red about at the splendor of the paintings and the
mirrors in the rooms. Then like a ghost I resumed my way to my hotel.
Why? There was nothing there to call me back. Yet it was the only home I
had, and the evening was coming on.

Instead of stopping at the hotel, I went on to Castle Garden. I decided
to dine there. I could look over the harbor and the ships. It was a way
to put myself in touch with England, to travel back over the way I had
come. I found a table and ordered a meal.

I became conscious of the fact that the captain of the _Columbia and
Caledonia_ was at a near table with a gay party. They had wine, and
there was much merriment. This abandonment was in contrast to the
serious, almost dark spirit of a party at another table. This was
composed of men entirely. I had never seen such faces before. Their hair
was long. They wore goatees. They were strangely dressed. They talked
with a broad accent. Excitement and anger rose in their voices. They
were denouncing President Jackson. The matter seemed to be a force bill,
the tariff imposed by New England's enterprise, the duty of the Southern
States to resist it. They were insisting that there was no warrant to
pass a tariff law, that it was clearly a breach of the Constitution, and
that it should be resisted to the death. There was bitter cursing of
Yankees, of the greed of New England, of its disregard of the rights of
the South.... But out upon the harbor the sea gulls were drifting. I
could hear the slapping of the waves against the rocks. And in the midst
of this the orchestra began to play "Annie Laurie." The tears came to my
eyes. I arose and left the place. My mind turned to a theater as a means
of relief to these pressing thoughts. I consulted my manual, and started
for the American theater. It was described as an example of Doric
architecture, modeled after the temple of Minerva at Athens. I found it
on the Bowery and Elizabeth Street, bought a ticket for seventy-five
cents and entered. The play was _Othello_, and I had never seen it
before.

I could not help but overhear and follow the conversation of the people
who sat next to me. They were wondering what moved Shakespeare to depict
the story of a black man married to a white woman. Could such a theme be
dramatized now? How could a woman, fair and high-bred, become the wife
of a sooty creature like Othello? Was it real? If not real, what was
Shakespeare trying to do? And much more to the same effect,