Soo drouet biography of abraham lincoln
People/Characters Abraham Lincoln
Illustrations
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Photograph of Abraham Lincoln, by Rice
Photograph of Sallie Carrie Whitney
Log Cabin at "Goose Nest" Prairie
"Rutledge" Mill at New Salem
Home of Abraham Lincoln at Springfield
Tremont House, Chicago, from 1850 to 1871
Photograph of Abraham Lincoln by Hesler
Court Week on the Eighth Circuit
Court House at Clinton, Illinois
Photograph of Abraham Lincoln, by Alschuler
Photograph of David Davis, and Autograph
Court House at Paris, Illinois
Fac-simile of Letter from David Davis
Photograph of Leonard Swett and Autograph
A Lawyer's Advertisement of Central Illinois, A. D. 1855
The United States Capitol (Front)
President's Room in Capitol
Three (domestic) Graces
Mary Todd Lincoln
The Executive Mansion (Front)
Blue Room, President's Mansion
Private Dining-Room, President's Mansion
Horse and Warrior
The Executive Mansion (Rear)
Cabinet Room at President's Mansion
Autograph Letter of Abraham Lincoln, June 7, 1855
East Room, President's Mansion
Autograph Letter of Abraham Lincoln (1st page) Dec. 18, 1857
Autograph Letter of Abraham Lincoln (2nd page) Dec. 18, 1857
Court House at Petersburgh, Illinois
Site of "Rutledge Mill", at New Salem
The Lovers' Path
Road at New Salem
Pen Sketch of New Salem
Lincoln's Home at New Salem
Well Where Lincoln First Saw Ann Rutledge
The Grave of Ann Rutledge
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Sangamon River Above New Salem
Around the Bend, Above New Salem
Autograph Speech at Gettysburgh Battle Ground (1st page)
Autograph Speech at Gettysburgh Battle Ground (2nd page)
Court House at Danville, Illinois
An Autographic "Declaration" of Seven Pages
An Autographic "Declaration" of Seven Pages
An Autographic "Declaration" of Seven Pages
An Autographic "Declaration" of Seven Pages
Photograph of James W. Somers, and Two Autograph Letters from Abraham Lincoln
The Tomb of Abraham Lincoln
Green Room, President's Mansion
Autograph Note of Abraham Lincoln to McClellan, Sept. 30, 1861
A Female Figure Behind the Bars
---the odditiesof Lincoln's pop culture legacy
---"Still, there is something bracing about a film that’s not afraid to link the entire Confederacy, still an inexplicable source of pride in some parts of the country, with a race of humanity-enslaving vampires. I can’t wait to see how this thing plays in South Carolina." --Bilge Ebiri
---"It constitutes a moral sin, if not an outright moral crime, and commits a grave insult against history." --Glenn Kenny
---"There’s definitely some empty-calories, summer-movie fun to be found in this ludicrous genre mashup, most of it courtesy of maniacal Russian director Timur Bekmambetov, who stages hilarious, imaginative, almost free-form action sequences like nobody in the business. There’s a scene in this movie that involves an ax fight between the young Mr. Lincoln and a slave-trading vampire mastermind, set amid a stampeding herd of horses, who are alternately used as conveyances, obstacles and weapons. In its own idiotic and limited way, it’s a work of genius, and you could almost say that about the movie as a whole." --Andrew O'Hehir
---makingthe "Waltz of Death" scene
---"And just as Lincoln said `the world will little note, nor long remember' the words he spoke, he certainly had no idea that 149 years later, giant projected digital electronic moving pictures would show him killing CG-enhanced vampires." --Jake and Gabor Boritt
---"TOH: Why did you select Abraham Lincoln of all the presidents to be your vampire hunter?
SGS [Seth Grahame-Smith]: Well, I have to go back to how the idea originated. I was doing a book tour for "Pride and Prejudice and Zombies" and as part of the tour I would go to bookstores big and small all over the US. This was in 2009 and it was the bicentennial of Lincoln's birth, so no matter where I was in the country, no matter the bookstore, there were two displays: Abraham
Who Was the Most Famous of All?
“Did you ever see Jefferson?” George Hurstwood asks Sister Carrie as he leans toward her in the Chicago theater to which he’s invited her and her “husband,” Charlie Drouet; “He’s delightful, delightful.” And when Hurstwood reports to his wife that the play was very good, “only it’s the same old thing, ‘Rip Van Winkle,'” every contemporary reader of Sister Carrie would have known exactly what he was talking about. Long before 1900, when Dreiser’s novel was published, Joe Jefferson was the most famous actor in America, and the richest. He was also the most beloved, his unparalleled genius for blending humor and pathos having endeared him to the entire national audience.
Yet it’s hardly surprising that today he’s completely forgotten: Who can remember the names of any American actors of the nineteenth century, except perhaps Edwin Booth and his notorious brother, John Wilkes? What’s surprising is that within the current decade, two scholarly yet engaging full-length biographies of Jefferson have appeared. In retrospect, though, you can see why two respected academics—Arthur Bloom (Joseph Jefferson: Dean of the American Theatre) and Benjamin McArthur (The Man Who Was Rip Van Winkle)—would choose to write about him. Joe Jefferson is not only a fascinating figure but the perfect vehicle for tracking the history of nineteenth-century theater in America. In a sense, his history is its history.
To begin with, acting was the family trade: he was the fourth generation of Jefferson actors. His great-grandfather, named Thomas Jefferson, was an English lawyer-turned-performer who was a protégé of the great David Garrick. His grandfather, the first Joseph Jefferson, emigrated to America and became the leading comedian in Philadelphia’s Chestnut Street Theatre, the nation’s most highly regarded playho