Autobiography of Mark Twain (95 page)

We are a very happy family. We consist of Papa, Mamma, Jean, Clara and me. It is papa I am writing about, and I shall have no trouble in not knowing what to say about him, as he is a
very
striking character.

But wait a minute—I will return to Susy presently.

In the matter of slavish imitation, man is the monkey’s superior all the time. The average man is destitute of independence of opinion. He is not interested in contriving an opinion of his own, by study and reflection, but is only anxious to find out what his neighbor’s opinion is and slavishly adopt it. A generation ago, I found out that the latest review of a book was pretty sure to be just a reflection of the
earliest
review of it; that whatever the first reviewer found to praise or censure in the book would be repeated in the latest reviewer’s report, with nothing fresh added. Therefore more than once I took the precaution of sending my book, in manuscript, to Mr. Howells, when he was editor of the
Atlantic Monthly
, so that he could prepare a review of it at leisure. I knew he would say the truth about the book—I also knew that he would find more merit than demerit in it, because I already knew that that was the condition of the book. I allowed no copy of it to go out to the press until after Mr. Howells’s notice of it had appeared. That book was always safe. There wasn’t a man behind a pen in all America that had the courage to find anything in the book which Mr. Howells had not found—there wasn’t a man behind a pen in America that had spirit enough to say a brave and original thing about the book on his own responsibility.

I believe that the trade of critic, in literature, music, and the drama, is the most degraded of all trades, and that it has no real value—certainly no large value. When Charles Dudley Warner and I were about to bring out “The Gilded Age,” the editor of the
Daily Graphic
persuaded me to let him have an advance copy, he giving me his word of honor that no notice of it would appear in his paper until after the
Atlantic Monthly
notice should have appeared. This reptile published a review of the book within three days afterward. I could not really complain, because he had only given me his word of honor as security; I ought to have required of him something substantial. I believe his notice did not deal mainly with the merit of the book, or the lack of it, but with my moral attitude toward the public. It was charged that I had used my reputation to play a swindle upon the public; that Mr. Warner had written as much as half of the book, and that I had used my name to float it and give it currency; a currency—so the critic averred—which it could not have acquired without my name, and that this conduct of mine was a grave fraud upon the people. The
Graphic
was not an authority upon any subject whatever. It had a sort of distinction, in that it was the first and only illustrated daily newspaper that the world had seen; but it was without character; it was poorly and cheaply edited; its opinion of
a book or of any other work of art was of no consequence. Everybody knew this, yet all the critics in America, one after the other, copied the
Graphic’s
criticism, merely changing the phraseology, and left me under that charge of dishonest conduct. Even the great Chicago
Tribune
, the most important journal in the Middle West, was not able to invent anything fresh, but adopted the view of the humble
Daily Graphic
, dishonesty-charge and all.

However, let it go. It is the will of God that we must have critics, and missionaries, and Congressmen, and humorists, and we must bear the burden. Meantime, I seem to have been drifting into criticism myself. But that is nothing. At the worst, criticism is nothing more than a crime, and I am not unused to that.

1864

What I have been traveling toward all this time is this: the first critic that ever had occasion to describe my personal appearance littered his description with foolish and inexcusable errors whose aggregate furnished the result that I was distinctly and distressingly unhandsome. That description floated around the country in the papers, and was in constant use and wear for a quarter of a century. It seems strange to me that apparently no critic in the country could be found who could look at me and have the courage to take up his pen and destroy that lie. That lie began its course on the Pacific coast, in 1864, and it likened me in personal appearance to Petroleum V. Nasby, who had been out there lecturing. For twenty-five years afterward, no critic could furnish a description of me without fetching in Nasby to help out my portrait. I knew Nasby well, and he was a good fellow, but in my life I have not felt malignant enough about any more than three persons to charge those persons with resembling Nasby. It hurts me to the heart, these things. To this day, it hurts me to the heart. I was always handsome. Anybody but a critic could have seen it. And it had long been a distress to my family—including Susy—that the critics should go on making this wearisome mistake, year after year, when there was no foundation for it. Even when a critic wanted to be particularly friendly and complimentary to me, he didn’t dare to go beyond my clothes. He never ventured beyond that old safe frontier. When he had finished with my clothes he had said all the kind things, the pleasant things, the complimentary things he could risk. Then he dropped back on Nasby.

Yesterday I found this clipping in the pocket of one of those ancient memorandum-books of mine. It is of the date of thirty-nine years ago, and both the paper and the ink are yellow with the bitterness that I felt in that old day when I clipped it out to preserve it and brood over it, and grieve about it. I will copy it here, to wit:

A correspondent of the Philadelphia
Press
, writing of one of Schuyler Colfax’s receptions, says of our Washington correspondent: “Mark Twain, the delicate humorist, was present; quite a lion, as he deserves to be. Mark is a bachelor, faultless in taste, whose snowy vest is suggestive of endless quarrels with Washington washerwomen; but the heroism of Mark is settled for all time, for such purity and smoothness were never seen before. His lavender gloves might have been stolen from some Turkish harem, so delicate were they in size; but more likely—anything else were more likely than that. In form and feature he bears some resemblance to the immortal Nasby; but whilst Petroleum is brunette to the core, Twain is golden, amber-hued, melting, blonde.”

Let us return to Susy’s Biography now, and get the opinion of one who is unbiassed.

From Susy’s Biography
.

Papa’s appearance has been described many times, but very incorrectly. He has beautiful gray hair, not any too thick or any too long, but just right; a Roman nose, which greatly improves the beauty of his features; kind blue eyes and a small mustache. He has a wonderfully shaped head and profile. He has a very good figure—in short, he is an extrodinarily fine looking man. All his features are perfect, exept that he hasn’t extrodinary teeth. His complexion is very fair, and he doesn’t ware a beard. He is a very good man and a very funny one. He
has
got a temper, but we all of us have in this family. He is the loveliest man I ever saw or ever hope to see—and oh, so absent-minded. He does tell perfectly delightful stories. Clara and I used to sit on each arm of his chair and listen while he told us stories about the pictures on the wall.

I remember the story-telling days vividly. They were a difficult and exacting audience—those little creatures.

Thursday, February 8, 1906

Susy Clemens’s Biography, continued—Romancer to the childrenv—Incident
of the spoon-shaped drive—The burglar alarm does its whole duty.

Along one side of the library, in the Hartford home, the bookshelves joined the mantelpiece—in fact there were shelves on both sides of the mantelpiece. On these shelves, and on the mantelpiece, stood various ornaments. At one end of the procession was a framed oil painting of a cat’s head, at the other end was a head of a beautiful young girl, life-size—called Emmeline, because she looked just about like that—an impressionist water-color. Between the one picture and the other there were twelve or fifteen of the bric-à-brac things already mentioned, also an oil painting by Elihu Vedder, “The Young Medusa.” Every now and then the children required me to construct a romance—always impromptu—not a moment’s preparation permitted—and into that romance I had to get all that bric-à-brac and the three pictures. I had to start always with the cat and finish with Emmeline. I was never allowed the refreshment of a change, end-for-end. It was not permissible to introduce a bric-à-brac ornament into the story out of its place in the procession.

These bric-à-bracs were never allowed a peaceful day, a reposeful day, a restful Sabbath. In their lives there was no Sabbath, in their lives there was no peace; they knew no existence but a monotonous career of violence and bloodshed. In the course of time, the bric-à-brac and the pictures showed wear. It was because they had had so many and such tumultuous adventures in their romantic careers.

As romancer to the children I had a hard time, even from the beginning. If they brought me a picture, in a magazine, and required me to build a story to it, they would cover the rest of the page with their pudgy hands to keep me from stealing an idea from it. The stories had to come hot from the bat, always. They had to be absolutely original and fresh. Sometimes the children furnished me simply a character or two, or a dozen, and required me to start out at
once on that slim basis and deliver those characters up to a vigorous and entertaining life of crime. If they heard of a new trade, or an unfamiliar animal, or anything like that, I was pretty sure to have to deal with those things in the next romance. Once Clara required me to build a sudden tale out of a plumber and a “bawgunstrictor,” and I had to do it. She didn’t know what a boa-constrictor was, until he developed in the tale—then she was better satisfied with it than ever.

From Susy’s Biography
.

Papa’s favorite game is billiards, and when he is tired and wishes to rest himself he stays up all night and plays billiards, it seems to rest his head. He smokes a great deal almost incessantly. He has the mind of an author exactly, some of the simplest things he cant understand. Our burglar alarm is often out of order, and papa had been obliged to take the mahogany-room off from the alarm altogether for a time, because the burglar alarm had been in the habit of ringing even when the mahogany-room window was closed. At length he thought that perhaps the burglar alarm might be in order, and he decided to try and see; accordingly he put it on and then went down and opened the window; consequently the alarm bell rang, it would even if the alarm had been in order. Papa went despairingly upstairs and said to mamma, “Livy the mahogany-room won’t go on. I have just opened the window to see.”

“Why, Youth,” mamma replied “if you’ve opened the window, why of coarse the alarm will ring!”

“That’s what I’ve opened it for, why I just went down to see if it would ring!”

Mamma tried to explain to papa that when he wanted to go and see whether the alarm would ring while the window was closed he
mustn’t
go and open the window—but in vain, papa couldn’t understand, and got very impatient with mamma for trying to make him believe an impossible thing true.

This is a frank biographer, and an honest one; she uses no sandpaper on me. I have, to this day, the same dull head in the matter of conundrums and perplexities which Susy had discovered in those long-gone days. Complexities annoy me; they irritate me; then this progressive feeling presently warms into anger. I cannot get far in the reading of the commonest and simplest contract—with its “parties of the first part,” and “parties of the second part,” and “parties of the third part,”—before my temper is all gone. Ashcroft comes up here every day and pathetically tries to make me understand the points of the lawsuit which we are conducting against Henry Butters, Harold Wheeler, and the rest of those Plasmon thieves, but daily he has to give it up. It is pitiful to see, when he bends his earnest and appealing eyes upon me and says, after one of his efforts, “Now you
do
understand
that
, don’t you?”

I am always obliged to say “I
don’t
, Ashcroft. I wish I could understand it, but I don’t. Send for the cat.”

In the days which Susy is talking about, a perplexity fell to my lot one day. F. G. Whitmore was my business agent, and he brought me out from town in his buggy. We drove by the portecochère and toward the stable. Now this was a
single
road, and was like a spoon whose handle stretched from the gate to a great round flower-bed in the neighborhood of the stable. At the approach to the flower-bed the road divided and circumnavigated it, making a loop, which I
have likened to the bowl of the spoon. As we neared the loop, I saw that Whitmore was laying his course to port, (I was sitting on the starboard side—the side the house was on), and was going to start around that spoon-bowl on that left-hand side. I said,

“Don’t do that, Whitmore; take the right-hand side. Then I shall be next to the house when we get to the door.”

He said,
“That
will not happen in
any
case, it doesn’t make any difference which way I go around this flower-bed.”

I explained to him that he was an ass, but he stuck to his proposition, and I said,

“Go on and try it, and see.”

He went on and tried it, and sure enough he fetched me up at the door on the very side that he had said I would be. I was not able to believe it then, and I don’t believe it yet.