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XCV
AN "ATLANTIC" STORY AND A PLAY

The reference to "Auntie Cord" in the letter to Dr. Brown brings us to Mark Twain's first contribution to the Atlantic Monthly. Howells in his Recollections of his Atlantic editorship, after referring to certain Western contributors, says:

Later came Mark Twain, originally of Missouri, but then provisionally of Hartford, and now ultimately of the solar system, not to say the universe. He came first with "A True Story," one of those noble pieces of humanity with which the South has atoned chiefly, if not solely, through him for all its despite to the negro.

Clemens had long aspired to appear in the Atlantic, but such was his own rating of his literature that he hardly hoped to qualify for its pages. Twichell remembers his "mingled astonishment and triumph" when he was invited to send something to the magazine.

He was obliged to "send something" once or twice before the acceptance of "A True Story," the narrative of Auntie Cord, and even this acceptance brought with it the return of a fable which had accompanied it, with the explanation that a fable like that would disqualify the magazine for every denominational reader, though Howells hastened to express his own joy in it, having been particularly touched by the author's reference to Sisyphus and Atlas as ancestors of the tumble-bug. The "True Story," he said, with its "realest king of black talk," won him, and a few days later he wrote again: "This little story delights me more and more. I wish you had about forty of 'em."

And so, modestly enough, as became him, for the story was of the simplest, most unpretentious sort, Mark Twain entered into the school of the elect.

In his letter to Howells, accompanying the MS., the author said:

I inclose also "A True Story," which has no humor in it. You can pay as lightly as you choose for that if you want it, for it is rather out of my line. I have not altered the old colored woman's story, except to begin it at the beginning, instead of the middle, as she did—and traveled both ways.

Howells in his Recollections tells of the business anxiety in the Atlantic office in the effort to estimate the story's pecuniary value. Clemens and Harte had raised literary rates enormously; the latter was reputed to have received as much as five cents a word from affluent newspapers! But the Atlantic was poor, and when sixty dollars was finally decided upon for the three pages (about two and a half cents a word) the rate was regarded as handsome—without precedent in Atlantic history. Howells adds that as much as forty times this amount was sometimes offered to Mark Twain in later years. Even in '74 he had received a much higher rate than that offered by the Atlantic,—but no acceptance, then, or later, ever made him happier, or seemed more richly rewarded.

"A True Story, Repeated Word for Word as I Heard It" was precisely what it claimed to be.—[Atlantic Monthly for November, 1874; also included in Sketches New and Old.]—Auntie Cord, the Auntie Rachel of that tale, cook at Quarry Farm, was a Virginia negress who had been twice sold as a slave, and was proud of the fact; particularly proud that she had brought $1,000 on the block. All her children had been sold away from her, but it was a long time ago, and now at sixty she was fat and seemingly without care. She had told her story to Mrs. Crane, who had more than once tried to persuade her to tell it to Clemens; but Auntie Cord was reluctant. One evening, however, when the family sat on the front veranda in the moonlight, looking down on the picture city, as was their habit, Auntie Cord came around to say good night, and Clemens engaged her in conversation. He led up to her story, and almost before she knew it she was seated at his feet telling the strange tale in almost the exact words in which it was set down by him next morning. It gave Mark Twain a chance to exercise two of his chief gifts—transcription and portrayal. He was always greater at these things than at invention. Auntie Cord's story is a little masterpiece.

He wished to do more with Auntie Cord and her associates of the farm, for they were extraordinarily interesting. Two other negroes on the place, John Lewis and his wife (we shall hear notably of Lewis later), were not always on terms of amity with Auntie Cord. They disagreed on religion, and there were frequent battles in the kitchen. These depressed the mistress of the house, but they gave only joy to Mark Twain. His Southern raising had given him an understanding of their humors, their native emotions which made these riots a spiritual gratification. He would slip around among the shrubbery and listen to the noise and strife of battle, and hug himself with delight. Sometimes they resorted to missiles—stones, tinware—even dressed poultry which Auntie Cord was preparing for the oven. Lewis was very black, Auntie Cord was a bright mulatto, Lewis's' wife several shades lighter. Wherever the discussion began it promptly shaded off toward the color-line and insult. Auntie Cord was a Methodist; Lewis was a Dunkard. Auntie Cord was ignorant and dogmatic; Lewis could read and was intelligent. Theology invariably led to personality, and eventually to epithets, crockery, geology, and victuals. How the greatest joker of the age did enjoy that summer warfare!

The fun was not all one-sided. An incident of that summer probably furnished more enjoyment for the colored members of the household than it did for Mark Twain. Lewis had some fowls, and among them was a particularly pestiferous guinea-hen that used to get up at three in the morning and go around making the kind of a noise that a guinea-hen must like and is willing to get up early to hear. Mark Twain did not care for it. He stood it as long as he could one morning, then crept softly from the house to stop it.

It was a clear, bright night; locating the guinea-hen, he slipped up stealthily with a stout stick. The bird was pouring out its heart, tearing the moonlight to tatters. Stealing up close, Clemens made a vicious swing with his bludgeon, but just then the guinea stepped forward a little, and he missed. The stroke and his explosion frightened the fowl, and it started to run. Clemens, with his mind now on the single purpose of revenge, started after it. Around the trees, along the paths, up and down the lawn, through gates and across the garden, out over the fields, they raced, "pursuer and pursued." The guinea nor longer sang, and Clemens was presently too exhausted to swear. Hour after hour the silent, deadly hunt continued, both stopping to rest at intervals; then up again and away. It was like something in a dream. It was nearly breakfast-time when he dragged himself into the house at last, and the guinea was resting and panting under a currant-bush. Later in the day Clemens gave orders to Lewis to "kill and eat that guinea-hen," which Lewis did. Clemens himself had then never eaten a guinea, but some years later, in Paris, when the delicious breast of one of those fowls was served him, he remembered and said:

"And to think, after chasing that creature all night, John Lewis got to eat him instead of me."

The interest in Tom and Huck, or the inspiration for their adventures, gave out at last, or was superseded by a more immediate demand. As early as May, Goodman, in San Francisco, had seen a play announced there, presenting the character of Colonel Sellers, dramatized by Gilbert S. Densmore and played by John T. Raymond. Goodman immediately wrote Clemens; also a letter came from Warner, in Hartford, who had noticed in San Francisco papers announcements of the play. Of course Clemens would take action immediately; he telegraphed, enjoining the performance. Then began a correspondence with the dramatist and actor. This in time resulted in an amicable arrangement, by which the dramatist agreed to dispose of his version to Clemens. Clemens did not wait for it to arrive, but began immediately a version of his own. Just how much or how little of Densmore's work found its way into the completed play, as presented by Raymond later, cannot be known now. Howells conveys the impression that Clemens had no hand in its authorship beyond the character of Sellers as taken from the book. But in a letter still extant, which Clemens wrote to Howells at the time, he says:

I worked a month on my play, and launched it in New York last Wednesday. I believe it will go. The newspapers have been complimentary. It is simply a setting for one character, Colonel Sellers. As a play I guess it will not bear critical assault in force.

The Warners are as charming as ever. They go shortly to the devil for a year—that is, to Egypt.

Raymond, in a letter which he wrote to the Sun, November 3, 1874, declared that "not one line" of Densmore's dramatization was used, "except that which was taken bodily from The Gilded Age." During the newspaper discussion of the matter, Clemens himself prepared a letter for the Hartford Post. This letter was suppressed, but it still exists. In it he says:

I entirely rewrote the play three separate and distinct times. I had expected to use little of his [Densmore's] language and but little of his plot. I do not think there are now twenty sentences of Mr. Densmore's in the play, but I used so much of his plot that I wrote and told him that I should pay him about as much more as I had already paid him in case the play proved a success. I shall keep my word.

This letter, written while the matter was fresh in his mind, is undoubtedly in accordance with the facts. That Densmore was fully satisfied may be gathered from an acknowledgment, in which he says: "Your letter reached me on the ad, with check. In this place permit me to thank you for the very handsome manner in which you have acted in this matter."

Warner, meantime, realizing that the play was constructed almost entirely of the Mark Twain chapters of the book, agreed that his collaborator should undertake the work and financial responsibilities of the dramatic venture and reap such rewards as might result. Various stories have been told of this matter, most of them untrue. There was no bitterness between the friends, no semblance of an estrangement of any sort. Warner very generously and promptly admitted that he was not concerned with the play, its authorship, or its profits, whatever the latter might amount to. Moreover, Warner was going to Egypt very soon, and his labors and responsibilities were doubly sufficient as they stood.

Clemens's estimate of the play as a dramatic composition was correct enough, but the public liked it, and it was a financial success from the start. He employed a representative to travel with Raymond, to assist in the management and in the division of spoil. The agent had instructions to mail a card every day, stating the amount of his share in the profits. Howells once arrived in Hartford just when this postal tide of fortune was at its flood:

One hundred and fifty dollars—two hundred dollars—three hundred dollars were the gay figures which they bore, and which he flaunted in the air, before he sat down at the table, or rose from it to brandish, and then, flinging his napkin in the chair, walked up and down to exult in.

Once, in later years, referring to the matter, Howells said "He was never a man who cared anything about money except as a dream, and he wanted more and more of it to fill out the spaces of this dream." Which was a true word. Mark Twain with money was like a child with a heap of bright pebbles, ready to pile up more and still more, then presently to throw them all away and begin gathering anew.

XCVI
THE NEW HOME

The Clemenses returned to Hartford to find their new house "ready," though still full of workmen, decorators, plumbers, and such other minions of labor as make life miserable to those with ambitions for new or improved habitations. The carpenters were still on the lower floor, but the family moved in and camped about in rooms up-stairs that were more or less free from the invader. They had stopped in New York ten days to buy carpets and furnishings, and these began to arrive, with no particular place to put them; but the owners were excited and happy with it all, for it was the pleasant season of the year, and all the new features of the house were fascinating, while the daily progress of the decorators furnished a fresh surprise when they roamed through the rooms at evening. Mrs. Clemens wrote home:

We are perfectly delighted with everything here and do so want you all to see it.

Her husband, as he was likely to do, picked up the letter and finished it:

Livy appoints me to finish this; but how can a headless man perform an intelligent function? I have been bully-ragged all day by the builder, by his foreman, by the architect, by the tapestry devil who is to upholster the furniture, by the idiot who is putting down the carpets, by the scoundrel who is setting up the billiard-table (and has left the balls in New York), by the wildcat who is sodding the ground and finishing the driveway (after the sun went down), by a book agent, whose body is in the back yard and the coroner notified. Just think of this thing going on the whole day long, and I a man who loathes details with all his heart! But I haven't lost my temper, and I've made Livy lie down most of the time; could anybody make her lie down all the time?

Warner wrote from Egypt expressing sympathy for their unfurnished state of affairs, but added, "I would rather fit out three houses and fill them with furniture than to fit out one 'dahabiyeh'." Warner was at that moment undertaking his charmingly remembered trip up the Nile.

The new home was not entirely done for a long time. One never knows when a big house like that—or a little house, for that matters done. But they were settled at last, with all their beautiful things in place; and perhaps there have been richer homes, possibly more artistic ones, but there has never been a more charming home, within or without, than that one.

So many frequenters have tried to express the charm of that household. None of them has quite succeeded, for it lay not so much in its arrangement of rooms or their decorations or their outlook, though these were all beautiful enough, but rather in the personality, the atmosphere; and these are elusive things to convey in words. We can only see and feel and recognize; we cannot translate them. Even Howells, with his subtle touch, can present only an aspect here and there; an essence, as it were, from a happy garden, rather than the fullness of its bloom.

As Mark Twain was unlike any other man that ever lived, so his house was unlike any other house ever built. People asked him why he built the kitchen toward the street, and he said:

"So the servants can see the circus go by without running out into the front yard."

But this was probably an after-thought. The kitchen end of the house extended toward Farmington Avenue, but it was by no means unbeautiful. It was a pleasing detail of the general scheme. The main entrance faced at right angles with the street and opened to a spacious hall. In turn, the hall opened to a parlor, where there was a grand piano, and to the dining-room and library, and the library opened to a little conservatory, semicircular in form, of a design invented by Harriet Beecher Stowe. Says Howells:

The plants were set in the ground, and the flowering vines climbed up the sides and overhung the roof above the silent spray of the fountain companied by Callas and other waterloving lilies. There, while we breakfasted, Patrick came in from the barn and sprinkled the pretty bower, which poured out its responsive perfume in the delicate accents of its varied blossoms.

In the library was an old carved mantel which Clemens and his wife had bought in Scotland, salvage from a dismantled castle, and across the top of the fireplace a plate of brass with the motto, "The ornament of a house is the friends that frequent it," surely never more appropriately inscribed.

There was the mahogany room, a large bedroom on the ground floor, and upstairs were other spacious bedrooms and many baths, while everywhere were Oriental rugs and draperies, and statuary and paintings. There was a fireplace under a window, after the English pattern, so that in winter-time one could at the same moment watch the blaze and the falling snow. The library windows looked out over the valley with the little stream in it, and through and across the tree-tops. At the top of the house was what became Clemens's favorite retreat, the billiard-room, and here and there were unexpected little balconies, which one could step out upon for the view.

Below was a wide, covered veranda, the "ombra," as they called it, secluded from the public eye—a favorite family gathering-place on pleasant days.

But a house might easily have all these things without being more than usually attractive, and a house with a great deal less might have been as full of charm; only it seemed just the proper setting for that particular household, and undoubtedly it acquired the personality of its occupants.

Howells assures us that there never was another home like it, and we may accept his statement. It was unique. It was the home of one of the most unusual and unaccountable personalities in the world, yet was perfectly and serenely ordered. Mark Twain was not responsible for this blissful condition. He was its beacon-light; it was around Mrs. Clemens that its affairs steadily revolved.

If in the four years and more of marriage Clemens had made advancement in culture and capabilities, Olivia Clemens also had become something more than the half-timid, inexperienced girl he had first known. In a way her education had been no less notable than his. She had worked and studied, and her half-year of travel and entertainment abroad had given her opportunity for acquiring knowledge and confidence. Her vision of life had vastly enlarged; her intellect had flowered; her grasp of practicalities had become firm and sure.

In spite of her delicate physical structure, her continued uncertainty of health, she capably undertook the management of their large new house, and supervised its economies. Any one of her undertakings was sufficient for one woman, but she compassed them all. No children had more careful direction than hers. No husband had more devoted attendance and companionship. No household was ever directed with a sweeter and gentler grace, or with greater perfection of detail. When the great ones of the world came to visit America's most picturesque literary figure she gave welcome to them all, and filled her place at his side with such sweet and capable dignity that those who came to pay their duties to him often returned to pay even greater devotion to his companion. Says Howells:

She was, in a way, the loveliest person I have ever seen—the gentlest, the kindest, without a touch of weakness; she united wonderful tact with wonderful truth; and Clemens not only accepted her rule implicitly, but he rejoiced, he gloried in it.

And once, in an interview with the writer of these chapters, Howells declared: "She was not only a beautiful soul, but a woman of singular intellectual power. I never knew any one quite like her." Then he added: "Words cannot express Mrs. Clemens—her fineness, her delicate, her wonderful tact with a man who was in some respects, and wished to be, the most outrageous creature that ever breathed."

Howells meant a good many things by that, no doubt: Clemens's violent methods, for one thing, his sudden, savage impulses, which sometimes worked injustice and hardship for others, though he was first to discover the wrong and to repair it only too fully. Then, too, Howells may have meant his boyish teasing tendency to disturb Mrs. Clemens's exquisite sense of decorum.

Once I remember seeing him come into his drawing-room at Hartford in a pair of white cowskin slippers with the hair out, and do a crippled colored uncle, to the joy of all beholders. I must not say all, for I remember also the dismay of Mrs. Clemens, and her low, despairing cry of "Oh, Youth!"

He was continually doing such things as the "crippled colored uncle,"; partly for the very joy of the performance, but partly, too, to disturb her serenity, to incur her reproof, to shiver her a little—"shock" would be too strong a word. And he liked to fancy her in a spirit and attitude of belligerence, to present that fancy to those who knew the measure of her gentle nature. Writing to Mrs. Howells of a picture of herself in a group, he said:

You look exactly as Mrs. Clemens does after she has said: "Indeed, I do not wonder that you can frame no reply; for you know only too well that your conduct admits of no excuse, palliation, or argument —none!"

Clemens would pretend to a visitor that she had been violently indignant over some offense of his; perhaps he would say:

"Well I contradicted her just now, and the crockery will begin to fly pretty soon."

She could never quite get used to this pleasantry, and a faint glow would steal over her face. He liked to produce that glow. Yet always his manner toward her was tenderness itself. He regarded her as some dainty bit of porcelain, and it was said that he was always following her about with a chair. Their union has been regarded as ideal. That is Twichell's opinion and Howells's. The latter sums up:

Marriages are what the parties to them alone really know them to be, but from the outside I should say that this marriage was one of the most perfect.