Mark Twain: A Biography. Complete

The petition never reached Congress. Holmes agreed to sign it with a smile, and the comment that governments were not in the habit of setting themselves up as high moral examples, except for revenue. Longfellow also pledged himself, as did a few others; but if there was any general concurrence in the effort there is no memory of it now. Clemens abandoned the original idea, but remained one of the most persistent and influential advocates of copyright betterment, and lived to see most of his dream fulfilled.—[For the petition concerning copyright term in the United States, see Sketches New and Old. For the petition concerning international copyright and related matters, see Appendix N, at the end of last volume.]

CIII. “ATLANTIC” DAYS

It was about this period that Mark Twain began to exhibit openly his more serious side; that is to say his advocacy of public reforms. His paper on “Universal Suffrage” had sounded a first note, and his copyright petitions were of the same spirit. In later years he used to say that he had always felt it was his mission to teach, to carry the banner of moral reconstruction, and here at forty we find him furnishing evidences of this inclination. In the Atlantic for October, 1875, there was published an unsigned three-page article entitled, “The Curious Republic of Gondour.” In this article was developed the idea that the voting privilege should be estimated not by the individuals, but by their intellectual qualifications. The republic of Gondour was a Utopia, where this plan had been established:

The author goes on to show the beneficent results of this enaction; how the country was benefited and glorified by this stimulus toward enlightenment and industry. No one ever suspected that Mark Twain was the author of this fable. It contained almost no trace of his usual literary manner. Nevertheless he wrote it, and only withheld his name, as he did in a few other instances, in the fear that the world might refuse to take him seriously over his own signature or nom de plume.

Howells urged him to follow up the “Gondour” paper; to send some more reports from that model land. But Clemens was engaged in other things by that time, and was not pledged altogether to national reforms.

He was writing a skit about a bit of doggerel which was then making nights and days unhappy for many undeserving persons who in an evil moment had fallen upon it in some stray newspaper corner. A certain car line had recently adopted the “punch system,” and posted in its cars, for the information of passengers and conductor, this placard:

A Blue Trip Slip for an 8 Cents Fare, A Buff Trip Slip for a 6 Cents Fare, A Pink Trip Slip for a 3 Cents Fare, For Coupon And Transfer, Punch The Tickets.

Noah Brooks and Isaac Bromley were riding down-town one evening on the Fourth Avenue line, when Bromley said:

“Brooks, it's poetry. By George, it's poetry!”

Brooks followed the direction of Bromley's finger and read the card of instructions. They began perfecting the poetic character of the notice, giving it still more of a rhythmic twist and jingle; arrived at the Tribune office, W. C. Wyckoff, scientific editor, and Moses P. Handy lent intellectual and poetic assistance, with this result:

It was printed, and street-car poetry became popular. Different papers had a turn at it, and each usually preceded its own effort with all other examples, as far as perpetrated. Clemens discovered the lines, and on one of their walks recited them to Twichell. “A Literary Nightmare” was written a few days later. In it the author tells how the jingle took instant and entire possession of him and went waltzing through his brain; how, when he had finished his breakfast, he couldn't tell whether he had eaten anything or not; and how, when he went to finish the novel he was writing, and took up his pen, he could only get it to say:

Punch in the presence of the passenjare.

He found relief at last in telling it to his reverend friend, that is, Twichell, upon whom he unloaded it with sad results.

It was an amusing and timely skit, and is worth reading to-day. Its publication in the Atlantic had the effect of waking up horse-car poetry all over the world. Howells, going to dine at Ernest Longfellow's the day following its appearance, heard his host and Tom Appleton urging each other to “Punch with care.” The Longfellow ladies had it by heart. Boston was devastated by it. At home, Howells's children recited it to him in chorus. The streets were full of it; in Harvard it became an epidemic.

It was transformed into other tongues. Even Swinburne, the musical, is said to have done a French version for the 'Revue des deux mondes'. * A St. Louis magazine, The Western, found relief in a Latin anthem with this chorus:

Pungite, fratres, pungite, Pungite cum amore, Pungite pro vectore, Diligentissime pungite.

CIV. MARK TWAIN AND HIS WIFE

Clemens and his wife traveled to Boston for one of those happy fore-gatherings with the Howellses, which continued, at one end of the journey or another, for so many years. There was a luncheon with Longfellow at Craigie House, and, on the return to Hartford, Clemens reported to Howells how Mrs. Clemens had thrived on the happiness of the visit. Also he confesses his punishment for the usual crimes:

Clemens used to admit, at a later day, that his education did not advance by leaps and bounds, but gradually, very gradually; and it used to give him a pathetic relief in those after-years, when that sweet presence had gone out of his life, to tell the way of it, to confess over-fully, perhaps, what a responsibility he had been to her.

He used to tell how, for a long time, he concealed his profanity from her; how one morning, when he thought the door was shut between their bedroom and the bathroom, he was in there dressing and shaving, accompanying these trying things with language intended only for the strictest privacy; how presently, when he discovered a button off the shirt he intended to put on, he hurled it through the window into the yard with appropriate remarks, followed it with another shirt that was in the same condition, and added certain collars and neckties and bath-room requisites, decorating the shrubbery outside, where the people were going by to church; how in this extreme moment he heard a slight cough and turned to find that the door was open! There was only one door to the bath-room, and he knew he had to pass her. He felt pale and sick, and sat down for a few moments to consider. He decided to assume that she was asleep, and to walk out and through the room, head up, as if he had nothing on his conscience. He attempted it, but without success. Half-way across the room he heard a voice suddenly repeat his last terrific remark. He turned to see her sitting up in bed, regarding him with a look as withering as she could find in her gentle soul. The humor of it struck him.

“Livy,” he said, “did it sound like that?”

“Of course it did,” she said, “only worse. I wanted you to hear just how it sounded.”

“Livy,” he said, “it would pain me to think that when I swear it sounds like that. You got the words right, Livy, but you don't know the tune.”

Yet he never willingly gave her pain, and he adored her and gloried in her dominion, his life long. Howells speaks of his beautiful and tender loyalty to her as the “most moving quality of his most faithful soul.”

It was a greater part of him than the love of most men for their wives, and she merited all the worship he could give her, all the devotion, all the implicit obedience, by her surpassing force and beauty of character.

She guarded his work sacredly; and reviewing the manuscripts which he was induced to discard, and certain edited manuscripts, one gets a partial idea of what the reading world owes to Olivia Clemens. Of the discarded manuscripts (he seems seldom to have destroyed them) there are a multitude, and among them all scarcely one that is not a proof of her sanity and high regard for his literary honor. They are amusing—some of them; they are interesting—some of them; they are strong and virile—some of them; but they are unworthy—most of them, though a number remain unfinished because theme or interest failed.

Mark Twain was likely to write not wisely but too much, piling up hundreds of manuscript pages only because his brain was thronging as with a myriad of fireflies, a swarm of darting, flashing ideas demanding release. As often as not he began writing with only a nebulous idea of what he proposed to do. He would start with a few characters and situations, trusting in Providence to supply material as needed. So he was likely to run ashore any time. As for those other attempts—stories “unavailable” for one reason or another—he was just as apt to begin those as the better sort, for somehow he could never tell the difference. That is one of the hall-marks of genius—the thing which sharply differentiates genius from talent. Genius is likely to rate a literary disaster as its best work. Talent rarely makes that mistake.

Among the abandoned literary undertakings of these early years of authorship there is the beginning of what was doubtless intended to become a book, “The Second Advent,” a story which opens with a very doubtful miraculous conception in Arkansas, and leads only to grotesquery and literary disorder. There is another, “The Autobiography of a Damn Fool,” a burlesque on family history, hopelessly impossible; yet he began it with vast enthusiasm and, until he allowed her to see the manuscript, thought it especially good. “Livy wouldn't have it,” he said, “so I gave it up.” There is another, “The Mysterious Chamber,” strong and fine in conception, vividly and intensely interesting; the story of a young lover who is accidentally locked behind a secret door in an old castle and cannot announce himself. He wanders at last down into subterranean passages beneath the castle, and he lives in this isolation for twenty years. The question of sustenance was the weak point in the story. Clemens could invent no way of providing it, except by means of a waste or conduit from the kitchen into which scraps of meat, bread, and other items of garbage were thrown. This he thought sufficient, but Mrs. Clemens did not highly regard such a literary device. Clemens could think of no good way to improve upon it, so this effort too was consigned to the penal colony, a set of pigeonholes kept in his study. To Howells and others, when they came along, he would read the discarded yarns, and they were delightful enough for such a purpose, as delightful as the sketches which every artist has, turned face to the wall.

“Captain Stormfield” lay under the ban for many a year, though never entirely abandoned. This manuscript was even recommended for publication by Howells, who has since admitted that it would not have done then; and indeed, in its original, primitive nakedness it would hardly have done even in this day of wider toleration.

It should be said here that there is not the least evidence (and the manuscripts are full of evidence) that Mrs. Clemens was ever super-sensitive, or narrow, or unliterary in her restraints. She became his public, as it were, and no man ever had a more open-minded, clear-headed public than that. For Mark Twain's reputation it would have been better had she exercised her editorial prerogative even more actively—if, in her love for him and her jealousy of his reputation, she had been even more severe. She did all that lay in her strength, from the beginning to the end, and if we dwell upon this phase of their life together it is because it is so large a part of Mark Twain's literary story. On her birthday in the year we are now closing (1875) he wrote her a letter which conveys an acknowledgment of his debt.

LIVY DARLING,—Six years have gone by since I made my first great success in life and won you, and thirty years have passed since Providence made preparation for that happy success by sending you into the world. Every day we live together adds to the security of my confidence that we can never any more wish to be separated than we can imagine a regret that we were ever joined. You are dearer to me to-day, my child, than you were upon the last anniversary of this birthday; you were dearer then than you were a year before; you have grown more and more dear from the first of those anniversaries, and I do not doubt that this precious progression will continue on to the end.

Let us look forward to the coming anniversaries, with their age and their gray hairs, without fear and without depression, trusting and believing that the love we bear each other will be sufficient to make them blessed.

So, with abounding affection for you and our babies I hail this day that brings you the matronly grace and dignity of three decades!

VOLUME II, Part 1: 1875-1886

CV. MARK TWAIN AT FORTY

In conversation with John Hay, Hay said to Clemens:

“A man reaches the zenith at forty, the top of the hill. From that time forward he begins to descend. If you have any great undertaking ahead, begin it now. You will never be so capable again.”

Of course this was only a theory of Hay's, a rule where rules do not apply, where in the end the problem resolves itself into a question of individualities. John Hay did as great work after forty as ever before, so did Mark Twain, and both of them gained in intellectual strength and public honor to the very end.

Yet it must have seemed to many who knew him, and to himself, like enough, that Mark Twain at forty had reached the pinnacle of his fame and achievement. His name was on every lip; in whatever environment observation and argument were likely to be pointed with some saying or anecdote attributed, rightly or otherwise, to Mark Twain. “As Mark Twain says,” or, “You know that story of Mark Twain's,” were universal and daily commonplaces. It was dazzling, towering fame, not of the best or most enduring kind as yet, but holding somewhere within it the structure of immortality.

He was in a constant state of siege, besought by all varieties and conditions of humanity for favors such as only human need and abnormal ingenuity can invent. His ever-increasing mail presented a marvelous exhibition of the human species on undress parade. True, there were hundreds of appreciative tributes from readers who spoke only out of a heart's gratitude; but there were nearly as great a number who came with a compliment, and added a petition, or a demand, or a suggestion, usually unwarranted, often impertinent. Politicians, public speakers, aspiring writers, actors, elocutionists, singers, inventors (most of them he had never seen or heard of) cheerfully asked him for a recommendation as to their abilities and projects.

Young men wrote requesting verses or sentiments to be inscribed in young ladies' autograph albums; young girls wrote asking him to write the story of his life, to be used as a school composition; men starting obscure papers coolly invited him to lend them his name as editor, assuring him that he would be put to no trouble, and that it would help advertise his books; a fruitful humorist wrote that he had invented some five thousand puns, and invited Mark Twain to father this terrific progeny in book form for a share of the returns. But the list is endless. He said once:

“The symbol of the race ought to be a human being carrying an ax, for every human being has one concealed about him somewhere, and is always seeking the opportunity to grind it.”

Even P. T. Barnum had an ax, the large ax of advertising, and he was perpetually trying to grind it on Mark Twain's reputation; in other words, trying to get him to write something that would help to popularize “The Greatest Show on Earth.”

There were a good many curious letters-letters from humorists, would-be and genuine. A bright man in Duluth sent him an old Allen “pepper-box” revolver with the statement that it had been found among a pile of bones under a tree, from the limb of which was suspended a lasso and a buffalo skull; this as evidence that the weapon was the genuine Allen which Bemis had lost on that memorable Overland buffalo-hunt. Mark Twain enjoyed that, and kept the old pepper-box as long as he lived. There were letters from people with fads; letters from cranks of every description; curious letters even from friends. Reginald Cholmondeley, that lovely eccentric of Condover Hall, where Mr. and Mrs. Clemens had spent some halcyon days in 1873, wrote him invitations to be at his castle on a certain day, naming the hour, and adding that he had asked friends to meet him. Cholmondeley had a fancy for birds, and spared nothing to improve his collection. Once he wrote Clemens asking him to collect for him two hundred and five American specimens, naming the varieties and the amount which he was to pay for each. Clemens was to catch these birds and bring them over to England, arriving at Condover on a certain day, when there would be friends to meet him, of course.

Then there was a report which came now and then from another English castle—the minutes of a certain “Mark Twain Club,” all neatly and elaborately written out, with the speech of each member and the discussions which had followed—the work, he found out later, of another eccentric; for there was no Mark Twain Club, the reports being just the mental diversion of a rich young man, with nothing else to do.—[In Following the Equator Clemens combined these two pleasant characters in one story, with elaborations.]

Letters came queerly addressed. There is one envelope still in existence which bears Clemens's name in elaborate design and a very good silhouette likeness, the work of some talented artist. “Mark Twain, United States,” was a common address; “Mark Twain, The World,” was also used; “Mark Twain, Somewhere,” mailed in a foreign country, reached him promptly, and “Mark Twain, Anywhere,” found its way to Hartford in due season. Then there was a letter (though this was later; he was abroad at the time), mailed by Brander Matthews and Francis Wilson, addressed, “Mark Twain, God Knows Where.” It found him after traveling half around the world on its errand, and in his answer he said, “He did.” Then some one sent a letter addressed, “The Devil Knows Where.” Which also reached him, and he answered, “He did, too.”

Surely this was the farthest horizon of fame.

Countless Mark Twain anecdotes are told of this period, of every period, and will be told and personally vouched for so long as the last soul of his generation remains alive. For seventy years longer, perhaps, there will be those who will relate “personal recollections” of Mark Twain. Many of them will be interesting; some of them will be true; most of them will become history at last. It is too soon to make history of much of this drift now. It is only safe to admit a few authenticated examples.

It happens that one of the oftenest-told anecdotes has been the least elaborated. It is the one about his call on Mrs. Stowe. Twichell's journal entry, set down at the time, verifies it:

Mrs. Stowe was leaving for Florida one morning, and Clemens ran over early to say good-by. On his return Mrs. Clemens regarded him disapprovingly:

“Why, Youth,” she said, “you haven't on any collar and tie.”

He said nothing, but went up to his room, did up these items in a neat package, and sent it over by a servant, with a line:

“Herewith receive a call from the rest of me.”

Mrs. Stowe returned a witty note, in which she said that he had discovered a new principle, the principle of making calls by instalments, and asked whether, in extreme cases, a man might not send his hat, coat, and boots and be otherwise excused.

Col. Henry Watterson tells the story of an after-theater supper at the Brevoort House, where Murat Halstead, Mark Twain, and himself were present. A reporter sent in a card for Colonel Watterson, who was about to deny himself when Clemens said:

“Give it to me; I'll fix it.” And left the table. He came back in a moment and beckoned to Watterson.

“He is young and as innocent as a lamb,” he said. “I represented myself as your secretary. I said that you were not here, but if Mr. Halstead would do as well I would fetch him out. I'll introduce you as Halstead, and we'll have some fun.”

Now, while Watterson and Halstead were always good friends, they were political enemies. It was a political season and the reporter wanted that kind of an interview. Watterson gave it to him, repudiating every principle that Halstead stood for, reversing him in every expressed opinion. Halstead was for hard money and given to flying the “bloody shirt” of sectional prejudice; Watterson lowered the bloody shirt and declared for greenbacks in Halstead's name. Then he and Clemens returned to the table and told frankly what they had done. Of course, nobody believed it. The report passed the World night-editor, and appeared, next morning. Halstead woke up, then, and wrote a note to the World, denying the interview throughout. The World printed his note with the added line:

“When Mr. Halstead saw our reporter he had dined.”

It required John Hay (then on the Tribune) to place the joke where it belonged.

There is a Lotos Club anecdote of Mark Twain that carries the internal evidence of truth. Saturday evening at the Lotos always brought a gathering of the “wits,” and on certain evenings—“Hens and chickens” nights—each man had to tell a story, make a speech, or sing a song. On one evening a young man, an invited guest, was called upon and recited a very long poem.

One by one those who sat within easy reach of the various exits melted away, until no one remained but Mark Twain. Perhaps he saw the earnestness of the young man, and sympathized with it. He may have remembered a time when he would have been grateful for one such attentive auditor. At all events, he sat perfectly still, never taking his eyes from the reader, never showing the least inclination toward discomfort or impatience, but listening, as with rapt attention, to the very last line. Douglas Taylor, one of the faithful Saturday-night members, said to him later:

“Mark, how did you manage to sit through that dreary, interminable poem?”

“Well,” he said, “that young man thought he had a divine message to deliver, and I thought he was entitled to at least one auditor, so I stayed with him.”

We may believe that for that one auditor the young author was willing to sacrifice all the others.

One might continue these anecdotes for as long as the young man's poem lasted, and perhaps hold as large an audience. But anecdotes are not all of history. These are set down because they reflect a phase of the man and an aspect of his life at this period. For at the most we can only present an angle here and there, and tell a little of the story, letting each reader from his fancy construct the rest.

CVI. HIS FIRST STAGE APPEARANCE

Once that winter the Monday Evening Club met at Mark Twain's home, and instead of the usual essay he read them a story: “The Facts Concerning the Recent Carnival of Crime in Connecticut.” It was the story of a man's warfare with a personified conscience—a sort of “William Wilson” idea, though less weird, less somber, and with more actuality, more verisimilitude. It was, in fact, autobiographical, a setting-down of the author's daily self-chidings. The climax, where conscience is slain, is a startling picture which appeals to most of humanity. So vivid is it all, that it is difficult in places not to believe in the reality of the tale, though the allegory is always present.

The club was deeply impressed by the little fictional sermon. One of its ministerial members offered his pulpit for the next Sunday if Mark Twain would deliver it to his congregation. Howells welcomed it for the Atlantic, and published it in June. It was immensely successful at the time, though for some reason it seems to be little known or remembered to-day. Now and then a reader mentions it, always with enthusiasm. Howells referred to it repeatedly in his letters, and finally persuaded Clemens to let Osgood bring it out, with “A True Story,” in dainty, booklet form. If the reader does not already know the tale, it will pay him to look it up and read it, and then to read it again.

Meantime Tom Sawyer remained unpublished.

“Get Bliss to hurry it up!” wrote Howells. “That boy is going to make a prodigious hit.”

But Clemens delayed the book, to find some means to outwit the Canadian pirates, who thus far had laid hands on everything, and now were clamoring at the Atlantic because there was no more to steal.

Moncure D. Conway was in America, and agreed to take the manuscript of Sawyer to London and arrange for its publication and copyright. In Conway's Memoirs he speaks of Mark Twain's beautiful home, comparing it and its surroundings with the homes of Surrey, England. He tells of an entertainment given to Harriet Beecher Stowe, a sort of animated jarley wax-works. Clemens and Conway went over as if to pay a call, when presently the old lady was rather startled by an invasion of costumed figures. Clemens rose and began introducing them in his gay, fanciful fashion. He began with a knight in full armor, saying, as if in an aside, “Bring along that tinshop,” and went on to tell the romance of the knight's achievements.

Conway read Tom Sawyer on the ship and was greatly excited over it. Later, in London, he lectured on it, arranging meantime for its publication with Chatto & Windus, thus establishing a friendly business relation with that firm which Mark Twain continued during his lifetime.

Clemens lent himself to a number of institutional amusements that year, and on the 26th of April, 1876, made his first public appearance on the dramatic stage.

It was an amateur performance, but not of the usual kind. There was genuine dramatic talent in Hartford, and the old play of the “Loan of the Lover,” with Mark Twain as Peter Spuyk and Miss Helen Smith—[Now Mrs. William W. Ellsworth.]—as Gertrude, with a support sufficient for their needs, gave a performance that probably furnished as much entertainment as that pleasant old play is capable of providing. Mark Twain had in him the making of a great actor. Henry Irving once said to him:

“You made a mistake by not adopting the stage as a profession. You would have made even a greater actor than a writer.”

Yet it is unlikely that he would ever have been satisfied with the stage. He had too many original literary ideas. He would never have been satisfied to repeat the same part over and over again, night after night from week to month, and from month to year. He could not stick to the author's lines even for one night. In his performance of the easy-going, thick-headed Peter Spuyk his impromptu additions to the lines made it hard on the company, who found their cues all at sixes and sevens, but it delighted the audience beyond measure. No such impersonation of that character was ever given before, or ever will be given again. It was repeated with new and astonishing variations on the part of Peter, and it could have been put on for a long run. Augustin Daly wrote immediately, offering the Fifth Avenue Theater for a “benefit” performance, and again, a few days later, urging acceptance. “Not for one night, but for many.”

Clemens was tempted, no doubt. Perhaps, if he had yielded, he would today have had one more claim on immortality.

CVII. HOWELLS, CLEMENS, AND “GEORGE”

Howells and Clemens were visiting back and forth rather oftener just then. Clemens was particularly fond of the Boston crowd—Aldrich, Fields, Osgood, and the rest—delighting in those luncheons or dinners which Osgood, that hospitable publisher, was always giving on one pretext or another. No man ever loved company more than Osgood, or to play the part of host and pay for the enjoyment of others. His dinners were elaborate affairs, where the sages and poets and wits of that day (and sometimes their wives) gathered. They were happy reunions, those fore-gatherings, though perhaps a more intimate enjoyment was found at the luncheons, where only two or three were invited, usually Aldrich, Howells, and Clemens, and the talk continued through the afternoon and into the deepening twilight, such company and such twilight as somehow one seems never to find any more.

On one of the visits which Howells made to Hartford that year he took his son John, then a small boy, with him. John was about six years old at the time, with his head full of stories of Aladdin, and of other Arabian fancies. On the way over his father said to him:

“Now, John, you will see a perfect palace.”

They arrived, and John was awed into silence by the magnificence and splendors of his surroundings until they went to the bath-room to wash off the dust of travel. There he happened to notice a cake of pink soap.

“Why,” he said, “they've even got their soap painted!” Next morning he woke early—they were occupying the mahogany room on the ground floor—and slipping out through the library, and to the door of the dining-room, he saw the colored butler, George—the immortal George—setting the breakfast-table. He hurriedly tiptoed back and whispered to his father:

“Come quick! The slave is setting the table!”

This being the second mention of George, it seems proper here that he should be formally presented. Clemens used to say that George came one day to wash windows and remained eighteen years. He was precisely the sort of character that Mark Twain loved. He had formerly been the body-servant of an army general and was typically racially Southern, with those delightful attributes of wit and policy and gentleness which go with the best type of negro character. The children loved him no less than did their father. Mrs. Clemens likewise had a weakness for George, though she did not approve of him. George's morals were defective. He was an inveterate gambler. He would bet on anything, though prudently and with knowledge. He would investigate before he invested. If he placed his money on a horse, he knew the horse's pedigree and the pedigree of the horses against it, also of their riders. If he invested in an election, he knew all about the candidates. He had agents among his own race, and among the whites as well, to supply him with information. He kept them faithful to him by lending them money—at ruinous interest. He buttonholed Mark Twain's callers while he was removing their coats concerning the political situation, much to the chagrin of Mrs. Clemens, who protested, though vainly, for the men liked George and his ways, and upheld him in his iniquities.

Mrs. Clemens's disapproval of George reached the point, now and then, where she declared he could not remain.

She even discharged him once, but next morning George was at the breakfast-table, in attendance, as usual. Mrs. Clemens looked at him gravely:

“George,” she said, “didn't I discharge you yesterday?”

“Yes, Mis' Clemens, but I knew you couldn't get along without me, so I thought I'd better stay a while.”

In one of the letters to Howells, Clemens wrote:

When George first came he was one of the most religious of men. He had but one fault—young George Washington's. But I have trained him; and now it fairly breaks Mrs. Clemens's heart to hear him stand at that front door and lie to an unwelcome visitor.

George was a fine diplomat. He would come up to the billiard-room with a card or message from some one waiting below, and Clemens would fling his soul into a sultry denial which became a soothing and balmy subterfuge before it reached the front door.

The “slave” must have been setting the table in good season, for the Clemens breakfasts were likely to be late. They usually came along about nine o'clock, by which time Howells and John were fairly clawing with hunger.

Clemens did not have an early appetite, but when it came it was a good one. Breakfast and dinner were his important meals. He seldom ate at all during the middle of the day, though if guests were present he would join them at luncheon-time and walk up and down while they were eating, talking and gesticulating in his fervent, fascinating way. Sometimes Mrs. Clemens would say:

“Oh, Youth, do come and sit down with us. We can listen so much better.”

But he seldom did. At dinner, too, it was his habit, between the courses, to rise from the table and walk up and down the room, waving his napkin and talking!—talking in a strain and with a charm that he could never quite equal with his pen. It's the opinion of most people who knew Mark Twain personally that his impromptu utterances, delivered with that ineffable quality of speech, manifested the culmination of his genius.

When Clemens came to Boston the Howells household was regulated, or rather unregulated, without regard to former routine. Mark Twain's personality was of a sort that unconsciously compelled the general attendance of any household. The reader may recall Josh Billings's remark on the subject. Howells tells how they kept their guest to themselves when he visited their home in Cambridge, permitting him to indulge in as many unconventions as he chose; how Clemens would take a room at the Parker House, leaving the gas burning day and night, and perhaps arrive at Cambridge, after a dinner or a reading, in evening dress and slippers, and joyously remain with them for a day or more in that guise, slipping on an overcoat and a pair of rubbers when they went for a walk. Also, how he smoked continuously in every room of the house, smoked during every waking moment, and how Howells, mindful of his insurance, sometimes slipped in and removed the still-burning cigar after he was asleep.

Clemens had difficulty in getting to sleep in that earlier day, and for a time found it soothing to drink a little champagne on retiring. Once, when he arrived in Boston, Howells said:

“Clemens, we've laid in a bottle of champagne for you.”

But he answered:

“Oh, that's no good any more. Beer's the thing.”

So Howells provided the beer, and always afterward had a vision of his guest going up-stairs that night with a pint bottle under each arm.

He invented other methods of inducing slumber as the years went by, and at one time found that this precious boon came more easily when he stretched himself on the bath-room floor.

He was a perpetual joy to the Howells family when he was there, even though the household required a general reorganization when he was gone.

Mildred Howells remembers how, as a very little girl, her mother cautioned her not to ask for anything she wanted at the table when company was present, but to speak privately of it to her. Miss Howells declares that while Mark Twain was their guest she nearly starved because it was impossible to get her mother's attention; and Mrs. Howells, after one of those visits of hilarity and disorder, said:

“Well, it 'most kills me, but it pays,” a remark which Clemens vastly enjoyed. Howells himself once wrote:

Your visit was a perfect ovation for us; we never enjoy anything so much as those visits of yours. The smoke and the Scotch and the late hours almost kill us; but we look each other in the eyes when you are gone, and say what a glorious time it was, and air the library, and begin sleeping and longing to have you back again....

CVIII. SUMMER LABORS AT QUARRY FARM

They went to Elmira, that summer of '76, to be “hermits and eschew caves and live in the sun,” as Clemens wrote in a letter to Dr. Brown. They returned to the place as to Paradise: Clemens to his study and the books which he always called for, Mrs. Clemens to a blessed relief from social obligations, the children to the shady play-places, the green, sloping hill, where they could race and tumble, and to all their animal friends.

Susy was really growing up. She had had several birthdays, quite grand affairs, when she had been brought down in the morning, decked, and with proper ceremonies, with subsequent celebration. She was a strange, thoughtful child, much given to reflecting on the power and presence of infinity, for she was religiously taught. Down in the city, one night, there was a grand display of fireworks, and the hilltop was a good place from which to enjoy it; but it grew late after a little, and Susy was ordered to bed. She said, thoughtfully:

“I wish I could sit up all night, as God does.”

The baby, whom they still called “Bay,” was a tiny, brown creature who liked to romp in the sun and be rocked to sleep at night with a song. Clemens often took them for extended walks, pushing Bay in her carriage. Once, in a preoccupied moment, he let go of the little vehicle and it started downhill, gaining speed rapidly.

He awoke then, and set off in wild pursuit. Before he could overtake the runaway carriage it had turned to the roadside and upset. Bay was lying among the stones and her head was bleeding. Hastily binding the wound with a handkerchief he started full speed with her up the hill toward the house, calling for restoratives as he came. It was no serious matter. The little girl was strong and did not readily give way to affliction.

The children were unlike: Susy was all contemplation and nerves; Bay serene and practical. It was said, when a pet cat died—this was some years later—that Susy deeply reflected as to its life here and hereafter, while Bay was concerned only as to the style of its funeral. Susy showed early her father's quaintness of remark. Once they bought her a heavier pair of shoes than she approved of. She was not in the best of humors during the day, and that night, when at prayer-time her mother said, “Now, Susy, put your thoughts on God,” she answered, “Mama, I can't with those shoes.”

Clemens worked steadily that summer and did a variety of things. He had given up a novel, begun with much enthusiasm, but he had undertaken another long manuscript. By the middle of August he had written several hundred pages of a story which was to be a continuation of Tom Sawyer—The Adventures of Huckleberry Finn. Now, here is a curious phase of genius. The novel which for a time had filled him with enthusiasm and faith had no important literary value, whereas, concerning this new tale, he says:

“I like it only tolerably well, as far as I have gone, and may possibly pigeonhole or burn the manuscript when it is done”—this of the story which, of his books of pure fiction, will perhaps longest survive. He did, in fact, give the story up, and without much regret, when it was about half completed, and let it lie unfinished for years.

He wrote one short tale, “The Canvasser's Story,” a burlesque of no special distinction, and he projected for the Atlantic a scheme of “blindfold novelettes,” a series of stories to be written by well-known authors and others, each to be constructed on the same plot. One can easily imagine Clemens's enthusiasm over a banal project like that; his impulses were always rainbow-hued, whether valuable or not; but it is curious that Howells should welcome and even encourage an enterprise so far removed from all the traditions of art. It fell to pieces, at last, of inherent misconstruction. The title was to be, “A Murder and a Marriage.” Clemens could not arrive at a logical climax that did not bring the marriage and the hanging on the same day.

The Atlantic started its “Contributors' Club,” and Howells wrote to Clemens for a paragraph or more of personal opinion on any subject, assuring him that he could “spit his spite” out at somebody or something as if it were a passage from a letter. That was a fairly large permission to give Mark Twain. The paragraph he sent was the sort of thing he would write with glee, and hug himself over in the thought of Howells's necessity of rejecting it. In the accompanying note he said:

Say, Boss, do you want this to lighten up your old freight-train with? I suppose you won't, but then it won't take long to say, so.

He was always sending impossible offerings to the magazines; innocently enough sometimes, but often out of pure mischievousness. Yet they were constantly after him, for they knew they were likely to get a first-water gem. Mary Mopes Dodge, of St. Nicholas, wrote time and again, and finally said:

“I know a man who was persecuted by an editor till he went distracted.”

In his reading that year at the farm he gave more than customary attention to one of his favorite books, Pepys' Diary, that captivating old record which no one can follow continuously without catching the infection of its manner and the desire of imitation. He had been reading diligently one day, when he determined to try his hand on an imaginary record of conversation and court manners of a bygone day, written in the phrase of the period. The result was Fireside Conversation in the Time of Queen Elizabeth, or, as he later called it, 1601. The “conversation,” recorded by a supposed Pepys of that period, was written with all the outspoken coarseness and nakedness of that rank day, when fireside sociabilities were limited only by the range of loosened fancy, vocabulary, and physical performance, and not by any bounds of convention. Howells has spoken of Mark Twain's “Elizabethan breadth of parlance,” and how he, Howells, was always hiding away in discreet holes and corners the letters in which Clemens had “loosed his bold fancy to stoop on rank suggestion.” “I could not bear to burn them,” he declares, “and I could not, after the first reading, quite bear to look at them.”

In the 1601 Mark Twain outdid himself in the Elizabethan field. It was written as a letter to that robust divine, Rev. Joseph Twichell, who had no special scruples concerning Shakespearian parlance and customs. Before it was mailed it was shown to David Gray, who was spending a Sunday at Elmira. Gray said:

“Print it and put your name to it, Mark. You have never done a greater piece of work than that.”

John Hay, whom it also reached in due time, pronounced 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.