street Theatre, Philadelphia. It was then, and for the first time, that an unsuccessful attempt was made to drive him from the stage. Upon his being called before the curtain he addressed the audience as follows:

"He had understood, at New York and Boston, that he was to be met by an organized opposition, but he had abiding confidence in the justice of the American people." [Here the noise and confusion completely drowned his voice, and three cheers were attempted for Forrest, and three hearty ones were given for Macready.] He resumed by saying, "It was the custom in his country never to condemn a man unheard." [Cheers and calls, a voice crying out, "Did you allow Forrest to be heard in England?"] He said, "I never entertained hostile feelings towards any actor actor in this country, and have never evinced a feeling of opposition to him. The actor alluded to had done that towards him, what he was sure no English actor would do--he had openly hissed him." [Great noise and confusion, hisses and hurrahs.] "That up to the time of this act he had never entertained towards that actor a feeling of unkindness nor had he ever shown any since." [Collision in boxes and great uproar throughout the house.] He said, "That he fully appreciated the character and feelings of the audience, and, as to his engagement, if it was their will, he was willing to give it up at once; [no, no, cheers and hisses; but that he should retain sentiments of regard shown him, and should speak of the American people, whom he had known and studied for the past twenty years, with the same kind feelings he had ever done."

This, the third speech delivered by Mr. Macready, before Mr. Forrest had uttered a syllable, called forth from the latter gentleman this scathing card. The editor of the Pennsylvanian, of Nov. 22nd, 1848, introduced it thus: "We received the following card last evening. It is a reply to the speech of Mr. Macready, at the Arch Street Theatre, on Monday evening:"

A CARD FROM EDWIN FORREST

"Mr. Macready, in his speech, last night, to the audience assembled at the Arch Street Theatre, made allusion, I understand, to 'An American Actor' who had the temerity, on one occasion, 'openly to hiss him.' This is true, and by the way, the only truth which I have been enabled to gather from the whole scope of his address. But why say 'An American Actor?' Why not openly charge me with the act? For I did it, and publicly avowed it in the Times newspaper of London, and at the same time asserted my right to do so.

"On the occasion alluded to, Mr. Macready introduced a fancy dance into his performance of
Hamlet, which I designated as a pas de mouchoir, and which I hissed, for I thought it a desecration of the scene, and the audience thought so too, for in a few nights afterwards, when Mr. Macready repeated the part of Hamlet with the same tom-foolery, the intelligent audience of Edinburgh greeted it with a universal hiss.
"Mr. Macready is stated to have said last night, that up to the time of this act on my pert, he had never entertained towards me a feeling of unkindness.' I unhesitatingly pronounce this to be a willful and unblushing falsehood. I most solemnly aver and do believe that Mr. Macready, instigated by his narrow , envious mind, and his selfish fears, did secretly--not openly--suborn several writers for the English press to write me down. Among them was one Forster, a 'toady' of the eminent tragedian--one who is ever ready to do his dirty work; and this Forster, at the bidding of his patron, attacked me in print even before I appeared on the London boards, and continued his abuse of me at every opportunity afterwards.

I assert also, and solemnly believe that Mr. Macready connived when his friends went to the theatre in London to hiss me, and did hiss me with the purpose of driving me from the stage--and all this happened many months before the affair at Edinburgh, to which Mr. Macready refers, and in relation to which he jesuitically remarks that 'until that act he never entertained towards me a feeling of unkindness.' Pah! Mr. Macready has no feeling of kindness for any actor who is likely, by his talent, to stand in his way. His whole course as manager and actor proves this--there is nothing in him but self--self--self--and his own countrymen, the English actors, know this well. Mr. Macready has a lively imagination, and often draws upon it for his facts. He said in a speech at New York, that there, also, there was an 'organized opposition' to him, which is likewise false. There was no opposition manifest towards him there--for I was in the city at the time, and was careful to watch every moment with regard to such a matter. Many of my friends called upon me when Mr. Macready was announced to perform, and proposed to drive him from the stage for his conduct towards me in London. My advice was, do nothing--let the superannuated driveller alone--to oppose him would be but to make him of some importance. My friends agreed with me it was, at least, the most dignified course to pursue, and it was immediately adopted. With regard to an 'organized opposition to him' in Boston, this is, I believe, equally false; but perhaps charity to the poor old man, I should impute these 'chimeras dire' rather to the disturbed state of his guilty conscience than to any desire upon his part willfully to misrepresent.
"Edwin Forrest.
"PHILADELPHIA, Nov. 21st, 1848."

The only mistake we think Mr. Forrest made in this letter, was the expression calling Mr. Macready a "superannuated driveller." Mr. Macready was born in the year 1793, consequently at the time this article was written, in 1848, he was but fifty-five years of age. A man cannot be called superannuated at that age.
To this letter, Mr. Macready replied in a card "to the public," dated Jones' Hotel, Nov. 22nd, 1848:

In a card, published in the Public Ledger and other morning papers of this day, Mr. Forrest having avowed himself the author of the statement, which Mr. Macready has solemnly pledged his honor to be without the least foundation, Mr. Macready cannot be wanting in self-respect so far as to band y words upon the subject; but as the circulation of such statements is manifestly calculated to prejudice his professional interests and his estimation in society, Mr. Macready respectfully requests the public to suspend their judgment upon the questions until the decision of a legal tribunal, before which he will immediately take measures to bring it, and before which he will prove the veracity, hitherto unquestioned, shall place the truth beyond doubt.
For the other aspersions upon Mr. Macready, published in the Boston Mail, it is now, as it is understood, avowed by Mr. Forrest, Mr. Macready will, without delay, apply for legal redress.

Mr. Forrest's reply to this card, goes over the whole ground of the reception he received at the Princess' Theatre, in 1845; Mr. Macready's complicity with Forster," the "toady," the influencing of Bulwer, etc. He quotes from several London papers to show that Mr. Macready's "veracity" was at fault. Our readers will remember that we have, in a former number, gone over the grounds of the quarrel between these tow gentlemen in 1845--a quarrel which Mr. Macready foolishly revived in 1848-9.
As regards the threatened lawsuit, Wm. B. Reed's letter to Mr. Macready dated May 1st, 1849, settles the matter. The letter is just such a one as an acute and sensible lawyer would write to a client he did not intend to fleece; and Mr. Reed showed his good sense in advising his excitable client to keep away from the courts. We give an extract from Mr. Reed's letter:
"Our opinion was that the publications were libelous, and that an action would lie. But we could not reconcile it to our sense of duty to you, as a stranger, and one who could not remain here to watch the inevitable delay of litigation, to advise you thus to assert your rights. In my own mind I was entirely satisfied that none of the attacks made on you could in the end do you the least harm, and there was, therefore, on my part, no hesitation in advising you not to bring a suit. All that since has occurred satisfies me that I was right. Your discreet and dignified silence under provocation of no ordinary kind has won and kept you many friends, etc.
"William B. Reed."

This "dignified silence" consisted in his client making injudicious speeches--talking loudly at private dinners against Mr. Forrest--compelling managers to refuse free admissions to persons connected with the press who wrote against him--influencing the press by flattering the critics, who in return, praised, puffed, and fawned on the great actor, at the expense of our own tragedian, and independent criticism.
Mr. Reed's letter is worthy of a Philadelphia lawyer; he knew there were no grounds for a libel suit, and gets quietly out of the matter by flattering his client with such sugared expressions as "your discreet and dignified silence," and having "won and kept many friends." The actor swallowed the bait, and the suit was withdrawn. The hook, however, was in this gill and rankled there. His next move was to publish letters from England, commenting on the emeute, and complimenting his speeches as manly and dignified.
The English view taken of the whole matter was not endorsed by the American press. Even E. Bulwer Lytton's letter to his "dear friend" Macready, dated December 16th, 1848, did not explain away his refusal to allow Mr. Forrest, most signally failed, and the commencement of his second engagement foreshadowed a storm that his friends like our own "Old Probabilities," should have apprehended by examining the nation's barometer. We have spoken of the "B-hoys" of New York. In addition to what we have said, let us give an extract from Mr. William Knight Northall's "Before and Behind the Curtain," published in New York, in 1851. Speaking of this class known as the "B-hoys," he says:

"It embraced, however, a very wide variety, both of age and of character, from the complete rowdy, whose only vocation is to 'pick a muss' and 'run wid der machine' -- he rarely works with it -- to the intelligent young mechanic, who on an occasional 'lark' finds a relief from the monotony of his daily labor. But when these discordant materials are brought to harmonize, and act upon any occasion in a mass, they form a most effective force, whose power in a riot nothing short of military discipline can withstand. We have no evidence whatever that an understanding existed between the celebrated Captain Rynders and the 'B-hoys,' or that the Empire Club was cognizant of the coming storm."

The first night of Mr. Macready's second engagement was on May 7th, 1849, at the Astor Place Opera House.

MESSERS. WILLIAM NIBLO AND JAMES H. HACKETT……………………………….DIRECTORS
MACBETH………………………………………………………………………………MR. MACREADY
LADY MACBETH ……………………………………………………………………………..MRS. POPE

BROADWAY THEATRE
PROPRIETER………………………………………………………………………MR. E. A. MARSHALL
MACBETH…………………………………………………………………………………..MR. FORREST
LADY MACBETH………………………………………………………………….……MRS. WALLACK

The announcement card of Messrs. Niblo and Hackett, of Mr. Macready's appearance, caused considerable excitement, inasmuch as "The Boys" talked loudly, and the speeches of Mr. Macready were quoted as affording sufficient cause to create a "muss." Mr. Forrest's letter exposing the English "Ring's" endeavor to have him hissed, and the success attending it in London, also added to the excitement; and as the evening approached, it was manifest that a spirit of determined resistance to the "Kid-glove" gentry (who upheld the English actor at the expense of Mr. Forrest) on the part of the class we have already described, was prevalent. Another thing that excited the fears of the manager was the avidity with which the Opera House tickets were purchased by those who had never before been seen in its luxurious interior. That "The Boys" were bound to be there, was evident. They probably dreamed as little as any one of the extent to which the disturbance would go. They looked upon it in two lights -- first, as a piece of fun, and secondly, as the means of teaching foreigners a lesson, and not to trifle with the people when national pride had aroused the spirit of their sires to put down English attempts to govern the "mimic world."
Another cause -- an error of the managers -- provoked the ire of the crowd. They had sold more tickets than the whole "Opera House" could accommodate. This completed the alarm of Mr. Niblo, who immediately sought the Chief of Police, and requested the presence of a strong detachment of his men for the evening. They were granted, but came, for the most part, too late to be of much service in the scenes which followed. As this evening laid the foundation for the dreadful scenes of the 10th of May, we give our readers some account of Mr. Macready's reception.
As the ominous hour of half-past seven, P. M., drew near, the regular "tramp" warning, peculiar to the Chatham and Bowery commenced. Mr. Niblo was behind the scenes, in consultation with Mr. Hackett. As the first slight echo of the unusual stage reveille sounded in his ear, he stepped lightly to the wing, and pulling the edge of the drop curtain slightly towards him, took a brief but earnest survey of the scene before him. Officer Bowyer, of the chief's bureau, who had just at that moment arrived, was standing beside the veteran manager as he was surveying the scene of action, and turning to the officer, said:
"This looks rather dubious, Mr. Bowyer!"
"Yes; the 'Boys' are here, certainly! What induced you to sell so many tickets? People are making a tremendous rush at the doors yet, and the house is full, over-full, already."
At that instant the orchestra commenced an overture, and the "tramp, tramp," of the "Boys" throughout the house, for a moment, ceased.
"What do you think, Mr. Hackett? Is there going to be a disturbance?"
Hackett did not know, but passed the question to Bowyer, who took Mr. Niblo's place at the wing, and took a survey at the entire audience.
"There is mischief in the parquette and amphitheatre," he remarked; "but, probably, no actual violence will be attempted. 'The Boys' will make a noise, and endeavor to prevent the play from proceeding, but possibly will do nothing further. They seem to be patient and very good-natured, but Mr. Macready may expect a rough reception.
The band of the orchestra ceased, and almost instantly the "tramp, rap, rap," was recommenced, but louder and more determined. Mrs. Pope, dressed as Lady Macbeth, at this moment, made her appearance, pale with real excitement and agitation. "My God! Mr. Hackett!" she exclaimed, "what is the matter? Are we to be murdered? Murdered here tonight?"
"Keep calm, my dear madame; there is no cause for alarm; everything will go smoothly."
The curtain rose upon the first scene, when the appearance of Mr. Clarke, who personated the character of Malcolm, elicited three loud and enthusiastic cheers from the parquette and gallery. From the moment that the cheering, hissing and whistling, and other expressions began, not a syllable was heard during the remainder of the scene, nor the succeeding one, till the entrance of Macbeth, passed in dumb show. When Macbeth and Banquo entered in the third scene, the uproar was deafening. A perfect torrent of groans and hisses assailed Mr. Macready, and a deluge of assafoetida was discharged upon him from the gallery, filing the whole house with its pungent and not particularly fragrant odor. A rotten egg, a la Montreal, was projected against him, but missing his face, bespattered the stage at his feet. The friends of Mr. Macready, who appeared rather to outnumber those opposed to him, now manifested their feelings by cries of "Shame!" "Shame!" Cheers and waving of handkerchiefs provoked a response in the form of renewed groans, hisses, and a half dozen rotten potatoes on the part of the others. "Three cheers for Edwin Forrest!" were called for by some one in the pit, and were given with great enthusiasm by those unfriendly to Mr. Macready. Then came the cry of "Three cheers for Macready!" which were responded to with equal enthusiasm by the opposite side of the house. The scene now beggared description. Hisses, groans, cheers, yells, screams, and all sorts of noises, in the midst of which, Mr. Macready still maintained his position in the centre of the stage. "Off! off!" shouted one party. "Go on! go on!" screamed the other. Mr. Macready approached the lights. He was greeted by roars of ironical laughter and reiterated hisses and groans. A banner was exhibited in front of the amphitheatre, bearing on one side: "No apologies; it is too late!" and on the other. "You have proved yourself a liar!" From this it was evident that the whole programme of the attack had been quietly prepared. The appearance of the banner was the signal for a perfect tornado of uproarious applause, laughter, cheers and groans, in the midst of which an old shoe and a cent piece were hurled at Mr. Macready, who picked up the copper coin, and, with a kingly air, put it into his bosom, bowing at the same time with mock humility to the quarter of the gallery from which the visitation had descended.
Several of Mr. Macready's friends now became much excited, and shouted to him to "go on, II and "not give up the ship," which elicited tremendous groans, hisses and cries of "down with the English hog," "take off the Devonshire bull!" "remember how Edwin Forrest was used in London!" Thus passed the whole of the first and second acts. The greater portion of the audience opposed to Mr. Macready seemed in excellent humor. They chanted snatches of the Witches' Choruses, and amused themselves by asking and answering all kinds of ridiculous questions. When the curtain rose on the third act, and Macbeth appeared, the uproar was greater than ever. Smash came a chair from the gallery, strewing the stage with its fragments, within a few feet of Mr. Macready. Another chair fell at his feet) with a crash which resounded through the house. The few ladies in the boxes started up from their seats) and grew quite pale. Another chair was hurled on the stage, and the curtain suddenly fell. The ladies hurried from the boxes. Thus ended the first attempt of Mr. Macready to play in opposition to the popular voice.
One act of Mr. Macready's during the noise and confusion had a tendency to provoke the audience, and was no doubt the origin of the subsequent sad and fatal disaster. Finding that the hisses were becoming more energetic, and the groans fast rising into yells, he suddenly stepped forward to the footlights, and with a glance of defiance at the amphitheatre, gradually dropped his gaze, until his eyes rested full upon the midway occupants of the parquette seats. Then, with his arms folded, and his brow contracted with a scowl of mingled derision and scorn, he slowly paced the breadth of the stage, eyeing, as far as possible, each individual who so pertinaciously opposed his proceeding with the play. This was in bad taste ------ it was not a mistake. The "Boys" became aroused It t was not the way to conciliate them. Had he adopted a different course -- one more suited to our National feelings, and the well known good nature of the American people, --- we question if the scenes which followed would have occurred. Allegorically speaking) it was the Lion defying the Eagle -- practically, however, it was

JOHN BULL DEFYING BROTHER JOHNATHAN

It was an imprudent act, and the last one terminating the performance on the evening of May 7th, 1849.

CHAPTER XXX

THE 19TH OF MAY I 1849. -- JAMES WATSON WEBB. - APPEAL TO THE WORKING MEN. - THE MILITARY PREPARE TO FIRE. - THE THREATS OF THE MOB.-ALARM IN THE GREEN-ROOM.-THE WORD GIVEN. - FIRE! - THE FEARFUL CLOSE OF THE RIOT. - DEATH!

A portion of the press on Tuesday, the eighth of May, made the most unfounded charges against Mr. Forrest, and endeavored to hold him responsible for the conduct of the oppressors of Macready on the night previous. The New York Courier and Enquirer was particularly personal, asserting that Mr. Forrest had said "that Mr. Macready should never be permitted to appear again on any stage in this city."

To this charge Mr. Forrest, through his counsel, Theodore Sedgewick, Esq., replied: ''I am instructed to say, that every charge against Mr. Forrest, contained in the article in question, is absolutely and grossly false, and as the attack is coupled with reflections of a most improper and offensive character, I hoe you will see the propriety of retracting and withdrawing the accusation in the most immediate, direct and ample manner, ! I etc.

Before this letter was received by the editor, he had actually made an apology, retracting what he said. To this article he appended the following P. S.

"Since the foregoing was written, we have received the following letter (an extract we have given above) from Mr. Sedgewick, to which we cheerfully give place, and only regret that any charge against, or allusion to Mr. Forrest, in connection with this disgraceful riot, should have been made. It is quite certain that there is no evidence of Mr. Forrest being a party to the proceeding; and we are bound to assume that he was not; and it is also evident that such was our conviction previous to the receipt of Mr. Sedgewick's note, from the fact that the foregoing had been already prepared for publication by our associate, and we so apprised Mr. Sedgewick's messenger.
"James Watson Webb."

We have stated that the original cause of riot and bloodshed were the grossly insulting speeches of Macready, particularly the one delivered in the Astor Place Opera House, on the 25th of October. But justice to Mr. Macready requires us to say, that after the demonstration on the night of the 7th, he would have retired without further contest with the public, but for the officious interference of a few persons who were prompted by various motives to sustain him. On the 9th of May, the following letter, signed by forty-eight gentlemen of different degrees of respectability, was addressed to Mr., Macready.

"To W. C. Macready, Esq.
"Dear sir. -- The undersigned having heard that the outrage at the Astor Place Opera House, on Monday evening, is likely to have the effect of preventing you from continuing your performances, and from concluding your intended farewell engagement on the American stage, take this public method of requesting you to reconsider your decision, and of assuring you that the good sense of and respect for order prevailing in this community, will sustain you in the subsequent performances."

The journals favorable to Mr. Macready were enthusiastic in their praise of the distinguished citizens who signed this letter, and equally fierce in their denunciations of those who had the temerity to hiss him off the stage. The Courier, the Commercial, the Mirror, the Express, and the Day Book, fairly dared any one to attend at the Opera House on the night of the 10th to hiss Macready. Those who hissed him on the night of the 7th, were denominated 'rowdies, "ruffians," blackguards," "rabble," "lower classes," and "the worst kind of Loco Focos. " The Mirror invited them to the theatre to have another "trial of strength," and the Courier assured Mr. Macready that he was not opposed "by any portion of the American ,people of whose approbation and esteem he would be at all desirous.

Thus it will be seen that -the friends of Mr. Macready, and the personal and political enemies of Mr. Forrest, united in giving an invitation to those who felt aggrieved by the conduct of Macready, to meet them at the Opera House, on the evening of the 1Oth, and try which party was the strongest! The distinguished forty-eight thought their names alone sufficient to subdue any outbreak on the part of the lower classes .

The sequel proved that they did not estimate the strength of Macready's opponents, nor the depth of feeling which had been excited against him. In a trial of strength the distinguished forty-eight, and the aristocracy, generally, were no match for the "Boys."

On Tuesday evening, May 8th, for which Mr. Macready had been announced in Richelieu, the Opera House was closed. On Wednesday, Mr. Hackett himself played in The Merry Wives of Windsor. Mr. Macready having consented to play again after the reception of the letter, Thursday night was fixed for his reappearance in Macbeth. Both parties prepared for the struggle. As we have said, it was to be a trial of strength ,- - "Aristocracy and the English Clique Vs. The Lower Classes." The lessees, with some of the signers of the letter, called upon Mayor Woodhull and concocted measures for defending the Opera House in case of a riot. They also secured large quantities of tickets, and distributed them freely for the purpose of securing a favorable reception. Their opponents in the meantime were not idle. Placards were posted about the walls, some pretending to favor Mr. Macready, and couched in language adapted to excite prejudice against him-some were more openly hostile, of which the following is a specimen:

WORKING MEN,
SHALL AMERICANS OR ENGLISH RULE
In this city?

The crew of the British steamer have threatened all Americans who shall dare to express their opinion this night at the English Aristocratic Opera House!
We advocate no violence, but a free expression of opinion to all public men!

WORKING MEN! FREEMEN !!
STAND BY YOUR
LAWFUL RIGHTS
AMERICAN COMMITTEE.

On Thursday morning, May 1Oth, the rival placards were placed side by side:

ASTOR PLACE OPERA HOUSE DIRECTORS
Messrs. Wm. Niblo, & Jas. H. Hackett.
This evening will be performed MACBETH
Macbeth, Mr. Macready. Lady Macbeth, Mrs. Pope

BROADWAY THEATRE Proprietor -- F. A. Marshall
This evening will be performed THE GLADIATOR
Spartacus, Mr. Forrest. Julia, Miss Walk

From a work entitled, "Before and Behind the Curtain," by William Knight Northall, New York, 1851, we give an extract describing this terrible night-scene, which, for brevity and force, surpasses all others that were given on the morning after the riot. It will close our account of the

ASTOR PLACE OPERA HOUSE .

"It was peculiarly unfortunate that just at the time the new Mayor, but a day or two installed, was scarcely versed in the duties of his position to act with all the decision that was required. Still, dispositions were made on Thursday to meet any emergency, by detailing a body of three hundred men to the Opera House, and ordering two regiments of' citizen soldiery to be under arms, and at their quarters on that evening. The Opera House was carefully occupied, the men posted, and the windows barricaded; and thus they awaited for the conflict to commence .

"As soon as the doors were opened, a rush commenced, which, in a very
short time, nearly filled the house. Most of the doors were soon closed again, and the complaint was made that none were admitted but those who bore tickets with the private mark of the Macready party.

An attempt was made by a party outside to batter down one of the doors, but was prevented by the police. The glass lamps were broken, and stones were thrown through a single window that had been left unbarred, falling inside among the audience. The play commenced, amid a storm of cheers and hisses. But, on the whole, the scene within the house was of a less exciting character than on the previous night.

The audience had been carefully picked, and "the Boys" were in the minority. Still they maintained a determined noise. The play proceeded almost in dumb show until after the commencement of the second act. The, just as the rioters were about to jump in a body from the parquette to the stage, the chief of police gave the preconcerted signal by raising his hat. In an instant the police sprang to their work. The house was quickly cleared of all but a few of the most violent, the doors were closed again, and the latter found themselves very cleverly caught, and most effectually prevented from helping their friends outside. Thus ended the play within."

The Herald, speaking of the scene, said: "At this time, the scene within the house was indeed most exciting. In front and rear, the fierce assaults of the mob, as they thundered at. the doors, resounded all over the theatre, while the shouts and yells of the assailants were terrific. Inside, however, all was comparatively quiet."

As the mob increased in magnitude, and in the ferocity with which they assailed the building, the cry rose inside, and also outside, among the peaceable citizens -- "Where are the police? Cannot anything be done to disperse the rioters? Where is the Mayor? Military?"

Let us renew our extracts from Mr. Northall's account: - -

"The Seventh Regiment marched up Broadway, led by a body of horse. Their arrival upon the scene of action only made the mob more furious, and they were attacked with stones and missiles of all descriptions.

The horse were soon forced to withdraw, but the infantry stood their ground like veterans. The civil authorities delayed the order to fire; and meanwhile -the troops were exposed to the most incessant annoyance, without the power of defending themselves.

"At last it become evident that they must fire or withdraw. It was even doubtful whether they could withdraw -- whether, on the first symptoms of retreat, the mob would not overwhelm them and wrest the muskets from their hands. As a last effort, Recorder Talmadge boldly went forward and harangued the rioters. But it was in vain! - in vain!although with a voice, Stentorian and trumpet-toned, he informed the frenzied masses that in the eye of the law they were all rioters; that if blood were shed, if life were taken, they alone were responsible for the consequences; that the military were present to protect the theatre, to protect Mr. Macready, to preserve the peace of the city, and their duty would be performed at all hazards! that the muskets of the National Guards were loaded with ball cartridges, and that, in one minute, unless they ceased that disgraceful tumult, the painful, but necessary order would be given to FIRE! and that the troops would obey that order. He then appealed to them as good citizens -- as members of the great family of Americans, worshipping at freedom's altar -- he adjured them 110 longer thus to desecrate her sacred temple. He concluded with saying: 'Retire instantly to your homes -- depart, each one of you! I warn you, upon peril, remain in this vicinity not one moment longer!

"Depart I adjure you, and let this street be cleared, or the soldiers here beside me --- your own brothers -- the armed citizens of New York - will fire upon you, as sure as there is a God above us! This building will be protected, whatever consequences ensue; the sacred majesty of the law will be vindicated. Disperse! Every good citizen will linger here no longer. Go home! . for God's sake, each one -- go home! fellow citizens! brother! --- quit. this spot, and let this tumult -this cruel and dastardly attack --- cease!'

"The only replies to those humane and philanthropic efforts were renewed abuse, scoffs, hoots, yells of defiance, and fresh vollies of stones!

"In truth, such was the diabolical uproar, that even the strong voice of the Recorder could be heard but a few feet from the spot where he stood; and probably few, very few, of the mob ever understood a word of remonstrance ---- the earnest request, or the menace!

"'Gen. Hall,' said the Recorder, as he slowly struggled through the crowd Up to the spot where that officer was standing, at the right of the battallion under his immediate charge, 'you must order your men to fire! It is a terrible alternative, but there is no other!'
.

"'Is the Mayor here to issue the order? " queried the careful soldier.

"Sherriff Westervelt's authority is sufficient. Mayor Woodhull, as I am just informed by Justice Mountfort, has left the theatre and taken up his headquarters at the New York Hotel.'

"'Had not the Mayor best be sent for?' asked one of the minor magistrates present.

"'The National Guards cannot stand here another minute!' responded simultaneously General Sanford and Col. Duryea, who had just joined the conference. 'Nearly one-third of the force is disabled already.'

"'You need not send for the Mayor', he will not come here again tonight,' interposed a policeman, his head bound with a handkerchief, beneath which the blood was trickling down his cheek, from a severe blow of a stone over the temple.

"'What say you, Sherriff Westervelt?' asked General Hall.

"'Has the Riot Act been read?' interrupted a well-dressed , sympathizer " dodging his head out of the doorway. 'I warn you never to fire upon the people until they hear the Riot Act!'

"'The Riot Act has been heard sufficiently all the evening,' replied the Recorder. Mr. Sherriff, I consider your duty plain and imperative! ,
.

1!!Gen. Sanford!' was Mr. Westervelt's response, 'you have my permission to act as you consider indispensible in this emergency!

"'Do you give me the order to fire?'

"'I do, sir! It is the only resource left!'

"Mr. Matsell, call in your policemen - we shall be forced to employ bullets in half a minute! ' And stepping to the front of the line, Gen. Sanford, with some difficulty, made himself understood so as to bring the troops to the position of 'ready', at the same time warning the mob to fall back, as the guards would most assuredly fire! He was accompanied by Gen. Hall and Col. Duryea, who exerted themselves to the utmost in inducing the people to retire, and thus save themselves and force the painful alternative!

"But all this was of no avail. The rioters would not understand that the movement was sincere, or else, in their mad passion, they seemed determined to brave even death itself, rather than desist from their infamous assaults.

"Fire and be d---d!' 'Fire if you dare! 'To hell with your guns! " 'Shoot away, you infernal sons of ---!'

"'Fire into this,' yelled a grimed and heavy-headed rioter, holding a large stone between his knees, while with both hands he tore open the bosom of his red shirt. 'Take the life out of a free born American for a bloody British actor! , Do it, aye, you darsen't.'

"'Fire, will ye! screamed another, hurling a missile at v Gen. Sanford, which took effect upon his Sword arm, rendering it powerless for the time -- 'take that, ye chalk-livered oakum-faced rat.' 'HO! , altogether, now boys! Hit 'em again! Give the counter jumping sogers hell,' and other similar, but more outrageous language, was the only response to their humane efforts.

"'At the moment when Sherriff Westervelt indicated to Gen. Sanford the determination of the authorities to resort to the extreme remedy, the police, with their stars concealed, were intermingled with the crowd, immediately in front of the theatre. They had just restored the captured muskets to the troops, and occasionally singling out a rioter more violent and disorderly than the rest, they would manage to jostle him from the mass, when, by a sudden and concealed movement, they were sometimes successful in effecting his arrest and removal to the interior, It was a matter of imminent necessity, that these policemen should be called within the lines immediately, but the task proved not at all an easy one, since at the time the chief received his caution from Gen. Sanford, a pretty energetic fight was progressing for the possession of a prisoner, between the officers and the rioters.

"As it was, the first volley was fired while many of the policemen were still in the midst of the mob, and even at the second discharge, several of them were exposed, they being still within the range of the military.

"'The pause for the last but fatal command was brief yet those few moments were almost hours of fearful suspense to those who knew that death brooded over that mass of criminality and violence! Certainly, the general aim was not a murderous one; yet none could tell the mischief about to be occasioned by a glancing ball or stray bullet.
Friends and relatives, possibly, were amid the multitude before them!
And besides, a dangerous and delicate experiment was about to be tried! If this demonstration did not serve to intimidate, what would be the result? Would the guards obey the order if commanded to pour a pointblank volley into the bosoms of their fellow-citizens?

"These were startling questions! , Nay, they were terrible!

"A moment or two would decide all!

" Fire! ,

"The word came from Gen. Hall, clear and distinct, It was heard above the din and confusion, along the whole line.

"A single musket, on the extreme left, responded!

"'Fire!' exclaimed Gen. Sanford, with all the energy of voice his lungs would afford.

"Three more pieces on the right were discharged almost simultaneously.

"Fire! Guards! Fire!' shouted Col. Duryea -- and the remainder of the valley flashed forth, the pieces speaking with that sharper and fuller toned report which distinguished the service charge from the mere powder and paper of field day!

"The instant glare lit up a sea of angry faces on Astor Place -- of human forms clustered in the windows and on the roofs of the adjacent buildings; the tattered and broken lamps in front for a moment were seen clear and distinct --- the shattered windows of the theatre itself were for a twinkling visible, and then all again was darkness! while the blue sulphurous smoke rolled outward among the crowd, or curled in dim eddies around the Guards themselves!

"And thus ended the Astor Place riots. The mob soon broke and fled;
for they knew now the authorities were terribly in earnest. The obnoxious player was vanquished and driven out; but it had cost thirty American lives to do it. The majesty of the law was vindicated!

"Peace to the memory of those who fell; let us not judge harshly of the dead. "

* * * * * * * * * * * *
1 Shortly after the trial of the supposed rioters, the whole proceedings were published, but as the details are dry and technical and given in law phraseology, we deem the statement given here fully sufficient to furnish our readers some idea of this most terrible riot.

2 It appeared in evidence, upon the trial of Edward Z. C. Judson (Ned Buntline), who, it was said, headed the mob outside, and called upon them to stone the building, that some of these tickets were obtained by his opponents and supplied to the friends of Ned Forrest." This was termed, "Shooting the Egyptians."

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Macready himself is oddly silent except in his diaries. Here are a few salient excerpts from The Diaries of William Charles Macready, edited by William Toynbee, 1912.

[1843] New York, September 21st. -- Attended to my bedroom affairs, arranged accounts; saw Mr. Ryder and D. Colden, to whom I submitted my letters f introduction. Went to rehearsal, with which I took much pains, and of course found a material very different from what I had lately been accustomed to; found that I had done right in bringing Mr. Ryder. Forrest came up to me as I was standing over a New York paper in the reading-room of the hotel. I was very glad to see him, and he came up to my room and sat with me some time, civil.

September 22nd. -- Went to rehearsal and took considerable pains to make the play tell its own story. The actors were very attentive and behaved very well. Forrest came up to me in the reading-room and very cordially welcomed me. He came up to my room and sat with me some time, inviting me to dine on Thursday week. Many cards were left.

September 30th, -- Note from Lardner! Forrest called and took me out to see the reservoir of the aqueduct; afterwards to see Mrs. Forrest.

October 3rd. --Dined with Forrest; met a very large party, too large for comfort, but it was most kindly intended. Our day was cheerful; I like all I see of Forrest very much. He appears a clear-headed, honest, kind man; what can be better?

October 5th. -- Forrest called on me, and, agreeably to his wish, I underwent the operation of being daguerreotyped. Eheu! for the operation and heu! heu! for the product! (I thought to myself, and could I be so ugly!) I was very much amused.

October 10th. -- Went to the theatre and rehearsed Virginius. From what I can learn the audiences of the United States have been accustomed to exaggeration in all its forms, and have applauded what has been most extravagant; it is not, therefore, surprising that they should bestow such little applause on me, not having their accustomed cues.

October 21st. -- Went to the National theatre, where I saw Forrest act King Lear. I had a very high opinion of his powers of mind when I saw him exactly seventeen years ago; I said then, if he would cultivate those powers and really study, where, as in England, his taste could be formed, he would make one of the very first actors of this or any day. But I thought he would not do so, as his countrymen were, by their extravagant applause, possessing him with the idea and with the fact, as far as remuneration was concerned, that it was unnecessary. I reluctantly, as far as my feelings towards him are interested, record my opinion that my prophetic soul foresaw the consequence. He has great physical power. But I could discern no imagination , no original thought, no poetry at all in his acting. Occasionally in rage he is very strong and powerful, but grandeur in his passion there was none; pathos none. The quiet portion -- and much, too much, was quiet--was heavy and frequently inaudible; irascibility of temperament did not appear; there was no character laid out. The audience were very liberal, very vehement, in their applause; but it was such an audience! -- applauding all the disgusting trash of Tate as if it had been Shakespeare, with might and main. But an actor to speak the words of Tate -- with Shakespeare's before him -- I think criticizes his own performance; and of Forrest's representation I should like to say that it was like the part -- false taste. In fact, I did not think it the performance of an artist. I did not like his curst -- it was anything. In the storm (for which see Kent's description in the previous scene -- oh, ye gods!) he walked on in perfect quietude; there was nothing on his mind, fastened on and tearing and convulsing it with agony, and certainly his frenzy "was not like madness." His recognition of Cordelia the same. He did not fully comprehend his poet. He speaks very frequently in a voice not his own, reminding me of Kean and Vandenhoff. But the state of society here and the condition of the fine arts are in themselves evidences of the improbability of an artist being formed by them. It is a very pretty theatre, but filled with vulgar people. I looked in at the Chestnut Street theatre, which had a very elegant auditory, listening to and applauding a French opera, very indifferently performed. Walked home. Read over again dearest Catherine's letters, etc. There was much to praise in Forrest's execution frequently; he seems to have his person in perfect command, but he has not enriched, refined, elevated, and enlarged his mind; it is very much where it was, in the matter of poetry and art, when I last saw him. But his speaking through the play and the trash of Tate, with not even the altered catastrophe to account for it -- for he restored the death of Lear -- manifests the extent of his genius. He had all the qualifications, all the material out of which to build up a great artist, an actor for all the world. He is now only an actor for the less intelligent of the Americans. But he is something better -- an upright and well-intentioned man.

October 28th.-- Saw some papers; one, signed by Barlow, affecting to make a comparative criticism on Mr. Forrest and myself in Macbeth! it was too bad, as the ignorant creature showed in what he was obliged to state that Mr. Forrest did not understand the character; nor does Mr. Forrest understand Shakespeare. He is not an artist. Let him be an American actor -- and a great American actor -- but keep on this side of the Atlantic, and no one will gainsay his comparative excellence. Much disgusted. Rested and thought on Richelieu; determined to act it well, if I could, as Mr. Forrest, not handsomely, I think, was put up for the same part on the same night. I did act Cardinal Richelieu -- I think well -- in such a manner as evidently to produce a great effect on the audience. They made a very resolute call for me.

October 30th. -- Walk called; declaimed against Forrest, on whose professional merits I was cautiously silent, whose personal qualities I praised.

October 31st. -- Saw some papers, and was disgusted, annoyed and rather alarmed at an intimation of that scoundrel Bennet, that "forty or fifty unfriendly persons could, if they pleased, drive even Mr. Macready from the stage." I quite abandon all idea of settling in this ø cø country The press is made up, with a few exceptions, of such unredeemed scoundrels, and the law is so inoperative that, "the spurns which patient merit from the unworthy takes" in England are preferable to the state of semi-civilization here. I disagree with Dickens whilst I quite sympathize with his disgust at these wretches. Lost much time from my state of mind.

November 1st. -- Have been much harassed, occupied, irritated, and annoyed by the assaults in certain newspapers. This is weakness, but one in which I think all - all are liable. Voltaire and Racine had the honesty to confess that one line of abuse gave them more uneasiness than pages of praise afforded them pleasure. It is true throughout human nature. I could reason myself into conviction for a moment, but what is that to feeling? When I was here before, they attempted (and with really more reason) to set up Mr. Forrest as equal to myself, and Mr. Cooper as superior. What has been the fact? Acted Othello in a very grand and impassioned manner, never better. The audience I thought cold at first, but I would not give way to the influence; I sustained the character from the first to the last. Called for and very warmly greeted.

November 2nd. -- Felt most languid, and unequal to exertion, and can account for many times seeming and being under the mark of energy and spirit. But I rallied and determined to do my very best, and I played Cardinal Richelieu uncommonly well; was called for and well received. I will henceforward assert myself in my acting. At New York, I fear, it was I and not the audience who were to blame -- we will see.

[1846] London, November 16th. -- An American paper with an account of a dinner given to Mr. Forrest at New York, Bryant in the chair; Halleck one of the committee, Griffin another, and Theodore Sedgewick (proh pudor) a committee man! -- "professional excellence and private worth!!" America!! Give me crust in England. God speed me in my labours for my blessed family's sake. Amen! No America.

:[1849] Cincinnati, April 11th.-- Especially disgusted by a reference to a New York paper, which discusses the possibility of certain friends of mine and this blackguard Forrest making the occasion of my appearance a signal for conflict! Are not the vulgar wretches, the stupid, unprincipled dolts of this country, enough to drive a wise man mad? I am sure my patience has been tried--at least, so far that I can no longer attempt to carry on the work of reasoning for them and extending charity to their foolish doings. There are gentlemen--high-minded, high-hearted, cultivated gentlemen--in the country, but it is a land of blackguards. I cannot wonder at Dickens' aversion--with me I becomes loathing! ...

April, 12th.--Ryder told me of the New York Herald having my whole speech--with the observation, editorial, that it was given to do justice to both parties (!!!), having given Mr. Forrest's letter the other day; that Mr. Forrest's friends were to hiss me, and my friends to hiss Mr. Forrest. "Go it, my chickens," was the end of the article!

April 13th. -- Telegraph from Gould, informing me of Mr. Forrest being engaged at the Broadway, opening on 23rd. So that it is now apparent all this villainous proceeding on his part has been to get up an excitement in the hope it will draw money to him!!! My God!!!

April 14th. -- An envelope enclosing a most blackguard attack on me for my speech from the Nation newspaper--full of falsehood. I rejoice in having these rascally Irishmen opposed to me--the produce of the"base posterior of the world."

New York, April 30th. -- Read paper in which Mr. Forrest's "repudiation" of his wife without cause assigned, and with the admission of her unimpeached character, and having borne him four children, is stated merely in its naked fact, and in terms much more complimentary to him than otherwise. The tenderness of the American Press towards that scoundrel is an uncontradictable evidence of its rascality and baseness.

May 1st. -- Gould called, then Ryder. An anonymous note in disguised hand, recommending me to send a challenge to Mr. Forrest for his letter No. 1--to go and fight in Canada, assuring me he would not have the courage to go!!! Oh, clever gentlemen! ...

May 2nd. -- Looked at paper--New York Herald. One is as good as another! An article headed with that disgusting beginning, Forrest and Macready. It is really too bad. In it this Bennett turns his dislike to Forrest and his vulgar aversion to me into a concentrated spite against Wilkoff, charging on him all this Forrest's villainy, and strongly recommending the intermediation of friends to make up this "difference" (!!!) between us! Is it thus these wretches contemplate such open violation of truth, honesty, and every bond that claims respect!

May 7th. -- Rehearsed with some care. Looked at some papers (N.Y.) sent to me. Received note from Silliman, which I answered. Rested. My hairdresser told me there would be a good house, for there was--an unusual sight--a great crowd outside. My call came; I had heard immense applause and three cheers for Mr. Clarke in Macduff. I smiled and said to myself, "They mistake him for me." I went on--the greatest applause, as it seemed from the whole house. I bowed respectfully, repeatedly. It still kept on. I bowed as it were emphatically (to coin an expression for a bow), rather significantly that I was touched by such a demonstration; it continued. I thought, "This is becoming too much." It did not cease, and I began to distinguish howlings from the right corner of the parquette. Still, I thought, it is only like the Western shriek--a climax of their applause. At length I became sensible there was opposition, and that the prolongation of the applause was the struggle against it; I then waited for its subsidence, but no cessation; I at last walked forward to address them, intending to say--"I felt pain and shame, which the intelligent and respectable must feel for their country's reputation, and that I would instantly resign my engagement rather than encounter such disgraceful conduct." They would not let me speak. They hung out placards--"You have been proved a liar," etc.; flung a rotten egg close to me. I pointed it to the audience and smiled with contempt, persisting in my endeavour to be heard. I could not have been less than a quarter of an hour on the stage altogether, with perfect sang-froid and good-humour, reposing in the consciousness of my own truth. At last there was nothing for it, and I said "Go on," and the play, Macbeth, proceeded in dumb show, I hurrying the players on. Copper cents were thrown, some struck me, four or five eggs, a great many apples, nearly--if not quite--a peck of potatoes, lemons, pieces of wood, a bottle of asafœtida which splashed my own dress, smelling, of course, most horribly. The first act, at least in my scenes, with these accompaniments, passed in dumb show; I looking directly at these men as they committed these outrages, and no way moved by them. Behind the scenes some attempted to exhibit sympathy, which I received loftily, observing, "My concern was for the disgrace such people inflicted on the character of the country." The second act closed exactly in the same way. I dressed for the third and went on; the tumult the same, the missiles growing thicker. At last a chair was thrown from the gallery on the stage, something heavy was thrown into the orchestra (a chair) which made the remaining musicians move out. Another chair was hurled by the same man, whom I saw deliberately throw it, then wrench up another, and throw it too--I bowed to the audience, and going up to Mr. Chippendale, observed that I thought "I had quite fulfilled my obligation to Messrs. Niblo and Hackett, and that I should now remain no longer." I accordingly went down and undressed; Colden was there and seemed to apprehend danger out of doors; I did not. However, I took my dirk, but thinking it unworthy to carry it, threw it down again. Colden (who made too much of it), Tallmadge, and Emmett walked home with me; there was no sign of any attempt in the back street, but there was a crowd at the front door, which Colden had not been able to penetrate, and which, the Chief of the Police informed me afterwards, made the strongest efforts to break into the house. Colden was with me and Ruggleston came and joined us. I was in the best spirits, and we talked over what was to be done. Several things proposed, rejected, and certain things decided on, but so hastily that when they were gone I perceived the course was yet to be fixed on. A Mr. Bennett--stranger--came, as he said, from young Astor and other names of the first, he said, to say that this should be resisted, and to convey to me the expression of their regret, etc. I was not quite sure of my man. Gould came, when they were gone, in great distress, having heard all from Duyckirck. Our conversation overturned the decision with Ruggles and Colden. He gone, Mr. Monnitt, my landlord, and one of the heads of the police called, to show me a deposition taken from one of the rioters who had been captured, and who, because he cried very much, was set at liberty. I asked leave to copy the deposition and I am about to do it, and I suppose shall have a long night's writing. And this is my treatment! Being left alone, I begin to feel more seriously the indignities put on me, and entertain ideas of not going on the stage again. Pray God I may do what is right. I will try to do so. I thank His goodness that I am safe and unharmed. Wrote to dearest Catherine.

May 10th. -- I went, gaily, I may say, to the theatre, and on my way, looking down Astor Place, saw one of the Harlem cars on the railroad stop and discharge a full load of policemen; there seemed to be others at the door of the theatre. I observed to myself, "This is a good precaution." I went to my dressing room and proceeded with the evening's business. The hairdresser was very late and my equanimity was disturbed. I was ruffled and nervous from fear of being late, but soon composed myself. The managers were delaying the beginning, and I was unwilling to be behind the exact hour. The play began; there was some applause to Mr. Clarke (I write of what I could hear in my room below). I was called, and at my cue went on with full assurance, confidence, and cheerfulness. My reception was very enthusiastic, but I soon discovered that there was opposition, though less numerously manned than on Monday. I went right on when I found that it would not instantly be quelled, looking at the wretched creatures in the parquette, who shook their fists violently at me, and called out to me in savage fury. I laughed at them, pointing them out with my truncheon to the police, who, I feared, were about to repeat the inertness of the previous evening. A black board with white letters was leaned against the side of the proscenium: "The friends of order will remain silent." This had some effect in making the rioters more conspicuous. My first, second, third scenes passed over rapidly and unheard; at the end of the fourth one of the officers gave a signal, the police rushed in at the two sides of the parquette, closed in upon the scoundrels occupying the centre seats and furiously vociferating and gesticulating, and seemed to lift them or bundle them in a body out of the centre of the house, amid the cheers of the audience. I was in the act of making my exit with Lady Macbeth, and stopped to witness this clever manoevre, which, like a coup de main, swept the place clear at once. As well as I can remember the bombardment outside now began. Stones were hurled against the windows in Eighth Street, smashing many; the work of destruction became more systematic; the volleys of stones flew without intermission, battering and smashing all before them; the Gallery and Upper Gallery still kept up the din within, sided by the crashing of glass and boarding without. The second act passed, the noise and violence without increasing, the contest within becoming feebler. Mr. Povey, as I was going to my raised seat in the banquet scene, came up to me and, in an undertone and much frightened, urged me to cut out some part of the play and bring it to a close. I turned round upon him very sharply, and said that "I had consented to do this thing--to place myself here, and whatever the consequence I must go through with it--it must be done; that I could not cut out. The audience had paid for so much, and the law compelled me to give it; they would have cause for riot if all were not properly done." I was angry,a and spoke very sharply to the above effect. The banquet scene was partially heard and applauded. I went down to change my dress, the battering at the building, doors, and windows growing, like the fiends at the Old Woman of Berkley's burial, louder and louder. Water was running down fast from the ceiling to the floor of my room and making a pool there. I inquired; the stones hurled in had broken some of the pipes. The fourth act passed; louder and more fierce waxed the furious noises against the building and from without; for whenever a missile did effectual mischief in its discharge it was hailed with shouts outside; stones came in through the windows, and one struck the chandelier; the audience removed for protection behind the walls; the house was considerably thinned, gaps of unoccupied seats appearing in the audience part. The fifth act was heard, and in the very spirit of resistance I flung my whole soul into every word I uttered, acting my very best and exciting the audience to a sympathy even with the glowing words of fiction, whilst these dreadful deeds of real crime and outrage were roaring at intervals in our ears and rising to madness all round us. The death of Macbeth was loudly cheered, and on being lifted up and told that I was called, I went on, and, with action earnestly and most emphatically expressive of my sympathy with them and my feelings of gratefulness to them I quitted the New York stage amid the acclamations of those before me. Going to my room I began without loss of time to undress, but with no feeling of fear or apprehension. When washed and half dressed, persons came into my room--consternation on the faces of some; fear anxiety, and distress on hose of others. "The mob were getting stronger; why were not the military sent for?" "They were here." "Where? Why did they not act?" "They were not here; they were drawn up in the Bowery." "Of what use were they there?" Other arrivals. "The military had come upon the ground." "Why did they not disperse the mob then?" These questions and answers, with many others, were passed to and fro among the persons round me whilst I was finishing my hasty toilet, I occasionally putting in a question or remark. Suddenly we heard a volley of musketry: "Hark! what's that?" I asked. "The soldiers have fired." "MY God!" I exclaimed. Another volley, and another! The question among those surrounding me t (there were, that I remember, Ruggles, Judge Kent, D. Colden, R. Emmett, a friend of his in some official station, Fry, Sefton, Chippendale, and I thing the performer who played Malcolm, etc.) was, which way was I to go out? News came that several were killed; I was really insensible to the degree of danger in which I stood, and saw at once--there being no avoidance--there was nothing for it but to meet the worst with dignity, and so I stood prepared. They sent some one to reconnoitre, and urged the necessity of a change in my appearance. I was confident that people did not know my person, and repeated this belief. They overbore all objections, and took the drab surtout of the performer of Malcolm, he taking my clack one; they insisted, too that I must out wear my hat; I said, "Very well; lend me a cap." Mr. Sefton gave me his, which was cut all up the back to go upon my head. Thus equipped I went out, following Robert Emmett to the stage door; here we were stopped, not being allowed to pass. The "friend" was to follow us as a sort of aide, but we soon lost him. We crossed the stage, descended into the orchestra, got over int o the parquette,, and passing into the centre passage went along with the thin stream of the audience moving out. We went right on, down the flight of stairs of the audience moving out. We went right on, down the flight of stairs and out of the door into Eighth Street. All was clear in front--kept so by two cordons or lines of police at either end of the building stretched right across. We passed the line near Broadway, and went on threading the excited crowd, twice or three times muttering in Emmett's ear, "You are walking too fast." We crossed Broadway, still through a scattered crowd, and walked on along Clinton Place till we passed the street leading down to the New York Hotel. I then said, "Are you going to your own house?" "Yes." We reached it, and having opened the door with a latchkey, closing it after us, he said, "You are safe here; no one will know anything about you; you shall have a bed in ten minutes or a quarter of an hour, and you may depend upon all in this house." I sat down in the drawing-room, talking of the facts about us, and wondering at myself and my condition, secretly preparing myself for the worst result, viz., falling into the hands of those sanguinary ruffians. A son of Emmett's was there, Robert; in about a quarter of an hour Colden came in. Several men had been killed, how many not certainly known yet. "You must leave the city at once; you must not stay here!" It was then a consultation between these excellent friends, I putting in an occasional opinion objecting or suggesting upon the safest course to pursue. At length it was decided, and Robert was sent out to find Richard, another son, probably at the Racket Club, to put the plan in execution. He was met by Robert in the street, and both returned with additional reports; the crowd was still there, the excitement still active. Richard was sent to the livery stable to order a carriage and good pair of horses to be at Emmett's door at four o'clock in the morning, "to take a doctor to some gentleman's house near New Rochelle." This was done and well done by him; Colden and Emmett went out to reconnoitre, and they had, as I learned from Emmett, gone to the New York hotel, at the door of which was still a know of watchers, and to Emmett's inquiries told him, if any threats were made, to allow a committee of the crowd to enter and search the house for me. Emmett returned with my own hat, one from the hotel, and I had got Colden's coat. An omnibus drove furiously down the street, followed by a shouting crowd. We asked Richard, when he came in, what it was; he said, "Merely an omnibus," but next morning he told me that he asked the men pursuing, "What was the matter?" and one answered, "Macready's in that omnibus; they've killed twent of us, and by G-- we'll kill him!" Well all was settled; it was believed that twenty had perished. Robert went to bed to his wife. Emmett went upstairs to lie down, which I declined to o, and with Richard went down into the comfortable office below before a good fire and, by the help of a cigar, to count the slow hours fill four o'clock. We talked and he dozed, and I listened to the sounds of the night, and thought of home, and what would be the anguish of hearts there if I fell in this brutal outbreak; but I resolved to do what was right and becoming. The clock struck four; we were on the move; Emmett came down; sent Richard to look after the carriage. All was still in the dawn of morning, but we waited some ten minutes--an age of suspense--the carriage arrived. I shook the hand of my preserver and friend--my heard responded to m parting prayer of "God bless him"--and stepping into the carriage, a covered phaeton, we turned up Fifth Avenue, and were on our way to safety. Thank God. During some of the time of waiting I had felt depressed and rather low, but I believe I showed no fear, and felt determined to do my duty, whatever it might be, acting or suffering. We met only market carts, butchers' or gardeners', and labourers going to their early work; the morning was clear and fresh, and the air was cooling to my forehead, hot and aching with want of sleep. The scenery through which we passed, crossing the Manhattan, giving views of the various inlets of the sound, diversified with gentlemen's seats, at any other time would have excited an interest in me, now one's thought or series of thoughts, with wanderings to home and my beloved ones, gave me no time for passing objects. I thought as we passed Harlem Station, it would never have done to have ventured there. Some of the places on the road were familiar to my recollection, having been known under happier circumstances.

May 15th.--Read the telegraphic verdict on the killed: "That the deceased persons came to their deaths by gun-shot wounds, the guns being fired by the military, by order of the civil authorities of New York, and that the authorities were justified, under existing circumstances, in ordering the military to fire upon the mob; and we further believe that if a larger number of policemen had been ordered out, the necessity of a resort to the use of the military might have been avoided."

Ten of the rioters were tried in September, 1849, in the Court of General Sessions, New York before Judge Daly. After a trial lasting fifteen days, the jury found all ten guilty. Sentences varied from one month in prison to one year and a fine of $250.00.