The success of the play was brief. But before it was withdrawn, Hubert had sold the American rights for a handsome sum, and within the next two years he had completed a second play, which he called An Ebbing Tide. Some of the critics argued that it contained scenes as fine as any in Divorce, but it was admitted on all sides that the interest withered in the later acts. But the failure of the play did not shake the established belief in Hubert's genius; it merely concentrated the admiration of those interested in the new art upon Divorce, the partial failure of which was now attributed to the acting. If it had only been played at the Haymarket or the Lyceum, it could not have failed.
The next three years Hubert wasted in various aestheticisms. He explained the difference between the romantic and realistic methods in the reviews; he played with a poetic drama to be called The King of the Beggars, and it was not until the close of the third year that he settled down to definite work. Then all his energies were concentrated on a new play—The Gipsy. A young woman of Bohemian origin is suddenly taken with the nostalgia of the tent, and leaves her husband and her home to wander with those of her race. He had read portions of this play to his friends, who at last succeeded in driving Montague Ford, the popular actor-manager, to Hubert's door; and after hearing some few scenes he had offered a couple of hundred pounds in advance of fees for the completed manuscript. 'But when can I have the manuscript?' said Ford, as he was about to leave. 'As soon as I can finish it,' Hubert replied, looking at him wistfully out of pale blue-grey eyes. 'I could finish it in a month, if I could count on not being worried by duns or disturbed by friends during that time.'
Ford looked at Hubert questioningly; then he said 'I have always noticed that when a fellow wants to finish a play, the only way to do it is to go away to the country and leave no address.'
But the country was always so full of pleasure for him, that he doubted his power to remain indoors with the temptation of fields and rivers before his eyes, and he thought that to escape from dunning creditors it would be sufficient to change his address. So he left Norfolk Street for the more remote quarter of Fitzroy Street, where he took a couple of rooms on the second floor. One of his fellow-lodgers, he soon found, was Rose Massey, an actress engaged for the performance of small parts at the Queen's Theatre. The first time he spoke to her was on the doorstep. She had forgotten her latch-key, and he said, 'Will you allow me to let you in?' She stepped aside, but did not answer him. Hubert thought her rude, but her strange eyes and absent-minded manner had piqued his curiosity, and, having nothing to do that night, he went to the theatre to see her act. She was playing a very small part, and one that was evidently unsuited to her—a part that was in contradiction to her nature; but there was something behind the outer envelope which led him to believe she had real talent, and would make a name for herself when she was given a part that would allow her to reveal what was in her.
In the meantime, Rose had been told that the gentleman she had snubbed in the passage was Mr. Hubert Price, the author of Divorce.
'Oh, it was very silly of me,' she said to Annie. 'If I had only known!'
'Lor', he don't mind; he'll be glad enough to speak to you when you meets him again.'
And when they met again on the stairs, Rose nodded familiarly, and Hubert said—
'I went to the Queen's the other night.'
'Did you like the piece?'