The Complete Novels of Mark Twain and the Complete Biography of Mark Twain (426 page)

I have always felt a peculiar and personal debt of gratitude to Mark Twain for three events—for the publication of such works can be dignified with no less eminent characterization. When Mr. Edward Dowden tried to make out the best case for Shelley that he could, it was at the sacrifice of the reputation of the defenceless Harriet Westbrook. That ingrained chivalry which is the defining characteristic of the Southerner, the sympathy for the oppressed, the compassion for the weak and the defenceless, animated Mark Twain to one of the noblest actions of his career. For his defence of Harriet Westbrook is something more than a work, it is an act—an act of high courage and nobility. With words icily cold in their logic, Mark Twain tabulated the six pitifully insignificant charges against Harriet, such as her love for dress and her waning interest in Latin lessons, and set over against them the six times repeated name of Cornelia Turner, that fascinating young married woman who read Petrarch with Shelley and sat up all hours of the night with him—because he saw visions when he was alone! Again, in his 'Joan of Arc', Mark Twain erected a monument of enduring beauty to that simple maid of Orleans, to whom the Roman Catholic Church has just now paid the merited yet tardy tribute of canonization. It is a sad commentary upon the popular attitude of frivolity towards the professional humorist that Mark Twain felt compelled to publish this book anonymously, in order that the truth and beauty of that magic story might receive its just meed of respectful and sympathetic attention.

The third act for which I have always felt deeply grateful to Mark Twain is the apparently little known, yet beautiful and significant story entitled 'Was it Heaven or Hell?' It contains, I believe, the moral that had most meaning for Mark Twain throughout his entire life—the bankruptcy of rigidly formal Puritanism in the face of erring human nature, the tragic result of heedlessly holding to the letter, instead of wisely conforming to the spirit, of moral law. No one doubts that Mark Twain—as who would not?—believed, aye, knew, that this sweet, human child went to a heaven of forgiveness and mercy, not to a hell of fire and brimstone, for her innocently trivial transgression. The essay on Harriet Shelley, the novel of 'Joan of Arc', and the story 'Was it Heaven or Hell?' are all, as decisively as the philippic against King Leopold, the diatribe against the Czar of Russia, essential vindications of the moral principle. 'Was it Heaven or Hell?' in its simple pathos, 'The Man that Corrupted Hadleyburg' in its morally salutary irony, present vital evidence of that same transvaluation of current moral values which marks the age of Nietzsche and Ibsen, of Tolstoy and Shaw. In that amusing, naive biography of her father, little Susy admits that he could make exceedingly bright jokes and could be extremely amusing; but she maintains that he was more interested in earnest books and earnest conversation than in humorous ones. She pronounced him to be as much of a Pholosopher (sic) as anything. And she hazards the opinion that he might have done a great deal in this direction if only he had studied when he was a boy!

Years ago, Mark Twain wrote a book which he called 'An Extract from Captain Stormfield's Visit to Heaven'. For long he desisted from publishing it because of his fear that its outspoken frankness would appear irreverent and shock the sensibilities of the public. While his villa of "Stormfield" was in course of erection several years ago, he discovered that half of it was going to cost what he had expected to pay for the whole house. His heart was set on having a loggia or sun-parlour; and when it seemed that he would have to sacrifice this apple of his eye through lack of funds, he threw discretion to the winds, hauled out Captain Stormfield and made the old tar pay the piper. His fears as to its reception were wholly unwarranted; for it was generously enjoyed for its shrewd and vastly suggestive ideas on religion and heaven as popularly taught nowadays from the pulpits. This book is full of a keen and bluff common sense, cannily expressed in the words of an old sea-captain whom Mark Twain had known intimately. It is only another link in the chain of evidence which goes to prove that Mark Twain had thought long and deeply upon the problematical nature of a future life. It is, in essence, a
reductio ad absurdu
of those professors of religion who still preach a heaven of golden streets and pearly gates, of idleness and everlasting psalm-singing, of restful and innocuous bliss. Mark Twain wanted to point out the absurdity of taking the allegories and the figurative language of the Bible literally. Of course everybody called for a harp and a halo as soon as they reached heaven. They were given the harps and halos—indeed nothing harmless and reasonable was refused them. But they found these things the merest accessories. Mark Twain's heaven was just the busiest place imaginable. There weren't any idle people there after the first day. The old sea captain pointed out that singing hymns and waving palm branches through all eternity was all very pretty when you heard about it from the pulpit, but that it was a mighty poor way to put in valuable time. He took no stock in a heaven of warbling ignoramuses. He found that Eternal Rest, reduced to hard pan, was not as comforting as it sounds in the pulpit. Heaven is the merited reward of service; and the opportunities for service were infinite. As he said, you've got to earn a thing square and honest before you can enjoy it. To Mark, this was "about the sensiblest heaven" he had ever heard of. He mourned a little over the discovery that what a man mostly missed in heaven was company. But he rejoiced in the information vouchsafed by his friend the Captain—a valuable piece of information that leaves him, and all who are so fortunate as to hear it, the better for the knowledge—that happiness isn't a thing in itself, but only a contrast with something that isn't pleasant! This view of heaven, seen through the temperament of a humorist and a philosopher, is provocative and thought-compelling more than it is amusing or ludicrous. I think it inspired Bernard Shaw's Aerial Foot-ball which won Collier's thousand dollar prize—a prize which Mr Shaw hurled back with indignation and scorn!

Mark Twain was a great humorist—more genial than grim, more good-humoured than ironic, more given to imaginative exaggeration than to intellectual sophistication, more inclined to pathos than to melancholy. He was a great story-teller and fabulist; and he has enriched the literature of the world with a gallery of portraits so human in their likenesses as to rank them with the great figures of classic comedy and picaresque romance. He was a remarkable observer and faithful reporter, never allowing himself, in Ibsen's phrase, to be "frightened by the venerableness of the institution"; and his sublimated journalism reveals a mastery of the naively comic thoroughly human and democratic. He is the most eminent product of our American democracy, and, in profoundly shocking Great Britain by preferring Connecticut to Camelot, he exhibited that robustness of outlook, that buoyancy of spirit, and that faith in the contemporary which stamps America in perennial and inexhaustible youth. Throughout his long life, he has been a factor of high ethical influence in our civilization, and the philosopher and the humanitarian look out through the twinkling eyes of the humorist.

And yet, after all, Mark Twain's supreme title to distinction as a great writer inheres in his natural, if not wholly conscious, mastery in that highest sphere of thought, embracing religion, philosophy, morality and even humour, which we call sociology. When I first advanced this view, it was taken up on all sides. Here, we were told, was Mark Twain "from a new angle"; the essay was reviewed at length on the continent of Europe; and the author of the essay was invited "to explain Mark Twain to the German public"! There are still many people, however, who resent any demonstration that Mark Twain was anything more than a mirthful and humorous entertainer. Mr. Bernard Shaw once remarked to me, in support of the view here outlined, that he regarded Poe and Mark Twain as America's greatest achievements in literature, and that he thought of Mark Twain primarily, not as humorist, but as sociologist. "Of course," he added, "Mark Twain is in much the same position as myself: he has to put matters in such a way as to make people who would otherwise hang him, believe he is joking."

Mark Twain once said that whenever he had diverged from custom and principle to utter a truth, the rule had been that the hearer hadn't strength of mind enough to believe it. "Custom is a petrifaction," he asserted; "nothing but dynamite can dislodge it for a century." Mr. W. D. Howells has advanced the somewhat fanciful theory that "the ludicrous incongruity of a slave-holding democracy nurtured upon the Declaration of Independence, and the comical spectacle of white labour owning black labour, had something to do in quickening (in Mark Twain) the sense of contrast which is the mountain of humour or is said to be so." However that may be, Mark Twain was irresistibly driven to the conclusion, Southern born though he was, that slavery was unjust, inhuman, and indefensible. The advanced thinkers in the South had reached this conclusion long before the beginning of the Civil War, and many Southern men had actually devised freedom to their slaves in their wills. The slaves were treated humanely, their material wants were cared for by their owners with a care that can only be called loving, and their spiritual welfare was the frequent concern in particular of the mistress of the house.

In his schoolboy days, Mark Twain had no aversion to slavery. He wasn't even aware that there was anything wrong about it. He never heard it condemned by acquaintances or in the local papers. And as for the preachers, they taught that God approved slavery, and cited Biblical passages in support of that view. If the slaves themselves were averse to it, at least they kept discreetly silent on the subject. He seldom saw a slave misused—on the farm, never. But when he was brought face to face with Sandy, the little slave forcibly separated from his family, it made a deep impression upon his consciousness. It was this deplorable evil of the system, this unnatural and inhuman forcible separation of the members of the same family, the one from the other, that convinced him of the injustice of slavery; though this vision, as has been pointed out by Mr. Howells, did not come to him "till after his liberation from neighbourhood in the vaster far West." Yet it found its way into his books—into Huckleberry Finn, with its recital of Jim's pathetic longing to buy back his wife and children; and in Pudd'nhead Wilson with its moving picture of the poor slave's agony when she suddenly realizes in the way the water is flowing around the snag that she is being "sold down the river." In Uncle Tom's Cabin, as Professor Phelps has pointed out, "the red—hot indignation of the author largely nullified her evident desire to tell the truth. . . . Mrs. Stowe's astonishing work is not really the history of slavery; it is the history of abolition sentiment. . . . Mark Twain shows us the beautiful side of slavery—for it had a wonderfully beautiful, patriarchal side—and he also shows us the horror of it." Mark Twain has declared that the only way to write a great novel is to learn the scenes and people with which the story is concerned, through years of "unconscious absorption" of the facts of the life to be portrayed. When his stories were written, slavery was a thing of the past—he was competent to judge of the situation impartially, through direct personal contact throughout his boyhood with the realities of slavery. His object was not the object of the reformer, warped with prejudice and fired by animosity. He saw clearly; for his aim was not polemic, but artistic. Hence it is, I believe, that Mark Twain stands out as, in essence and in fundamentals, a remarkable sociologist. Certain passages in his books on the subject of slavery, as the historian Lecky has declared, are the truest things that have ever been expressed on the subject which vexed a continent and plunged a nation in bloody, fratricidal strife.

Huckleberry Finn and Life on the Mississippi always call up to my mind the most vivid pictures—pictures that are eternally unforgettable. The memorable scene in which Colonel Sherburne quells the mob and his scathing remarks upon lynching; the reality and the pathos of the feuds of those Kentucky families, the Shepherdsons and the Grangerfords, shooting each other down at sight in vindication of honour and pride of race; the lordly life of the pilot on the Mississippi, his violent and unchallenged sway over his subordinates, his mastery of the river; the variegated colours of that lawless, picturesque, semi-barbarous life of the river—all these sweep by us in a series of panoramic pictures as Huck's raft swings lazily down the tawny river, and Horace Bixby guides his boat through the dangers of the channel. Mark Twain is primarily a great artist, only unconsciously a true sociologist. But his power as a sociologist is no less real that it is unconscious, indeed infinitely more real and human and verisimilar that it is not polemical. There is a "sort of contemporaneous posterity" which has registered its verdict that Mark Twain was the greatest humorist of the present era. But there is yet to come that greater posterity of the future which will, I dare say, class Mark Twain as America's greatest, most human sociologist in letters. He is the historian, the historian in art, of a varied and unique phase of civilization on the American continent that has passed forever. And it is inconceivable that any future investigator into the sociological phases of that civilization can fail to find priceless and unparalleled documents in the wild yet genial, rudimentary yet sane, boisterous yet universally human writings of Mark Twain.

Mark Twain's genius of social comprehension and sociologic interpretation went even deeper than this. His mastery lay not alone in penetrative reflection of a bit of sectional life and a vanished phase of our civilization, not alone in astute criticism of an "institution" blotted from the American escutcheon and a collective racial passion that periodically breaks forth from time to time in mad "carnivals of crime." The defining quality of the true sociologist, that quality which gives his profession its power and validity as an effective instrumentality in the advancement of civilization, is the faculty of penetrating national and racial disguises, and going directly to the heart of the human problem. Mark Twain possessed this faculty in supreme degree. As a literary critic he was banal and futile; but as a social and racial critic he was remarkable and profound. His essay 'Concerning the Jews' is a masterpiece of impartial interpretation; his comprehension of French and German racial traits, as revealed in his works, is keen and pervasively pertinent; and his magnificent analysis of the situation in South Africa, in the concluding chapters of 'Following the Equator', rings clear with the accents of truth and mounts almost to the dignity of public prophecy. Deeper far, more comprehensive, and voiced with splendid courage, are Mark Twain's interpretations of American democracy and his mirroring of the national ideals. His "defence" of General Funston is a scorching and devastating blast, red with the fires of patriotism. Whatever be one's convictions, one cannot but respect the profound sincerity of Mark Twain's berserker-like rage over the attitude of Europe in China, the barbarities of Russian autocracy, and the horrors of America's methods in the Philippines, copied after Weyler's
reconcentrad
policy in Cuba. His study of Christian Science, despite its hyperbole, its gross exaggerations and unfulfilled prophecies, is the expression of glorified common-sense, a sociological study of religious fanaticism comprehensive in psychological analysis of national and racial traits.