All these things might move and interest one. But how, desperately
more I have been moved to-night by the thought of a little old copy
in the nursery of 'At the Back of the North Wind'. Oh, what happy
days they were when that book was read, and how Susy loved it!...
Death is so kind, benignant, to whom he loves, but he goes by us
others & will not look our way.
And to Twichell a few days later:
A Hartford with no Susy in it—& no Ned Bunce!—It is not the city
of Hartford, it is the city of Heartbreak.... It seems only a few
weeks since I saw Susy last—yet that was 1895 & this is 1899....
My work does not go well to-day. It failed yesterday—& the day
before & the day before that. And so I have concluded to put the
MS. in the waste-basket & meddle with some other subject. I was
trying to write an article advocating the quadrupling of the
salaries of our ministers & ambassadors, & the devising of an
official dress for them to wear. It seems an easy theme, yet I
couldn't do the thing to my satisfaction. All I got out of it was
an article on Monaco & Monte Carlo—matters not connected with the
subject at all. Still, that was something—it's better than a total
loss.
He finished the article—“Diplomatic Pay and Clothes”—in
which he shows how absurd it is for America to expect proper
representation on the trifling salaries paid to her foreign ministers, as
compared with those allowed by other nations.
He prepared also a reminiscent article—the old tale of the
shipwrecked Hornet and the magazine article intended as his literary debut
a generation ago. Now and again he worked on some one of the several
unfinished longer tales, but brought none of them to completion. The
German drama interested him. Once he wrote to Mr. Rogers that he had
translated “In Purgatory” and sent it to Charles Frohman, who
pronounced it “all jabber and no play.”
Curious, too, for it tears these Austrians to pieces with laughter. When I
read it, now, it seems entirely silly; but when I see it on the stage it
is exceedingly funny.
He undertook a play for the Burg Theater, a collaboration with a Vienna
journalist, Siegmund Schlesinger. Schlesinger had been successful with
several dramas, and agreed with Clemens to do some plays dealing with
American themes. One of them was to be called “Die Goldgraeberin,”
that is, “The Woman Gold-Miner.” Another, “The Rival
Candidates,” was to present the humors of female suffrage.
Schlesinger spoke very little English, and Clemens always had difficulty
in comprehending rapid-fire German. So the work did not progress very
well. By the time they had completed a few scenes of mining-drama the
interest died, and they good-naturedly agreed that it would be necessary
to wait until they understood each other's language more perfectly before
they could go on with the project. Frau Kati Schratt, later morganatic
wife of Emperor Franz Josef, but then leading comedienne of the Burg
Theater, is said to have been cast for the leading part in the
mining-play; and Director-General Herr Schlenther, head of the Burg
Theater management, was deeply disappointed. He had never doubted that a
play built by Schlesinger and Mark Twain, with Frau Schratt in the leading
role, would have been a great success.
Clemens continued the subject of Christian Science that winter. He wrote a
number of articles, mainly criticizing Mrs. Eddy and her financial
methods, and for the first time conceived the notion of a book on the
subject. The new hierarchy not only amused but impressed him. He realized
that it was no ephemeral propaganda, that its appeal to human need was
strong, and that its system of organization was masterful and complete. To
Twichell he wrote:
Somehow I continue to feel sure of that cult's colossal future.... I am
selling my Lourdes stock already & buying Christian Science trust. I
regard it as the Standard Oil of the future.
He laid the article away for the time and, as was his custom, put the play
quite out of his mind and invented a postal-check which would be far more
simple than post-office orders, because one could buy them in any quantity
and denomination and keep them on hand for immediate use, making them
individually payable merely by writing in the name of the payee. It seems
a fine, simple scheme, one that might have been adopted by the government
long ago; but the idea has been advanced in one form or another several
times since then, and still remains at this writing unadopted. He wrote
John Hay about it, remarking at the close that the government officials
would probably not care to buy it as soon as they found they couldn't kill
Christians with it.
He prepared a lengthy article on the subject, in dialogue form, making it
all very clear and convincing, but for some reason none of the magazines
would take it. Perhaps it seemed too easy, too simple, too obvious. Great
ideas, once developed, are often like that.
CCV. SPEECHES THAT WERE NOT MADE
In a volume of Mark Twain's collected speeches there is one entitled
“German for the Hungarians—Address at the jubilee Celebration
of the Emancipation of the Hungarian Press, March 26, 1899.” An
introductory paragraph states that the ministers and members of Parliament
were present, and that the subject was the “Ausgleich”—i.e.,
the arrangement for the apportionment of the taxes between Hungary and
Austria. The speech as there set down begins:
Now that we are all here together I think that it will be a good
idea to arrange the Ausgleich. If you will act for Hungary I shall
be quite willing to act for Austria, and this is the very time for
it.
It is an excellent speech, full of good-feeling and good-humor, but it was
never delivered. It is only a speech that Mark Twain intended to deliver,
and permitted to be copied by a representative of the press before he
started for Budapest.
It was a grand dinner, brilliant and inspiring, and when Mark Twain was
presented to that distinguished company he took a text from something the
introducer had said and became so interested in it that his prepared
speech wholly disappeared from his memory.
I think I will never embarrass myself with a set speech again [he wrote
Twichell]. My memory is old and rickety and cannot stand the strain. But I
had this luck. What I did was to furnish a text for a part of the splendid
speech which was made by the greatest living orator of the European world—a
speech which it was a great delight to listen to, although I did not
understand any word of it, it being in Hungarian. I was glad I came, it
was a great night, & I heard all the great men in the German tongue.
The family accompanied Clemens to Budapest, and while there met Franz, son
of Louis Kossuth, and dined with him.
I assure you [wrote Mrs. Clemens] that I felt stirred, and I kept saying
to myself “This is Louis Kossuth's son.” He came to our room
one day, and we had quite a long and a very pleasant talk together. He is
a man one likes immensely. He has a quiet dignity about him that is very
winning. He seems to be a man highly esteemed in Hungary. If I am not
mistaken, the last time I saw the old picture of his father it was hanging
in a room that we turned into a music-room for Susy at the farm.
They were most handsomely treated in Budapest. A large delegation greeted
them on arrival, and a carriage and attendants were placed continually at
their disposal. They remained several days, and Clemens showed his
appreciation by giving a reading for charity.
It was hinted to Mark Twain that spring, that before leaving Vienna, it
would be proper for him to pay his respects to Emperor Franz Josef, who
had expressed a wish to meet him. Clemens promptly complied with the
formalities and the meeting was arranged. He had a warm admiration for the
Austrian Emperor, and naturally prepared himself a little for what he
wanted to say to him. He claimed afterward that he had compacted a sort of
speech into a single German sentence of eighteen words. He did not make
use of it, however. When he arrived at the royal palace and was presented,
the Emperor himself began in such an entirely informal way that it did no
occur to his visitor to deliver his prepared German sentence. When he
returned from the audience he said:
“We got along very well. I proposed to him a plan to exterminate the
human race by withdrawing the oxygen from the air for a period of two
minutes. I said Szczepanik would invent it for him. I think it impressed
him. After a while, in the course of our talk I remembered and told the
Emperor I had prepared and memorized a very good speech but had forgotten
it. He was very agreeable about it. He said a speech wasn't necessary. He
seemed to be a most kind-hearted emperor, with a great deal of plain,
good, attractive human nature about him. Necessarily he must have or he
couldn't have unbent to me as he did. I couldn't unbend if I were an
emperor. I should feel the stiffness of the position. Franz Josef doesn't
feel it. He is just a natural man, although an emperor. I was greatly
impressed by him, and I liked him exceedingly. His face is always the face
of a pleasant man and he has a fine sense of humor. It is the Emperor's
personality and the confidence all ranks have in him that preserve the
real political serenity in what has an outside appearance of being the
opposite. He is a man as well as an emperor—an emperor and a man.”
Clemens and Howells were corresponding with something of the old-time
frequency. The work that Mark Twain was doing—thoughtful work with
serious intent—appealed strongly to Howells. He wrote:
You are the greatest man of your sort that ever lived, and there is
no use saying anything else.... You have pervaded your
century almost more than any other man of letters, if not more; and
it is astonishing how you keep spreading.... You are my
“shadow of a great rock in a weary land” more than any other writer.
Clemens, who was reading Howells's serial, “Their Silver-Wedding
journey,” then running in Harper's Magazine, responded:
You are old enough to be a weary man with paling interests, but you
do not show it; you do your work in the same old, delicate &
delicious & forceful & searching & perfect way. I don't know how
you can—but I suspect. I suspect that to you there is still
dignity in human life, & that man is not a joke—a poor joke—the
poorest that was ever contrived. Since I wrote my Bible—[The
“Gospel,” What is Man?]—(last year), which Mrs. Clemens loathes &
shudders over & will not listen to the last half nor allow me to
print any part of it, man is not to me the respect-worthy person he
was before, & so I have lost my pride in him & can't write gaily nor
praisefully about him any more....
Next morning. I have been reading the morning paper. I do it every
morning—well knowing that I shall find in it the usual depravities
& basenesses & hypocrisies and cruelties that make up civilization &
cause me to put in the rest of the day pleading for the damnation of
the human race. I cannot seem to get my prayers answered, yet I do
not despair.
He was not greatly changed. Perhaps he had fewer illusions and less
iridescent ones, and certainly he had more sorrow; but the letters to
Howells do not vary greatly from those written twenty-five years before.
There is even in them a touch of the old pretense as to Mrs. Clemens's
violence.
I mustn't stop to play now or I shall never get those helfiard letters
answered. (That is not my spelling. It is Mrs. Clemens's, I have told her
the right way a thousand times, but it does no good, she never remembers.)
All through this Vienna period (as during several years before and after)
Henry Rogers was in full charge of Mark Twain's American affairs. Clemens
wrote him almost daily, and upon every matter, small or large, that
developed, or seemed likely to develop, in his undertakings. The
complications growing out of the type machine and Webster failures were
endless.—[“I hope to goodness I sha'n't get you into any more
jobs such as the type-setter and Webster business and the Bliss-Harper
campaigns have been. Oh, they were sickeners.” (Clemens to Rogers,
November 15, 1898.)]—The disposal of the manuscripts alone was work
for a literary agent. The consideration of proposed literary, dramatic,
and financial schemes must have required not only thought, but time. Yet
Mr. Rogers comfortably and genially took care of all these things and his
own tremendous affairs besides, and apologized sometimes when he felt,
perhaps, that he had wavered a little in his attention. Clemens once wrote
him:
Oh, dear me, you don't have to excuse yourself for neglecting me;
you are entitled to the highest praise for being so limitlessly
patient and good in bothering with my confused affairs, and pulling
me out of a hole every little while.
It makes me lazy, the way that Steel stock is rising. If I were
lazier—like Rice—nothing could keep me from retiring. But I work
right along, like a poor person. I shall figure up the rise, as the
figures come in, and push up my literary prices accordingly, till I
get my literature up to where nobody can afford it but the family.
(N. B.—Look here, are you charging storage? I am not going to
stand that, you know.) Meantime, I note those encouraging illogical
words of yours about my not worrying because I am to be rich when I
am 68; why didn't you have Cheiro make it 90, so that I could have
plenty of room?
It would be jolly good if some one should succeed in making a play
out of “Is He Dead?”—[Clemens himself had attempted to make a play
out of his story “Is He Dead?” and had forwarded the MS. to Rogers.
Later he wrote: “Put 'Is He Dead?' in the fire. God will bless you.
I too. I started to convince myself that I could write a play, or
couldn't. I'm convinced. Nothing can disturb that conviction.”]
—From what I gather from dramatists, he will have his hands
something more than full—but let him struggle, let him struggle.
Is there some way, honest or otherwise, by which you can get a copy
of Mayo's play, “Pudd'nhead Wilson,” for me? There is a capable
young Austrian here who saw it in New York and wants to translate it
and see if he can stage it here. I don't think these people here
would understand it or take to it, but he thinks it will pay us to
try.
A couple of London dramatists want to bargain with me for the right
to make a high comedy out of the “Million-Pound Note.” Barkis is
willing.
This is but one of the briefer letters. Most of them were much longer and
of more elaborate requirements. Also they overflowed with the gaiety of
good-fortune and with gratitude. From Vienna in 1899 Clemens wrote:
Why, it is just splendid! I have nothing to do but sit around and
watch you set the hen and hatch out those big broods and make my
living for me. Don't you wish you had somebody to do the same for
you?—a magician who can turn steel and copper and Brooklyn gas into
gold. I mean to raise your wages again—I begin to feel that I can
afford it.
I think the hen ought to have a name; she must be called Unberufen.
That is a German word which is equivalent to it “sh! hush' don't let
the spirits hear you!” The superstition is that if you happen to
let fall any grateful jubilation over good luck that you've had or
are hoping to have you must shut square off and say “Unberufen!” and
knock wood. The word drives the evil spirits away; otherwise they
would divine your joy or your hopes and go to work and spoil your
game. Set her again—do!
Oh, look here! You are just like everybody; merely because I am
literary you think I'm a commercial somnambulist, and am not
watching you with all that money in your hands. Bless you, I've got
a description of you and a photograph in every police-office in
Christendom, with the remark appended: “Look out for a handsome,
tall, slender young man with a gray mustache and courtly manners and
an address well calculated to deceive, calling himself by the name
of Smith.” Don't you try to get away—it won't work.
From the note-book:
Midnight. At Miss Bailie's home for English governesses. Two
comedies & some songs and ballads. Was asked to speak & did it.
(And rung in the “Mexican Plug.”)
A Voice. “The Princess Hohenlohe wishes you to write on her fan.”
“With pleasure—where is she?”
“At your elbow.”
I turned & took the fan & said, “Your Highness's place is in a fairy
tale; & by & by I mean to write that tale,” whereat she laughed a
happy girlish laugh, & we moved through the crowd to get to a
writing-table—& to get in a strong light so that I could see her
better. Beautiful little creature, with the dearest friendly ways &
sincerities & simplicities & sweetnesses—the ideal princess of the
fairy tales. She is 16 or 17, I judge.
Mental Telegraphy. Mrs. Clemens was pouring out the coffee this
morning; I unfolded the Neue Freie Presse, began to read a paragraph
& said:
“They've found a new way to tell genuine gems from false——”
“By the Roentgen ray!” she exclaimed.
That is what I was going to say. She had not seen the paper, &
there had been no talk about the ray or gems by herself or by me.
It was a plain case of telegraphy.
No man that ever lived has ever done a thing to please God
—primarily. It was done to please himself, then God next.
The Being who to me is the real God is the one who created this
majestic universe & rules it. He is the only originator, the only
originator of thoughts; thoughts suggested from within, not from
without; the originator of colors & of all their possible
combinations; of forces & the laws that govern them; of forms &
shapes of all forms-man has never invented a new one. He is the
only originator. He made the materials of all things; He made the
laws by which, & by which only, man may combine them into the
machines & other things which outside influences suggest to him. He
made character—man can portray it but not “create” it, for He is
the only creator.
He, is the perfect artisan, the perfect artist.
CCVI. A SUMMER IN SWEDEN
A part of the tragedy of their trip around the world had been the
development in Jean Clemens of a malady which time had identified as
epilepsy. The loss of one daughter and the invalidism of another was the
burden which this household had now to bear. Of course they did not for a
moment despair of a cure for the beautiful girl who had been so cruelly
stricken, and they employed any agent that promised relief.
They decided now to go to London, in the hope of obtaining beneficial
treatment. They left Vienna at the end of May, followed to the station by
a great crowd, who loaded their compartment with flowers and lingered on
the platform waving and cheering, some of them in tears, while the train
pulled away. Leschetizky himself was among them, and Wilbrandt, the author
of the Master of Palmyra, and many artists and other notables, “most
of whom,” writes Mrs. Clemens, “we shall probably never see
again in this world.”
Their Vienna sojourn had been one of the most brilliant periods of their
life, as well as one of the saddest. The memory of Susy had been never
absent, and the failing health of Jean was a gathering cloud.
They stopped a day or two at Prague, where they were invited by the Prince
of Thurn and Taxis to visit his castle. It gave them a glimpse of the
country life of the Bohemian nobility which was most interesting. The
Prince's children were entirely familiar with Tom Sawyer and Huckleberry
Finn, which they had read both in English and in the translation.
They journeyed to London by way of Cologne, arriving by the end of May.
Poultney Bigelow was there, and had recently been treated with great
benefit by osteopathy (then known as the Swedish movements), as practised
by Heinrick Kellgren at Sanna, Sweden. Clemens was all interest concerning
Kellgren's method and eager to try it for his daughter's malady. He
believed she could be benefited, and they made preparation to spend some
months at least in Sanna. They remained several weeks in London, where
they were welcomed with hospitality extraordinary. They had hardly arrived
when they were invited by Lord Salisbury to Hatfield House, and by James
Bryce to Portland Place, and by Canon Wilberforce to Dean's Yard. A rather
amusing incident happened at one of the luncheon-parties. Canon
Wilberforce was there and left rather early. When Clemens was ready to go
there was just one hat remaining. It was not his, and he suspected, by the
initials on the inside, that it belonged to Canon Wilberforce. However, it
fitted him exactly and he wore it away. That evening he wrote:
PRINCE OF WALES HOTEL, DE VERE GARDENS,
July,3, 1899.
DEAR CANON WILBERFORCE,—It is 8 P.M. During the past four hours I
have not been able to take anything that did not belong to me; during all
that time I have not been able to stretch a fact beyond the frontiers of
truth try as I might, & meantime, not only my morals have moved the
astonishment of all who have come in contact with me, but my manners have
gained more compliments than they have been accustomed to. This mystery is
causing my family much alarm. It is difficult to account for it. I find I
haven't my own hat. Have you developed any novelties of conduct since you
left Mr. Murray's, & have they been of a character to move the concern
of your friends? I think it must be this that has put me under this happy
charm; but, oh dear! I tremble for the other man!
Sincerely yours,
S. L. CLEMENS.
Scarcely was this note on its way to Wilberforce when the following one
arrived, having crossed it in transit:
July 3, 1899.
DEAR MR. CLEMENS,—I have been conscious of a vivacity and facility of
expression this afternoon beyond the normal and I have just discovered
the reason!! I have seen the historic signature “Mark Twain” in my hat!!
Doubtless you have been suffering from a corresponding dullness & have
wondered why. I departed precipitately, the hat stood on my umbrella and
was a new Lincoln & Bennett—it fitted me exactly and I did not discover
the mistake till I got in this afternoon. Please forgive me. If you
should be passing this way to-morrow will you look in and change hats?
or shall I send it to the hotel?
I am, very sincerely yrs.,
20 Dean's Yard. BASIL WILBERFORCE.
Clemens was demanded by all the bohemian clubs, the White Friars, the
Vagabonds, the Savage, the Beefsteak, and the Authors. He spoke to them,
and those “Mark Twain Evenings” have become historic occasions
in each of the several institutions that gave him welcome. At the
Vagabonds he told them the watermelon story, and at the White Friars he
reviewed the old days when he had been elected to that society; “days,”
he said, “when all Londoners were talking about nothing else than
that they had discovered Livingstone, and that the lost Sir Roger
Tichborne had been found and they were trying him for it.”
At the Savage Club, too, he recalled old times and old friends, and
particularly that first London visit, his days in the club twenty-seven
years before.
“I was 6 feet 4 in those days,” he said. “Now I am 5
feet 8 1/2 and daily diminishing in altitude, and the shrinkage of my
principles goes on .... Irving was here then, is here now. Stanley is
here, and Joe Hatton, but Charles Reade is gone and Tom Hood and Harry Lee
and Canon Kingsley. In those days you could have carried Kipling around in
a lunch-basket; now he fills the world. I was young and foolish then; now
I am old and foolisher.”
At the Authors Club he paid a special tribute to Rudyard Kipling, whose
dangerous illness in New York City and whose daughter's death had aroused
the anxiety and sympathy of the entire American nation. It had done much
to bring England and America closer together, Clemens said. Then he added
that he had been engaged the past eight days compiling a pun and had
brought it there to lay at their feet, not to ask for their indulgence,
but for their applause. It was this:
“Since England and America have been joined in Kipling, may they not
be severed in Twain.”
Hundreds of puns had been made on his pen-name, but this was probably his
first and only attempt, and it still remains the best.
They arrived in Sweden early in July and remained until October. Jean was
certainly benefited by the Kellgren treatment, and they had for a time the
greatest hopes of her complete recovery. Clemens became enthusiastic over
osteopathy, and wrote eloquently to every one, urging each to try the
great new curative which was certain to restore universal health. He wrote
long articles on Kellgren and his science, largely justified, no doubt,
for certainly miraculous benefits were recorded; though Clemens was not
likely to underestimate a thing which appealed to both his imagination and
his reason. Writing to Twichell he concluded, with his customary optimism
over any new benefit:
Ten years hence no sane man will call a doctor except when the knife
must be used—& such cases will be rare. The educated physician
will himself be an osteopath. Dave will become one after he has
finished his medical training. Young Harmony ought to become one
now. I do not believe there is any difference between Kellgren's
science and osteopathy; but I am sending to America to find out. I
want osteopathy to prosper; it is common sense & scientific, & cures
a wider range of ailments than the doctor's methods can reach.
Twichell was traveling in Europe that summer, and wrote from Switzerland:
I seemed ever and anon to see you and me swinging along those
glorious Alpine woods, staring at the new unfoldings of splendor
that every turn brought into view-talking, talking, endlessly
talking the days through-days forever memorable to me. That was
twenty-one years ago; think of it! We were youngsters then, Mark,
and how keen our relish of everything was! Well, I can enjoy myself
now; but not with that zest and rapture. Oh, a lot of items of our
tramp travel in 1878 that I had long forgotten came back to me as we
sped through that enchanted region, and if I wasn't on duty with
Venice I'd stop and set down some of them, but Venice must be
attended to. For one thing, there is Howells's book to be read at
such intervals as can be snatched from the quick-time march on which
our rustling leader keeps us. However, in Venice so far we want to
be gazing pretty steadily from morning till night, and by the grace
of the gondola we can do it without exhaustion. Really I am drunk
with Venice.
But Clemens was full of Sweden. The skies there and the sunsets he thought
surpassed any he had ever known. On an evening in September he wrote:
DEAR JOE,—I've no business in here-I ought to be outside. I shall
never see another sunset to begin with it this side of heaven.
Venice? land, what a poor interest that is! This is the place to
be. I have seen about 60 sunsets here; & a good 40 of them were
away & beyond anything I had ever imagined before for dainty &
exquisite & marvelous beauty & infinite change & variety. America?
Italy? the tropics? They have no notion of what a sunset ought to
be. And this one—this unspeakable wonder! It discounts all the
rest. It brings the tears, it is so unutterably beautiful.
Clemens read a book during his stay in Sweden which interested him deeply.
It was the Open Question, by Elizabeth Robbins—a fine study of
life's sterner aspects. When he had finished he was moved to write the
author this encouraging word:
DEAR MISS ROBBINS,—A relative of Matthew Arnold lent us your 'Open
Question' the other day, and Mrs. Clemens and I are in your debt. I
am not able to put in words my feeling about the book—my admiration
of its depth and truth and wisdom and courage, and the fine and
great literary art and grace of the setting. At your age you cannot
have lived the half of the things that are in the book, nor
personally penetrated to the deeps it deals in, nor covered its wide
horizons with your very own vision—and so, what is your secret?
how have you written this miracle? Perhaps one must concede that
genius has no youth, but starts with the ripeness of age and old
experience.
Well, in any case, I am grateful to you. I have not been so
enriched by a book for many years, nor so enchanted by one. I seem
to be using strong language; still, I have weighed it.
Sincerely yours,
S. L. CLEMENS.
CCVII. 30, WELLINGTON COURT
Clemens himself took the Kellgren treatment and received a good deal of
benefit.
“I have come back in sound condition and braced for work,” he
wrote MacAlister, upon his return to London. “A long, steady,
faithful siege of it, and I begin now in five minutes.”
They had settled in a small apartment at 30, Wellington Court, Albert
Gate, where they could be near the London branch of the Kellgren
institution, and he had a workroom with Chatto & Windus, his
publishers. His work, however, was mainly writing speeches, for he was
entertained constantly, and it seemed impossible for him to escape. His
note-book became a mere jumble of engagements. He did write an article or
a story now and then, one of which, “My First Lie, and How I Got Out
of It,” was made the important Christmas feature of the 'New York
Sunday World.'—[Now included in the Hadleyburg volume; “Complete
Works.”]
Another article of this time was the “St. Joan of Arc,” which
several years later appeared in Harper's Magazine. This article was
originally written as the Introduction of the English translation of the
official record of the trials and rehabilitation of Joan, then about to be
elaborately issued. Clemens was greatly pleased at being invited to
prepare the Introduction of this important volume, but a smug person with
pedagogic proclivities was in charge of the copy and proceeded to edit
Mark Twain's manuscript; to alter its phrasing to conform to his own ideas
of the Queen's English. Then he had it all nicely typewritten, and
returned it to show how much he had improved it, and to receive thanks and
compliments. He did not receive any thanks. Clemens recorded a few of the
remarks that he made when he saw his edited manuscript:
I will not deny that my feelings rose to 104 in the shade. “The
idea! That this long-eared animal this literary kangaroo this
illiterate hostler with his skull full of axle-grease—this.....”
But I stopped there, for this was not the Christian spirit.
His would-be editor received a prompt order to return the manuscript,
after which Clemens wrote a letter, some of which will go very well here.
DEAR MR. X.,—I have examined the first page of my amended
Introduction,—& will begin now & jot down some notes upon your
corrections. If I find any changes which shall not seem to me to be
improvements I will point out my reasons for thinking so. In this
way I may chance to be helpful to you, & thus profit you perhaps as
much as you have desired to profit me.
First Paragraph. “Jeanne d'Arc.” This is rather cheaply pedantic,
& is not in very good taste. Joan is not known by that name among
plain people of our race & tongue. I notice that the name of the
Deity occurs several times in the brief instalment of the Trials
which you have favored me with. To be consistent, it will be
necessary that you strike out “God” & put in “Dieu.” Do not neglect
this.
Second Paragraph. Now you have begun on my punctuation. Don't you
realize that you ought not to intrude your help in a delicate art
like that with your limitations? And do you think that you have
added just the right smear of polish to the closing clause of the
sentence?
Third Paragraph. Ditto.
Fourth Paragraph. Your word “directly” is misleading; it could be
construed to mean “at once.” Plain clarity is better than ornate
obscurity. I note your sensitive marginal remark: “Rather unkind to
French feelings—referring to Moscow.” Indeed I have not been
concerning myself about French feelings, but only about stating the
facts. I have said several uncourteous things about the French
—calling them a “nation of ingrates” in one place—but you have
been so busy editing commas & semicolons that you overlooked them &
failed to get scared at them. The next paragraph ends with a slur
at the French, but I have reasons for thinking you mistook it for a
compliment. It is discouraging to try to penetrate a mind like
yours. You ought to get it out & dance on it.
That would take some of the rigidity out of it. And you ought to
use it sometimes; that would help. If you had done this every now &
then along through life it would not have petrified.
Fifth Paragraph. Thus far I regard this as your masterpiece! You
are really perfect in the great art of reducing simple & dignified
speech to clumsy & vapid commonplace.
Sixth Paragraph. You have a singularly fine & aristocratic
disrespect for homely & unpretending English. Every time I use “go
back” you get out your polisher & slick it up to “return.” “Return”
is suited only to the drawing-room—it is ducal, & says itself with
a simper & a smirk.
Seventh Paragraph. “Permission” is ducal. Ducal and affected.
“Her” great days were not “over,” they were only half over. Didn't
you know that? Haven't you read anything at all about Joan of Arc?
The truth is you do not pay any attention; I told you on my very
first page that the public part of her career lasted two years, &
you have forgotten it already. You really must get your mind out
and have it repaired; you see yourself that it is all caked
together.
Eighth Paragraph. She “rode away to assault & capture a
stronghold.” Very well; but you do not tell us whether she
succeeded or not. You should not worry the reader with
uncertainties like that. I will remind you once more that clarity
is a good thing in literature. An apprentice cannot do better than
keep this useful rule in mind.
Ninth Paragraph. “Known” history. That word has a polish which is
too indelicate for me; there doesn't seem to be any sense in it.
This would have surprised me last week.
... “Breaking a lance” is a knightly & sumptuous phrase, & I
honor it for its hoary age & for the faithful service it has done in
the prize-composition of the school-girl, but I have ceased from
employing it since I got my puberty, & must solemnly object to
fathering it here. And, besides, it makes me hint that I have
broken one of those things before in honor of the Maid, an
intimation not justified by the facts. I did not break any lances
or other furniture; I only wrote a book about her.
Truly yours,
MARK TWAIN.
It cost me something to restrain myself and say these smooth & half-
flattering things of this immeasurable idiot, but I did it, & have
never regretted it. For it is higher & nobler to be kind to even a
shad like him than just.... I could have said hundreds of
unpleasant things about this tadpole, but I did not even feel them.
Yet, in the end, he seems not to have sent the letter. Writing it had
served every purpose.
An important publishing event of 1899 was the issue by the American
Publishing Company of Mark Twain's “Complete Works in Uniform
Edition.” Clemens had looked forward to the day when this should be
done, perhaps feeling that an assembling of his literary family in
symmetrical dress constituted a sort of official recognition of his
authorship. Brander Matthews was selected to write the Introduction and
prepared a fine “Biographical Criticism,” which pleased
Clemens, though perhaps he did not entirely agree with its views. Himself
of a different cast of mind, he nevertheless admired Matthews.
Writing to Twichell he said:
When you say, “I like Brander Matthews, he impresses me as a man of
parts & power,” I back you, right up to the hub—I feel the same
way. And when you say he has earned your gratitude for cuffing me
for my crimes against the Leather-stockings & the Vicar I ain't
making any objection. Dern your gratitude!
His article is as sound as a nut. Brander knows literature & loves
it; he can talk about it & keep his temper; he can state his case so
lucidly & so fairly & so forcibly that you have to agree with him
even when you don't agree with him; & he can discover & praise such
merits as a book has even when they are merely half a dozen diamonds
scattered through an acre of mud. And so he has a right to be a
critic.
To detail just the opposite of the above invoice is to describe me.
I haven't any right to criticize books, & I don't do it except when
I hate them. I often want to criticize Jane Austen, but her books
madden me so that I can't conceal my frenzy from the reader; &
therefore I have to stop every time I begin.'—[Once at a dinner
given to Matthews, Mark Twain made a speech which consisted almost
entirely of intonations of the name “Brander Matthews” to express
various shades of human emotion. It would be hopeless, of course,
to attempt to convey in print any idea of this effort, which, by
those who heard it, is said to have been a masterpiece of
vocalization.]
Clemens also introduced the “Uniform Edition” with an Author's
Preface, the jurisdiction of which, he said, was “restricted to
furnishing reasons for the publication of the collection as a whole.”
This is not easy to do. Aside from the ordinary commercial reasons
I find none that I can offer with dignity: I cannot say without
immodesty that the books have merit; I cannot say without immodesty
that the public want a “Uniform Edition”; I cannot say without
immodesty that a “Uniform Edition” will turn the nation toward high
ideals & elevated thought; I cannot say without immodesty that a
“Uniform Edition” will eradicate crime, though I think it will. I
find no reason that I can offer without immodesty except the rather
poor one that I should like to see a “Uniform Edition” myself. It
is nothing; a cat could say it about her kittens. Still, I believe
I will stand upon that. I have to have a Preface & a reason, by law
of custom, & the reason which I am putting forward is at least
without offense.
CCVIII. MARK TWAIN AND THE WARS
English troubles in South Africa came to a head that autumn. On the day
when England's ultimatum to the Boers expired Clemens wrote:
LONDON, 3.07 P.m., Wednesday, October 11, 1899. The time is up!
Without a doubt the first shot in the war is being fired to-day in
South Africa at this moment. Some man had to be the first to fall;
he has fallen. Whose heart is broken by this murder? For, be he
Boer or be he Briton, it is murder, & England committed it by the
hand of Chamberlain & the Cabinet, the lackeys of Cecil Rhodes & his
Forty Thieves, the South Africa Company.
Mark Twain would naturally sympathize with the Boer—the weaker side,
the man defending his home. He knew that for the sake of human progress
England must conquer and must be upheld, but his heart was all the other
way. In January, 1900, he wrote a characteristic letter to Twichell, which
conveys pretty conclusively his sentiments concerning the two wars then in
progress.
DEAR JOE,—Apparently we are not proposing to set the Filipinos free
& give their islands to them; & apparently we are not proposing to
hang the priests & confiscate their property. If these things are
so the war out there has no interest for me.
I have just been examining Chapter LXX of Following the Equator to
see if the Boer's old military effectiveness is holding out. It
reads curiously as if it had been written about the present war.
I believe that in the next chapter my notion of the Boer was rightly
conceived. He is popularly called uncivilized; I do not know why.
Happiness, food, shelter, clothing, wholesome labor, modest &
rational ambitions, honesty, kindliness, hospitality, love of
freedom & limitless courage to fight for it, composure & fortitude
in time of disaster, patience in time of hardship & privation,
absence of noise & brag in time of victory, contentment with humble
& peaceful life void of insane excitements—if there is a higher &
better form of civilization than this I am not aware of it & do not
know where to look for it. I suppose that we have the habit of
imagining that a lot of artistic & intellectual & other
artificialities must be added or it isn't complete. We & the
English have these latter; but as we lack the great bulk of those
others I think the Boer civilization is the best of the two. My
idea of our civilization is that it is a shoddy, poor thing & full
of cruelties, vanities, arrogancies, meannesses, & hypocrisies.
Provided we could get something better in the place of it. But that
is not possible perhaps. Poor as it is, it is better than real
savagery, therefore we must stand by it, extend it, & (in public)
praise it. And so we must not utter any hurtful word about England
in these days, nor fail to hope that she will win in this war, for
her defeat & fall would be an irremediable disaster for the mangy
human race. Naturally, then, I am for England; but she is
profoundly in the wrong, Joe, & no (instructed) Englishman doubts
it. At least that is my belief.
Writing to Howells somewhat later, he calls the conflict in South Africa,
a “sordid and criminal war,” and says that every day he is
writing (in his head) bitter magazine articles against it.