I believe that I speak the sentiment of the
whole dramatic profession, when I declare that
the American stage is proud and glad to have
been the means of paying this tribute to Amer-
ican literature. The art of the actor is pecu-
liarly sensitive to the bond of fraternity which
unites all the arts in one family, but its kin-



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MEMORIALS. 407

dred is nearest and its obligation is deepest
to the art of the poet. Without Shakespeare
the stage would lack its chief resources of
power, influence, beauty, and renown. Poe
was not a dramatic poet. He wrote little in
the dramatic form — nothing that was ever
acted. Yet he was truly a poet, in his prose as
well as in his verse, and every thoughtful actor
is aware that the success of theatrical art is
considerably due to the influence of poetry
on the public mind, — an influence which al-
lures it to all that is beautiful, majestic, or
otherwise impressive in the acted represen-
tation of human life. It always would be
proper for the stage to honour a true poet. In
this instance there was a special reason for
the tribute that has been offered. Poe was
the child of actors. He has himself referred
to his mother, Elizabeth Arnold, as *' a woman,
who, although well bom, hesitated not to con-
secrate to the drama her brief career of genius
and beauty.'* This was at a time when the
theatre was less respected than it is at present.
