Payne, John Howard
Aiton's Encyclopedia (1910)
John Howard (1791-1852), the author of Home, Sweet Home. He was born in the heart of New York City, June 9, 1791. Part of his boyhood was spent at East Hampton, Long Island , and part in Boston. At the age of fifteen he became a clerk in a New York counting house. He attended Union College two years. From earliest boyhood he had a passion for the stage. In 1809 he took the part of Young Norval in the Park Theater, New York. During the winter of 1812-13 young Payne spent the season with his troupe in London, where he worked over a French play, calling it The Maid of Milan. The play itself is of no particular importance, except that in it appeared the song, Home, Sweet Home, which has made its author immortal. Payne lived for some years in London, numbering among his friends both Coleridge and Lamb. He wrote a number of plays, some of which made his managers money; but Payne himself was always burdened with debt. In 1832 he took up his residence again in New York. In 1841-5 he was United States consul at Tunis, Africa, and again, from 1851, he held the same position until his death in that far away land, April 10, 1852. Payne was by turns an actor, playwright, editor, poet, and consul. He was a sort of houseless, homeless wanderer. His remains were brought home in 1883. He lies in the old Oakdale cemetery in Georgetown, opposite the city of Washington.
What Has Changed in the Last Century
The outline of Payne's life stands as Aiton's gave it in 1910, though two details have been tidied. "Clari, or the Maid of Milan," the opera that carried "Home, Sweet Home" (music by Henry Bishop), reached Covent Garden in 1823, not during the London season of 1812-13; and the grave is in Oak Hill Cemetery in Georgetown, not "Oakdale." What has grown since 1910 is interest in a side of Payne the entry omits entirely: his years in the 1830s working with the Cherokee chief John Ross, during which he was briefly arrested in Georgia and gathered a mass of notes on Cherokee custom and tradition that scholars still consult. The East Hampton house of his boyhood is now a museum trading on the song's name, while the song itself, once inescapable in American parlors, is largely a period piece.
Written for this edition, 2026.