Mark Twain: A Biography. Volume II, Part 1: 1886-1900

John Hay, whom it also reached in due time, pronounce it a classic—a "most exquisite bit of old English morality." Hay surreptitiously permitted some proofs to be made of it, and it has been circulated privately, though sparingly, ever since. At one time a special font of antique type was made for it and one hundred copies were taken on hand-made paper. They would easily bring a hundred dollars each to-day.

1601 is a genuine classic, as classics of that sort go. It is better than the gross obscenities of Rabelais, and perhaps, in some day to come, the taste that justified Gargantua and the Decameron will give this literary refugee shelter and setting among the more conventional writings of Mark Twain. Human taste is a curious thing; delicacy is purely a matter of environment and point of view.—[In a note-book of a later period Clemens himself wrote: "It depends on who writes a thing whether it is coarse or not. I once wrote a conversation between Elizabeth, Shakespeare, Ben Jonson, Beaumont, Sir W. Raleigh, Lord Bacon, Sir Nicholas Throckmorton, and a stupid old nobleman—this latter being cup-bearer to the queen and ostensible reporter of the talk.

"There were four maids of honor present and a sweet young girl two years younger than the boy Beaumont. I built a conversation which could have happened—I used words such as were used at that time—1601. I sent it anonymously to a magazine, and how the editor abused it and the sender! But that man was a praiser of Rabelais, and had been saying, 'O that we had a Rabelais!' I judged that I could furnish him one."]

Eighteen hundred and seventy-six was a Presidential year—the year of the Hayes-Tilden campaign. Clemens and Howells were both warm Republicans and actively interested in the outcome, Clemens, as he confessed, for the first time in his life. Before his return to Hartford he announced himself publicly as a Hayes man, made so by Governor Hayes's letter of acceptance, which, he said, "expresses my own political convictions." His politics had not been generally known up to that time, and a Tilden and Hendricks club in Jersey City had invited him to be present and give them some political counsel, at a flag-raising. He wrote, declining pleasantly enough, then added:

"You have asked me for some political counsel or advice: In view of Mr.

Tilden's Civil War record my advice is not to raise the flag."

He wrote Howells: "If Tilden is elected I think the entire country will go pretty straight to—Mrs. Howells's bad place."

Howells was writing a campaign biography of Hayes, which he hoped would have a large sale, and Clemens urged him to get it out quickly and save the country. Howells, working like a beaver, in turn urged Clemens to take the field in the cause. Returning to Hartford, Clemens presided at a political rally and made a speech, the most widely quoted of the campaign. All papers, without distinction as to party, quoted it, and all readers, regardless of politics, read it with joy.

Yet conditions did not improve. When Howells's book had been out a reasonable length of time he wrote that it had sold only two thousand copies.

"There's success for you," he said. "It makes me despair of the Republic, I can tell you."

Clemens, however, did not lose faith, and went on shouting for Hayes and damning Tilden till the final vote was cast. In later life he changed his mind about Tilden (as did many others) through sympathy. Sympathy could make—Mark Twain change his mind any time. He stood for the right, but, above all, for justice. He stood for the wronged, regardless of all other things.

CIX

THE PUBLIC APPEARANCE OF "TOM SAWYER"

Clemens gave a few readings in Boston and Philadelphia, but when urged to go elsewhere made the excuse that he was having his portrait painted and could not leave home.

As a matter of fact, he was enjoying himself with Frank Millet, who had been invited to the house to do the portrait and had captured the fervent admiration of the whole family. Millet was young, handsome, and lively; Clemens couldn't see enough of him, the children adored him and added his name to the prayer which included each member of the household—the "Holy Family," Clemens called it.

Millet had brought with him but one piece of canvas for the portrait, and when the first sketch was finished Mrs. Clemens was so delighted with it that she did not wish him to touch it again. She was afraid of losing some particular feeling in it which she valued. Millet went to the city. for another canvas and Clemens accompanied him. While Millet was doing his shopping it happened to occur to Clemens that it would be well to fill in the time by having his hair cut. He left word with a clerk to tell Millet that he had gone across the street. By and by the artist came over, and nearly wept with despair when he saw his subject sheared of the auburn, gray-sprinkled aureola that had made his first sketch a success. He tried it again, and the result was an excellent likeness, but it never satisfied Millet.

The 'Adventures of Tom Sawyer' appeared late in December (1876), and immediately took its place as foremost of American stories of boy life, a place which it unquestionably holds to this day. We have already considered the personal details of this story, for they were essentially nothing more than the various aspects of Mark Twain's own boyhood. It is only necessary to add a word concerning the elaboration of this period in literary form.

From every point it is a masterpiece, this picture of boy life in a little lazy, drowsy town, with all the irresponsibility and general disreputability of boy character coupled with that indefinable, formless, elusive something we call boy conscience, which is more likely to be boy terror and a latent instinct of manliness. These things are so truly portrayed that every boy and man reader finds the tale fitting into his own remembered years, as if it had grown there. Every boy has played off sick to escape school; every boy has reflected in his heart Tom's picture of himself being brought home dead, and gloated over the stricken consciences of those who had blighted his young life; every boy—of that day, at least—every normal, respectable boy, grew up to "fear God and dread the Sunday-school," as Howells puts it in his review.

As for the story itself, the narrative of it, it is pure delight. The pirate camp on the island is simply boy heaven. What boy, for instance, would not change any other glory or boon that the world holds for this:

They built a fire against the side of a great log twenty or thirty steps within the somber depths of the forest, and then cooked some bacon in the frying-pan for supper, and used up half of the corn "pone" stock they had brought. It seemed glorious sport to be feasting in that wild, free way in the virgin forest of an unexplored and uninhabited island, far from the haunts of men, and they said they never would return to civilization. The climbing fire lit up their faces and threw its ruddy glare upon the pillared tree-trunks of their forest-temple, and upon the varnished foliage and the festooning vines.

There is a magic in it. Mark Twain, when he wrote it, felt renewed in him all the old fascination of those days and nights with Tom Blankenship, John Briggs, and the Bowen boys on Glasscock's Island. Everywhere in Tom Sawyer there is a quality, entirely apart from the humor and the narrative, which the younger reader is likely to overlook. No one forgets the whitewashing scene, but not many of us, from our early reading, recall this delicious bit of description which introduces it:

The locust-trees were in bloom, and the fragrance of the blossoms filled the air. Cardiff Hill, beyond the village and above it, was green with vegetation, and it lay just far enough away to seem a delectable land, dreamy, reposeful, and inviting.

Tom's night visit home; the graveyard scene, with the murder of Dr. Robinson; the adventures of Tom and Becky in the cave—these are all marvelously invented. Literary thrill touches the ultimate in one incident of the cave episode. Brander Matthews has written:

Nor is there any situation quite as thrilling as that awful moment in the cave when the boy and girl are lost in the darkness, and when Tom suddenly sees a human hand bearing a light, and then finds that the hand is the hand of Indian Joe, his one mortal enemy. I have always thought that the vision of the hand in the cave in Tom Sawyer was one of the very finest things in the literature of adventure since Robinson Crusoe first saw a single footprint in the sand of the sea-shore.

Mark Twain's invention was not always a reliable quantity, but with that eccentricity which goes with any attribute of genius, it was likely at any moment to rise supreme. If to the critical, hardened reader the tale seems a shade overdone here and there, a trifle extravagant in its delineations, let him go back to his first long-ago reading of it and see if he recalls anything but his pure delight in it then. As a boy's story it has not been equaled.

Tom Sawyer has ranked in popularity with Roughing It.

Its sales go steadily on from year to year, and are likely to continue so long as boys and girls do not change, and men and women remember.

–[Col. Henry Watterson, when he finished Tom Sawyer, wrote: "I have just laid down Tom Sawyer, and cannot resist the pressure. It is immense! I read every word of it, didn't skip a line, and nearly disgraced myself several times in the presence of a sleeping-car full of honorable and pious people. Once I had to get to one side and have a cry, and as for an internal compound of laughter and tears there was no end to it…. The 'funeral' of the boys, the cave business, and the hunt for the hidden treasure are as dramatic as anything I know of in fiction, while the pathos—particularly everything relating to Huck and Aunt Polly—makes a cross between Dickens's skill and Thackeray's nature, which, resembling neither, is thoroughly impressive and original."]

CX

MARK TWAIN AND BRET HARTE WRITE A PLAY

It was the fall and winter of '76 that Bret Harte came to Hartford and collaborated with Mark Twain on the play "Ah Sin," a comedy-drama, or melodrama, written for Charles T. Parsloe, the great impersonator of Chinese character. Harte had written a successful play which unfortunately he had sold outright for no great sum, and was eager for another venture. Harte had the dramatic sense and constructive invention. He also had humor, but he felt the need of the sort of humor that Mark Twain could furnish. Furthermore, he believed that a play backed by both their reputations must start with great advantages. Clemens also realized these things, and the arrangement was made. Speaking of their method of working, Clemens once said:

"Well, Bret came down to Hartford and we talked it over, and then Bret wrote it while I played billiards, but of course I had to go over it to get the dialect right. Bret never did know anything about dialect." Which is hardly a fair statement of the case. They both worked on the play, and worked hard.

During the period of its construction Harte had an order for a story which he said he must finish at once, as he needed the money. It must be delivered by the following night, and he insisted that he must be getting at it without a moment's delay. Still he seemed in no haste to begin. The evening passed; bedtime came. Then he asked that an open fire might be made in his room and a bottle of whisky sent up, in case he needed. something to keep him awake. George attended to these matters, and nothing more was heard of Harte until very early next morning, when he rang for George and asked for a fresh fire and an additional supply of whisky. At breakfast-time he appeared, fresh, rosy, and elate, with the announcement that his story was complete.

That forenoon the Saturday Morning Club met at the Clemens home. It was a young women's club, of which Mark Twain was a sort of honorary member —a club for the purpose of intellectual advancement, somewhat on the order of the Monday Evening Club of men, except that the papers read before it were not prepared by members, but by men and women prominent in some field of intellectual progress. Bret Harte had agreed to read to them on this particular occasion, and he gaily appeared and gave them the story just finished, "Thankful Blossom," a tale which Mark Twain always regarded as one of Harte's very best.

The new play, "Ah Sin," by Mark Twain and Bret Harte, was put on at Washington, at the National Theater, on the evening of May 7, 1877. It had been widely exploited in the newspapers, and the fame of the authors insured a crowded opening. Clemens was unable to go over on account of a sudden attack of bronchitis. Parsloe was nervous accordingly, and the presence of Harte does not seem to have added to his happiness.

"I am not very well myself," he wrote to Clemens. "The excitement of the first night is bad enough, but to have the annoyance with Harte that I have is too much for a new beginner."

Nevertheless, the play seems to have gone well, with Parsloe as Ah Sin —a Chinese laundryman who was also a great number of other diverting things—with a fair support and a happy-go-lucky presentation of frontier life, which included a supposed murder, a false accusation, and a general clearing-up of mystery by the pleasant and wily and useful and entertaining Ah Sin. It was not a great play. It was neither very coherent nor convincing, but it had a lot of good fun in it, with character parts which, if not faithful to life, were faithful enough to the public conception of it to be amusing and exciting. At the end of each act not only Parsloe, but also the principal members of the company, were called before the curtain for special acknowledgments. When it was over there was a general call for Ah Sin, who came before the curtain and read a telegram.

CHARLES T. PARSLOE,—I am on the sick-list, and therefore cannot come to Washington; but I have prepared two speeches—one to deliver in event of failure of the play, and the other if successful. Please tell me which I shall send. May be better to put it to vote.

    MARK TWAIN.

The house cheered the letter, and when it was put to vote decided unanimously that the play had been a success—a verdict more kindly than true.

J. I. Ford, of the theater management, wrote to Clemens, next morning after the first performance, urging him to come to Washington in person and "wet nurse" the play until "it could do for itself."

Ford expressed satisfaction with the play and its prospects, and concludes:

I inclose notices. Come if you can. "Your presence will be worth ten thousand men. The king's name is a tower of strength." I have urged the President to come to-night.

The play made no money in Washington, but Augustin Daly decided to put it on in New York at the Fifth Avenue Theater, with a company which included, besides Parsloe, Edmund Collier, P. A. Anderson, Dora Goldthwaite, Henry Crisp, and Mrs. Wells, a very worthy group of players indeed. Clemens was present at the opening, dressed in white, which he affected only for warm-weather use in those days, and made a speech at the end of the third act.

"Ah Sin" did not excite much enthusiasm among New York dramatic critics. The houses were promising for a time, but for some reason the performance as a whole did not contain the elements of prosperity. It set out on its provincial travels with no particular prestige beyond the reputation of its authors; and it would seem that this was not enough, for it failed to pay, and all parties concerned presently abandoned it to its fate and it was heard of no more. Just why "Ah Sin" did not prosper it would not become us to decide at this far remove of time and taste. Poorer plays have succeeded and better plays have failed since then, and no one has ever been able to demonstrate the mystery. A touch somewhere, a pulling-about and a readjustment, might have saved "Ali Sin," but the pullings and haulings which they gave it did not. Perhaps it still lies in some managerial vault, and some day may be dragged to light and reconstructed and recast, and come into its reward. Who knows? Or it may have drifted to that harbor of forgotten plays, whence there is no returning.

As between Harte and Clemens, the whole matter was unfortunate. In the course of their association there arose a friction and the long-time friendship disappeared.

CXI

A BERMUDA HOLIDAY

On the 16th of May, 1877, Mark Twain set out on what, in his note-book, he declared to be "the first actual pleasure-trip" he had ever taken, meaning that on every previous trip he had started with a purpose other than that of mere enjoyment. He took with him his, friend and pastor, the Rev. Joseph H. Twichell, and they sailed for Bermuda, an island resort not so well known or so fashionable as to-day.

They did not go to a hotel. Under assumed names they took up quarters in a boarding-house, with a Mrs. Kirkham, and were unmolested and altogether happy in their wanderings through four golden days. Mark Twain could not resist keeping a note-book, setting down bits of scenery and character and incident, just as he had always done. He was impressed with the cheapness of property and living in the Bermuda of that period. He makes special mention of some cottages constructed of coral blocks: "All as beautiful and as neat as a pin, at the cost of four hundred and eighty dollars each." To Twichell he remarked: