colors of the East, glowing with the warmth and poetry of Arabian
romance and story, "Mohammed" was rather the work of a thinker and a
poet than of a master dramatist. It was never acted, Forrest himself
judging that it had not that ebb and flow of passion, nor that strong
presentation of character which of all things are so necessary for the
stage. Yet in other plays, notably in "_Señor Valiente_" and especially
in "_De Soto_," and "Mary's Birthday," Miles showed that in him the
dramatic note was not lacking, and in both he scored remarkable
successes.

From Baltimore, after he had left the pursuit of the law, and from
Thornbrook, close to the academic halls in which from 1859 he passed his
entire life, Miles seldom emerged into public notice. Twice he visited
Europe, his impressions of the second journey (1864) being recorded in
"Glimpses of Tuscany." In 1851 President Fillmore sent him on a
confidential mission to Madrid. That same year, John Howard Payne, the
loved singer of "Home, Sweet Home," was reinstated in his consulship of
Tunis. Like Miles, that wandering bard was a convert to the Catholic
Faith. But unlike Miles, he did not enter the Church until the very end
of his life, practically on his death bed. Catholics will be glad to
know that the song, "Home, Sweet Home," whose underlying melody Payne
caught from the lips of an Italian peasant girl, was written by one who,
after many strange wanderings, found "Home" at last in that Church which
is the mistress and inspirer of art. Like Payne, Miles captured the
fancy of his countrymen with one song, "Said the Rose," which at one
time was the most popular song in the United States. It has not the
depth and the melting tenderness of "Home, Sweet Home," but its quaint
fancy and melodious verse struck a responsive chord. In his "Inkerman,"
a stirring ballad, which every American boy of a former age knew by
heart, there was an echo of the "Lays of Ancient Rome," of the "Lays" of