I followed him, and sat down by the table. "There is something in the man stronger than the woman," I thought, doggedly, "inside of blood and muscle." Yet the very galling of that consciousness set me more firmly in the mind to be again free. A month after that we came to Newport. It was not an idle month. Jacky had proposed a review of my husband's and his sons' clothes, and day after day I had sat by the window looking out on the sluggish Hudson, a hank of patent thread about my neck, stitching patches on the stiff, half-worn trousers. "It becomes us to take care of the pence now," she would say, and go on with her everlasting whistling, La-la. It rasped on my brain like the chirp of the partridge outside in the cedar-hedge. When she would go out of the room sometimes, I would hold my hand to my head, and wonder if it was for this in reality God had made me. Yet I had my own secret. The work of my life, before I was married, had been the score of an opera. I got it out now by stealth, at night, putting my pen to it here and there, with the controlled fever with which a man might lay his hand on a dear dead face, if he knew the touch would bring it back to life. Was there any waking that dead life of mine? At that time, in New York, M. Vaux was trying the experiment of an English opera in one of the minor theatres. I sent the score to him. It did not trouble me, that, if produced, its first effect would be tried on an uncultured caste of hearers: if the leaven was pure, what matter where it began to work? and no poet or artist was ever more sincere in the belief that the divine power spoke through Him than I. I thought, that, if I remained with Doctor Manning as his wife, this venture mattered little: if I shook myself free, and, taking up my mission, came before the public as a singer, it would open the way for me. For my plan had grown defined and practical to me now. M. Vaux had left his family at Newport after the season was over. I was to meet him there when we went down, and hear his decision on the score. I met him one day on Broadway, and hinted my vague desire of making my voice also available. "To sing? did you say sing, Mrs. Manning? go on the stage?"--pawing his chin with one hand. He was a short, puffy little man, with a bullet head at half-cock in the air, producing a general effect of nostrils on you. "Sing, eh?" he mumbled, once or twice. Before this I had been Mrs. Manning, throwing off an opera-score as a careless whim, one of the class to whom he and his like presented arms: he surveyed me now with the eye of a stock-raiser buying a new mule, and set the next evening as the time when I should "drop in at his house and give him a trill or two.--Keeping dark before the old man yet, eh?" with a wink. I went in the next day, but he declined to pronounce judgment until we came to Newport. I remember my husband met me at the gate when I returned, and lifted me from the little pony-carriage.