Europe and Elsewhere E-Book

Mark Twain

• Herausgeber: Word Well Books
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch

Veröffentlichungsjahr: 2022

Beschreibung

Samuel Langhorne Clements (1835-1910), well known by his pen name Mark Twain, was an American author and humorist. Twain is noted for his novels, “Adventures of Huckleberry Finn,” (1884) which has been called the “Great American Novel,” and “The Adventures of Tom Sawyer” *1876). He also wrote poetry, short stories, essays, and non-fiction. His travel books included “The Innocents Abroad” (1869) and “A Tramp Abroad” (1880). His book, “Europe and Elsewhere” is a collection of essays by Mark Twain that was edited by Albert Bigelow Paine, Twain's literary estate agent and biographer, and published posthumously in 1923. Essays in this volume, including The War Prayer (1905), a short story indicting war; The United States of Lyncherdom (1901), an essay against the mass lynching in Pierce City, Missouri; To the Person Sitting in Darkness (1901), a satiric essay expressing Twain's anti-imperialistic views; and thirty-two other essays make this book an unique collectors' item for Mark Twain aficionados, literary historians, and readers of American literature.

Leseprobe

EUROPE AND ELSEWHERE

WITH AN APPRECIATION BY BRANDER MATTHEWS AND AN INTRODUCTION BY ALBERT BIGELOW PAINE

MARK TWAIN

AKA SAMUEL LANGHORNE CLEMENS

Originally published in the United States in the year 1923.

This text is in the public domain

Modern Edition © 2022 by Word Well Books

The publishers have made all reasonable efforts to ensure this book is indeed in the Public Domain in any and all territories it has been published.

Created with Vellum

CONTENTS

An Appreciation

Introduction

1. A MEMORABLE MIDNIGHT EXPERIENCE

2. TWO MARK TWAIN EDITORIALS

3. THE TEMPERANCE CRUSADE AND WOMAN’S RIGHTS

4. O’SHAH

5. A WONDERFUL PAIR OF SLIPPERS

6. AIX, THE PARADISE OF THE RHEUMATICS

7. MARIENBAD—A HEALTH FACTORY

8. DOWN THE RHÔNE

9. THE LOST NAPOLEON

10. SOME NATIONAL STUPIDITIES

11. THE CHOLERA EPIDEMIC IN HAMBURG

12. QUEEN VICTORIA’S JUBILEE

13. LETTERS TO SATAN

14. A WORD OF ENCOURAGEMENT FOR OUR BLUSHING EXILES

15. DUELING

16. SKELETON PLAN OF A PROPOSED CASTING VOTE PARTY

17. THE UNITED STATES OF LYNCHERDOM

18. TO THE PERSON SITTING IN DARKNESS

19. TO MY MISSIONARY CRITICS

20. THOMAS BRACKETT REED

21. THE FINISHED BOOK

22. AS REGARDS PATRIOTISM

23. DR. LOEB’S INCREDIBLE DISCOVERY

24. THE DERVISH AND THE OFFENSIVE STRANGER

25. INSTRUCTIONS IN ART

26. SOLD TO SATAN

27. THAT DAY IN EDEN

28. EVE SPEAKS

29. SAMUEL ERASMUS MOFFETT

30. THE NEW PLANET

31. MARJORIE FLEMING, THE WONDER CHILD

32. ADAM’S SOLILOQUY

33. BIBLE TEACHING AND RELIGIOUS PRACTICE

34. THE WAR PRAYER

35. CORN-PONE OPINIONS

AN APPRECIATION

(This “Biographical Criticism” was prepared by Prof. Brander Matthews, as an introduction to the Uniform Edition of Mark Twain’s Works, published in 1899).

It is a common delusion of those who discuss contemporary literature that there is such an entity as the “reading public,” possessed of a certain uniformity of taste. There is not one public; there are many publics--as many, in fact, as there are different kinds of taste; and the extent of an author’s popularity is in proportion to the number of these separate publics he may chance to please. Scott, for example, appealed not only to those who relished romance and enjoyed excitement, but also to those who appreciated his honest portrayal of sturdy characters. Thackeray is preferred by ambitious youth who are insidiously flattered by his tacit compliments to their knowledge of the world, by the disenchanted who cannot help seeing the petty meannesses of society, and by the less sophisticated in whom sentiment has not gone to seed in sentimentality. Dickens in his own day bid for the approval of those who liked broad caricature (and were therefore pleased with Stiggins and Chadband), of those who fed greedily on plentiful pathos (and were therefore delighted with the deathbeds of Smike and Paul Dombey and Little Nell) and also of those who asked for unexpected adventure (and were therefore glad to disentangle the melodramatic intrigues of Ralph Nickleby).

In like manner the American author who has chosen to call himself Mark Twain has attained to an immense popularity because the qualities he possesses in a high degree appeal to so many and so widely varied publics--first of all, no doubt, to the public that revels in hearty and robust fun, but also to the public which is glad to be swept along by the full current of adventure, which is sincerely touched by manly pathos, which is satisfied by vigorous and exact portrayal of character, and which respects shrewdness and wisdom and sanity and a healthy hatred of pretense and affectation and sham. Perhaps no one book of Mark Twain’s--with the possible exception of Huckleberry Finn--is equally a favorite with all his readers; and perhaps some of his best characteristics are absent from his earlier books or but doubtfully latent in them. Mark Twain is many sided; and he has ripened in knowledge and in power since he first attracted attention as a wild Western funny man. As he has grown older he has reflected more; he has both broadened and deepened. The writer of “comic copy” for a mining-camp newspaper has developed into a liberal humorist, handling life seriously and making his readers think as he makes them laugh, until to-day Mark Twain has perhaps the largest audience of any author now using the English language. To trace the stages of this evolution and to count the steps whereby the sagebrush reporter has risen to the rank of a writer of world-wide celebrity, is as interesting as it is instructive.

I

Samuel Langhorne Clemens was born November 30, 1835, at Florida, Missouri. His father was a merchant who had come from Tennessee and who removed soon after his son’s birth to Hannibal, a little town on the Mississippi. What Hannibal was like and what were the circumstances of Mr. Clemen’s boyhood we can see for ourselves in the convincing pages of Tom Sawyer. Mr. Howells has called Hannibal “a loafing, out-at-elbows, down-at-the-heels, slave-holding Mississippi town”; and Mr. Clemens, who silently abhorred slavery, was of a slave-owning family.

When the future author was but twelve his father died, and the son had to get his education as best he could. Of actual schooling he got little and of book learning still less, but life itself is not a bad teacher for a boy who wants to study, and young Clemens did not waste his chances. He spent six years in the printing office of the little local paper,--for, like not a few others on the list of American authors that stretches from Benjamin Franklin to William Dean Howells, he began his connection with literature by setting type. As a journeyman printer the lad wandered from town to town and rambled even as far east as New York.

When he was nineteen he went back to the home of his boyhood and presently resolved to become a pilot on the Mississippi. How he learned the river he has told us in Life on the Mississippi, wherein his adventures, his experiences, and his impressions while he was a cub pilot are recorded with a combination of precise veracity and abundant humor which makes the earlier chapters of that marvelous book a most masterly fragment of autobiography. The life of a pilot was full of interest and excitement and opportunity, and what young Clemens saw and heard and divined during the years when he was going up and down the mighty river we may read in the pages of Huckleberry Finn and Pudd’nhead Wilson. But toward the end of the ’fifties the railroads began to rob the river of its supremacy as a carrier; and in the beginning of the ’sixties the Civil War broke out and the Mississippi no longer went unvexed to the sea. The skill, slowly and laboriously acquired, was suddenly rendered useless, and at twenty-five the young man found himself bereft of his calling. As a border state, Missouri was sending her sons into the armies of the Union and into the armies of the Confederacy, while many a man stood doubting, not knowing which way to turn. The ex-pilot has given us the record of his very brief and inglorious service as a soldier of the South. When this escapade was swiftly ended, he went to the Northwest with his brother, who had been appointed Territorial Secretary of Nevada. Thus the man who had been born on the borderland of North and South, who had gone East as a jour-printer, who had been again and again up and down the Mississippi, now went West while he was still plastic and impressionable; and he had thus another chance to increase that intimate knowledge of American life and American character which is one of the most precious of his possessions.

While still on the river he had written a satiric letter or two which found their way into print. In Nevada he went to the mines and lived the life he has described in Roughing It, but when he failed to “strike it rich,” he naturally drifted into journalism and back into a newspaper office again. The Virginia City Enterprise was not overmanned, and the newcomer did all sorts of odd jobs, finding time now and then to write a sketch which seemed important enough to permit of his signature. He now began to sign himself Mark Twain, taking the name from a call of the man who heaves the lead on a Mississippi River steamboat, and who cries, “By the mark, three,” “Mark Twain,” and so on. The name of Mark Twain soon began to be known to those who were curious in newspaper humor. After a while he was drawn across the mountains to San Francisco, where he found casual employment on the Morning Call, and where he joined himself to a little group of aspiring literators which included Mr. Bret Harte, Mr. Noah Brooks, Mr. Charles Henry Webb, and Mr. Charles Warren Stoddard.

It was in 1867 that Mr. Webb published Mark Twain’s first book, The Celebrated Jumping Frog of Calaveras; and it was in 1867 that the proprietors of the Alta California supplied him with the funds necessary to enable him to become one of the passengers on the steamer Quaker City, which had been chartered to take a select party on what is now known as the Mediterranean trip. The weekly letters, in which he set forth what befell him on this journey, were printed in the Alta Sunday after Sunday, and were copied freely by the other Californian papers. These letters served as the foundation of a book published in 1869 and called The Innocents Abroad, a book which instantly brought to the author celebrity and cash.

Both of these valuable aids to ambition were increased by his next step, his appearance on the lecture platform. Mr. Noah Brooks, who was present at his first attempt, has recorded that Mark Twain’s “method as a lecturer was distinctly unique and novel. His slow, deliberate drawl, the anxious and perturbed expression of his visage, the apparently painful effort with which he framed his sentences, the surprise that spread over his face when the audience roared with delight or rapturously applauded the finer passages of his word painting, were unlike anything of the kind they had ever known.” In the thirty years since that first appearance the method has not changed, although it has probably matured. Mark Twain is one of the most effective of platform speakers and one of the most artistic, with an art of his own which is very individual and very elaborate in spite of its seeming simplicity.

Although he succeeded abundantly as a lecturer, and although he was the author of the most widely circulated book of the decade, Mark Twain still thought of himself only as a journalist; and when he gave up the West for the East he became an editor of the Buffalo Express, in which he had bought an interest. In 1870 he married; and it is perhaps not indiscreet to remark that his was another of those happy unions of which there have been so many in the annals of American authorship. In 1871 he removed to Hartford, where his home has been ever since; and at the same time he gave up newspaper work.

In 1872 he wrote Roughing It, and in the following year came his first sustained attempt at fiction, The Gilded Age, written in collaboration with Mr. Charles Dudley Warner. The character of “Colonel Mulberry Sellers” Mark Twain soon took out of this book to make it the central figure of a play which the late John T. Raymond acted hundreds of times throughout the United States, the playgoing public pardoning the inexpertness of the dramatist in favor of the delicious humor and the compelling veracity with which the chief character was presented. So universal was this type and so broadly recognizable its traits that there were few towns wherein the play was presented in which some one did not accost the actor who impersonated the ever-hopeful schemer to declare: “I’m the original of Sellers! Didn’t Mark ever tell you? Well, he took the Colonel from me!”

Encouraged by the welcome accorded to this first attempt at fiction, Mark Twain turned to the days of his boyhood and wrote Tom Sawyer, published in 1875. He also collected his sketches, scattered here and there in newspapers and magazines. Toward the end of the ’seventies he went to Europe again with his family; and the result of this journey is recorded in A Tramp Abroad, published in 1880. Another volume of sketches, The Stolen White Elephant, was put forth in 1882; and in the same year Mark Twain first came forward as a historical novelist--if The Prince and the Pauper can fairly be called a historical novel. The year after, he sent forth the volume describing his Life on the Mississippi; and in 1884 he followed this with the story in which that life has been crystallized forever, Huckleberry Finn, the finest of his books, the deepest in its insight, and the widest in its appeal.

This Odyssey of the Mississippi was published by a new firm, in which the author was a chief partner, just as Sir Walter Scott had been an associate of Ballantyne and Constable. There was at first a period of prosperity in which the house issued the Personal Memoirs of Grant, giving his widow checks for $350,000 in 1886, and in which Mark Twain himself published A Connecticut Yankee at King Arthur’s Court, a volume of Merry Tales, and a story called The American Claimant, wherein “Colonel Sellers” reappears. Then there came a succession of hard years; and at last the publishing house in which Mark Twain was a partner failed, as the publishing house in which Walter Scott was a partner had formerly failed. The author of Huckleberry Finn at sixty found himself suddenly saddled with a load of debt, just as the author of Waverley had been burdened full threescore years earlier; and Mark Twain stood up stoutly under it, as Scott had done before him. More fortunate than xthe Scotchman, the American has lived to pay the debt in full.

Since the disheartening crash came, he has given to the public a third Mississippi River tale, Pudd’nhead Wilson, issued in 1894; and a third historical novel Joan of Arc, a reverent and sympathetic study of the bravest figure in all French history, printed anonymously in Harper’s Magazine and then in a volume acknowledged by the author in 1896. As one of the results of a lecturing tour around the world he prepared another volume of travels, Following the Equator, published toward the end of 1897. Mention must also be made of a fantastic tale called Tom Sawyer Abroad, sent forth in 1894, of a volume of sketches, The Million Pound Bank-Note, assembled in 1893, and also of a collection of literary essays, How to Tell a Story, published in 1897.

This is but the barest outline of Mark Twain’s life--such a brief summary as we must have before us if we wish to consider the conditions under which the author has developed and the stages of his growth. It will serve, however, to show how various have been his forms of activity--printer, pilot, miner, journalist, traveler, lecturer, novelist, publisher--and to suggest the width of his experience of life.

II

A humorist is often without honor in his own country. Perhaps this is partly because humor is likely to be familiar, and familiarity breeds contempt. Perhaps it is partly because (for some strange reason) we tend to despise those who make us laugh, while we respect those who make us weep--forgetting that there are formulas for forcing tears quite as facile as the formulas for forcing smiles. Whatever the reason, the fact is indisputable that the humorist must pay the penalty of his humor; he must run the risk of being tolerated as a mere fun maker, not to be taken seriously, and unworthy of critical consideration. This penalty has been paid by Mark Twain. In many of the discussions of American literature he is dismissed as though he were only a competitor of his predecessors, Artemus Ward and John Phœnix, instead of being, what he is really, a writer who is to be classed--at whatever interval only time may decide--rather with Cervantes and Molière.

Like the heroines of the problem plays of the modern theater, Mark Twain has had to live down his past. His earlier writing gave but little promise of the enduring qualities obvious enough in his later works. Mr. Noah Brooks has told us how he was advised, if he wished to “see genuine specimens of American humor, frolicsome, extravagant, and audacious,” to look up the sketches which the then almost unknown Mark Twain was printing in a Nevada newspaper. The humor of Mark Twain is still American, still frolicsome, extravagant, and audacious; but it is riper now and richer, and it has taken unto itself other qualities existing only in germ in these firstlings of his muse. The sketches in The Jumping Frog and the letters which made up The Innocents Abroad are “comic copy,” as the phrase is in newspaper offices--comic copy not altogether unlike what John Phœnix had written and Artemus Ward, better indeed than the work of these newspaper humorists (for Mark Twain had it in him to develop as they did not), but not essentially dissimilar.

And in the eyes of many who do not think for themselves, Mark Twain is only the author of these genuine specimens of American humor. For when the public has once made up its mind about any man’s work, it does not relish any attempt to force it to unmake this opinion and to remake it. Like other juries, it does not like to be ordered to reconsider its verdict as contrary to the facts of the case. It is always sluggish in beginning the necessary readjustment, and not only sluggish, but somewhat grudging. Naturally it cannot help seeing the later works of a popular writer from the point of view it had to take to enjoy his earlier writings. And thus the author of Huckleberry Finn and Joan of Arc is forced to pay a high price for the early and abundant popularity of The Innocents Abroad.

No doubt, a few of his earlier sketches were inexpensive in their elements; made of materials worn threadbare by generations of earlier funny men, they were sometimes cut in the pattern of his predecessors. No doubt, some of the earliest of all were crude and highly colored, and may even be called forced, not to say violent. No doubt, also, they did not suggest the seriousness and the melancholy which always must underlie the deepest humor, as we find it in Cervantes and Molière, in Swift and in Lowell. But even a careless reader, skipping through the book in idle amusement, ought to have been able to see in The Innocents Abroad that the writer of that liveliest of books of travel was no mere merry-andrew, grinning through a horse collar to make sport for the groundlings; but a sincere observer of life, seeing through his own eyes and setting down what he saw with abundant humor, of course, but also with profound respect for the eternal verities.

George Eliot in one of her essays calls those who parody lofty themes “debasers of the moral currency.” Mark Twain is always an advocate of the sterling ethical standard. He is ready to overwhelm an affectation with irresistible laughter, but he never lacks reverence for the things that really deserve reverence. It is not at the Old Masters that he scoffs in Italy, but rather at those who pay lip service to things which they neither enjoy nor understand. For a ruin or a painting or a legend that does not seem to him to deserve the appreciation in which it is held he refuses to affect an admiration he does not feel; he cannot help being honest--he was born so. For meanness of all kinds he has a burning contempt; and on Abelard he pours out the vials of his wrath. He has a quick eye for all humbugs and a scorching scorn for them; but there is no attempt at being funny in the manner of the cockney comedians when he stands in the awful presence of the Sphinx. He is not taken in by the glamour of Palestine; he does not lose his head there; he keeps his feet: but he knows that he is standing on holy ground; and there is never a hint of irreverence in his attitude.

A Tramp Abroad is a better book than The Innocents Abroad; it is quite as laughter-provoking, and its manner is far more restrained. Mark Twain was then master of his method, sure of himself, secure of his popularity; and he could do his best and spare no pains to be certain that it was his best. Perhaps there is a slight falling off in Following the Equator; a trace of fatigue, of weariness, of disenchantment. But the last book of travels has passages as broadly humorous as any of the first; and it proves the author’s possession of a pithy shrewdness not to be suspected from a perusal of its earliest predecessor. The first book was the work of a young fellow rejoicing in his own fun and resolved to make his readers laugh with him or at him; the latest book is the work of an older man, who has found that life is not all laughter, but whose eye is as clear as ever and whose tongue is as plain-spoken.

These three books of travel are like all other books of travel in that they relate in the first person what the author went forth to see. Autobiographic also are Roughing It and Life on the Mississippi, and they have always seemed to me better books than the more widely circulated travels. They are better because they are the result of a more intimate knowledge of the material dealt with. Every traveler is of necessity but a bird of passage; he is a mere carpetbagger; his acquaintance with the countries he visits is external only; and this acquaintanceship is made only when he is a full-grown man. But Mark Twain’s knowledge of the Mississippi was acquired in his youth; it was not purchased with a price; it was his birthright; and it was internal and complete. And his knowledge of the mining camp was achieved in early manhood when the mind is open and sensitive to every new impression. There is in both these books a fidelity to the inner truth, a certainty of touch, a sweep of vision, not to be found in the three books of travels. For my own part I have long thought that Mark Twain could securely rest his right to survive as an author on those opening chapters in Life on the Mississippi in which he makes clear the difficulties, the seeming impossibilities, that fronted those who wished to learn the river. These chapters are bold and brilliant, and they picture for us forever a period and a set of conditions, singularly interesting and splendidly varied, that otherwise would have had to forego all adequate record.

III

It is highly probable that when an author reveals the power of evoking views of places and of calling up portraits of people such as Mark Twain showed in Life on the Mississippi, and when he has the masculine grasp of reality Mark Twain made evident in Roughing It, he must needs sooner or later turn from mere fact to avowed fiction and become a story-teller. The long stories which Mark Twain has written fall into two divisions--first, those of which the scene is laid in the present, in reality, and mostly in the Mississippi Valley, and second, those of which the scene is laid in the past, in fantasy mostly, and in Europe.

As my own liking is a little less for the latter group, there is no need for me now to linger over them. In writing these tales of the past Mark Twain was making up stories in his head; personally I prefer the tales of his in which he has his foot firm on reality. The Prince and the Pauper has the essence of boyhood in it; it has variety and vigor; it has abundant humor and plentiful pathos; and yet I for one would give the whole of it for the single chapter in which Tom Sawyer lets the contract for whitewashing his aunt’s fence.

Mr. Howells has declared that there are two kinds of fiction he likes almost equally well--“a real novel and a pure romance”; and he joyfully accepts A Connecticut Yankee at King Arthur’s Court as “one of the greatest romances ever imagined.” It is a humorous romance overflowing with stalwart fun; and it is not irreverent, but iconoclastic, in that it breaks not a few disestablished idols. It is intensely American and intensely nineteenth century and intensely democratic--in the best sense of that abused adjective. The British critics were greatly displeased with the book;--and we are reminded of the fact that the Spanish still somewhat resent Don Quixote because it brings out too truthfully the fatal gap in the Spanish character between the ideal and the real. So much of the feudal still survives in British society that Mark Twain’s merry and elucidating assault on the past seemed to some almost an insult to the present.

But no critic, British or American, has ventured to discover any irreverence in Joan of Arc, wherein, indeed, the tone is almost devout and the humor almost too much subdued. Perhaps it is my own distrust of the so-called historical novel, my own disbelief that it can ever be anything but an inferior form of art, which makes me care less for this worthy effort to honor a noble figure. And elevated and dignified as is the Joan of Arc, I do not think that it shows us Mark Twain at his best; although it has many a passage that only he could have written, it is perhaps the least characteristic of his works. Yet it may well be that the certain measure of success he has achieved in handling a subject so lofty and so serious, will help to open the eyes of the public to see the solid merits of his other stories, in which his humor has fuller play and in which his natural gifts are more abundantly displayed.

Of these other stories three are “real novels,” to use Mr. Howells’s phrase; they are novels as real as any in any literature. Tom Sawyer and Huckleberry Finn and Pudd’nhead Wilson are invaluable contributions to American literature--for American literature is nothing if it is not a true picture of American life and if it does not help us to understand ourselves. Huckleberry Finn is a very amusing volume, and a generation has read its pages and laughed over it immoderately; but it is very much more than a funny book; it is a marvelously accurate portrayal of a whole civilization. Mr. Ormsby, in an essay which accompanies his translation of Don Quixote, has pointed out that for a full century after its publication that greatest of novels was enjoyed chiefly as a tale of humorous misadventure, and that three generations had laughed over it before anybody suspected that it was more than a mere funny book. It is perhaps rather with the picaresque romances of Spain that Huckleberry Finn is to be compared than with the masterpiece of Cervantes; but I do not think it will be a century or take three generations before we Americans generally discover how great a book Huckleberry Finn really is, how keen its vision of character, how close its observation of life, how sound its philosophy, and how it records for us once and for all certain phases of Southwestern society which it is most important for us to perceive and to understand. The influence of slavery, the prevalence of feuds, the conditions and the circumstances that make lynching possible--all these things are set before us clearly and without comment. It is for us to draw our own moral, each for himself, as we do when we see Shakespeare acted.

Huckleberry Finn, in its art, for one thing, and also in its broader range, is superior to Tom Sawyer and to Pudd’nhead Wilson, fine as both these are in their several ways. In no book in our language, to my mind, has the boy, simply as a boy, been better realized than in Tom Sawyer. In some respects Pudd’nhead Wilson is the most dramatic of Mark Twain’s longer stories, and also the most ingenious; like Tom Sawyer and Huckleberry Finn, it has the full flavor of the Mississippi River, on which its author spent his own boyhood, and from contact with the soil of which he always rises reinvigorated.

It is by these three stories, and especially by Huckleberry Finn, that Mark Twain is likely to live longest. Nowhere else is the life of the Mississippi Valley so truthfully recorded. Nowhere else can we find a gallery of Southwestern characters as varied and as veracious as those Huck Finn met in his wanderings. The histories of literature all praise the Gil Blas of Le Sage for its amusing adventures, its natural characters, its pleasant humor, and its insight into human frailty; and the praise is deserved. But in everyone of these qualities Huckleberry Finn is superior to Gil Blas. Le Sage set the model of the picaresque novel, and Mark Twain followed his example; but the American book is richer than the French--deeper, finer, stronger. It would be hard to find in any language better specimens of pure narrative, better examples of the power of telling a story and of calling up action so that the reader cannot help but see it, than Mark Twain’s account of the Shepherdson-Grangerford feud, and his description of the shooting of Boggs by Sherburn and of the foiled attempt to lynch Sherburn afterward.

These scenes, fine as they are, vivid, powerful, and most artistic in their restraint, can be matched in the two other books. In Tom Sawyer they can be paralleled by the chapter in which the boy and the girl are lost in the cave, and Tom, seeing a gleam of light in the distance, discovers that it is a candle carried by Indian Joe, the one enemy he has in the world. In Pudd’nhead Wilson the great passages of Huckleberry Finn are rivaled by that most pathetic account of the weak son willing to sell his own mother as a slave “down the river.” Although no one of the books is sustained throughout on this high level, and although, in truth, there are in each of them passages here and there that we could wish away (because they are not worthy of the association in which we find them), I have no hesitation in expressing here my own conviction that the man who has given us four scenes like these is to be compared with the masters of literature; and that he can abide the comparison with equanimity.

IV

Perhaps I myself prefer these three Mississippi Valley books above all Mark Twain’s other writings (although with no lack of affection for those also) partly because these have the most of the flavor of the soil about them. After veracity and the sense of the universal, what I best relish in literature is this native aroma, pungent, homely, and abiding. Yet I feel sure that I should not rate him so high if he were the author of these three books only. They are the best of him, but the others are good also, and good in a different way. Other writers have given us this local color more or less artistically, more or less convincingly: one New England and another New York, a third Virginia, and a fourth Georgia, and a fifth Wisconsin; but who so well as Mark Twain has given us the full spectrum of the Union? With all his exactness in reproducing the Mississippi Valley, Mark Twain is not sectional in his outlook; he is national always. He is not narrow; he is not Western or Eastern; he is American with a certain largeness and boldness and freedom and certainty that we like to think of as befitting a country so vast as ours and a people so independent.

In Mark Twain we have “the national spirit as seen with our own eyes,” declared Mr. Howells; and, from more points of view than one, Mark Twain seems to me to be the very embodiment of Americanism. Self-educated in the hard school of life, he has gone on broadening his outlook as he has grown older. Spending many years abroad, he has come to understand other nationalities, without enfeebling his own native faith. Combining a mastery of the commonplace with an imaginative faculty, he is a practical idealist. No respecter of persons, he has a tender regard for his fellow man. Irreverent toward all outworn superstitions, he has ever revealed the deepest respect for all things truly worthy of reverence. Unwilling to take pay in words, he is impatient always to get at the root of the matter, to pierce to the center, to see the thing as it is. He has a habit of standing upright, of thinking for himself, and of hitting hard at whatsoever seems to him hateful and mean; but at the core of him there is genuine gentleness and honest sympathy, brave humanity and sweet kindliness. Perhaps it is boastful for us to think that these characteristics which we see in Mark Twain are characteristics also of the American people as a whole; but it is pleasant to think so.

Mark Twain has the very marrow of Americanism. He is as intensely and as typically American as Franklin or Emerson or Hawthorne. He has not a little of the shrewd common sense and the homely and unliterary directness of Franklin. He is not without a share of the aspiration and the elevation of Emerson; and he has a philosophy of his own as optimistic as Emerson’s. He possesses also somewhat of Hawthorne’s interest in ethical problems, with something of the same power of getting at the heart of them; he, too, has written his parables and apologues wherein the moral is obvious and unobtruded. He is uncompromisingly honest; and his conscience is as rugged as his style sometimes is.

No American author has to-day at his command a style more nervous, more varied, more flexible, or more various than Mark Twain’s. His colloquial ease should not hide from us his mastery of all the devices of rhetoric. He may seem to disobey the letter of the law sometimes, but he is always obedient to the spirit. He never speaks unless he has something to say; and then he says it tersely, sharply, with a freshness of epithet and an individuality of phrase, always accurate, however unacademic. His vocabulary is enormous, and it is deficient only in the dead words; his language is alive always, and actually tingling with vitality. He rejoices in the daring noun and in the audacious adjective. His instinct for the exact word is not always unerring, and now and again he has failed to exercise it; but there is in his prose none of the flatting and sharping he censured in Fenimore Cooper’s. His style has none of the cold perfection of an antique statue; it is too modern and too American for that, and too completely the expression of the man himself, sincere and straightforward. It is not free from slang, although this is far less frequent than one might expect; but it does its work swiftly and cleanly. And it is capable of immense variety. Consider the tale of the Blue Jay in A Tramp Abroad, wherein the humor is sustained by unstated pathos; what could be better told than this, with every word the right word and in the right place? And take Huck Finn’s description of the storm when he was alone on the island, which is in dialect, which will not parse, which bristles with double negatives, but which none the less is one of the finest passages of descriptive prose in all American literature.

V

After all, it is as a humorist pure and simple that Mark Twain is best known and best beloved. In the preceding pages I have tried to point out the several ways in which he transcends humor, as the word is commonly restricted, and to show that he is no mere fun maker. But he is a fun maker beyond all question, and he has made millions laugh as no other man of our century has done. The laughter he has aroused is wholesome and self-respecting; it clears the atmosphere. For this we cannot but be grateful. As Lowell said, “let us not be ashamed to confess that, if we find the tragedy a bore, we take the profoundest satisfaction in the farce. It is a mark of sanity.” There is no laughter in Don Quixote, the noble enthusiast whose wits are unsettled; and there is little on the lips of Alceste the misanthrope of Molière; but for both of them life would have been easier had they known how to laugh. Cervantes himself, and Molière also, found relief in laughter for their melancholy; and it was the sense of humor which kept them tolerantly interested in the spectacle of humanity, although life had pressed hardly on them both. On Mark Twain also life has left its scars; but he has bound up his wounds and battled forward with a stout heart, as Cervantes did, and Molière. It was Molière who declared that it was a strange business to undertake to make people laugh; but even now, after two centuries, when the best of Molière’s plays are acted, mirth breaks out again and laughter overflows.

It would be doing Mark Twain a disservice to liken him to Molière, the greatest comic dramatist of all time; and yet there is more than one point of similarity. Just as Mark Twain began by writing comic copy which contained no prophecy of a masterpiece like Huckleberry Finn, so Molière was at first the author only of semiacrobatic farces on the Italian model in no wise presaging Tartuffe and The Misanthrope. Just as Molière succeeded first of all in pleasing the broad public that likes robust fun, and then slowly and step by step developed into a dramatist who set on the stage enduring figures plucked out of the abounding life about him, so also has Mark Twain grown, ascending from The Jumping Frog to Huckleberry Finn, as comic as its elder brother and as laughter-provoking, but charged also with meaning and with philosophy. And like Molière again, Mark Twain has kept solid hold of the material world; his doctrine is not of the earth earthy, but it is never sublimated into sentimentality. He sympathizes with the spiritual side of humanity, while never ignoring the sensual. Like Molière, Mark Twain takes his stand on common sense and thinks scorn of affectation of every sort. He understands sinners and strugglers and weaklings; and he is not harsh with them, reserving his scorching hatred for hypocrites and pretenders and frauds.

At how long an interval Mark Twain shall be rated after Molière and Cervantes it is for the future to declare. All that we can see clearly now is that it is with them that he is to be classed--with Molière and Cervantes, with Chaucer and Fielding, humorists all of them, and all of them manly men.

INTRODUCTION

A number of articles in this volume, even the more important, have not heretofore appeared in print. Mark Twain was nearly always writing--busily trying to keep up with his imagination and enthusiasm: A good many of his literary undertakings remained unfinished or were held for further consideration, in time to be quite forgotten. Few of these papers were unimportant, and a fresh interest attaches to them to-day in the fact that they present some new detail of the author’s devious wanderings, some new point of observation, some hitherto unexpressed angle of his indefatigable thought.

The present collection opens with a chapter from a book that was never written, a book about England, for which the author made some preparation, during his first visit to that country, in 1872. He filled several notebooks with brief comments, among which appears this single complete episode, the description of a visit to Westminster Abbey by night. As an example of what the book might have been we may be sorry that it went no farther.

It was not, however, quite in line with his proposed undertaking, which had been to write a more or less satirical book on English manners and customs. Arriving there, he found that he liked the people and their country too well for that, besides he was so busy entertaining, and being entertained, that he had little time for critical observation. In a letter home he wrote:

I came here to take notes for a book, but I haven’t done much but attend dinners and make speeches. I have had a jolly good time, and I do hate to go away from these English folks; they make a stranger feel entirely at home, and they laugh so easily that it is a comfort to make after-dinner speeches here.

England at this time gave Mark Twain an even fuller appreciation than he had thus far received in his own country. To hunt out and hold up to ridicule the foibles of hosts so hospitable would have been quite foreign to his nature. The notes he made had little satire in them, being mainly memoranda of the moment....

“Down the Rhône,” written some twenty years later, is a chapter from another book that failed of completion. Mark Twain, in Europe partly for his health, partly for financial reasons, had agreed to write six letters for the New York Sun, two of which--those from Aix and Marienbad--appear in this volume. Six letters would not make a book of sufficient size and he thought he might supplement them by making a drifting trip down the Rhône, the “river of angels,” as Stevenson called it, and turning it into literature.

The trip itself proved to be one of the most delightful excursions of his life, and his account of it, so far as completed, has interest and charm. But he was alone, with only his boatman (the “Admiral”) and his courier, Joseph Very, for company, a monotony of human material that was not inspiring. He made some attempt to introduce fictitious characters, but presently gave up the idea. As a whole the excursion was too drowsy and comfortable to stir him to continuous effort; neither the notes nor the article, attempted somewhat later, ever came to conclusion.

Three articles in this volume, beginning with “To the Person Sitting in Darkness,” were published in the North American Review during 1901-02, at a period when Mark Twain had pretty well made up his mind on most subjects, and especially concerning the interference of one nation with another on matters of religion and government. He had recently returned from a ten years’ sojourn in Europe and his opinion was eagerly sought on all public questions, especially upon those of international aspect. He was no longer regarded merely as a humorist, but as a sort of Solon presiding over a court of final conclusions. A writer in the Evening Mail said of this later period:

Things have reached the point where, if Mark Twain is not at a public meeting or banquet, he is expected to console it with one of his inimitable letters of advice and encouragement.

His old friend, W. D. Howells, expressed an amused fear that Mark Twain’s countrymen, who in former years had expected him to be merely a humorist, should now, in the light of his wider acceptance abroad, demand that he be mainly serious.

He was serious enough, and fiercely humorous as well, in his article “To the Person Sitting in Darkness” and in those which followed it. It seemed to him that the human race, always a doubtful quantity, was behaving even worse than usual. On New Year’s Eve, 1900-01, he wrote:

A GREETING FROM THE NINETEENTH TO THE

TWENTIETH CENTURY

I bring you the stately nation named Christendom, returning, bedraggled, besmirched, and dishonored, from pirate raids in Kiao-Chau, Manchuria, South Africa, and the Philippines, with her soul full of meanness, her pocket full of boodle, and her mouth full of pious hypocracies. Give her soap and a towel, but hide the looking-glass.

Certain missionary activities in China, in particular, invited his attention, and in the first of the Review articles he unburdened himself. A masterpiece of pitiless exposition and sarcasm, its publication stirred up a cyclone. Periodicals more or less orthodox heaped upon him denunciation and vituperation. “To My Missionary Critics,” published in the Review for April, was his answer. He did not fight alone, but was upheld by a vast following of liberal-minded readers, both in and out of the Church. Edward S. Martin wrote him:

How gratifying it is to feel that we have a man among us who understands the rarity of plain truth, and who delights to utter it, and has the gift of doing so without cant, and with not too much seriousness.

The principals of the primal human drama, our biblical parents of Eden, play a considerable part in Mark Twain’s imaginative writings. He wrote “Diaries” of both Adam and Eve, that of the latter being among his choicest works. He was generally planning something that would include one or both of the traditional ancestors, and results of this tendency express themselves in the present volume. Satan, likewise, the picturesque angel of rebellion and defeat, the Satan of Paradise Lost, made a strong appeal and in no less than three of the articles which follow the prince of error variously appears. For the most part these inventions offer an aspect of humor; but again the figure of the outcast angel is presented to us in an attitude of sorrowful kinship with the great human tragedy.

Albert Bigelow Paine

1

A MEMORABLE MIDNIGHT EXPERIENCE

(1872)

Come along--and hurry. Few people have got originality enough to think of the expedition I have been planning, and still fewer could carry it out, maybe, even if they did think of it. Hurry, now. Cab at the door.”

It was past eleven o’clock and I was just going to bed. But this friend of mine was as reliable as he was eccentric, and so there was not a doubt in my mind that his “expedition” had merit in it. I put on my coat and boots again, and we drove away.

“Where is it? Where are we going?”

“Don’t worry. You’ll see.”

He was not inclined to talk. So I thought this must be a weighty matter. My curiosity grew with the minutes, but I kept it manfully under the surface. I watched the lamps, the signs, the numbers, as we thundered down the long streets, but it was of no use--I am always lost in London, day or night. It was very chilly--almost bleak. People leaned against the gusty blasts as if it were the dead of winter. The crowds grew thinner and thinner and the noises waxed faint and seemed far away. The sky was overcast and threatening. We drove on, and still on, till I wondered if we were ever going to stop. At last we passed by a spacious bridge and a vast building with a lighted clock tower, and presently entered a gateway, passed through a sort of tunnel, and stopped in a court surrounded by the black outlines of a great edifice. Then we alighted, walked a dozen steps or so, and waited. In a little while footsteps were heard and a man emerged from the darkness and we dropped into his wake without saying anything. He led us under an archway of masonry, and from that into a roomy tunnel, through a tall iron gate, which he locked behind us. We followed him down this tunnel, guided more by his footsteps on the stone flagging than by anything we could very distinctly see. At the end of it we came to another iron gate, and our conductor stopped there and lit a little bull’s-eye lantern. Then he unlocked the gate--and I wished he had oiled it first, it grated so dismally. The gate swung open and we stood on the threshold of what seemed a limitless domed and pillared cavern carved out of the solid darkness. The conductor and my friend took off their hats reverently, and I did likewise. For the moment that we stood thus there was not a sound, and the silence seemed to add to the solemnity of the gloom. I looked my inquiry!

“It is the tomb of the great dead of England--Westminster Abbey.”

(One cannot express a start--in words.) Down among the columns--ever so far away, it seemed--a light revealed itself like a star, and a voice came echoing through the spacious emptiness:

“Who goes there!”

“Wright!”

The star disappeared and the footsteps that accompanied it clanked out of hearing in the distance. Mr. Wright held up his lantern and the vague vastness took something of form to itself--the stately columns developed stronger outlines, and a dim pallor here and there marked the places of lofty windows. We were among the tombs; and on every hand dull shapes of men, sitting, standing, or stooping, inspected us curiously out of the darkness--reached out their hands toward us--some appealing, some beckoning, some warning us away. Effigies, they were--statues over the graves; but they looked human and natural in the murky shadows. Now a little half-grown black-and-white cat squeezed herself through the bars of the iron gate and came purring lovingly about us, unawed by the time or the place--unimpressed by the marble pomp that sepulchers a line of mighty dead that ends with a great author of yesterday and began with a sceptered monarch away back in the dawn of history more than twelve hundred years ago. And she followed us about and never left us while we pursued our work. We wandered hither and thither, uncovered, speaking in low voices, and stepping softly by instinct, for any little noise rang and echoed there in a way to make one shudder. Mr. Wright flashed his lantern first upon this object and then upon that, and kept up a running commentary that showed that there was nothing about the venerable Abbey that was trivial in his eyes or void of interest. He is a man in authority--being superintendent of the works--and his daily business keeps him familiar with every nook and corner of the great pile. Casting a luminous ray now here, now yonder, he would say:

“Observe the height of the Abbey--one hundred and three feet to the base of the roof--I measured it myself the other day. Notice the base of this column--old, very old--hundreds and hundreds of years; and how well they knew how to build in those old days. Notice it--every stone is laid horizontally--that is to say, just as nature laid it originally in the quarry--not set up edgewise; in our day some people set them on edge, and then wonder why they split and flake. Architects cannot teach nature anything. Let me remove this matting--it is put there to preserve the pavement; now, there is a bit of pavement that is seven hundred years old; you can see by these scattering clusters of colored mosaics how beautiful it was before time and sacrilegious idlers marred it. Now there, in the border, was an inscription once; see, follow the circle--you can trace it by the ornaments that have been pulled out--here is an A, and there is an O, and yonder another A--all beautiful old English capitals--there is no telling what the inscription was--no record left, now. Now move along in this direction, if you please. Yonder is where old King Sebert the Saxon, lies--his monument is the oldest one in the Abbey; Sebert died in 616, and that’s as much as twelve hundred and fifty years ago--think of it!--twelve hundred and fifty years. Now yonder is the last one--Charles Dickens--there on the floor with the brass letters on the slab--and to this day the people come and put flowers on it. Why, along at first they almost had to cart the flowers out, there were so many. Could not leave them there, you know, because it’s where everybody walks--and a body wouldn’t want them trampled on, anyway. All this place about here, now, is the Poet’s Corner. There is Garrick’s monument, and Addison’s, and Thackeray’s bust--and Macaulay lies there. And here, close to Dickens and Garrick, lie Sheridan and Doctor Johnson--and here is old Parr--Thomas Parr--you can read the inscription:

“Tho: Par of Y Covnty of Sallop Borne A :1483. He Lived in Y Reignes of Ten Princes, viz: K. Edw. 4 K. Ed. 5. K. Rich 3. K. Hen. 7. K. Hen. 8. Edw. 6. QVV. Ma. Q. Eliz. K. IA. and K. Charles, Aged 152 Yeares, And Was Buryed Here Novemb. 15. 1635.

“Very old man indeed, and saw a deal of life. (Come off the grave, Kitty, poor thing; she keeps the rats away from the office, and there’s no harm in her--her and her mother.) And here--this is Shakespeare’s statue--leaning on his elbow and pointing with his finger at the lines on the scroll:

“The cloud-capt towers, the gorgeous palaces,

The solemn temples, the great globe itself,

Yea, all which it inherit shall dissolve,

And, like the baseless fabric of a vision,

Leave not a wrack behind.

“That stone there covers Campbell the poet. Here are names you know pretty well--Milton, and Gray who wrote the ‘Elegy,’ and Butler who wrote ‘Hudibras,’ and Edmund Spencer, and Ben Jonson--there are three tablets to him scattered about the Abbey, and all got ‘O Rare Ben Jonson’ cut on them--you were standing on one of them just now--he is buried standing up. There used to be a tradition here that explains it. The story goes that he did not dare ask to be buried in the Abbey, so he asked King James if he would make him a present of eighteen inches of English ground, and the king said yes, and asked him where he would have it, and he said in Westminster Abbey. Well, the king wouldn’t go back on his word, and so there he is sure enough--stood up on end. Years ago, in Dean Buckland’s time--before my day--they were digging a grave close to Jonson and they uncovered him and his head fell off. Toward night the clerk of the works hid the head to keep it from being stolen, as the ground was to remain open till next day. Presently the dean’s son came along and he found a head, and hid it away for Jonson’s. And by and by along comes a stranger, and he found a head, too, and walked off with it under his cloak, and a month or so afterward he was heard to boast that he had Ben Jonson’s head. Then there was a deal of correspondence about it, in the Times, and everybody distressed. But Mr. Frank Buckland came out and comforted everybody by telling how he saved the true head, and so the stranger must have got one that wasn’t of any consequence. And then up speaks the clerk of the works and tells how he saved the right head, and so Dean Buckland must have got a wrong one. Well, it was all settled satisfactorily at last, because the clerk of the works proved his head. And then I believe they got that head from the stranger--so now we have three. But it shows you what regiments of people you are walking over--been collecting here for twelve hundred years--in some places, no doubt, the bones are fairly matted together.

“And here are some unfortunates. Under this place lies Anne, queen of Richard III, and daughter of the Kingmaker, the great Earl of Warwick--murdered she was--poisoned by her husband. And here is a slab which you see has once had the figure of a man in armor on it, in brass or copper, let into the stone. You can see the shape of it--but it is all worn away now by people’s feet; the man has been dead five hundred years that lies under it. He was a knight in Richard II’s time. His enemies pressed him close and he fled and took sanctuary here in the Abbey. Generally a man was safe when he took sanctuary in those days, but this man was not. The captain of the Tower and a band of men pursued him and his friends and they had a bloody fight here on this floor; but this poor fellow did not stand much of a chance, and they butchered him right before the altar.”

We wandered over to another part of the Abbey, and came to a place where the pavement was being repaired. Every paving stone has an inscription on it and covers a grave. Mr. Wright continued:

“Now, you are standing on William Pitt’s grave--you can read the name, though it is a good deal worn--and you, sir, are standing on the grave of Charles James Fox. I found a very good place here the other day--nobody suspected it--been curiously overlooked, somehow--but--it is a very nice place indeed, and very comfortable” (holding his bull’s eye to the pavement and searching around). “Ah, here it is--this is the stone--nothing under here--nothing at all--a very nice place indeed--and very comfortable.”

Mr. Wright spoke in a professional way, of course, and after the manner of a man who takes an interest in his business and is gratified at any piece of good luck that fortune favors him with; and yet with