Mr. and Mrs. Herne have lived for twelve years in Ashmont, a suburb of Boston. They have a comfortable and tasteful home, with three children, Julie, Crystal, and Dorothy [aged ten, eight, and five], to give them welcome when they come back from their seasons on the road. Mr. Herne is very domestic and lives a very simple and quiet life. And he enjoys his pretty home as only a man can whose life is spent so largely in fatiguing travel. He is fond of the fields which lie near his home, and very many are the long walks we have taken together. He is very fond of wild flowers, especially daisies and clover blossoms, and in their season is never without a bunch of them upon his desk. Books are all about him. He writes at a flat-top desk in the room he calls his, but his terrific orders to be left alone are calmly ignored by the three children who invade this “study,” and throw themselves upon him at the slightest provocation. He is much tyrannized over by Dorothy, whose dolls he is forced to mend, no matter what other apparently important work is going forward.
Mr. and Mrs. Herne in "Drifting Apart." Act II. See page [545].
Mrs. Herne is a woman of extraordinary powers, both of acquired knowledge and natural insight, and her suggestions and criticisms have been of the greatest value to her husband in his writing, and she had large part in the inception as well as in the production of Margaret Fleming. Her knowledge of life and books, like that of her husband, is self-acquired, but I have met few people in any walk of life with the same wide and thorough range of thought. In their home oft-quoted volumes of Spencer, Darwin, Fiske, Carlyle, Ibsen, Valdes, Howells, give evidence that they not only keep abreast but ahead of the current thought of the day. Spencer is their philosopher, and Howells is their novelist, but Dickens and Scott have large space on their shelves. All this does not prevent Mr. Herne from being an incorrigible joker, and a wonderfully funny story-teller. All dialects come instantly and surely to his tongue. The sources of his power as a dramatist are evident in his keen observation and retentive memory. Mrs. Herne’s poet is Sidney Lanier, and she knows his principal poems by heart. “Sunrise” is her especial delight. But to see her radiant with intellectual enthusiasm, one has but to start a discussion of the nebular hypothesis, or to touch upon the atomic theory, or doubt the inconceivability of matter. She is perfectly oblivious to space and time if she can get someone to discuss Flammarion’s supersensuous world of force, Mr. George’s theory of land-holding, or Spencer’s law of progress.
Mr. and Mrs. Herne in "Drifting Apart." Act III. See page [545].
Her enthusiasms bear fruit not only in her own phenomenal development, but in her power over others, both as an artist and friend. Wherever she goes she carries the magnetic influence of one who lives and thinks on high planes. Her earnestness is tremendous.
They are both individualists in the sense of being for the highest and purest type of man, and the elimination of governmental control. “Truth, Liberty, and Justice,” form the motto over their door. Mr. Herne has won great distinction as a powerful and ready advocate of the single tax theory, and they are both personal valued friends of Mr. George. It is Ibsen’s individualism as well as his truth that appeals so strongly to both Mr. and Mrs. Herne. They are in deadly earnest like Ibsen, and Margaret Fleming sprang directly from their radicalism on the woman question. The home of these extraordinary people is a charged battery radiating the most advanced thought. As one friend said: “No one ever leaves this house as he came. We all go away with something new and vital to think about.”
I give these personal impressions in order that those who saw them in Margaret Fleming may know that its power was certainly a reflection of the high thought and purity of moral conviction and life which Mr. and Mrs. Herne brought to its production and its performance. It voices their love of truth in art, and freedom in life, and specifically their position on the woman question.
The story of Margaret Fleming is briefly:—