Chapters from My Autobiography Part 4

A child's frank envy of the privileges and distinctions of its elders is often a delicately flattering attention and the reverse of unwelcome, but sometimes the envy is not placed where the beneficiary is expecting it to be placed. Once, when Susy was seven, she sat breathlessly absorbed in watching a guest of ours adorn herself for a ball. The lady was charmed by this homage; this mute and gentle admiration; and was happy in it. And when her pretty labors were finished, and she stood at last perfect, unimprovable, clothed like Solomon in all his glory, she paused, confident and expectant, to receive from Susy's tongue the tribute that was burning in her eyes. Susy drew an envious little sigh and said:

"I wish _I_ could have crooked teeth and spectacles!"

Once, when Susy was six months along in her eighth year, she did something one day in the presence of company, which subjected her to criticism and reproof. Afterward, when she was alone with her mother, as was her custom she reflected a little while over the matter. Then she set up what I think--and what the shade of Burns would think--was a quite good philosophical defence.

"Well, mamma, you know I didn't see myself, and so I couldn't know how it looked."

In homes where the near friends and visitors are mainly literary people--lawyers, judges, professors and clergymen--the children's ears become early familiarized with wide vocabularies. It is natural for them to pick up any words that fall in their way; it is natural for them to pick up big and little ones indiscriminately; it is natural for them to use without fear any word that comes to their net, no matter how formidable it may be as to size. As a result, their talk is a curious and funny musketry clatter of little words, interrupted at intervals by the heavy artillery crash of a word of such imposing sound and size that it seems to shake the ground and rattle the windows. Sometimes the child gets a wrong idea of a word which it has picked up by chance, and attaches to it a meaning which impairs its usefulness--but this does not happen as often as one might expect it would. Indeed, it happens with an infrequency which may be regarded as remarkable. As a child, Susy had good fortune with her large words, and she employed many of them. She made no more than her fair share of mistakes. Once when she thought something very funny was going to happen (but it didn't), she was racked and torn with laughter, by antic.i.p.ation. But, apparently, she still felt sure of her position, for she said, "If it had happened, I should have been transformed [transported] with glee."

And earlier, when she was a little maid of five years, she informed a visitor that she had been in a church only once, and that was the time when Clara was "crucified" [christened]....

In Heidelberg, when Susy was six, she noticed that the Schloss gardens were populous with snails creeping all about everywhere. One day she found a new dish on her table and inquired concerning it, and learned that it was made of snails. She was awed and impressed, and said:

"Wild ones, mamma?"

She was thoughtful and considerate of others--an acquired quality, no doubt. No one seems to be born with it. One hot day, at home in Hartford, when she was a little child, her mother borrowed her fan several times (a j.a.panese one, value five cents), refreshed herself with it a moment or two, then handed it back with a word of thanks. Susy knew her mother would use the fan all the time if she could do it without putting a deprivation upon its owner. She also knew that her mother could not be persuaded to do that. A relief most be devised somehow; Susy devised it. She got five cents out of her money-box and carried it to Patrick, and asked him to take it down-town (a mile and a half) and buy a j.a.panese fan and bring it home. He did it--and thus thoughtfully and delicately was the exigency met and the mother's comfort secured. It is to the child's credit that she did not save herself expense by bringing down another and more costly kind of fan from up-stairs, but was content to act upon the impression that her mother desired the j.a.panese kind--content to accomplish the desire and stop with that, without troubling about the wisdom or unwisdom of it.

Sometimes, while she was still a child, her speech fell into quaint and strikingly expressive forms. Once--aged nine or ten--she came to her mother's room, when her sister Jean was a baby, and said Jean was crying in the nursery, and asked if she might ring for the nurse. Her mother asked:

"Is she crying hard?"--meaning cross, ugly.

"Well, no, mamma. It is a weary, lonesome cry."

It is a pleasure to me to recall various incidents which reveal the delicacies of feeling that were so considerable a part of her budding character. Such a revelation came once in a way which, while creditable to her heart, was defective in another direction. She was in her eleventh year then. Her mother had been making the Christmas purchases, and she allowed Susy to see the presents which were for Patrick's children. Among these was a handsome sled for Jimmy, on which a stag was painted; also, in gilt capitals, the word "Deer." Susy was excited and joyous over everything, until she came to this sled. Then she became sober and silent--yet the sled was the choicest of all the gifts. Her mother was surprised, and also disappointed, and said:

"Why, Susy, doesn't it please you? Isn't it fine?"

Susy hesitated, and it was plain that she did not want to say the thing that was in her mind. However, being urged, she brought it haltingly out:

"Well, mamma, it _is_ fine, and of course it _did_ cost a good deal--but--but--why should that be mentioned?"

Seeing that she was not understood, she reluctantly pointed to that word "Deer." It was her orthography that was at fault, not her heart. She had inherited both from her mother.

MARK TWAIN.

(_To be Continued._)

NORTH AMERICAN REVIEW

No. DCI.

OCTOBER 19, 1906.

CHAPTERS FROM MY AUTOBIOGRAPHY.--IV.

BY MARK TWAIN.

When Susy was thirteen, and was a slender little maid with plaited tails of copper-tinged brown hair down her back, and was perhaps the busiest bee in the household hive, by reason of the manifold studies, health exercises and recreations she had to attend to, she secretly, and of her own motion, and out of love, added another task to her labors--the writing of a biography of me. She did this work in her bedroom at night, and kept her record hidden. After a little, the mother discovered it and filched it, and let me see it; then told Susy what she had done, and how pleased I was, and how proud. I remember that time with a deep pleasure. I had had compliments before, but none that touched me like this; none that could approach it for value in my eyes. It has kept that place always since. I have had no compliment, no praise, no tribute from any source, that was so precious to me as this one was and still is. As I read it _now_, after all these many years, it is still a king's message to me, and brings me the same dear surprise it brought me then--with the pathos added, of the thought that the eager and hasty hand that sketched it and scrawled it will not touch mine again--and I feel as the humble and unexpectant must feel when their eyes fall upon the edict that raises them to the ranks of the n.o.ble.

Yesterday while I was rummaging in a pile of ancient note-books of mine which I had not seen for years, I came across a reference to that biography. It is quite evident that several times, at breakfast and dinner, in those long-past days, I was posing for the biography. In fact, I clearly remember that I _was_ doing that--and I also remember that Susy detected it. I remember saying a very smart thing, with a good deal of an air, at the breakfast-table one morning, and that Susy observed to her mother privately, a little later, that papa was doing that for the biography.

I cannot bring myself to change any line or word in Susy's sketch of me, but will introduce pa.s.sages from it now and then just as they came in their quaint simplicity out of her honest heart, which was the beautiful heart of a child. What comes from that source has a charm and grace of its own which may transgress all the recognized laws of literature, if it choose, and yet be literature still, and worthy of hospitality. I shall print the whole of this little biography, before I have done with it--every word, every sentence.

The spelling is frequently desperate, but it was Susy's, and it shall stand. I love it, and cannot profane it. To me, it is gold. To correct it would alloy it, not refine it. It would spoil it. It would take from it its freedom and flexibility and make it stiff and formal. Even when it is most extravagant I am not shocked. It is Susy's spelling, and she was doing the best she could--and nothing could better it for me....

Susy began the biography in 1885, when I was in the fiftieth year of my age, and she just entering the fourteenth of hers. She begins in this way:

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 dest.i.tute 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 ma.n.u.script, 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 att.i.tude 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 ill.u.s.trated 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 G.o.d 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.

What I have been travelling 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. 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 unbia.s.sed:

_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, except 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.

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-a-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-a-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-a-brac ornament into the story out of its place in the procession.

These bric-a-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-a-brac and the pictures showed wear. It was because they had had so many and such tumultuous adventures in their romantic careers.