To our hotel in Havana came, one day, a lovely lady, with pathetic dark eyes and a look of ill health. She was accompanied by her husband and little son. This was Mrs. Frank Hampton, formerly Miss Sally Baxter, a great belle in her time, and much admired by Mr. Thackeray. When we were introduced to each other, I asked, "Are you the Mrs. Hampton?" She asked, "Are you the Mrs. Howe?" We became friends at once. The Hamptons went with us to Matanzas, where we passed a few pleasant days. Dr. Howe was very helpful to the beautiful invalid. Something in the expression of her face reminded him of a relative known to him in early life, and on inquiry he found that Mrs. Hampton's father was a distant cousin of his own. Mrs. Hampton talked much of Thackeray, who had been, while in this country, a familiar visitor at her father's house. She told me that she recognized bits of her own conversation in some of the sayings of Ethel Newcome, and I have little doubt that in depicting the beautiful and noble though wayward girl he had in mind something of the aspect and character of the lovely Sally Baxter. In his correspondence with the family he was sometimes very playful, as when he wrote to Mrs. Baxter thanking her for the "wickled palnuts and pandy breaches," which she had lately sent him.
When we left Havana our new friends went with us to Charleston, and invited us to visit them at their home in Columbia, S. C. This we were glad to do. The house at which the Hamptons received us belonged to an elder brother, Wade Hampton, whose family were at this time traveling in Europe. Wade Hampton called upon Dr. Howe, and soon introduced a topic which we would gladly have avoided, namely, the strained relations between the North and the South. "We mean to fight for it," said Wade Hampton. But Dr. Howe afterwards said to me: "They cannot be in earnest about meaning to fight. It would be too insane, too fatal to their own interests." So indeed it proved, but they then knew us as little as we knew them. They thought that we could not fight, and we thought that they would not. Both parties were soon made wiser by sad experience.
My account of this trip, after publication in the "Atlantic Monthly," was issued in book form by Ticknor and Fields. Years after this time, a friend of mine landed in Cuba with a copy of the book in her hand luggage. It was at once taken from her by the custom-house officers, and she never saw it again. This little work was favorably spoken of and well received, but it did not please everybody. In one of its chapters, speaking of the natural indolence of the negroes in tropical countries, I had ventured to express the opinion that compulsory employment is better than none. Good Mr. Garrison seized upon this sentence, and impaled it in a column of "The Liberator" headed, "The Refuge of Oppression." I certainly did not intend it as an argument in favor of negro slavery. As an abstract proposition, and without reference to color, I still think it true.
The publication of my Cuban notes brought me an invitation to chronicle the events of the season at Newport for the "New York Tribune." This was the beginning of a correspondence with that paper which lasted well into the time of the civil war. My letters dealt somewhat with social doings in Newport and in Boston, but more with the great events of the time. To me the experience was valuable in that I found myself brought nearer in sympathy to the general public, and helped to a better understanding of its needs and demands.
It was in the days now spoken of that I first saw Edwin Booth. Dr. Howe and I betook ourselves to the Boston Theatre one rainy evening, expecting to see nothing more than an ordinary performance. The play was "Richelieu," and we had seen but little of Mr. Booth's part in it before we turned to each other and said, "This is the real thing." In every word, in every gesture, the touch of genius made itself felt. A little later I saw him in "Hamlet," and was even more astonished and delighted. While he was still completing this his first engagement in Boston, I received a letter from his manager, proposing that I should write a play for Mr. Booth. My first drama, though not a success, had made me somewhat known to theatrical people. I had been made painfully aware of its defects, and desired nothing more than to profit by the lesson of experience in producing something that should deserve entire approbation. It was therefore with a good hope of success that I undertook to write the play. Mr. Booth himself called upon me, in pursuance of his request. The favorable impression which he had made upon me was not lessened by a nearer view. I found him modest, intelligent, and above all genuine,—the man as worthy of admiration as the artist. Although I had seen Mr. Booth in a variety of characters, I could only think of representing him as Hippolytus, a beautiful youth, of heroic type, enamored of a high ideal. This was the part which I desired to create for him. I undertook the composition without much delay, and devoted to it the months of one summer's sojourn at Lawton's Valley.
This lovely little estate had come to us almost fortuitously. George William Curtis, writing of the Newport of forty years ago, gives a character sketch of one Alfred Smith, a well-known real estate agent, who managed to entrap strangers in his gig, and drove about with them, often succeeding in making them purchasers of some bit of property in the sale of which he had a personal interest. In the summer of 1852 my husband became one of his victims. I say this because Dr. Howe made the purchase without much deliberation. In fact, he could hardly have told any one why he made it. The farm was a very poor one, and the farmhouse very small. Some necessary repairs rendered it habitable for our family of little children and ourselves. I did not desire the purchase, but I soon became much attached to the valley, which my husband's care greatly beautified. This was a wooded gorge, perhaps an eighth of a mile from the house, and extending some distance between high rocky banks. We found it a wilderness of brambles, with a brook which ran much out of its proper course. Dr. Howe converted it into a most charming out-of-door salon. A firm green sod took the place of the briers, the brook was restrained within its proper limits, and some fine trees replaced as many decayed stumps. An old, disused mill added to the picturesqueness of the scene. Below it rushed a small waterfall. Here I have passed many happy hours with my books and my babies, but it was not in this enchanting spot that I wrote my play.
I had at this time and for many years afterward a superstition about a north light. My eyes had given me some trouble, and I felt obliged to follow my literary work under circumstances most favorable for their use. The exposure of our little farmhouse was south and west, and its only north light was derived from a window at the top of the attic stairs. Here was a platform just large enough to give room for a table two feet square. The stairs were shut off from the rest of the house by a stout door. And here, through the summer heats, and in spite of many wasps, I wrote my five-act drama, dreaming of the fine emphasis which Mr. Booth would give to its best passages and of the beautiful appearance he would make in classic costume. He, meanwhile, was growing into great fame and favor with the public, and was called hither and thither by numerous engagements. The period of his courtship and marriage intervened, and a number of years elapsed between the completion of the play and his first reading of it.
At last there came a time in which the production of the play seemed possible. Charlotte Cushman and Edwin Booth were both in Boston performing, as I remember, but not at the same theatre. They agreed to act in my play. E. L. Davenport, manager of the Howard Athenæum, undertook to produce it, and my dream was very near becoming a reality. But lo! on a sudden, the manager bethought him that the time was rather late in the season; that the play would require new scenery; and, more than all, that his wife, who was also an actress, was not pleased with a secondary part assigned to her. A polite note informed me of his change of mind. This was, I think, the greatest "let down" that I ever experienced. It affected me seriously for some days, after which I determined to attempt nothing more for the stage.
In truth, there appeared to be little reason for this action on the part of the manager. Miss Cushman, speaking of it, said to me, "My dear, if Edwin Booth and I had done nothing more than to stand upon the stage and say 'good evening' to each other, the house would have been filled."
Mr. Booth, in the course of these years, experienced great happiness and great sorrow. On the occasion of our first meeting he had spoken to me of "little Mary Devlin" as an actress of much promise, who had recently been admired in "several heavy parts." In process of time he became engaged to this young girl. Before the announcement of this fact he appeared with her several times before the Boston public. Few that saw it will ever forget a performance of Romeo and Juliet in which the two true lovers were at their best, ideally young, beautiful, and identified with their parts. I soon became well acquainted with this exquisite little woman, of whose untimely death the poet Parsons wrote:—