Part 15

We are spoken of (by Englishmen) as a thin-skinned people. It is you who are thin-skinned. An Englishman may write with the most brutal frankness about any man or institution among us and we republish him without dreaming of altering a line or a word. But England cannot stand that kind of a book written about herself. It is England that is thin-skinned. It causeth me to smile when I read the modifications of my language which have been made in my English editions to fit them for the sensitive English palate.

Now, as I say, I have taken laborious pains to so trim this book of offense that you might not lack the nerve to print it just as it stands. I am going to get the proofs to you just as early as I can. I want you to read it carefully. If you can publish it without altering a single word, go ahead. Otherwise, please hand it to J. R. Osgood in time for him to have it published at my expense.

This is important, for the reason that the book was not written for America; it was written for England. So many Englishmen have done their sincerest best to teach us something for our betterment that it seems to me high time that some of us should substantially recognize the good intent by trying to pry up the English nation to a little higher level of manhood in turn.

Very truly yours, S. L. CLEMENS.

The English nation, at least a considerable portion of it, did not wish to be “pried up to a higher level of manhood” by a Connecticut Yankee. The papers pretty generally denounced the book as coarse; in fact, a vulgar travesty. Some of the critics concluded that England, after all, had made a mistake in admiring Mark Twain. Clemens stood this for a time and then seems to have decided that something should be done. One of the foremost of English critics was his friend and admirer; he would state the case to him fully and invite his assistance.

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To Andrew Lang, in London:

1889

They vote but do not print. The head tells you pretty promptly whether the food is satisfactory or not; and everybody hears, and thinks the whole man has spoken. It is a delusion. Only his taste and his smell have been heard from--important, both, in a way, but these do not build up the man; and preserve his life and fortify it.

The little child is permitted to label its drawings “This is a cow this is a horse,” and so on. This protects the child. It saves it from the sorrow and wrong of hearing its cows and its horses criticized as kangaroos and work benches. A man who is white-washing a fence is doing a useful thing, so also is the man who is adorning a rich man's house with costly frescoes; and all of us are sane enough to judge these performances by standards proper to each. Now, then, to be fair, an author ought to be allowed to put upon his book an explanatory line: “This is written for the Head;” “This is written for the Belly and the Members.” And the critic ought to hold himself in honor bound to put away from him his ancient habit of judging all books by one standard, and thenceforth follow a fairer course.

The critic assumes, every time, that if a book doesn't meet the cultivated-class standard, it isn't valuable. Let us apply his law all around: for if it is sound in the case of novels, narratives, pictures, and such things, it is certainly sound and applicable to all the steps which lead up to culture and make culture possible. It condemns the spelling book, for a spelling book is of no use to a person of culture; it condemns all school books and all schools which lie between the child's primer and Greek, and between the infant school and the university; it condemns all the rounds of art which lie between the cheap terra cotta groups and the Venus de Medici, and between the chromo and the Transfiguration; it requires Whitcomb Riley to sing no more till he can sing like Shakespeare, and it forbids all amateur music and will grant its sanction to nothing below the “classic.”

Is this an extravagant statement? No, it is a mere statement of fact. It is the fact itself that is extravagant and grotesque. And what is the result? This--and it is sufficiently curious: the critic has actually imposed upon the world the superstition that a painting by Raphael is more valuable to the civilizations of the earth than is a chromo; and the august opera than the hurdy-gurdy and the villagers' singing society; and Homer than the little everybody's-poet whose rhymes are in all mouths today and will be in nobody's mouth next generation; and the Latin classics than Kipling's far-reaching bugle-note; and Jonathan Edwards than the Salvation Army; and the Venus de Medici than the plaster-cast peddler; the superstition, in a word, that the vast and awful comet that trails its cold lustre through the remote abysses of space once a century and interests and instructs a cultivated handful of astronomers is worth more to the world than the sun which warms and cheers all the nations every day and makes the crops to grow.

If a critic should start a religion it would not have any object but to convert angels: and they wouldn't need it. The thin top crust of humanity--the cultivated--are worth pacifying, worth pleasing, worth coddling, worth nourishing and preserving with dainties and delicacies, it is true; but to be caterer to that little faction is no very dignified or valuable occupation, it seems to me; it is merely feeding the over-fed, and there must be small satisfaction in that. It is not that little minority who are already saved that are best worth trying to uplift, I should think, but the mighty mass of the uncultivated who are underneath. That mass will never see the Old Masters--that sight is for the few; but the chromo maker can lift them all one step upward toward appreciation of art; they cannot have the opera, but the hurdy-gurdy and the singing class lift them a little way toward that far light; they will never know Homer, but the passing rhymester of their day leaves them higher than he found them; they may never even hear of the Latin classics, but they will strike step with Kipling's drum-beat, and they will march; for all Jonathan Edwards's help they would die in their slums, but the Salvation Army will beguile some of them up to pure air and a cleaner life; they know no sculpture, the Venus is not even a name to them, but they are a grade higher in the scale of civilization by the ministrations of the plaster-cast than they were before it took its place upon then mantel and made it beautiful to their unexacting eyes.

Indeed I have been misjudged, from the very first. I have never tried in even one single instance, to help cultivate the cultivated classes. I was not equipped for it, either by native gifts or training. And I never had any ambition in that direction, but always hunted for bigger game--the masses. I have seldom deliberately tried to instruct them, but have done my best to entertain them. To simply amuse them would have satisfied my dearest ambition at any time; for they could get instruction elsewhere, and I had two chances to help to the teacher's one: for amusement is a good preparation for study and a good healer of fatigue after it. My audience is dumb, it has no voice in print, and so I cannot know whether I have won its approbation or only got its censure.

Yes, you see, I have always catered for the Belly and the Members, but have been served like the others--criticized from the culture-standard--to my sorrow and pain; because, honestly, I never cared what became of the cultured classes; they could go to the theatre and the opera--they had no use for me and the melodeon.

And now at last I arrive at my object and tender my petition, making supplication to this effect: that the critics adopt a rule recognizing the Belly and the Members, and formulate a standard whereby work done for them shall be judged. Help me, Mr. Lang; no voice can reach further than yours in a case of this kind, or carry greater weight of authority.

Lang's reply was an article in the Illustrated London News on “The Art of Mark Twain.” Lang had no admiration to express for the Yankee, which he confessed he had not cared to read, but he glorified Huck Finn to the highest. “I can never forget, nor be ungrateful for the exquisite pleasure with which I read Huckleberry Finn for the first time, years ago,” he wrote; “I read it again last night, deserting Kenilworth for Huck. I never laid it down till I had finished it.”

Lang closed his article by referring to the story of Huck as the “great American novel which had escaped the eyes of those who watched to see this new planet swim into their ken.”

XXX. LETTERS, 1890, CHIEFLY TO JOS. T. GOODMAN. THE GREAT MACHINE ENTERPRISE

Dr. John Brown's son, whom Mark Twain and his wife had known in 1873 as “Jock,” sent copies of Dr. John Brown and His Sister Isabella, by E. T. McLaren. It was a gift appreciated in the Clemens home.

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To Mr. John Brown, in Edinburgh, Scotland:

HARTFORD, Feby 11, 1890.

DEAR MR. BROWN,--Both copies came, and we are reading and re-reading the one, and lending the other, to old time adorers of “Rab and his Friends.” It is an exquisite book; the perfection of literary workmanship. It says in every line, “Don't look at me, look at him”--and one tries to be good and obey; but the charm of the painter is so strong that one can't keep his entire attention on the developing portrait, but must steal side-glimpses of the artist, and try to divine the trick of her felicitous brush. In this book the doctor lives and moves just as he was. He was the most extensive slave-holder of his time, and the kindest; and yet he died without setting one of his bondmen free. We all send our very, very kindest regards.

Sincerely yours S. L. CLEMENS.

If Mark Twain had been less interested in the type-setting machine he might possibly have found a profit that winter in the old Sellers play, which he had written with Howells seven years before. The play had eventually been produced at the Lyceum Theatre in New York, with A. P. Burbank in the leading role, and Clemens and Howells as financial backers. But it was a losing investment, nor did it pay any better when Clemens finally sent Burbank with it on the road. Now, however, James A. Herne, a well-known actor and playwright, became interested in the idea, after a discussion of the matter with Howells, and there seemed a probability that with changes made under Herne's advisement the play might be made sensible and successful.

But Mark Twain's greater interest was now all in the type-machine, and certainly he had no money to put into any other venture. His next letter to Goodman is illuminating--the urgency of his need for funds opposed to that conscientiousness which was one of the most positive forces of Mark Twain's body spiritual. The Mr. Arnot of this letter was an Elmira capitalist.

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