Kitabı oku: «Mark Twain: A Biography. Volume I, Part 2: 1835-1866», sayfa 19

CIII
"ATLANTIC" DAYS

It was about this period that Mark Twain began to exhibit openly his more serious side; that is to say his advocacy of public reforms. His paper on "Universal Suffrage" had sounded a first note, and his copyright petitions were of the same spirit. In later years he used to say that he had always felt it was his mission to teach, to carry the banner of moral reconstruction, and here at forty we find him furnishing evidences of this inclination. In the Atlantic for October, 1875, there was published an unsigned three-page article entitled, "The Curious Republic of Gondour." In this article was developed the idea that the voting privilege should be estimated not by the individuals, but by their intellectual qualifications. The republic of Gondour was a Utopia, where this plan had been established:

It was an odd idea and ingenious. You must understand the constitution gave every man a vote; therefore that vote was a vested right, and could not be taken away. But the constitution did not say that certain individuals might not be given two votes or ten. So an amendatory clause was inserted in a quiet way, a clause which authorized the enlargement of the suffrage in certain cases to be specified by statute….

The victory was complete. The new law was framed and passed. Under it every citizen, howsoever poor or ignorant, possessed one vote, so universal suffrage still reigned; but if a man possessed a good common-school education and no money he had two votes, a high-school education gave him four; if he had property, likewise, to the value of three thousand sacos he wielded one more vote; for every fifty thousand sacos a man added to his property, he was entitled to another vote; a University education entitled a man to nine votes, even though he owned no property.

The author goes on to show the beneficent results of this enaction; how the country was benefited and glorified by this stimulus toward enlightenment and industry. No one ever suspected that Mark Twain was the author of this fable. It contained almost no trace of his usual literary manner. Nevertheless he wrote it, and only withheld his name, as he did in a few other instances, in the fear that the world might refuse to take him seriously over his own signature or nom de plume.

Howells urged him to follow up the "Gondour" paper; to send some more reports from that model land. But Clemens was engaged in other things by that time, and was not pledged altogether to national reforms.

He was writing a skit about a bit of doggerel which was then making nights and days unhappy for many undeserving persons who in an evil moment had fallen upon it in some stray newspaper corner. A certain car line had recently adopted the "punch system," and posted in its cars, for the information of passengers and conductor, this placard:

A Blue Trip Slip for an 8 Cents Fare, A Buff Trip Slip for a 6 Cents Fare, A Pink Trip Slip for a 3 Cents Fare, For Coupon And Transfer, Punch The Tickets.

Noah Brooks and Isaac Bromley were riding down-town one evening on the Fourth Avenue line, when Bromley said:

"Brooks, it's poetry. By George, it's poetry!"

Brooks followed the direction of Bromley's finger and read the card of instructions. They began perfecting the poetic character of the notice, giving it still more of a rhythmic twist and jingle; arrived at the Tribune office, W. C. Wyckoff, scientific editor, and Moses P. Handy lent intellectual and poetic assistance, with this result:

 
Conductor, when you receive a fare,
 
 
Punch in the presence of the passenjare!
A blue trip slip for an eight-cent fare,
A buff trip slip for a six-cent fare,
A pink trip slip for a three-cent fare.
Punch in the presence of the passenjare!
 
 
CHORUS
Punch, brothers! Punch with care!
Punch in the presence of the passenjare!
 

It was printed, and street-car poetry became popular. Different papers had a turn at it, and each usually preceded its own effort with all other examples, as far as perpetrated. Clemens discovered the lines, and on one of their walks recited them to Twichell. "A Literary Nightmare" was written a few days later. In it the author tells how the jingle took instant and entire possession of him and went waltzing through his brain; how, when he had finished his breakfast, he couldn't tell whether he had eaten anything or not; and how, when he went to finish the novel he was writing, and took up his pen, he could only get it to say:

Punch in the presence of the passenjare.

He found relief at last in telling it to his reverend friend, that is, Twichell, upon whom he unloaded it with sad results.

It was an amusing and timely skit, and is worth reading to-day. Its publication in the Atlantic had the effect of waking up horse-car poetry all over the world. Howells, going to dine at Ernest Longfellow's the day following its appearance, heard his host and Tom Appleton urging each other to "Punch with care." The Longfellow ladies had it by heart. Boston was devastated by it. At home, Howells's children recited it to him in chorus. The streets were full of it; in Harvard it became an epidemic.

It was transformed into other tongues. Even Swinburne, the musical, is said to have done a French version for the 'Revue des deux mondes'*. A St. Louis magazine, The Western, found relief in a Latin anthem with this chorus:

Pungite, fratres, pungite, Pungite cum amore, Pungite pro vectore, Diligentissime pungite.

* LE CHANT DU CONDUCTEUR

 
Ayant ete paye, le conducteur
Percera en pleine vue du voyageur,
Quand il regoit trois sous un coupon vert,
Un coupon jaune pour six sous c'est l'affaire,
Et pour huit sous c'est un coupon couleur
De rose, en pleine vue du voyageur.
 
 
CHOEUR
Donc, percez soigneusement, mes freres
Tout en pleine vue des voyageurs, etc.
 

CIV
MARK TWAIN AND HIS WIFE

Clemens and his wife traveled to Boston for one of those happy fore-gatherings with the Howellses, which continued, at one end of the journey or another, for so many years. There was a luncheon with Longfellow at Craigie House, and, on the return to Hartford, Clemens reported to Howells how Mrs. Clemens had thrived on the happiness of the visit. Also he confesses his punishment for the usual crimes:

I "caught it" for letting Mrs. Howells bother and bother about her coffee, when it was a "good deal better than we get at home." I "caught it" for interrupting Mrs. C. at the last moment and losing her the opportunity to urge you not to forget to send her that MS. when the printers are done with it. I "caught it" once more for personating that drunken Colonel James. I "caught it" for mentioning that Mr. Longfellow's picture was slightly damaged; and when, after a lull in the storm, I confessed, shamefacedly, that I had privately suggested to you that we hadn't any frames, and that if you wouldn't mind hinting to Mr. Houghton, etc., etc., etc., the madam was simply speechless for the space of a minute. Then she said:

"How could you, Youth! The idea of sending Mr. Howells, with his sensitive nature, upon such a repulsive er—"

"Oh, Howells won't mind it! You don't know Howells. Howells is a man who—"

She was gone. But George was the first person she stumbled on in the hall, so she took it out of George. I am glad of that, because it saved the babies.

Clemens used to admit, at a later day, that his education did not advance by leaps and bounds, but gradually, very gradually; and it used to give him a pathetic relief in those after-years, when that sweet presence had gone out of his life, to tell the way of it, to confess over-fully, perhaps, what a responsibility he had been to her.

He used to tell how, for a long time, he concealed his profanity from her; how one morning, when he thought the door was shut between their bedroom and the bathroom, he was in there dressing and shaving, accompanying these trying things with language intended only for the strictest privacy; how presently, when he discovered a button off the shirt he intended to put on, he hurled it through the window into the yard with appropriate remarks, followed it with another shirt that was in the same condition, and added certain collars and neckties and bath-room requisites, decorating the shrubbery outside, where the people were going by to church; how in this extreme moment he heard a slight cough and turned to find that the door was open! There was only one door to the bath-room, and he knew he had to pass her. He felt pale and sick, and sat down for a few moments to consider. He decided to assume that she was asleep, and to walk out and through the room, head up, as if he had nothing on his conscience. He attempted it, but without success. Half-way across the room he heard a voice suddenly repeat his last terrific remark. He turned to see her sitting up in bed, regarding him with a look as withering as she could find in her gentle soul. The humor of it struck him.

"Livy," he said, "did it sound like that?"

"Of course it did," she said, "only worse. I wanted you to hear just how it sounded."

"Livy," he said, "it would pain me to think that when I swear it sounds like that. You got the words right, Livy, but you don't know the tune."

Yet he never willingly gave her pain, and he adored her and gloried in her dominion, his life long. Howells speaks of his beautiful and tender loyalty to her as the "most moving quality of his most faithful soul."

It was a greater part of him than the love of most men for their wives, and she merited all the worship he could give her, all the devotion, all the implicit obedience, by her surpassing force and beauty of character.

She guarded his work sacredly; and reviewing the manuscripts which he was induced to discard, and certain edited manuscripts, one gets a partial idea of what the reading world owes to Olivia Clemens. Of the discarded. manuscripts (he seems seldom to have destroyed them) there are a multitude, and among them all scarcely one that is not a proof of her sanity and high regard for his literary honor. They are amusing—some of them; they are interesting—some of them; they are strong and virile —some of them; but they are unworthy—most of them, though a number remain unfinished because theme or interest failed.

Mark Twain was likely to write not wisely but too much, piling up hundreds of manuscript pages only because his brain was thronging as with a myriad of fireflies, a swarm of darting, flashing ideas demanding release. As often as not he began writing with only a nebulous idea of what he proposed to do. He would start with a few characters and situations, trusting in Providence to supply material as needed. So he was likely to run ashore any time. As for those other attempts—stories "unavailable" for one reason or another—he was just as apt to begin those as the better sort, for somehow he could never tell the difference. That is one of the hall-marks of genius—the thing which sharply differentiates genius from talent. Genius is likely to rate a literary disaster as its best work. Talent rarely makes that mistake.

Among the abandoned literary undertakings of these early years of authorship there is the beginning of what was doubtless intended to become a book, "The Second Advent," a story which opens with a very doubtful miraculous conception in Arkansas, and leads only to grotesquery and literary disorder. There is another, "The Autobiography of a Damn Fool," a burlesque on family history, hopelessly impossible; yet he began it with vast enthusiasm and, until he allowed her to see the manuscript, thought it especially good. "Livy wouldn't have it," he said, "so I gave it up." There is another, "The Mysterious Chamber," strong and fine in conception, vividly and intensely interesting; the story of a young lover who is accidentally locked behind a secret door in an old castle and cannot announce himself. He wanders at last down into subterranean passages beneath the castle, and he lives in this isolation for twenty years. The question of sustenance was the weak point in the story. Clemens could invent no way of providing it, except by means of a waste or conduit from the kitchen into which scraps of meat, bread, and other items of garbage were thrown. This he thought sufficient, but Mrs. Clemens did not highly regard such a literary device. Clemens could think of no good way to improve upon it, so this effort too was consigned to the penal colony, a set of pigeonholes kept in his study. To Howells and others, when they came along, he would read the discarded yarns, and they were delightful enough for such a purpose, as delightful as the sketches which every artist has, turned face to the wall.

"Captain Stormfield" lay under the ban for many a year, though never entirely abandoned. This manuscript was even recommended for publication by Howells, who has since admitted that it would not have done then; and indeed, in its original, primitive nakedness it would hardly have done even in this day of wider toleration.

It should be said here that there is not the least evidence (and the manuscripts are full of evidence) that Mrs. Clemens was ever super-sensitive, or narrow, or unliterary in her restraints. She became his public, as it were, and no man ever had a more open-minded, clear-headed public than that. For Mark Twain's reputation it would have been better had she exercised her editorial prerogative even more actively—if, in her love for him and her jealousy of his reputation, she had been even more severe. She did all that lay in her strength, from the beginning to the end, and if we dwell upon this phase of their life together it is because it is so large a part of Mark Twain's literary story. On her birthday in the year we are now closing (1875) he wrote her a letter which conveys an acknowledgment of his debt.

LIVY DARLING,—Six years have gone by since I made my first great success in life and won you, and thirty years have passed since Providence made preparation for that happy success by sending you into the world. Every day we live together adds to the security of my confidence that we can never any more wish to be separated than we can imagine a regret that we were ever joined. You are dearer to me to-day, my child, than you were upon the last anniversary of this birthday; you were dearer then than you were a year before; you have grown more and more dear from the first of those anniversaries, and I do not doubt that this precious progression will continue on to the end.

Let us look forward to the coming anniversaries, with their age and their gray hairs, without fear and without depression, trusting and believing that the love we bear each other will be sufficient to make them blessed.

So, with abounding affection for you and our babies I hail this day that brings you the matronly grace and dignity of three decades!