Obituaries and Memorials

Written for Anna Cora Mowatt Ritchie

Anna Cora Mowatt: Personal Recollections

To the Editor of the Tribune:

[The following is written by John William Stanhope Hows (1795-1871).  He was dramatic critic for the "New York Albion" for seven years. Hows served as editor for prestigious publications such as "The Modern Standard Drama." He was the author of "The Practical Elocutionist" (1849, 6th ed., Philadelphia, 1855); and edited the "Historical Shakespearian Reader" (New York, 1863)," "Golden Leaves from the British Poets," "Golden Leaves from the American Poets," and "Golden Leaves from the Dramatic Poets" (1865)"]

Sir:  The first recollection I have of that fascinating actress and accomplished lady, Mrs. Anna Cora Mowatt Ritchie, dates back to her first appearance as a public reader, in the hall of the old Stuyvesant Institute in this city, in 1841; and I well remember how deeply I was then impressed by the excellence of her delivery and the exquisite refinement and good taste that prevaded her every movement.  A long and serious illness was the result of this first public display of Mrs. Mowatt’s dramatic powers; and when her comedy of “Fashion” was prepared, and accepted by the management of the Park Theatre, and I became personally acquainted with her, she had scarcely yet recovered from the effects of her indisposition, and retained a fragile and exquisitely delicate appearance.  She had forwarded a copy of “Fashion” for my perusal, and I was enabled, on my first visit to her, to express a genuine admiration for that excellent comedy.  I received in that first interview an impression of the unselfish and lovable character of Mrs. Mowatt, which has been confirmed by our continued acquaintance.  Two of her then adopted children were paying her a visit, and I heard the story of their destitution and adoption – told with such unaffected and touching simplicity, that it won both sympathy for the children and admiration for their benefactress.  I also attended her during her farewell performance at Niblo’s, when she took her final leave of the stage.  Her retirement caused a lively regret among her friends, and a feeling that the American stage was losing one of its brightest ornaments; for whatever may have been the opinion of critics as to the claims of this lady as a first-class artist, there can be no question that when she retired from the American stage, she left but few who could compete with her in a certain range of characters, to which her studies, her inherent genius, and her rare physical advantages peculiarly adapted her.

The success of “Fashion” seemed to point the way for more extended dramatic triumphs that might await Mrs. Mowatt, could she obtain a footing on the stage.  With all the ardor of her nature she determined upon making the trial.  She placed herself under the instruction of an experienced actor of the Park Theatre, and a day was fixed for her debut as Pauline in the “Lady of Lyons.”  When this was definitely arranged, the shrinking natural to a woman of social position, venturing on a step then almost unprecedented in the history of the stage, seemed to almost paralyze her energies, and aroused fears that she could not sustain herself under the supposed opposition of her family.  Her father, however, whom she fondly loved, gave his consent, and the other branches of her family slowly yielded.  Of the success of the debut, her own autobiography has given a full description.  It was, in truth, the best first appearance I ever witnessed.  The house was crowded, the applause was genuine and discriminating, and the curtain fell to bursts of tumultuous applause.

Of her career through the country her own narrative affords sufficient details.  Her friends watched her progress with almost painful interest.  They feared that injudicious flattery might prevent her from pursuing that course of close study and earnest application which can alone create the great actress.  When she returned to New York, and produced her “Armand,” I witnessed with great satisfaction its favorable reception, and her own improvement as an actress.  Her departure for England, followed shortly after the production of “Armand” and on her return to New York, I was immediately requested to renew our personal intercourse.

I found her to my astonishment developed into a magnificently formed woman, vigorous and healthy, and beaming with geniality and hopefulness; and from that period until her departure for England in 1850 our personal intercourse was only interrupted by her occasional professional absences from New York.  I have hundreds of her letters preserved, which she used to say I should find useful in delineating her life and character, if I survived her.  They all breathe the truest feelings that ever warmed a woman’s breast.

The professional career of Mrs. Mowatt, after her return to New York, was marked by uniform success; the reputation and standing she had acquired in England established her claim here, and her closing professional labors were satisfactory, both artistically and professionally.  This success, however, was interrupted by a painful and dangerous illness.  During this retirement from her professional labors I frequently visited her at her father’s residence at Ravenswood, and witnessed with admiration the traits of character this almost fatal illness developed.  She was cheerful and resigned to a degree that could only have been the result of a Christian spirit.  I saw her a day or two before the operation was to be performed by her friend and physician, Dr. Valentine Mott, and found her actually joyous over the successful experiments he had been making with chloroform.  The operation was most successfully performed, and she was restored to comparative health and to the society of her doting father and friends.  These remembrances confirm the statements she has made in her autobiography that Christian confidence was her support through the painful struggles and dangerous attacks she encountered during her residence in England, which culminated in the loss of her first husband, Mr. James Mowatt.

It is well known that Mrs. Mowatt professed the Swedenborgian faith; she was also a firm believer in spiritual manifestations.  I have heard her frequently assert that she derived great consolation from this latter belief; indeed, she would assert most seriously that in all her trials, after her husband’s decease, she was in direct communication with him, and that he guided all the important actions of her life.  With her restoration to health, Mrs. Mowatt resumed her professional duties with more than ordinary vigor.  I never saw her more earnest in her duties, nor did I ever witness a greater appreciation of the requirements of her art, than she then evinced.  New characters were studied with avidity, and old favorite ones were retouched, with increased acuteness of perception that gave added interest to her public representations.  It was the remark of many experienced actors, that in the closing months of her professional career she was developing into a consummate artist.

Her young adopted children received generous and constant care from her, and many acts of private charity which she did came to my knowledge at this time. One delicate act of friendliness at this period should not be withheld, and as both the persons concerned are now beyond the reach of praise, or censure, I may this propriety name the transaction.  Professional duties brought me intimate relations with the talented young actress, Miss Julia Dean.  In one of our interviews she mentioned how much she desired to play Blanche, in Mrs. Mowatt’s drama of “Armand,” adding that she knew the wish could not be accomplished, for it would not be possible to induce Mrs. Mowatt to resign her copyright of the part, as it was one of the strongest cards in Mrs. Mowatt’s own list of characters.  I took an early occasion to open the subject to Mrs. Mowatt, who, without a moment’s hesitation, most gladly complied with Miss Dean’s wishes, and immediately forwarded her a marked copy of “Armand,” with unrestricted liberty to use the play wherever she desired to represent it.  This was a generous act toward a sister artist, that deserves recording, and such acts of disinterested kindness were the rule, not the exception of Mrs. Mowatt’s life.  This in connection with the fact that Mrs. Mowatt never was in positively affluent circumstances, may certainly be remembered to her honor.

With Mrs. Mowatt’s second marriage ended her career as an actress, and she entered on her new life, among new associations, new and strange interests, and peculiar responsibilities as a Southern matron, which to many women would have been fraught with difficulties and perplexities, almost insurmountable, the charming nature that made her the idol of her acquaintances at the North, exercised the same magnetic effect in her new relations at the South.  Her residence became the focus of all that was refined and cultivated in the society of Richmond.  Here she entered into the patriotic association of distinguished Southern women, who were incorporated to preserve the home of Washington as a national monument.  Mrs. Mowatt became at once an active member of the association, and entered with enthusiasm into the movement to increase its fund.  Her old artistic experience was brought to bear in aid of the undertaking, and with exquisite taste she arranged a series of tableaux, founded on Moore’s “Paradise and the Peri,” and produced these, with the aid of her young friends, in New York and Richmond.  Her exertions brought large accessions to the treasury of the association.  These novel duties and responsibilities did not prevent her from giving due attention to her own immediate interests.  Her young protégées were not neglected, her private charities were not discontinued, and to her honor it should be recorded, that her literary efforts enabled her to exercise benevolent feelings without entrenching on her husband’s fortune.  It was her pride at all times to be independent of all extraneous aid.  Volumes came in rapid succession from her pen.  Bonner tempted her by his usual liberal compensation to popular authors and her name became identified once more with the literary workers of the country, affording her ample means for indulgence in her characteristic benevolence and liberality.

On the breaking out of the Rebellion, Mrs. Ritchie left her home and country from what she conceived to be a sacred duty.  A dearly-loved sister was returning to Paris with her children, by the advice of her physician, and Mrs. Mowatt believed that it was her duty to accompany her sister, so that in case the physician’s foreboding should be realized, she might become guardian and protector of her children.  Under these circumstances, she left her home.  Her sister recovered, but the altered state of things here, owing to the Rebellion, induced Mrs. Mowatt, with all her old independent feelings quickened again into action, to remain in Europe, and by her unaided literary efforts, to earn her own maintenance.  She finally settled in a charming little village cottage at Henly-on-the-Thames, England, and there in the prime of life, with faculties undimmed, and with energies unabated, she was cut off by the insidious bronchial infection, which had troubled her for many years.  Little did she, or I, expect that it would fall to the lot of her old friend to write the sketch of her life which is now written in accordance with a promise that if I survived her I would write such a memorial; she assured me that she would do the same for me if my death should precede hers.

J.W.S.H.
New York, Aug. 6, 1870

Anna Cora Mowatt Ritchie.

[The following announcement was printed in the Boston Evening Transcript.  Epes Sargent, Anna Cora Mowatt’s long-time friend who was in England with her at the time of her death, served as an editor for that publication.  It is possible these words were either written by him or composed from notes he prepared.  The text does contain a couple of significant errors. The writer has the dates of the death of both of Anna Cora’s husbands wrong.  James Mowatt died in February of 1851. The writer indicates that Mowatt’s second husband, William F. Ritchie, died in 1868.  In fact, he did not die until 1877.]

The announcement by telegraph of the death of this lady will bring sadness to many friends in this community. A girlhood of precocity and romance ripened in her case into the faithfulness of true womanhood, and to renown and success in a professional career undertaken from the highest motives, was added devotedness to the duties of private life, and many graces and virtues to win esteem and love in the social circles where her presence was so welcome.

The daughter of Samuel G. Ogden of New York, she was born in Bordeaux, France, the tenth of fourteen children.  After the return of the family to this country she became the wife when but fifteen years old of James Mowatt, a lawyer of wealth, without the knowledge of her parents, whose only objection, however, to the match was her youth.  Mr. Mowatt died in England in 1847 or 1848; and his widow subsequently married (1854) William F. Ritchie, son of the editor of the Richmond (Va.) Inquirer, who died two years ago.

From her childhood Mrs. Ritchie exhibited marked histrionic and literary tastes and talents, the exercise of which in her prosperity were a pleasure to herself and a gratification to her family and friends.  When misfortunes befell her husband, she consecrated her fine abilities to earnest efforts to retrieve his losses, with her pen, by public readings and finally by going upon the stage, and becoming one of the most popular of actresses.

As an author she has been favorably known, by her poems, stories, plays and letters; and her “Autobiography,” frankly putting on record so much of her personal experiences, struggles and triumphs, won the interest of many who looked upon her vocation with distrust, but recognized the disinterested aims and sweetness and force of character which gave to her success other attractions besides those of professional excellence.

Her first readings were given in this city, and the favorable judgement pronounced upon them greatly encouraged her to follow her chosen path.  Her appearance on the stage was always greeted with enthusiasm, for the refined, natural and graceful traits of her performances – in which she preserved the sincerity of her individuality, whilst giving proofs of careful artistic study.

Her “engagements” in Boston are remembered with pleasure; and the memory of the plays in which she was so finely supported by that accomplished and versatile actor, Mr. E.L. Davenport, is still vivid with those who were delighted night after night by her admirable impersonations.  Her successes in her own country were supplemented by her successes abroad; and she won trans-atlantic reputation equal to that which she enjoyed at home.

We have not the room to speak in detail of the busy life and varied fortune of Mrs. Ritchie, and only recall them in these imperfect hints, because the one was so gentle and true in all its relations, and the other met its prosperity without ostentation, and its trials with rare faith and indomitable courage.

Personal charms did not make her vain, frivolous or forgetful of what was due to a high-toned self-respect.  Popularity never marred her fascinating simplicity of manners or sincerity of feeling by any affectations; and she held all her accomplishments and natural gifts as the means with which she was to meet the responsibilities that fell to her lot, throughout the changeful years, from the days of a happy youth up the requirements of her maturity.

Now that she has finished her course, passing away in the quiet of domestic retirement, her name, for many reasons, may be added to the long list of names of other women, who, amidst perils and difficulties, have honored their sex, by a union of strength with beauty and delicacy, and the manifestations of intellectual power and resolute energy, without any loss of winning gentleness and refinement.

Death of Anna Cora Mowatt

A cable dispatch announces the death of Mrs. Anna Cora Mowatt, a lady widely known by the public, having acquired a reputation as actress and author on both sides of the water.  Mrs. Mowatt was born at Bordeaux, France, in 1820. At the early age of 15 she contracted an alliance with Mr. Mowatt, a lawyer of wealth and position, who became involved by speculations.  Mrs. Mowatt, who had appeared in private theatricals, at once resolved to win her way in the world by her own talents, and announced her intention of giving public readings.  Her first reading was given in Boston at the Masonic Temple, on Thursday evening, Oct. 28, 1841, and her attractive personal appearance, her sweet voice and lady-like manners achieved for her a decided success.  The readings were brilliantly attended throughout the country, and the motive which induced a young and beautiful woman to appear in public won for her the sympathy of the public.

Mrs. Mowatt soon found that her true vocation was the stage, and under the tuition of Mr. W. H. Crisp and Thomas Barry she made her first appearance on the stage as Pauline, in the “Lady of Lyons,” at the Park Theatre, on the 13^th of June, 1845.  Criticism was disarmed by the delicacy of her manners, and though affected by stage fright, she soon triumphed over all obstacles and became a popular star, second only as a paying card to Edwin Forrest.  Her first appearance in this city, November 30, 1845, was at the Howard Atheneum, under the management of W.F. Johnson.

She not only aimed at excellence as an actress, but she aspired to a rank with dramatic authors.  The play of “Fashion” satirized the life of the parvenus of American society, and “Armand” was a well written piece, calculated to enable Mrs. Mowatt to exhibit the best points of her acting, the chief charm of which was her naturalness. Her visits to England were frequent, and at one time she was the leading lady at the Marylebone Theatre, where the unfortunate and infatuated Mr. Watts was manager. Her husband died while abroad, and her success in England was at the time largely attributed to Mr. E.L. Davenport, with whom she acted for many months.  Upon her return to this country she renewed her success by appearing in all the leading cities of the Union.  On the 7^th of June, 1855, she was married to Wm. F. Ritchie, Esq., editor of the Richmond Enquirer, having previously taken her farewell of the stage in Boston and New York.  Mrs. Ritchie has lived in England for many years, and has corresponded for several American papers.

Over the signature of Helen Berkely she wrote many stories which acquired popularity. Her novel entitled “The Fortune Hunter” had a large sale, and a volume entitled “The Clergyman’s Wife and other Sketches,” published in 1867, denoted tenderness and simplicity and combined generous views of life with sound practical teaching.  Her Autobiography is well known.  It is a readable narrative of her trials and triumphs.  In private life Mrs. Mowatt was esteemed by a large social circle, who flattered her perhaps a little too much, though her winning ways charmed all who came within the reach of her fascinating powers of mind.³

Notes

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