Hopwood

for years he was a member of the Providence
School Board, and he was instrumental in hav-
ing gas and water introduced into the city. At
the presidential conventions which nominated
Clay, Fremont, and Grant he represented Rhode
Island.

Hoppin was small of stature, but he carried
himself with dignity, and showed a never failing
courtesy to all with whom he came in contact.
His most outstanding characteristic was loyalty
—to his state, whatever its demands upon him,
to his church—the Beneficent Congregational
Church of Providence—which received his un-
failing support, and to his college, of which he
proved himself a faithful and generous alumnus.

IBiog. Cyc. of Representative Men of R. /. (1881) ;
J. G. Vose, Memorial Sermon on William Warner Hop-
pin (1890); Charles Stickney, "Know-Nothingism in
Rhode Island," R. I. Hist. Soc. Pubs., n.s., vol. I
(1894) ; Representative Men and Old Families of R. 7.
(1908), vol. I; Biog. Sketches of the Class of 1828,
Yale College, and College Memorabilia (1898) ; Provi-
dence Daily Jour., Apr. 21, 1890.] E.R.B.

HOPWOOD, A VERY (May 28, i882-July i,
1928), playwright, born in Cleveland, Ohio, was
the son of James and Jule (Pendergast) Hop-
wood and was christened James Avery. He was
graduated from the University of Michigan in
1905 with the degree of A.B., and immediately
entered newspaper work. A few months later he
was sent to New York as special correspondent
for the Cleveland Leader, and shortly after reach-
ing New York, his first play, Clothes, a modern
comedy written in collaboration with Channing
Pollock, was accepted for production. Its first
performance was in 1906, with Grace George in
the leading role. Thereafter for eighteen years
Hopwood turned out plays rapidly, nearly all of
them being financially successful. Many were en-
tirely original, some were adapted from the work
of foreign dramatists and some were written in
collaboration with other authors. He wrote sev-
eral mystery melodramas, but he became best
known for a type of "smart/' ultra-modern, and
usually risque farce-comedy. He had the remark-
able record of eighteen successful plays in fifteen
years. In 1920 four of his plays, all decided
"hits/' were running simultaneously in New
York playhouses. These were The Bat, Spanish
Love, The Gold Diggers, and Ladies' Night His
earlier plays were Clothes (1906); The Powers
that Be (1907); This Man and This Woman
(1909); Seven Days (1909), in collaboration
with Mary Roberts Rinehart; Judy Forgot
(1910); His Mother's Son (1910); Nobody's
Widow (1910); Somewhere Else (1913) ; Fair
and Warmer (1915); Sadie Love (1915) ; The
Mystic Shrine (1915); Our Little Wife (1916);
Double Exposure (1918); The Gol4 Diggers

Horn

(1919) ; and The Girl in the Limousine (1919),
with Wilson Collison, In 1920 he and Mary
Roberts Rinehart wrote The Bat, perhaps the
most widely performed of all mystery dramas,
and one of the most profitable plays ever written.
It was translated into several foreign languages
and has been played on every continent on the
globe, paying its writers and producers profits
amounting to millions of dollars. In the year of
its first production, 1920, Hopwood collaborated
with Mrs. Rinehart in the writing of Spanish
Love and with Charlton Andrews in Ladies'
Night. He also wrote A Thief in the Night
(1920); The Great Illusion (1920), from the
French; Getting Gertie's Garter (1921), with
Wilson Collison; The Demi-Virgin (1921);
Why Men Leave Home (1922); Little Miss
Bluebeard (1923); The Alarm Clock (1923),
from the French; The Best People (1924), with
David Gray; and The Harem (1924), from the
Hungarian. In 1925 he announced that after
completing two plays on which he was then
working, Naughty Cinderella and Four Stuffed
Shirts, he would write no more for the stage.
Apparently he kept his word, for nothing more
came from his pen during the remaining three
years of his life. Unspoiled by his remarkable
success, he did not over-rate his own plays but
knew them for the clever, ephemeral things they
were. Genial, kindly, tolerant, he had a sort of
modern Epicurean philosophy and lived by it.
Throughout his career he had worked with furi-
ous energy and played almost as intensely; per-
haps these energies conspired to shorten his days.
While summering at Juan-les-Pins in the French
Riviera in 1928, he went bathing in the sea one
day, too soon it is believed, after eating dinner,
was seized with cramps, and drowned before help
could reach him.

[See Who's Who in America, 1926-27; John Parker,
Who's Who in the Theatre, 1925; Univ. of Mich. Cat.
of Grads. (1923); Mich, Alumnus, Aug. iQzS; Sun
(N. Y.) and N. Y. Times, July 2, 1928; N. Y. Herald
Tribune, July 3, 1928. In the earlier accounts of him-
self Hopwood gave 1882 as the year of his birth; in
later accounts he gave 1884.] A.F.H.

HORN, EDWARD TRAILL (June 10,1850-
Mar. 4,1915), Lutheran clergyman, was born at
Easton, Pa., the son of Melchior Hay and Ma-
tilda Louisa (Heller) Horn. While he was still
a boy the family moved to Catasauqua, where for
years his father was president of a bank. After
graduating from Pennsylvania College in 1869
and from the Philadelphia Theological Seminary
in 1872, Horn was ordained by the Mmisterium
of Pennsylvania and served as pastor of Christ
Church, Chestnut Hill, Philadelphia, 1872-76,
of St. John's, Charleston, S. G, 1876-97, and of
Trinity, Reading, Pa., 1897-1911. While in

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