Part 29

They had acquired more ground. One morning in the spring Mark Twain had looked out of his window just in time to see a man lift an ax to cut down a tree on the lot which lay between his own and that of his neighbor. He had heard that a house was to be built there; altogether too close to him for comfort and privacy. Leaning out of the window he called sonorously, "Woodman, spare that tree!" Then he hurried down, obtained a stay of proceedings, and without delay purchased the lot from the next-door neighbor who owned it, acquiring thereby one hundred feet of extra ground and a greenhouse which occupied it. It was a costly purchase; the owner knew he could demand his own price; he asked and received twelve thousand dollars for the strip.

In November, Clemens found that he must make another trip to Canada. 'The Prince and the Pauper' was ready for issue, and to insure Canadian copyright the author must cross the line in person. He did not enjoy the prospect of a cold-weather trip to the north, and tried to tempt Howells to go with him, but only succeeded in persuading Osgood, who would do anything or go anywhere that offered the opportunity for pleasant company and junket.

It was by no means an unhappy fortnight. Clemens took a note-book, and there are plenty of items that give reality to that long-ago excursion. He found the Canadian girls so pretty that he records it as a relief now and then to see a plain one. On another page he tells how one night in the hotel a mouse gnawed and kept him awake, and how he got up and hunted for it, hoping to destroy it. He made a rebus picture for the children of this incident in a letter home.

We get a glimpse just here of how he was constantly viewing himself as literary material--human material--an example from which some literary aspect or lesson may be drawn. Following the mouse adventure we find it thus dramatized: Trace Father Brebeuf all through this trip, and when I am in a rage and can't endure the mouse be reading of Brebeuf's marvelous endurances and be shamed.

And finally, after chasing the bright-eyed rascal several days, and throwing things and trying to jump on him when in my overshoes, he darts away with those same bright eyes, then straightway I read Brebeuf's magnificent martyrdom, and turn in, subdued and wondering. By and by the thought occurs to me, Brebeuf, with his good, great heart would spare even that poor humble mousie--and for his sake so will I--I will throw the trap in the fire--jump out of bed, reach under, fetch out the trap, and find him throttled there and not two minutes dead.

They gave him a dinner in Montreal. Louis Frechette, the Canadian poet, was there and Clemens addressed him handsomely in the response he made to the speech of welcome. From that moment Frechette never ceased to adore Mark Twain, and visited him soon after the return to Hartford.

'The Prince and the Pauper' was published in England, Canada, Germany, and America early in December, 1881. There had been no stint of money, and it was an extremely handsome book. The pen-and-ink drawings were really charming, and they were lavish as to number. It was an attractive volume from every standpoint, and it was properly dedicated "To those good-mannered and agreeable children, Susy and Clara Clemens."

The story itself was totally unlike anything that Mark Twain had done before. Enough of its plan and purpose has been given in former chapters to make a synopsis of it unnecessary here. The story of the wandering prince and the pauper king--an impressive picture of ancient legal and regal cruelty--is as fine and consistent a tale as exists in the realm of pure romance. Unlike its great successor, the 'Yankee at King Arthur's Court', it never sacrifices the illusion to the burlesque, while through it all there runs a delicate vein of humor. Only here and there is there the slightest disillusion, and this mainly in the use of some ultra-modern phrase or word.

Mark Twain never did any better writing than some of the splendid scenes in 'The Prince and the Pauper'. The picture of Old London Bridge; the scene in the vagabond's retreat, with its presentation to the little king of the wrongs inflicted by the laws of his realm; the episode of the jail where his revelation reaches a climax--these are but a few of the splendid pictures which the chapters portray, while the spectacle of England acquiring mercy at the hands of two children, a king and a beggar, is one which only genius could create. One might quote here, but to do so without the context would be to sacrifice atmosphere, half the story's charm. How breathlessly interesting is the tale of it! We may imagine that first little audience at Mark Twain's fireside hanging expectant on every paragraph, hungry always for more. Of all Mark Twain's longer works of fiction it is perhaps the most coherent as to plot, the most carefully thought out, the most perfect as to workmanship. This is not to say that it is his greatest story. Probably time will not give it that rank, but it comes near to being a perfectly constructed story, and it has an imperishable charm.

It was well received, though not always understood by the public. The reviewer was so accustomed to looking for the joke in Mark Twain's work, that he found it hard to estimate this new product. Some even went so far as to refer to it as one of Mark Twain's big jokes, meaning probably that he had created a chapter in English history with no foundation beyond his fancy. Of course these things pained the author of the book. At one time, he had been inclined to publish it anonymously, to avert this sort of misunderstanding, and sometimes now he regretted not having done so.

Yet there were many gratifying notices. The New York Herald reviewer gave the new book two columns of finely intelligent appreciation. In part he said:

To those who have followed the career of Mark Twain, his appearance as the author of a charming and noble romance is really no more of a surprise than to see a stately structure risen upon sightly ground owned by an architect of genius, with the resources of abundant building material and ample training at command. Of his capacity they have had no doubt, and they rejoice in his taking a step which they felt he was able to take. Through all his publications may be traced the marks of the path which half led up to this happy height. His humor has often been the cloak, but not the mask, of a sturdy purpose. His work has been characterized by a manly love of truth, a hatred of humbug, and a scorn for cant. A genial warmth and whole-souledness, a beautiful fancy, a fertile imagination, and a native feeling for the picturesque and a fine eye for color have afforded the basis of a style which has become more and more plastic and finished.

And in closing:

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

CXXXVII

CERTAIN ATTACKS AND REPRISALS

Beyond the publication of The Prince and the Pauper Clemens was sparingly represented in print in '81. A chapter originally intended for the book, the "Whipping Boy's Story," he gave to the Bazaar Budget, a little special-edition sheet printed in Hartford. It was the story of the 'Bull and the Bees' which he later adapted for use in Joan of Arc, the episode in which Joan's father rides a bull to a funeral. Howells found that it interfered with the action in the story of the Prince, and we might have spared it from the story of Joan, though hardly without regret.

The military story "A Curious Episode" was published in the Century Magazine for November. The fact that Clemens had heard, and not invented, the story was set forth quite definitely and fully in his opening paragraphs. Nevertheless, a "Captious Reader" thought it necessary to write to a New York publication concerning its origin:

I am an admirer of the writings of Mr. Mark Twain, and consequently, when I saw the table of contents of the November number of the Century, I bought it and turned at once to the article bearing his name, and entitled, "A Curious Episode." When I began to read it, it struck me as strangely familiar, and I soon recognized the story as a true one, told me in the summer of 1878 by an officer of the United States artillery. Query: Did Mr. Twain expect the public to credit this narrative to his clever brain?

The editor, seeing a chance for Mark Twain "copy," forwarded a clipping to Clemens and asked him if he had anything to say in the matter. Clemens happened to know the editor very well, and he did have something to say, not for print, but for the editor's private ear.

The newspaper custom of shooting a man in the back and then calling upon him to come out in a card and prove that he was not engaged in any infamy at the time is a good enough custom for those who think it justifiable. Your correspondent is not stupid, I judge, but purely and simply malicious. He knew there was not the shadow of a suggestion, from the beginning to the end of "A Curious Episode," that the story was an invention; he knew he had no warrant for trying to persuade the public that I had stolen the narrative and was endeavoring to palm it off as a piece of literary invention; he also knew that he was asking his closing question with a base motive, else he would have asked it of me by letter, not spread it before the public.

I have never wronged you in any way, and I think you had no right to print that communication; no right, neither any excuse. As to publicly answering that correspondent, I would as soon think of bandying words in public with any other prostitute.

The editor replied in a manly, frank acknowledgment of error. He had not looked up the article itself in the Century before printing the communication.

"Your letter has taught me a lesson," he said. "The blame belongs to me for not hunting up the proofs. Please accept my apology."

Mark Twain was likely to be peculiarly sensitive to printed innuendos. Not always. Sometimes he would only laugh at them or be wholly indifferent. Indeed, in his later years, he seldom cared to read anything about himself, one way or the other, but at the time of which we are now writing--the period of the early eighties--he was alive to any comment of the press. His strong sense of humor, and still stronger sense of human weakness, caused him to overlook many things which another might regard as an affront; but if the thing printed were merely an uncalled-for slur, an inexcusable imputation, he was inclined to rage and plan violence. Sometimes he conceived retribution in the form of libel suits with heavy damages. Sometimes he wrote blasting answers, which Mrs. Clemens would not let him print.

At one time he planned a biography of a certain editor who seemed to be making a deliberate personal campaign against his happiness. Clemens had heard that offending items were being printed in this man's paper; friends, reporting with customary exaggeration, declared that these sneers and brutalities appeared almost daily, so often as to cause general remark.

This was enough. He promptly began to collect data--damaging data --relating to that editor's past history. He even set a man to work in England collecting information concerning his victim. One of his notebooks contains the memoranda; a few items will show how terrific was to be the onslaught.

When the naturalist finds a new kind of animal, he writes him up in the interest of science. No matter if it is an unpleasant animal. This is a new kind of animal, and in the cause of society must be written up. He is the polecat of our species . . . . He is purely and simply a Guiteau with the courage left out . . . .