The Boys' Life of Mark Twain

XL.
"THE PRINCE AND THE PAUPER"

They went directly to Quarry Farm, where Clemens again took up work on his book, which he hoped to have ready for early publication. But his writing did not go as well as he had hoped, and it was long after they had returned to Hartford that the book was finally in the printer's hands.

Meantime he had renewed work on a story begun two years before at Quarry Farm. Browsing among the books there one summer day, he happened to pick up "The Prince and the Page," by Charlotte M. Yonge. It was a story of a prince disguised as a blind beggar, and, as Mark Twain read, an idea came to him for an altogether different story, or play, of his own. He would have a prince and a pauper change places, and through a series of adventures learn each the trials and burdens of the other life. He presently gave up the play idea, and began it as a story. His first intention had been to make the story quite modern, using the late King Edward VII. (then Prince of Wales) as his prince, but it seemed to him that it would not do to lose a prince among the slums of modern London —he could not make it seem real; so he followed back through history until he came to the little son of Henry VIII., Edward Tudor, and decided that he would do.

It was the kind of a story that Mark Twain loved to read and to write. By the end of that first summer he had finished a good portion of the exciting adventures of "The Prince and the Pauper," and then, as was likely to happen, the inspiration waned and the manuscript was laid aside.

But with the completion of "A Tramp Abroad"—a task which had grown wearisome—he turned to the luxury of romance with a glad heart. To Howells he wrote that he was taking so much pleasure in the writing that he wanted to make it last.

"Did I ever tell you the plot of it? It begins at 9 A.M., January 27, 1547 . . . . My idea is to afford a realizing sense of the exceeding severity of the laws of that day by inflicting some of their penalties upon the king himself, and allowing him a chance to see the rest of them applied to others."

Susy and Clara Clemens were old enough now to understand the story, and as he finished the chapters he read them aloud to his small home audience—a most valuable audience, indeed, for he could judge from its eager interest, or lack of attention, just the measure of his success.

These little creatures knew all about the writing of books. Susy's earliest recollection was "Tom Sawyer" read aloud from the manuscript. Also they knew about plays. They could not remember a time when they did not take part in evening charades—a favorite amusement in the Clemens home.

Mark Twain, who always loved his home and played with his children, invented the charades and their parts for them, at first, but as they grew older they did not need much help. With the Twichell and Warner children they organized a little company for their productions, and entertained the assembled households. They did not make any preparation for their parts. A word was selected and the syllables of it whispered to the little actors. Then they withdrew to the hall, where all sorts of costumes had been laid out for the evening, dressed their parts, and each group marched into the library, performed its syllable, and retired, leaving the audience of parents to guess the answer. Now and then, even at this early day, they gave little plays, and of course Mark Twain could not resist joining them. In time the plays took the place of the charades and became quite elaborate, with a stage and scenery, but we shall hear of this later on.

"The Prince and the Pauper" came to an end in due season, in spite of the wish of both author and audience for it to go on forever. It was not published at once, for several reasons, the main one being that "A Tramp Abroad" had just been issued from the press, and a second book might interfere with its sale.

As it was, the "Tramp" proved a successful book—never as successful as the "Innocents," for neither its humor nor its description had quite the fresh quality of the earlier work. In the beginning, however, the sales were large, the advance orders amounting to twenty-five thousand copies, and the return to the author forty thousand dollars for the first year.

XLI.
GENERAL GRANT AT HARTFORD

A third little girl came to the Clemens household during the summer of 1880. They were then at Quarry Farm, and Clemens wrote to his friend Twichell:

"DEAR OLD JOE,—Concerning Jean Clemens, if anybody said he 'didn't see no p'ints about that frog that's any better than any other frog,' I should think he was convicting himself of being a pretty poor sort of an observer. . . It is curious to note the change in the stock-quotations of the Affection Board. Four weeks ago the children put Mama at the head of the list right along, where she has always been, but now:

Jean

Mama

Motley }cat

Fraulein }cat

Papa

"That is the way it stands now. Mama is become No. 2; I have dropped from 4 and become No. 5. Some time ago it used to be nip and tuck between me and the cats, but after the cats 'developed' I didn't stand any more show."

Those were happy days at Quarry Farm. The little new baby thrived on that summer hilltop.

Also, it may be said, the cats. Mark Twain's children had inherited his love for cats, and at the farm were always cats of all ages and varieties. Many of the bed-time stories were about these pets—stories invented by Mark Twain as he went along—stories that began anywhere and ended nowhere, and continued indefinitely from evening to evening, trailing off into dreamland.

The great humorist cared less for dogs, though he was never unkind to them, and once at the farm a gentle hound named Bones won his affection. When the end of the summer came and Clemens, as was his habit, started down the drive ahead of the carriage, Bones, half-way to the entrance, was waiting for him. Clemens stooped down, put his arms about him, and bade him an affectionate good-by.

Eighteen hundred and eighty was a Presidential year. Mark Twain was for General Garfield, and made a number of remarkable speeches in his favor. General Grant came to Hartford during the campaign, and Mark Twain was chosen to make the address of welcome. Perhaps no such address of welcome was ever made before. He began:

"I am among those deputed to welcome you to the sincere and cordial hospitalities of Hartford, the city of the historic and revered Charter Oak, of which most of the town is built."

He seemed to be at a loss what to say next, and, leaning over, pretended to whisper to Grant. Then, as if he had been prompted by the great soldier, he straightened up and poured out a fervid eulogy on Grant's victories, adding, in an aside, as he finished, "I nearly forgot that part of my speech," to the roaring delight of his hearers, while Grant himself grimly smiled.

He then spoke of the General being now out of public employment, and how grateful his country was to him, and how it stood ready to reward him in every conceivable—inexpensive—way.

Grant had smiled more than once during the speech, and when this sentence came out at the end his composure broke up altogether, while the throng shouted approval. Clemens made another speech that night at the opera-house—a speech long remembered in Hartford as one of the great efforts of his life.

A very warm friendship had grown up between Mark Twain and General Grant. A year earlier, on the famous soldier's return from his trip around the world, a great birthday banquet had been given him in Chicago, at which Mark Twain's speech had been the event of the evening. The colonel who long before had chased the young pilot-soldier through the Mississippi bottoms had become his conquering hero, and Grant's admiration for America's foremost humorist was most hearty. Now and again Clemens urged General Grant to write his memoirs for publication, but the hero of many battles was afraid to venture into the field of letters. He had no confidence in his ability to write. He did not realize that the man who had written "I will fight it out on this line if it takes all summer," and, later, "Let us have peace," was capable of English as terse and forceful as the Latin of Caesar's Commentaries.

XLII
MANY INVESTMENTS

The "Prince and the Pauper," delayed for one reason and another, did not make its public appearance until the end of 1881. It was issued by Osgood, of Boston, and was a different book in every way from any that Mark Twain had published before. Mrs. Clemens, who loved the story, had insisted that no expense should be spared in its making, and it was, indeed, a handsome volume. It was filled with beautiful pen-and-ink drawings, and the binding was rich. The dedication to its two earliest critics read:

"To those good-mannered and agreeable children, Susy and Clara Clemens."

The story itself was unlike anything in Mark Twain's former work. It was pure romance, a beautiful, idyllic tale, though not without his touch of humor and humanity on every page. And how breathlessly interesting it is! We may imagine that first little audience—the "two good-mannered and agreeable children," drawing up in their little chairs by the fireside, hanging on every paragraph of the adventures of the wandering prince and Tom Canty, the pauper king, eager always for more.

The story, at first, was not entirely understood by the reviewers. They did not believe it could be serious. They expected a joke in it somewhere. Some even thought they had found it. But it was not a joke, it was just a simple tale—a beautiful picture of a long-vanished time. One critic, wiser than the rest, said:

"The characters of those two boys, twin in spirit, will rank with the purest and loveliest creations of child-life in the realm of fiction."

Mark Twain was now approaching the fullness of his fame and prosperity. The income from his writing was large; Mrs. Clemens possessed a considerable fortune of her own; they had no debts. Their home was as perfectly appointed as a home could well be, their family life was ideal. They lived in the large, hospitable way which Mrs. Clemens had known in her youth, and which her husband, with his Southern temperament, loved. Their friends were of the world's chosen, and they were legion in number. There were always guests in the Clemens home—so many, indeed, were constantly coming and going that Mark Twain said he was going to set up a private 'bus to save carriage hire. Yet he loved it all dearly, and for the most part realized his happiness.

Unfortunately, there were moments when he forgot that his lot was satisfactory, and tried to improve it. His Colonel Sellers imagination, inherited from both sides of his family, led him into financial adventures which were generally unprofitable. There were no silver-mines in the East into which to empty money and effort, as in the old Nevada days, but there were plenty of other things—inventions, stock companies, and the like.

When a man came along with a patent steam-generator which would save ninety per cent. of the usual coal-supply, Mark Twain invested whatever bank surplus he had at the moment, and saw that money no more forever.

After the steam-generator came a steam-pulley, a small affair, but powerful enough to relieve him of thirty-two thousand dollars in a brief time.

A new method of marine telegraphy was offered him by the time his balance had grown again, a promising contrivance, but it failed to return the twenty-five thousand dollars invested in it by Mark Twain. The list of such adventures is too long to set down here. They differ somewhat, but there is one feature common to all—none of them paid. At last came a chance in which there was really a fortune. A certain Alexander Graham Bell, an inventor, one day appeared, offering stock in an invention for carrying the human voice on an electric wire. But Mark Twain had grown wise, he thought. Long after he wrote:

"I declined. I said I did not want any more to do with wildcat speculation …. I said I didn't want it at any price. He (Bell) became eager; and insisted I take five hundred dollars' worth. He said he would sell me as much as I wanted for five hundred dollars; offered to let me gather it up in my hands and measure it in a plug- hat; said I could have a whole hatful for five hundred dollars. But I was a burnt child, and resisted all these temptations—resisted them easily; went off with my money, and next day lent five thousand of it to a friend who was going to go bankrupt three days later."

It was the chance of fortune thus thrown away which, perhaps, led him to take up later with an engraving process—an adventure which lasted through several years and ate up a heavy sum. Altogether, these experiences in finance cost Mark Twain a fair-sized fortune, though, after all, they were as nothing compared with the great type-machine calamity which we shall hear of in a later chapter.

XLIII
BACK TO THE RIVER, WITH BIXBY

Fortunately, Mark Twain was not greatly upset by his losses. They exasperated him for the moment, perhaps, but his violence waned presently, and the whole matter was put aside forever. His work went on with slight interference. Looking over his Mississippi chapters one day, he was taken with a new interest in the river, and decided to make the steamboat trip between St. Louis and New Orleans, to report the changes that had taken place in his twenty-one years of absence. His Boston publisher, Osgood, agreed to accompany him, and a stenographer was engaged to take down conversations and comments.

At St. Louis they took passage on the steamer "Gold Dust"—Clemens under an assumed name, though he was promptly identified. In his book he tells how the pilot recognized him and how they became friends. Once, in later years, he said:

"I spent most of my time up there with him. When we got down below Cairo, where there was a big, full river—for it was high-water season and there was no danger of the boat hitting anything so long as she kept in the river—I had her most of the time on his watch. He would lie down and sleep and leave me there to dream that the years had not slipped away; that there had been no war, no mining days, no literary adventures; that I was still a pilot, happy and care-free as I had been twenty years before."

To heighten the illusion he had himself called regularly with the four-o'clock watch, in order not to miss the mornings. The points along the river were nearly all new to him, everything had changed, but during high-water this mattered little. He was a pilot again—a young fellow in his twenties, speculating on the problems of existence and reading his fortunes in the stars. The river had lost none of its charm for him. To Bixby he wrote:

"I'd rather be a pilot than anything else I've ever been in my life.

How do you run Plum Point?"

He met Bixby at New Orleans. Bixby was a captain now, on the splendid new Anchor Line steamer "City of Baton Rouge," one of the last of the fine river boats. Clemens made the return trip to St. Louis with Bixby on the "Baton Rouge"—almost exactly twenty-five years from their first trip together. To Bixby it seemed wonderfully like those old days back in the fifties.

"Sam was making notes in his memorandum-book, just as he always did," said Bixby, long after, to the writer of this history.

Mark Twain decided to see the river above St. Louis. He went to Hannibal to spend a few days with old friends. "Delightful days," he wrote home, "loitering around all day long, and talking with grayheads who were boys and girls with me thirty or forty years ago." He took boat for St. Paul and saw the upper river, which he had never seen before. He thought the scenery beautiful, but he found a sadness everywhere because of the decay of the river trade. In a note-book entry he said: "The romance of boating is gone now. In Hannibal the steamboatman is no longer a god."

He worked at the Mississippi book that summer at the farm, but did not get on very well, and it was not until the following year (1883) that it came from the press. Osgood published it, and Charles L. Webster, who had married Mark Twain's niece, Annie (daughter of his sister Pamela), looked after the agency sales. Mark Twain, in fact, was preparing to become his own publisher, and this was the beginning. Webster was a man of ability, and the book sold well.

"Life on the Mississippi" is one of Mark Twain's best books—one of those which will live longest. The first twenty chapters are not excelled in quality anywhere in his writings. The remainder of the book has an interest of its own, but it lacks the charm of those memories of his youth—the mellow light of other days which enhances all of his better work.

XLIV.
A READING-TOUR WITH CABLE

Every little while Mark Twain had a fever of play-writing, and it was about this time that he collaborated with W. D. Howells on a second Colonel Sellers play. It was a lively combination.

Once to the writer Howells said: "Clemens took one scene and I another. We had loads of fun about it. We cracked our sides laughing over it as we went along. We thought it mighty good, and I think to this day it was mighty good."

But actors and managers did not agree with them. Raymond, who had played the original Sellers, declared that in this play the Colonel had not become merely a visionary, but a lunatic. The play was offered elsewhere, and finally Mark Twain produced it at his own expense. But perhaps the public agreed with Raymond, for the venture did not pay.

It was about a year after this (the winter of 1884-5) that Mark Twain went back to the lecture platform—or rather, he joined with George W. Cable in a reading-tour. Cable had been giving readings on his own account from his wonderful Creole stories, and had visited Mark Twain in Hartford. While there he had been taken down with the mumps, and it was during his convalescence that the plan for a combined reading-tour had been made. This was early in the year, and the tour was to begin in the autumn.

Cable, meantime, having quite recovered, conceived a plan to repay Mark Twain's hospitality. It was to be an April-fool—a great complimentary joke. A few days before the first of the month he had a "private and confidential" circular letter printed, and mailed it to one hundred and fifty of Mark Twain's friends and admirers in Boston, New York, and elsewhere, asking that they send the humorist a letter to arrive April 1, requesting his autograph. It would seem that each one receiving this letter must have responded to it, for on the morning of April 1st an immense pile of letters was unloaded on Mark Twain's table. He did not know what to make of it, and Mrs. Clemens, who was party to the joke, slyly watched results. They were the most absurd requests for autographs ever written. He was fooled and mystified at first, then realizing the nature and magnitude of the joke, he entered into it fully-delighted, of course, for it was really a fine compliment. Some of the letters asked for autographs by the yard, some by the pound. Some commanded him to sit down and copy a few chapters from "The Innocents Abroad." Others asked that his autograph be attached to a check. John Hay requested that he copy a hymn, a few hundred lines of Young's "Night Thoughts," etc., and added:

"I want my boy to form a taste for serious and elevated poetry, and it will add considerable commercial value to have it in your handwriting."

Altogether, the reading of the letters gave Mark Twain a delightful day.

The platform tour of Clemens and Cable that fall was a success. They had good houses, and the work of these two favorites read by the authors of it made a fascinating program.

They continued their tour westward as far as Chicago and gave readings in Hannibal and Keokuk. Orion Clemens and his wife once more lived in Keokuk, and with them Jane Clemens, brisk and active for her eighty-one years. She had visited Hartford more than once and enjoyed "Sam's fine house," but she chose the West for home. Orion Clemens, honest, earnest, and industrious, had somehow missed success in life. The more prosperous brother, however, made an allowance ample for all. Mark Twain's mother attended the Keokuk reading. Later, at home, when her children asked her if she could still dance (she had been a great dancer in her youth), she rose, and in spite of her fourscore, tripped as lightly as a girl. It was the last time that Mark Twain would see her in full health.

At Christmas-time Cable and Clemens took a fortnight's holiday, and Clemens went home to Hartford. There a grand surprise awaited him. Mrs. Clemens had made an adaptation of "The Prince and the Pauper" for the stage, and his children, with those of the neighborhood, had learned the parts. A good stage had been set up in George Warner's home, with a pretty drop-curtain and very good scenery indeed. Clemens arrived in the late afternoon, and felt an air of mystery in the house, but did not guess what it meant. By and by he was led across the grounds to George Warner's home, into a large room, and placed in a seat directly fronting the stage. Then presently the curtain went up, the play began, and he knew. As he watched the little performers playing so eagerly the parts of his story, he was deeply moved and gratified.

It was only the beginning of "The Prince and the Pauper" production. The play was soon repeated, Clemens himself taking the part of Miles Hendon. In a "biography" of her father which Susy began a little later, she wrote:

"Papa had only three days to learn the part in, but still we were all sure he could do it . . . . I was the prince, and Papa and I rehearsed two or three times a day for the three days before the appointed evening. Papa acted his part beautifully, and he added to the scene, making it a good deal longer. He was inexpressibly funny, with his great slouch hat and gait—oh, such a gait!"

Susy's sister, Clara, took the part of Lady Jane Gray, while little Jean, aged four, in the part of a court official, sat at a small table and constantly signed state papers and death-warrants.