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Power Systems
Introduction
to Transients
in Electrical
Circuits
Analytical and Digital Solution Using an
EMTP-based Software
Power Systems
Electrical power has been the technological foundation of industrial societies for
many years. Although the systems designed to provide and apply electrical energy
have reached a high degree of maturity, unforeseen problems are constantly
encountered, necessitating the design of more efficient and reliable systems based
on novel technologies. The book series Power Systems is aimed at providing
detailed, accurate and sound technical information about these new developments in
electrical power engineering. It includes topics on power generation, storage and
transmission as well as electrical machines. The monographs and advanced
textbooks in this series address researchers, lecturers, industrial engineers and
senior students in electrical engineering.
**Power Systems is indexed in Scopus**
Introduction to Transients
in Electrical Circuits
Analytical and Digital Solution Using
an EMTP-based Software
123
José Carlos Goulart de Siqueira Benedito Donizeti Bonatto
Institute of Electrical Systems and Energy Institute of Electrical Systems and Energy
Federal University of Itajubá Federal University of Itajubá
Itajubá, Brazil Itajubá, Brazil
This Springer imprint is published by the registered company Springer Nature Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Preface
v
vi Preface
The teacher and the apprentice are encouraged to use modern computational
tools used in the electrical power industry for the calculation of electromagnetic
transients, but are warned about their limitations and modelling constraints. This
integrates the “know-how” and “know why” necessary for the safe analysis of
simulated results. The teacher can direct students in solving specific problems in the
textbook or even propose that students present real day-to-day problems for solu-
tion, as the introductory methodology for modelling and calculation of digital and
analytical solution of circuit transients in electrical systems are fully presented in
the textbook. Technical–scientific articles should be consulted, as well as textbooks
for more advanced studies on transients in electrical power systems can be con-
sulted, depending on the interest and need of the problem to be solved.
It is important to clarify that the motivation and intent primacy of the main
author, Prof. José Carlos Goulart de Siqueira, are to leave a legacy to the teachers
and students of UNIFEI, where he magistrate with excellence for decades, having
been the first rector of UNIFEI-Federal University of Itajubá, which has been
completed, on November 23rd 2020, 107 years of history of contributions to higher
education in Brazil.
We think that the book is intended for engineering students who already have
been successfully approved in introductory circuit analysis, calculus and ordinary
differential equations courses. Our experience as educators is that, when it comes to
truly understand and apply the mathematical knowledge in electrical circuits tran-
sients, the majority of students have much more difficulties. Therefore, this book
supplies, in an integrated way, all the necessary knowledge and practice through
extensive examples.
This book is organized as follows: Chap. 1 presents an introduction to transients in
electrical circuits with a discussion about fundamentals of circuit analysis, physical
phenomena and the need for mathematical modelling and simulation. The student is
encouraged from the beginning to become familiar with Appendix A—processing at
the ATP. Chapter 2 presents singular functions for the analytical solution, and
Appendix B shows the main relations involving singular functions. Chapter 3 pre-
sents the solution of differential equations. It emphasizes the solution using the
classical method in the time domain. For the operational method in the complex
frequency domain using the Laplace transform, Appendix C—Laplace transform
properties, Appendix D—Laplace transform pairs and Appendix E—Heaviside
expansion theorem can be helpful.
Chapter 4 presents the digital solution of transients in basic electrical circuits.
The fundamental algorithm of EMTP-based program is introduced, and the problem
of numerical oscillations due to the trapezoidal method is briefly discussed. Chapter
5 presents transients in first-order circuits. Extensive number of examples are
provided with their analytical and digital solution using the ATPDraw. Chapter 6
Preface vii
presents transients in circuits of any order, exploring the solution methods con-
solidated so far. Finally, Chap. 7 introduces switching transients using the injection
of sources method. All chapters provide useful references to enhance the learning
process, as well as to instigate further investigation about advanced topics. Enjoy it!
Acknowledgments We would like to express our gratitude to many people who have helped to
bring this book project to its conclusion. We deeply thank all members of our families, friends
(Antonio Eduardo Hermeto…), colleagues who by listening and encouraging have provided the
fundamental support and personal care. We give a special thanks to Alexa Bonelli Bonatto and
Aline Bonelli Bonatto for their work in the initial translation and editing. Professional editing was
provided by Springer’s team to whom we are deeply gratefull. Finally, we thank many students
who were challenged in their studies during their courses at UNIFEI by the many proposed
problems.
Contents
ix
x Contents
xiii
xiv List of Figures
Fig. 5.106 Electric circuit of Example 5.32 for analytical solution . . . . . . 303
Fig. 5.107 Electric circuit of Example 5.33 . . . . . . . . . . . . . . . . . . . . . . . . 304
Fig. 5.108 Electric circuit of Example 5.34 . . . . . . . . . . . . . . . . . . . . . . . . 306
Fig. 5.109 Electric circuit of Example 5.35 . . . . . . . . . . . . . . . . . . . . . . . . 309
Fig. 5.110 Equivalent electric circuit of Example 5.35 . . . . . . . . . . . . . . . 312
Fig. 5.111 Electric circuit of Example 5.35 for digital solution . . . . . . . . . 313
Fig. 5.112 Electric circuit of Example 5.35 for digital solution . . . . . . . . . 313
Fig. 5.113 Transient current i1 ðtÞ digital solution for circuit
of Example 5.35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Fig. 5.114 Zoom at transient current i1 ðtÞ digital solution
for circuit of Example 5.35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Fig. 5.115 Zoom at transient current i1 ðtÞ digital solution
for circuit of Example 5.35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Fig. 5.116 Transient current i2 ðtÞ digital solution for circuit
of Example 5.35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Fig. 5.117 Zoom at transient current i2 ðtÞ digital solution
for circuit of Example 5.35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Fig. 5.118 Transient current iL ðtÞ digital solution for circuit
of Example 5.35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Fig. 5.119 Zoom at transient current iL ðtÞ digital solution
for circuit of Example 5.35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Fig. 5.120 Transient current i1 ðtÞ digital solution for circuit
of Example 5.35 with damped numerical oscillations . . . . . . . . 318
Fig. 5.121 Zoom at transient current i1 ðtÞ digital solution for circuit
of Example 5.35 with damped numerical oscillations . . . . . . . . 318
Fig. 5.122 Transient current i2 ðtÞ digital solution for circuit
of Example 5.35 with damped numerical oscillations . . . . . . . . 319
Fig. 5.123 Zoom at transient current i2 ðtÞ digital solution for circuit
of Example 5.35 with damped numerical oscillations . . . . . . . . 319
Fig. 5.124 Electric circuit of Example 5.35 for digital solution . . . . . . . . . 320
Fig. 5.125 Transient digital voltage in the inductance of 60½mH . . . . . . . . 321
Fig. 5.126 Transient digital voltage in the inductance of 120½mH . . . . . . . 321
Fig. 5.127 Transient digital voltage in the inductance of 40½mH . . . . . . 322
Fig. 5.128 Zoom at transient digital voltage in the inductance
of 60½mH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Fig. 5.129 Zoom at transient digital voltage in the inductance
of 120½mH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Fig. 5.130 Zoom at transient digital voltage in the inductance
of 40½mH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Fig. 5.131 Steady-state digital voltage in the inductance of 60½mH . . . . . 324
Fig. 5.132 Steady-state digital voltage in the inductance of 120½mH . . . . 325
Fig. 5.133 Steady-state digital voltage in the inductance
of 40½mH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
xxii List of Figures
Fig. 5.134 Transient voltage eL1 ðtÞ digital solution for circuit
of Example 5.35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Fig. 5.135 Transient voltage eL2 ðtÞ digital solution for circuit
of Example 5.35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Fig. 5.136 Zoom at transientvoltage eL1 ðtÞ digital solution for circuit
of Example 5.35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Fig. 5.137 Zoom at transientvoltage eL2 ðtÞ digital solution for circuit
of Example 5.35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Fig. 5.138 Linear and time-invariant (or fixed) circuit—CLI . . . . . . . . . . . 328
Fig. 5.139 a Invariance with time; b homogeneity property; c principle
of superposition; d DuHamel, Carson, Superposition Integral
or, simply, Convolution Integral . . . . . . . . . . . . . . . . . . . . . . . . 329
Fig. 5.140 Electric circuit of Example 5.37 . . . . . . . . . . . . . . . . . . . . . . . . 332
Fig. 5.141 Cascade or latter circuit of Example 5.38 . . . . . . . . . . . . . . . . . 337
Fig. 5.142 Electric circuit of Problem P.5-1 . . . . . . . . . . . . . . . . . . . . . . . . 338
Fig. 5.143 Electric circuit of Problem P.5-2 . . . . . . . . . . . . . . . . . . . . . . . . 338
Fig. 5.144 Electric circuit of Problem P.5-3 . . . . . . . . . . . . . . . . . . . . . . . . 339
Fig. 5.145 Electric circuit of Problem P.5-4 . . . . . . . . . . . . . . . . . . . . . . . . 339
Fig. 5.146 Electric circuit of Problem P.5-6 . . . . . . . . . . . . . . . . . . . . . . . . 340
Fig. 5.147 Electric circuit of Problem P.5-7 . . . . . . . . . . . . . . . . . . . . . . . . 340
Fig. 5.148 Electric circuit of Problem P.5-8 . . . . . . . . . . . . . . . . . . . . . . . . 341
Fig. 5.149 Electric circuit of Problem P.5-9 . . . . . . . . . . . . . . . . . . . . . . . . 341
Fig. 5.150 Electric circuit of Problem P.5-10 . . . . . . . . . . . . . . . . . . . . . . . 342
Fig. 5.151 Electric circuit of Problem P.5-11 . . . . . . . . . . . . . . . . . . . . . . . 342
Fig. 5.152 Electric circuit of Problem P.5-12 . . . . . . . . . . . . . . . . . . . . . . . 343
Fig. 5.153 Electric circuit of Problem P.5-14 . . . . . . . . . . . . . . . . . . . . . . . 343
Fig. 5.154 Electric circuit of Problem P.5-15 . . . . . . . . . . . . . . . . . . . . . . . 344
Fig. 5.155 Electric circuit of Problem P.5-16 . . . . . . . . . . . . . . . . . . . . . . . 344
Fig. 5.156 Electric circuit of Problem P.5-17 . . . . . . . . . . . . . . . . . . . . . . . 344
Fig. 5.157 Electric circuit of Problem P.5-18 . . . . . . . . . . . . . . . . . . . . . . . 345
Fig. 5.158 Electric circuit of Problem P.5-19 . . . . . . . . . . . . . . . . . . . . . . . 345
Fig. 5.159 Electric circuit of Problem P.5-20 . . . . . . . . . . . . . . . . . . . . . . . 345
Fig. 5.160 Electric circuit of Problem P.5-21 . . . . . . . . . . . . . . . . . . . . . . . 346
Fig. 5.161 Electric circuit of Problem P.5-22 . . . . . . . . . . . . . . . . . . . . . . . 346
Fig. 5.162 Electric circuit of Problem P.5-23 . . . . . . . . . . . . . . . . . . . . . . . 346
Fig. 5.163 Electric circuit of Problem P.5-24 . . . . . . . . . . . . . . . . . . . . . . . 346
Fig. 5.164 Electric circuit of Problem P.5-25 . . . . . . . . . . . . . . . . . . . . . . . 347
Fig. 5.165 Electric circuit of Problem P.5-26 . . . . . . . . . . . . . . . . . . . . . . . 347
Fig. 5.166 Electric circuit of Problem P.5-27 . . . . . . . . . . . . . . . . . . . . . . . 348
Fig. 5.167 Electric circuit of Problem P.5-28 . . . . . . . . . . . . . . . . . . . . . . . 348
Fig. 5.168 Electric circuit of Problem P.5-29 . . . . . . . . . . . . . . . . . . . . . . . 348
Fig. 5.169 Electric circuit of Problem P.5-30 . . . . . . . . . . . . . . . . . . . . . . . 349
Fig. 5.170 Electric circuit of Problem P.5-32 . . . . . . . . . . . . . . . . . . . . . . . 350
List of Figures xxiii
Fig. 6.153 Current iðtÞ for switch k closing at t ¼ 3:979 ms; current iðtÞ
for switch k closing at t ¼ 8:146 ms; voltage eðtÞ
of the inusoidal source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496
Fig. 6.154 Zoom in Fig. 6.153 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Fig. 6.155 Electric circuit of Example 6.34 . . . . . . . . . . . . . . . . . . . . . . . . 498
Fig. 6.156 Electric circuit of Example 6.35 . . . . . . . . . . . . . . . . . . . . . . . . 500
Fig. 6.157 Electric circuit of Example 6.35 for AC steady-state
solution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Fig. 6.158 Equivalent electric circuit of Example 6.35 . . . . . . . . . . . . . . . 501
Fig. 6.159 Electric circuit of Example 6.36 . . . . . . . . . . . . . . . . . . . . . . . . 502
Fig. 6.160 Equivalent electric circuit of Example 6.36 . . . . . . . . . . . . . . . 503
Fig. 6.161 Electric circuit of Example 6.36 for the numerical solution
by the ATPDraw program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505
Fig. 6.162 Source voltage eðtÞ and Voltage in switch ek ðtÞ . . . . . . . . . . . . 506
Fig. 6.163 Current in the left loop iðtÞ . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Fig. 6.164 Voltage eðtÞ, Voltage ek ðtÞ . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Fig. 6.165 Current in the left loop iðtÞ . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Fig. 6.166 Electric circuit of Example 6.37 . . . . . . . . . . . . . . . . . . . . . . . . 508
Fig. 6.167 Electric circuit of Example 6.37 for t [ 0 solution . . . . . . . . . . 509
Fig. 6.168 Electric circuit of Example 6.37 for the numerical solution
by the ATPDraw program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
Fig. 6.169 e1 ðtÞ, e2 ðtÞ, eðtÞ; ik ðtÞ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Fig. 6.170 Electric circuit of Example 6.38 . . . . . . . . . . . . . . . . . . . . . . . . 511
Fig. 6.171 Electric circuit of Example 6.38 for t [ 0 solution . . . . . . . . . . 512
Fig. 6.172 Electric circuit of Example 6.38 for the numerical solution
by the ATPDraw program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Fig. 6.173 eðtÞ, ek ðtÞ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Fig. 6.174 ik ðtÞ, iL ðtÞ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Fig. 6.175 Electric circuit of Example 6.39 . . . . . . . . . . . . . . . . . . . . . . . . 516
Fig. 6.176 Electric circuit of Example 6.39 for the numerical solution
by the ATPDraw program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Fig. 6.177 Load energizing current . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Fig. 6.178 Zoom at the start of the load energizing current . . . . . . . . . . . . 519
Fig. 6.179 Load energizing current, but now for tmax ¼ 250 ms ¼
0:25 ½s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Fig. 6.180 Zoom at the end of Fig. 6.179 . . . . . . . . . . . . . . . . . . . . . . . . . 520
Fig. 6.181 Voltages eR ðtÞ and eL ðtÞ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Fig. 6.182 Zoom at the beginning of Fig. 6.181 . . . . . . . . . . . . . . . . . . . . 521
Fig. 6.183 Result of new zooms in Fig. 6.181 . . . . . . . . . . . . . . . . . . . . . . 522
Fig. 6.184 Voltages eR ðtÞ e eL ðtÞ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Fig. 6.185 Zoom at the end of Fig. 6.184 . . . . . . . . . . . . . . . . . . . . . . . . . 523
Fig. 6.186 Industrial load voltage eA ðtÞ . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
Fig. 6.187 Zoom at the beginning of Voltage eA ðtÞ . . . . . . . . . . . . . . . . . . 524
List of Figures xxix
Fig. 7.62 Voltage ek ðtÞ, switch current ik ðtÞ, source voltage eðtÞ . . . . . . . 627
Fig. 7.63 Alternative circuit for the numerical solution with injection
of the current source F 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
Fig. 7.64 Voltage ek ðtÞ, injected current i2 ðtÞ . . . . . . . . . . . . . . . . . . . . . . 628
Fig. 7.65 Illustration of the displacement of current source
method—original electric circuit . . . . . . . . . . . . . . . . . . . . . . . . 629
Fig. 7.66 Illustration of the displacement of current source
method—equivalent electric circuit . . . . . . . . . . . . . . . . . . . . . . 629
Fig. 7.67 Electric circuit of Example 7.14 . . . . . . . . . . . . . . . . . . . . . . . . 630
Fig. 7.68 Electric circuit of Example 7.14 for AC steady-state
solution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
Fig. 7.69 Electric circuit of Example 7.14 for calculating the exclusive
effects of the (injected) source F 2 . . . . . . . . . . . . . . . . . . . . . . . 632
Fig. 7.70 Equivalent electric circuit of Example 7.14 with displacement
of the (injected) current source F 2 . . . . . . . . . . . . . . . . . . . . . . 632
Fig. 7.71 Electric circuit of Example 7.14 for the numerical solution
by the ATPDraw program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636
Fig. 7.72 Voltages eðtÞ, ek ðtÞ and current ik ðtÞ accross the switch
for this case . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636
Fig. 7.73 Voltages eðtÞ, ek ðtÞ and current ik ðtÞ accross the switch
for this case . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637
Fig. 7.74 Voltages eðtÞ, ek ðtÞ and current ik ðtÞ accross the switch
for this case . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638
Fig. 7.75 Electric circuit for Problem P.7-1 . . . . . . . . . . . . . . . . . . . . . . . 639
Fig. 7.76 Electric circuit for Problem P.7-2 . . . . . . . . . . . . . . . . . . . . . . . 639
Fig. 7.77 Electric circuit for Problem P.7-3 . . . . . . . . . . . . . . . . . . . . . . . 639
Fig. 7.78 Electric circuit for Problem P.7-4 . . . . . . . . . . . . . . . . . . . . . . . 640
Fig. 7.79 Electric circuit for Problem P.7-5 . . . . . . . . . . . . . . . . . . . . . . . 640
Fig. 7.80 Electric circuit for Problem P.7-6 . . . . . . . . . . . . . . . . . . . . . . . 640
Fig. 7.81 Electric circuit for Problem P.7-7 . . . . . . . . . . . . . . . . . . . . . . . 641
Fig. 7.82 Electric circuit for Problem P.7-8 . . . . . . . . . . . . . . . . . . . . . . . 641
Fig. 7.83 Electric circuit for Problem P.7-9 . . . . . . . . . . . . . . . . . . . . . . . 641
Fig. 7.84 Electric circuit for Problem P.7-10 . . . . . . . . . . . . . . . . . . . . . . 642
Fig. 7.85 Electric circuit for Problem P.7-11 . . . . . . . . . . . . . . . . . . . . . . 642
Fig. 7.86 Electric circuit for Problem P.7-12 . . . . . . . . . . . . . . . . . . . . . . 643
Fig. 7.87 Electric circuit for Problem P.7-13 . . . . . . . . . . . . . . . . . . . . . . 643
Fig. 7.88 Electric circuit for Problem P.7-14 . . . . . . . . . . . . . . . . . . . . . . 643
Fig. 7.89 Electric circuit for Problem P.7-15 . . . . . . . . . . . . . . . . . . . . . . 644
Fig. 7.90 Electric circuit for Problem P.7-16 . . . . . . . . . . . . . . . . . . . . . . 644
Fig. 7.91 Electric circuit for Problem P.7-17 . . . . . . . . . . . . . . . . . . . . . . 644
Fig. 7.92 Electric circuit for Problem P.7-18 . . . . . . . . . . . . . . . . . . . . . . 645
Fig. 7.93 ik ðtÞ; iL1 ðtÞ; iC1 ðtÞ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646
Fig. 7.94 eL1 ðtÞ; eC1 ðtÞ ¼ eL2 ðtÞ; ek ðtÞ; eðtÞ . . . . . . . . . . . . . . . . . . . . . . . . 647
Fig. 7.95 eL2 ðtÞ; ek ðtÞ; eC1 ðtÞ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647
xxxiv List of Figures
xxxv
Chapter 1
Introduction to Fundamental Concepts
in Electric Circuit Analysis
1.1 Introduction
This opening chapter has two main objectives. The first of them, which has a
strictly revisionary character, is to approach fundamental concepts of physics, as
well as laws, equations and formulas of electricity and electromagnetism. The
second is to anticipate, through an example, the real raison d'être of this book,
which is the solution, both analytical and digital, of transient phenomena in linear,
invariant and concentrated circuits. This chapter presents then the main elements of
an electrical circuit with concentrated parameters that do not vary with the fre-
quency, as well as the dynamic response of basic circuits when disturbances occur,
such as energizing or de-energizing switches, enabling a physical understanding of
the phenomena and the need for mathematical modelling and computer simulations.
However, it is assumed that the reader already has fundamental knowledge of
analysis of electrical circuits, laws, theorems and methods of solution, as well as of
solving ordinary differential equations. Thus, this chapter aims to create the moti-
vations for the study of mathematical and computational techniques and solutions
presented in the following chapters.
The challenges associated with overvoltages and overcurrents caused by external
and internal disturbances to the electrical networks require an understanding of the
phenomena, their adequate modelling, simulation and interpretation of the results in
the search for solutions that minimize the damage to equipment and that in certain
more critical cases, are causing major interruptions (blackouts), with catastrophic
social and economic impacts. Fundamental knowledge on circuit analysis [1–9] is
essential for a better understanding of the growing complexity of modern power
systems.
In the emerging scenario of greater penetration of renewable and distributed
energy sources (DER—Distributed Energy Resources) in current electrical systems,
which tend to become more intelligent electrical networks (Smart Grids), the
challenges are even greater and more complex, as they also require considering the
System
A system is a collection of different interconnected components subject to one or
more inputs, also called stimuli or excitations, and which produce one or more
outputs, also called responses. In Fig. 1.1a is represented, symbolically, a system
subject to an input x(t) and that produces an output y(t). In Fig. 1.1b, as an example,
a mechanical system composed of mass, spring and friction is shown, in which the
only input is the applied force, and whose output may be the speed resulting from
the mass or the potential energy stored in the spring. Note, therefore, that the term
output refers to the magnitude to be observed in the dynamics of the system.
Model
In the development of mathematical methods of analysis of physical systems two
steps are fundamental. The first is the mathematical description of the individual
components or elements of the system. The second is the establishment of a
mathematical description of the effect of the interconnection of the different com-
ponents, formulating the so-called interconnection laws—in the case of electrical
circuits, these are Kirchhoff’s laws. Thus, a given physical system can then be
described, approximately, by an idealized model or system. After that, the input–
output relationships can then be established, using known mathematical methods.
Linear System
Systems can be classified by placing restrictions on the input–output
relationship. A system is called linear when it satisfies two principles. The first is
Spring
Mass Force
Fig. 1.1 a System input and output; b Mechanical system composed of mass, spring and friction
4 1 Introduction to Fundamental Concepts in Electric Circuit Analysis
If y1 ðtÞ and y2 ðtÞ denote the responses corresponding to the independent entries
x1 ðtÞ and x2 ðtÞ, then a system will be linear if, and only if, the response to
is
yðtÞ ¼ k1 y1 ðtÞ þ k2 y2 ðtÞ; ð1:2Þ
for all entries and for all values of the constants k1 and k2 .
Note, for example, that for k2 ¼ 0 Eqs. 1.1 and 1.2 speak of homogeneity. And
that when k1 ¼ k2 ¼ 1 they speak of superposition. Note, too, that linearity does not
necessarily imply that the output time function must have the same waveform as the
input. In another way, it can be said that a linear system is one whose behavior is
described by linear equations, whether algebraic equations, or differential equations.
Therefore, a non-linear system will always be described by non-linear equa-
tions, which are much more difficult to solve. The system described by
yðtÞ ¼ xðtÞ:½dxðtÞ=dt, for example, is non-linear, because when doubling the input
xðtÞ the output yðtÞ is quadrupled, contrary to the property of homogeneity.
Analog and Dual Systems
Sometimes the same equation describes a number of different physical situations. In
such cases, the different physical systems are called analogues. Therefore, two or more
systems are analogous when they are described by the same equation. When, however,
the analogy occurs between physical systems of the same nature, such as two electrical
circuits for example, although they have different physical functioning, they are called
dual. Therefore, duality means analogy between two physical systems of the same
nature. The systems described by Eqs. 1.3 and 1.4 are analogous, because although
the letters are different, mathematically they are saying the same thing, namely: that
one quantity is proportional to the derivative of the other. But the systems described by
Eqs. 1.4 and 1.5 are dual, since in both the quantities inserted are electric.
d
f ðtÞ ¼ M vð t Þ ð1:3Þ
dt
d
eðtÞ ¼ L iðtÞ ð1:4Þ
dt
1.2 Preliminary Concepts 5
d
iðtÞ ¼ C eð t Þ ð1:5Þ
dt
d dxðt t0 Þ d ðt t0 Þ dxðt t0 Þ
y1 ðtÞ ¼ t xð t t 0 Þ ¼ t : ¼ ðt t0 þ t0 Þ : ð 1 0Þ
dt d ðt t0 Þ dt d ðt t0 Þ
dxðt t0 Þ dxðt t0 Þ dxðt t0 Þ
¼ ðt t0 Þ þ t0 : ¼ yðt t0 Þ þ t0 : 6¼ yðt t0 Þ:
d ðt t 0 Þ d ðt t0 Þ d ðt t 0 Þ
In time-varying systems, the form and amplitude of the response depends on the
instant in which the input is applied. Thus, the response to xðt t0 Þ is not yðt t0 Þ.
Concentrated Systems and Distributed Systems
Obviously, systems with concentrated parameters are those consisting of concen-
trated elements; the same can be said of systems with distributed parameters. The
fundamental property associated with the concentrated elements is their small size,
compared to the wavelength k of their natural frequency of operation f with
v ¼ kf , where v is the wave propagation speed. As T ¼ 1=f , it can also be written
that T ¼ k=v, with the period T corresponding to the time necessary for the wave to
propagate a distance exactly equal to the wavelength k. Thus, for a circuit element
of length l the propagation time will be s, so that s ¼ l=v. Therefore, the condition
for a circuit element of length l to be considered as concentrated is that l k,
or that s T.
In other words, a circuit element is considered to be concentrated when the
propagation time of the electrical signal through it can be considered negligible.
This means that the actions are instantaneous; there is simultaneity. At any moment,
whatever is happening at the beginning of a concentrated circuit element will be
happening at the end. In a circuit with concentrated parameters, therefore, the
electrical quantities are functions exclusively of time t, and the equations obtained
from it are ordinary differential equations. In the case of systems with distributed
parameters, as in electrical transmission lines, when propagation time cannot be
neglected, and unidirectional propagation is assumed, electrical quantities are
functions of distance and time, respectively x and t. Therefore, the equations
obtained are partial differential equations.
6 1 Introduction to Fundamental Concepts in Electric Circuit Analysis
Electric Charge
The existence of the electric charge dates from approximately 600 years B.C., when
the Greeks observed that amber rubbed with wool could attract small light objects,
such as pieces of dry straw, for example.
Matter, which is something that has volume and mass, is made up of very small
particles called atoms. Every atom is made up of a nucleus and its surroundings,
called the electrosphere. Protons and neutrons are located in the nucleus. In the
electrosphere, electrons. The electron is the fundamental negative charge of
electricity, since it is indivisible. The proton is the fundamental positive charge
of electricity. And the neutron, as the name implies, is the fundamental neutral
charge of electricity. In their natural state, the atom of each chemical element
contains an equal number of electrons and protons, called an atomic number. Since
the negative charge of each electron has the same absolute value as the positive
charge of each proton, the totals of positive and negative charges are canceled. And
an atom in this condition is called electrically neutral or in equilibrium.
Electrons orbit the nucleus of the atom in what are called quantized layers of
energy, for a total of seven. They are the layers K; L; M; N; O; P; Q. Each energy
layer of an atom can contain only a certain maximum number of electrons. In a
copper atom, for example, with atomic number 29, 29 protons are electrically
neutralized by 29 electrons, which fill the K layer with 2 electrons and the L layer
with 8 electrons. The remaining 19 electrons fill the M layer with 18, leaving 1
electron in the N layer. In an equilibrium or stable atom, the amount of energy is
equal to the sum of the energies of its electrons. And the energy level of an
electron is proportional to its distance from the nucleus. Therefore, the energy
levels of electrons in layers farther from the atom’s nucleus are higher than those of
electrons in layers closer to it. The electrons located in the outermost energy layer
of an atom are called valence electrons. And the outermost energy layer of an atom
can contain a maximum of 8 electrons.
When external energy is applied to certain materials in the form of heat, light or
electrical energy, electrons acquire energy, and this can cause them to move to a
1.3 Electrical Quantities 7
higher energy layer. It is said, then, that an atom in which this happened is in an
excited state. An atom in this condition is unstable. When the electron is displaced
to the outermost energy layer of an atom, it is minimally attracted by the positive
charges of the protons in its nucleus. Therefore, if sufficient energy is applied to the
atom, some valence electrons will abandon the atom. These electrons are called free
electrons. It is the movement of these free electrons that produces the electric
current in the metallic conductors.
Atomic electrons are attached to their nuclei by forces that, while reasonably
intense, are not insuperable. Therefore, they can be transferred from one body to
another when their substances come into contact. Thus, in the process of friction of
two bodies, many electrons can be transferred from one to another. When this
happens, one of the bodies is left with an excess of electrons, while the other is left
with a deficiency of them. The one with excess electrons is negatively charged, and
the one with lack of electrons is positively charged. Therefore, the amount of
electrical charge that a body has is determined by the difference between the
number of protons and the number of electrons that the body contains. It is
worth remembering that the electric charge of a body is quantized, that is, that it
appears as a whole number of electronic charges.
In his experiments, Benjamin Franklin (1706–1790) showed that:
1. The rubbing of cat skin with hard rubber causes the cat skin to transfer electrons
to the rubber. Thus, the cat’s skin is left with excess of protons and the hard
rubber with excess of electrons. It is said, then, that the cat’s fur is positively
charged ð þ Þ and that the rubber is negatively charged ðÞ.
2. Rubbing silk with glass causes the glass to transfer electrons to the silk. Thus,
silk has an excess of negative charges and the glass has an excess of positive
charges. It is said, then, that the glass is positively charged ð þ Þ and that the silk
is negatively charged ðÞ.
As described above, Benjamin Franklin defined, in a completely arbitrary
way, the charge of the electrified hard rubber as negative and the charge of the
electrified glass as positive. These conventions persist to this day, although perhaps
it would have been more appropriate to have adopted the inverse convention, as this
would avoid the need to work with the conventional direction of electric current,
assuming that it is the positive charges that move in the metallic conductors.
When a pair of bodies contains the same type of charge, that is, both positive
ð þ Þ or both negative ðÞ, the two bodies are said to have equal charges. When a
pair of bodies contain different charges, that is, one is positively charged ð þ Þ and
the other is negatively charged ðÞ, they are said to have opposite or unequal
charges.
A fundamental law of electrical charge, called the law of charges, is as follows:
Equal charges repel, opposite charges attract.
Coulomb’s Law
The French physicist Charles Augustin de Coulomb (1736–1806), in 1784, estab-
lished the law that quantitatively expresses the force between two point charges,
that is, charges of infinitesimally small bodies, which contain mass, but with
negligible volumes. He found that the force between the charges q1 and q2 is
directly proportional to the modulus of each of the charges and inversely propor-
tional to the square of the distance between them. He also noted that the force is
directed along the straight line that passes through the point charges. Logically, the
meaning is given by the law of charges. Mathematically speaking, Coulomb’s law
is expressed by Eq. 1.6.
q1 q2
F¼k ð1:6Þ
d2
Fðx; y; zÞ
Eðx; y; zÞ ¼ ð q ! 0Þ ð1:7Þ
q
lim F
E¼ ð1:8Þ
q!0 q
ir
y
Q
Solution
First, it is necessary to obtain the force that a test charge q located at a distance r
from the origin experiences due to the charge þ Q. According to Coulomb’s law,
Eq. 1.6, the force F acting on q is given by
qQ qQ r
F¼k 2
ir ¼ k 2 : ð1:9Þ
r r r
10 1 Introduction to Fundamental Concepts in Electric Circuit Analysis
In Eq. 1.9, ir ¼ rr is a unit vector pointing outwards, from the origin, where the
charge þ Q is located, towards the observation point, where the test charge q is
located. So, according to Eq. 1.7,
F Q
E¼ ¼ k 2 ir ð1:10Þ
q r
Therefore, the electrostatic field E also points radially outward, and is spheri-
cally symmetrical, since its modulus depends only on the distance r from the origin,
for a given generator charge þ Q. And that its modulus varies in inverse proportion
to the square of the distance r.
It was the British physicist Michael Faraday (1791–1867) who proposed the
adoption of the so-called field lines or lines of force, as a geometric means of
representing the electric field, and which allow to illustrate how the electric fields
behave. The construction of these field lines follows the rules:
1. The lines of force are drawn and oriented in the direction of the force that a
positive test charge would experience at each spatial point in the field.
2. The density of the field lines, expressed by the number of lines crossing a unit of
area perpendicular to their direction, is a measure of the intensity of the electric
field. Thus, higher density of lines of force means more intense electric field.
3. The field lines can never intercept. As the force at any point can have only one
direction, it is evident that the field lines can never intersect.
Figure 1.3 shows the field lines of the point charge þ Q in Example 1.1, which
extend radially out of the point load. It is easy to intuit that the number of lines per
unit area varies inversely with the square of the distance from the charge (origin).
Knowing the electric field produced in the whole space by a single charge, as in
Example 1.1, or due to a distribution of charges, the Coulomb force exerted on any
point charge q can always be calculated using the expression F ¼ qE.
When two electrically charged bodies, with opposite polarities, are placed close
to each other, constituting what is called an electric dipole, the electrostatic field is
concentrated in the region between them, as indicated by the lines of force in the
illustration shown in Fig. 1.4.
It can be demonstrated that the electric field produced outside a hollow spherical
shell, of very thin thickness, and of radius R, with a uniform charge density, totaling
a charge þ Q, presents an electric field outside the sphere, at a distant point r from
its center, given exactly by Eq. 1.10. On the other hand, the electric field at any
point within the spherical shell charged with uniform charge density is identically
zero. It is also possible to demonstrate that any spherically symmetric charge dis-
tribution produces an electric field outside the charge distribution identical to the
field that would be produced if the entire charge were placed in the center of the
charge distribution.
1.3 Electrical Quantities 11
+ -
these lines, and his own parting scene with their author in New York
harbor, flashed into his mind, and he felt as if this incident alone
were enough to repay him for his whole journey.
On his return once more to Paris, in a letter to his friend Leggett he
sketches in epitome the ground he has been over. An extract follows:
"Since I saw you, I have indeed been in strange lands, and seen
strange sights. I have traversed the Baltic and the wide dominions of
the ambitious Autocrat,—crossed the Euxine and dipped into Asia
and European Turkey,—'kept due onwards to the Propontic and
Hellespont,'—wandered amid the faultless fragments of the 'bright
clime of battle and of song,'—sailed by the Ionian Isles,—visited the
chief towns of the Germanic Confederation,—and here I am at last,
safe and sound, in the ever-gay capital of France. I thank Heaven
my travelling in the 'far East' is at an end. One is badly
accommodated there in railroads and steamers. However, take it for
all in all, I have every reason to be satisfied with the voyage, for
there is no kind of information but must be purchased with some
painstaking, and one day I shall fully enjoy all this in calm
retrospection from the bosom of the unpruned woods of my own
country. Yes, the sight of the city of Moscow alone would amply
repay one for all risks and fatigues at sea. Never shall I forget my
sensations when, from the great tower of the Kremlin, one bright,
sunny day, I looked down upon that beautiful city. The numberless
domes, beaming with azure and with gold, the checkered roofs, the
terraces, the garden slopes, the mingling of all the styles and
systems of architectural construction, now massive and heavy, now
brilliant and light, and everywhere fresh and original, enchanted me.
I am free to confess Russia astonished me. I have sailed down the
mighty Mississippi,—I have been in the dark and silent bosom of our
own forest homes,—I have been under the eye of Mont Blanc and
Olympus,—I grew familiar with Rome and with London,—without
experiencing the same degree of wonder which fastened upon me in
Russia. I thought there to have encountered with hordes of semi-
barbarians, yet I found a people raised, as it were, at once from a
state of nature to our level of civilization. Nor have they apparently,
in their rapid onward course, neglected the means to render their
progress sure. And then, what an army,—a million of men! and the
best forms of men,—the best disciplined, and able to endure the
'labored battle sweat' by their constant activity, the rigor of their
climate, and their ignorance of all pleasures which serve to
effeminate. The navy, too, though in an imperfect state compared
with the army (in sailors, not ships), will doubtless soon hold a
distinguished rank. Only think of such a power, increasing every day,
—stretching out wider and wider, and all confessing one duty,—
obedience to the will of the absolute sovereign!"
About this time two significant entries are found in his diary. The
first one is: "Received intelligence of the death of Edwin Forrest
Goodman, the infant son of a friend.
which, had it been written in Claude's days, that great painter would
undoubtedly have made the subject of one of his best landscapes.
which bursts from him when he hears of the murder of his wife and
child by the Roman cohorts. Mr. Forrest has made such a hit as has
not been made since the memorable 1814, when Edmund Kean
burst on England in Shylock. America may well feel proud of him; for
though he is not, strictly speaking, what is called a classical actor,
yet he has all the energy, all the indomitable love of freedom that
characterizes the transatlantic world. We say this because there
were many republican allusions in the play where the man spoke out
quite as much as the actor, if not more. Having seen him in
Spartacus, we no longer wonder at his having electrified the New
World. A man better fitted by nature and art to sustain such a
character, and a character better fitted to turn the heads of a nation
which was the other day in arms against England, never appeared
on the boards of a theatre. At the fall of the curtain he received such
a tempest of approbation as we have not witnessed for years."
The Morning Advertiser said,—
"When to the facts of a new play and a new actor is superadded the
circumstance that both the author and the player of the new tragedy
are Americans, and the first who ever tempted the intellectual taste
of the British public by a representation on the English stage, the
crowds which last night surrounded the doors long before they were
thrown open are easily accounted for. The applause which Mr.
Forrest received on his entrée must have been very cheering to that
gentleman. He possesses a countenance well marked and classical;
his figure, a model for stage effect, with 'thew and sinew' to boot.
His enunciation, which we had anticipated to be characterized by
some degree of that patois which distinguishes most Americans,
even the best educated, was almost perfect 'to the last recorded
syllable,' and fell like music on the ears. We here especially point to
the less declamatory passages of the drama; in those portions of it
where he threw his whole power of body and soul into the
whirlwind, as it were, of his fury, his display of physical strength was
prodigious, without 'o'erstepping the modesty of nature.' The
inflections of his voice frequently reminded one of Kean in his
healthiest days, yet there did not appear the manner of a copyist.
He was crowned with loud and unanimous plaudits at least a dozen
times during the representation."
The Court Journal gave its judgment thus:
"This chief of American performers is most liberally endowed by
nature with all the finest qualities for an actor. With a most graceful
and symmetrical person, of more than the ordinary stature, he has a
face capable of the sternest as of the nicest delineations of passion,
and a voice of deep and earnest power. We have never witnessed a
presence more noble and commanding,—one that, at the first
moment, challenged greater respect, we may write, admiration. As
an actor, Mr. Forrest is fervent, passionate, and active: there is no
child's play in whatever he does; but in the most serious, as in the
slightest development of feeling, he puts his whole heart into the
matter, and carries us away with him in either the subtlety or the
strength of his emotion. With powers evidently enabling him to
outroar a whirlwind, he is never extravagant,—he is never of 'Ercles'
vein; his passion is always from the heart, and never from the lungs.
His last two scenes were splendidly acted, from the strength, the
self-abandonment of the performer; he looked and moved as if he
could have cut down a whole cohort, and died like a Hercules. The
reception of Mr. Forrest was most cordial; and the applause
bestowed upon him throughout the play unbounded. At the
conclusion of the tragedy he was called for, and most rapturously
greeted."
The Times described the figure, face, and voice of the actor, gave a
long abstract of the play, and said,—
"He played with his whole heart, and seemed to be so strongly
imbued with the part that every tone and gesture were perfectly
natural, and full of that fire and spirit which, engendered by true
feeling, carry an audience along with the performer. He made a
powerful impression on the audience, and must be regarded as an
able performer who to very considerable skill in his profession adds
the attraction of a somewhat novel and much more spirited style of
playing than any other tragic actor now on our stage."
The following extract is from the Atlas:
"If we were to estimate Mr. Forrest's merits by his performance of
the Gladiator, we should, probably, underrate, or, perhaps, mistake
the true character of his genius. The very qualities which render him
supreme in such a part would, if he possessed no other requisites,
unfit him for those loftier conceptions that constitute the highest
efforts of the stage. It would be impossible to produce a more
powerful performance, or one in all respects more just and
complete, than his representation of the moody savage Thracian.
But nature has given him peculiar advantages which harmonize with
the demands of the part, and which, in almost any other character in
the range of tragedy, would either encumber the delineation or be of
no avail. His figure is cast in the proportions of the Farnese Hercules.
The development of the muscles, indeed, rather exceeds the ideal of
strength, and, in its excess, the beauty of symmetrical power is in
some degree sacrificed. His head and neck are perfect models of
grandeur in the order to which they belong. His features are boldly
marked, full of energy and expression, and, although not capable of
much variety, they possess a remarkable tone of mental vigor. His
voice is rich and deep, and susceptible of extraordinary transitions,
which he employs somewhat too frequently as the transitions of
feeling pass over his spirit. The best way, perhaps, of describing its
varieties is to say that it reminded us occasionally of Kean,
Vandenhoff, and Wallack, but not as they would be recalled by one
who, in the dearth of his own resources, imitated them for
convenience, but by one in whom such resemblances are natural
and unpremeditated. Mr. Forrest's action is bold, unconscious, and
diversified; and the predominant sentiment it inspires is that of
athletic grace. In the part of Spartacus all these characteristics were
brought out in the most favorable points of view; and the
performance, exhausting from its length and its internal force, was
sustained to the close with undiminished power. There is certainly no
actor on the English stage who could have played it with a tithe of
Mr. Forrest's ability."
In response to the invitation or challenge to appear in some of the
great Shakspearean rôles, Forrest appeared many nights
successively in Othello, Macbeth, and Lear, and in them all was
crowned with most decisive and flattering triumphs. The praise of
him by the press was generous, and its chorus scarcely broken by
the few dissenting voices, whose tone plainly betrayed an animus of
personal hostility. A few examples of the newspaper notices may fitly
be cited,—enough to give a fair idea of the general impression he
made.
The Globe, of October 25th:
"Mr. Forrest selected as his second character the fiery Othello, 'who
loved not wisely, but too well.' There was something nobly daring in
this flight, so soon, too, after he whose voice still dwells in our ears
had passed from among us. To essay before an English audience any
character in which Edmund Kean was remembered was itself no
trifling indication of that self-confidence which, when necessary, true
genius can manifest. To make that attempt in Othello was indeed
daring. And nobly, we feel proud to say, did the performance bear
out the promise. In the Senate scene his colloquial voice told well in
the celebrated address to the Seniors of Venice. He did not speak as
if the future evils of his life had even then cast their shadows upon
him. The calm equability of the triumphant general and successful
lover pervaded his performance throughout the first two acts, with
the exception of the scene of the drunken brawl in the second,
where he first gave token of the fiery elements within him. The third
act was a splendid presentment throughout. He had evidently
studied the character with the judgment of a scholar, 'and a ripe and
good one:' each shade of the jealous character of the easy Moor,
from the first faint guessings at his tempter's meaning to the full
conviction of his wife's dishonesty, was brought out with the touch of
a master-hand, and embodied with a skill equalling that of any actor
whom we have seen, and far, very far superior to the manner in
which any other of our living performers could attempt it. This third
act alone would have placed Mr. Forrest in the foremost rank of his
profession had he never done anything else; and so his kindling
audience seemed to feel, as much in the deep watching silence of
their attention as in the tremendous plaudits which hailed what on
the stage are technically called 'the points' he made.
"In the two succeeding acts he was equally great in the passages
which called forth the burning passions of his fiery soul; but we shall
not at present particularize; where all was good it would be difficult,
and we have already nearly run through the dictionary of panegyric.
In accordance with a burst of applause such as seldom follows the
fall of the curtain, Othello was announced for repetition on
Wednesday and Friday."
The commendation of the London Sun was still stronger:
"Mr. Forrest last night made his appearance here in the arduous
character of Othello. The experiment was a bold one, but was
completely successful. We entertain a vivid recollection of Kean in
this part; we saw his Moor when the great actor was in the meridian
vigor of his powers, and also when he was in his decline and could
do justice only to the more subdued and pathetic parts of the
character; and even with these recollections on our mind, we feel
ourselves justified in saying that Mr. Forrest's Othello, if here and
there inferior in execution to Kean's, was in conception far superior.
There is an elevation of thought and sentiment,—a poetic grandeur,
—a picturesqueness, if we may use such an expression, in Mr.
Forrest's notion of the character, which Kean could never reach. The
one could give electrical effect to all its more obvious points, turn to
admirable account all that lay on its surface; the other sounds its
depths,—turns it inside out,—apprehends it in a learned and
imaginative spirit, and shows us not merely the fiery, generous
warrior, the creature of impulse, but the high-toned, chivalrous
Moor; lofty and dignified in his bearing, and intellectual in his nature,
—such a Moor, in short, as we read of in the old Spanish chronicles
of Granada,—and who perpetrates an act of murder not so much
from the headstrong, animal promptings of revenge, as from an idea
that he is offering up a solemn and inevitable sacrifice to justice. In
the earlier portion of the character Mr. Forrest was rather too
drawling and measured in his delivery; his address to the Senators
was judicious, but not quite familiar enough; it should have been
more colloquial. It was evident, however, that throughout this scene
the actor was laboring under constraint; he had yet to establish
himself with his audience, and was afraid of committing himself
prematurely. Henceforth he may dismiss this apprehension; for he
has proved that he is, beyond all question, the first tragedian of the
age.... We have spoken of this gentleman's Othello in high terms of
praise, but have not commended it beyond its deserts. In manly and
unaffected vigor; in terrific force of passion, where such a display is
requisite; but, above all, in heartfelt tenderness, it is fully equal to
Kean's Othello; in sustained dignity, and in the absence of all stage-
trick and undue gesticulation, it is superior. Perhaps here and there it
was a little too elaborate; but this is a trivial blemish, which practice
will soon remedy. On the whole, Mr. Forrest is the most promising
tragedian that has appeared in our days. He has, evidently, rare
intellectual endowments; a noble and commanding presence; a
countenance full of varying expression; a voice mellow, flexible, and
in its undertones exquisitely tender, and a discretion that never fails
him. If any one can revive the half-extinct taste for the drama, he is
the man."
The Carlton Chronicle said,—
"It is impossible that any actor could, in person, bearing, action, and
utterance, better fulfil your fair-ideal of the noble Moor. All the
passages of the part evincing Will and Power are delivered after a
manner to leave the satisfied listener no faculty except that of
admiration. His bursts of passion are terrifically grand. There is no
grimace,—no exaggeration. They are terrible in their downright
earnestness and apparent truth. Nothing could be more heart-
thrilling than the noble rage with which he delivered the well-known
passage,—
nothing more glorious than the burst in which he volleyed forth the
following passage, suppressed by the barbarians of our theatres,—
"The almost savage energy with which this passage was delivered
produced an indescribable effect. Three long and distinct rounds of
applause testified how highly the audience was delighted with this
master-effort; and the most prejudiced must have been convinced
that they were witnessing the acting of no ordinary man."
The critique in the Albion was a notable one:
"Mr. Forrest made his first appearance on our boards on Monday
last, in the part of Othello. Mr. Forrest possesses a fine person, an
excellent thing in either man or woman; but, though this has been
much dwelt upon by the London critics, it is but a very minor affair
when speaking of such a man as Mr. Forrest. He carries himself with
exceeding grace and dignity, and his tread is easy and majestic: he
dresses with taste and magnificence. The picture which he
presented of the Moor was one of the most perfect which we have
witnessed. He gave us to see, like Desdemona, 'Othello's visage in
his mind,' of which he furnished us with a beautiful and highly-
finished portrait. Not content with acting each scene well, he gave
us a consistent transcript of the whole matter. Each succeeding
scene was in strict keeping with those that had preceded it, showing
that the actor had grasped the whole plot from beginning to end,
and that, from commencement to catastrophe, he had embodied
himself into strict identity with the person represented. His early
scenes were distinguished by a quiet and calm dignity of demeanor,
which, concomitant with the deepest tenderness of feeling, and a
high tone of manliness, he seems to have conceived the basis of the
Moor's character. In his address to the Senate, this dignified self-
possession, and a sense of what was due to himself, he made
particularly conspicuous. As the interest of the tragedy advanced, we
saw, with exceeding pleasure, that Mr. Forrest was determined to
depend for success upon the precept set forth by Shakspeare, 'To
hold the mirror up to nature.' With proper confidence in his own
powers, he disdained to overstep the prescribed bound for the sake
of producing effects equally at variance with nature and heterodox
to good taste. In the scene where he quells the drunken brawl, his
acting throughout was strikingly impressive of reality. Some of his
ideas were novel, and beautifully accordant with the tone of the
character which he wished to develop. Such was his recitation of the
passage,—
The burst of mixed passions with which he uttered the first of these
sentences was terrific. His voice then sank into tones the most
touching, expressive of complaining regret. The conclusion seemed
to have excited him to the most extreme pitch of loathing and
disgust, and, as he sees Desdemona advancing, he, for a few
moments, gazed upon her with horror. The feeling gave way, and all
his former tenderness seemed to return as he exclaimed,—
His delivery of these lines was marked with the same truth and
power as the curse, and very finely displayed the energy of will and
impotence of action which form so touching a combination in Lear's
character. But perhaps the very best point in Mr. Forrest's Lear,
because the most delicate and difficult passage for an actor to
realize, was his manner of giving the lines,—
'My wits begin to turn.—
Come on, my boy: how dost, my boy? Art cold?
I am cold myself....
Poor fool and knave, I have one part in my heart
That's sorry yet for thee.'
will ever forget the anguish depicted on Mr. Forrest's features, or the
heart-piercing melancholy of his tones. Mr. Forrest evinced,
throughout, a fine conception of the character. He did not surprise
us by a burst of genius now and then. His performance was equable,
—it was distinguished in every part by deep and intense feeling. The
curse levelled against Goneril (one of the most fearful passages ever
penned by man) was given with awful force. The last member of the
speech—
was poured forth with an unrestrained but natural energy that acted
like an electric shock on the audience; a momentary silence
succeeded it; but immediately afterwards a simultaneous burst of
applause attested the great triumph of the actor. His mad-scenes,
when, delighting in a crown and sceptre of straw, Lear proclaims
himself 'every inch a king,' were admirably conceived, and no less
admirably acted. There was no straining after effect,—there was no
grimacery. We saw before us the 'poor, weak, and despised old
man,'—the 'more sinned against than sinning,'—reduced to a state
of second childhood, and paying the too severe penalty which his
folly and his credulity, in listening to the hyperboles of his elder
daughters and rejecting the true filial affection of his youngest and
once his most beloved child, exacted from him."
It may be well, also, to quote what was said by the "London Times"
of November 5th:
"The part of Lear is one which many otherwise eminent actors have
found above, or at least unsuited to, their capacities. Mr. Forrest
played it decidedly better than anything he has as yet essayed in this
country. His conception of the character is accurate, and his
execution was uncommonly powerful and effective. If it be, as it
cannot be disputed that it is, a test of an actor's skill that he is able
to rivet the attention of the audience, and so to engage their
thoughts and sympathies that they have not leisure even to applaud
on the instant, he may be said to have succeeded most completely
last night. From the beginning of the play to the end, it was obvious
that he exercised this power over the spectators. While he was
speaking, the most profound silence prevailed, and it was not until
he had concluded that the delight of the audience vented itself in
loud applause. This was particularly remarkable in his delivery of
Lear's curse upon his daughters, the effect of which was more
powerful than anything that has lately been done on the stage. It is
not, however, upon particular passages that the excellence of the
performance depended; its great merit was that it was a whole,
complete and finished. The spirit in which it began was equally
sustained throughout, and, as a delineation of character and
passion, it was natural, true, and vigorous, in a very remarkable
degree. The mad-scenes were admirably played; and the last painful
scene, so painful that it might well be dispensed with, was given
with considerable power. The great accuracy and fidelity with which
the decrepitude of the aged monarch was portrayed was not among
the least meritorious parts of the performance. The palsied head and
quivering limbs were so correctly given as to prove that the actor's
attention has been sedulously devoted to the attempt to make the
performance as perfect as possible. A striking proof of his sense of
the propriety of keeping up the illusion he had created was
manifested in his reappearance, in obedience to the loud and
general call of the audience, at the end of the tragedy. He came on,
preserving the same tottering gait which he had maintained
throughout, and bowed his thanks as much in the guise of Lear as
he had acted in the drama. This would have been almost ridiculous
in any but a very skilful actor: in him it served to prevent too sudden
a dissipation of the dramatic illusion."
The critical notices of the Macbeth of Forrest were of the same
average as the foregoing estimates of his other parts, though the
faults pointed out were generally of a description the exact opposite
of those currently ascribed to his acting. He was considered too
subdued and tame in the part:
"Mr. Forrest essayed the difficult character of Macbeth, for the first
time in this country, on Wednesday evening. We are inclined to think
that this highly-gifted actor has not often attempted this part;
because, though his performance displayed many noble traits of
genius, yet it could not, as a whole, boast of that equally-sustained
excellence by which his personation of Lear and of Othello was
distinguished. We were highly gratified by his exertions in that part
of the second act which commences with the 'dagger soliloquy,' and
ends with Macbeth's exit, overwhelmed with fear, horror, and
remorse. There is no man on the stage at present who could, in this
scene, produce so terrific an effect. Never did we see the bitterness
of remorse, the pangs of guilt-condemning conscience, so powerfully
portrayed. The storm of feeling by which the soul of Macbeth is
assailed, spoke in the agitated limbs of Mr. Forrest, and in the wild,
unearthly glare of his eye, ere he had uttered a word. On his
entrance after his bloody mission to Duncan's chamber, Mr. Forrest
introduced a new and a very striking point. Absorbed in the
recollection of the crime which he has committed, he does not
perceive Lady Macbeth till she seizes his arm. Then, acting under the
impulse of a mind fraught with horror, he starts back, uttering an
exclamation of fear, as if his way had been barred by some
supernatural power. This fine touch, so true to the scene and to
nature, drew down several rounds of applause. In the banquet
scene, too, his acting was very fine; and the greater part of the fifth
act was supported with extraordinary energy. That passage in which,
having heard that 'a wood does come toward Dunsinane,' Macbeth
exclaims to the messenger,—
was wholly deficient in spirit, until Mr. Forrest came to the last
member of the sentence, which was given with due and proper
emphasis. In the rencounter with Macduff, where Macbeth declares
that he 'bears a charmed life,' the passage ought to be uttered as
the proud boast of one who was confident of supernatural
protection, and not in a taunting, sneering manner. Mr. Forrest's
error is on the right side, and is very easily corrected. Doubtless, in
his future performance of the character he will assume a higher tone
in those parts of the play to which we have alluded."
The Morning Chronicle said,—
"Mr. Forrest appeared last evening in the character of Macbeth, and
in the performance of it fully sustained the reputation he has already
obtained in the parts of Othello and Lear. Mr. Forrest brings to the
performance of Shakspeare's heroes an energy and vigor, tempered
with a taste and judgment, such as we rarely find combined in any
who venture to tread the stage. There is, besides, a reality in his
acting, an actual identification of himself with the character he
impersonates, stronger than in any actor we have ever seen. If this
was remarkable in his performance of Othello and Lear, it is not less
so in the performance of Macbeth. From the first act to the last—
from his first interview with the weird sisters, whose vague prophecy
instills into the mind that feeling of 'vaulting ambition' which leads
him to the commission of so many crimes, to the last scene, in which
he finds his charms dissolved, and begins, too late, to doubt 'the
equivocation of the fiend'—he carried the audience completely with
him, and made them at times wholly unmindful of the skill of the
actor, from the interest excited in the actions of Macbeth."
In addition to his renderings of Spartacus, Othello, Lear, and
Macbeth, Forrest appeared also as Damon, and achieved a success
similar to that he had won in the same part at home.
"The part of Damon is decidedly beneath Mr. Forrest's acknowledged
talents. No man could, however, have made more of the character
than he did, whether he appeared as the stern, uncompromising
patriot, the deep-feeling husband and father, or the generous and
devoted friend. His rebuke of the slavish senate, who crouch at the
feet of the tyrant Dionysius, was delivered with calm and earnest
dignity; but his two great scenes were that in which he learns that
his freedman, Lucullus, has slain his horse to prevent the anxious
Damon from arriving in time to rescue his beloved Pythias from the
hands of the executioner; and that with which the piece concludes,
where, breathless and exhausted, he rushes into the presence of his
despairing friend.
"The burst of passionate fury with which he assailed the affrighted
freedman, in the former scene, was awfully fearful; and his
expression of wild, frantic, overwhelming joy when he beholds
Pythias in safety, and can only manifest his feelings by hysteric
laughter, was perfectly true to nature. Mr. Forrest's performance was
most amply and justly applauded."
The actor had every reason to feel well pleased with the results of
his bold undertaking. His emotions are expressed in a letter written
to his mother under date of Liverpool, January 2d, 1837, in the
course of which he says,—
"Before this you have doubtless heard of my great triumphs in Drury
Lane Theatre; though I must confess I did not think they treated the
Gladiator and my friend Dr. Bird fairly. Yet, as far as regards myself, I
never have been more successful, even in my own dear land. In the
characters of Shakspeare alone would they hear me; and night after
night in overwhelming crowds they came, and showered their hearty
applause on my efforts. This, my dear mother, is a triumphant
refutation of those prejudiced opinions so often repeated of me in
America by a few ignorant scribblers, who but for the actors would
never have understood one line of the immortal bard."
But a fuller statement of his impressions in London, with interesting
glimpses of his social life there, is contained in a letter to Leggett:
"... My success in England has been very great. While the people
evinced no great admiration of the Gladiator, they came in crowds to
witness my personation of Othello, Lear, and Macbeth. I commenced
my engagement on the 17th of October at 'Old Drury,' and
terminated it on the 19th of December, having acted in all thirty-two
nights, and represented those three characters of Shakspeare
twenty-four out of the thirty-two, namely, Othello nine times,
Macbeth seven, and King Lear eight,—this last having been repeated
oftener by me than by any other actor on the London boards in the
same space of time, except Kean alone. This approbation of my
Shakspeare parts gives me peculiar pleasure, as it refutes the
opinions very confidently expressed by a certain clique at home that
I would fail in those characters before a London audience.
"But it is not only from my reception within the walls of the theatre
that I have reason to be pleased with my English friends. I have
received many grateful kindnesses in their hospitable homes, and in
their intellectual fireside circles have drunk both instruction and
delight. I suppose you saw in the newspapers that a dinner was
given to me by the Garrick Club. Serjeant Talfourd presided, and
made a very happy and complimentary speech, to which I replied.
Charles Kemble and Mr. Macready were there. The latter gentleman
has behaved in the handsomest manner to me. Before I arrived in
England, he had spoken of me in the most flattering terms, and on
my arrival he embraced the earliest opportunity to call upon me,
since which time he has extended to me many delicate courtesies
and attentions, all showing the native kindness of his heart, and
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