The Complete Novels of Mark Twain and the Complete Biography of Mark Twain (416 page)

As we turned into the lane that led to Stormfield he said:

"Can we see where you have built your billiard-room?"

The gable of the new study showed among the trees, and I pointed it out to him.

"It looks quite imposing," he said.

Arriving at Stormfield, he stepped, unassisted, from the carriage to greet the members of the household, and with all his old courtliness offered each his hand. Then in a canvas chair we had brought we carried him up-stairs to his room—the big, beautiful room that looked out to the sunset hills. This was Thursday evening, April 14, 1910.

LXX.

THE CLOSE OF A GREAT LIFE

Mark Twain lived just a week from that day and hour. For a time he seemed full of life, talking freely, and suffering little. Clara and Ossip Gabrilowitsch arrived on Saturday and found him cheerful, quite like himself. At intervals he read. "Suetonius" and "Carlyle" lay on the bed beside him, and he would pick them up and read a page or a paragraph. Sometimes when I saw him thus—the high color still in his face, the clear light in his eyes'—I said: "It is not reality. He is not going to die."

But by Wednesday of the following week it was evident that the end was near. We did not know it then, but the mysterious messenger of his birth year, Halley's comet, became visible that night in the sky.[13]

On Thursday morning, the 21st, his mind was still fairly clear, and he read a little from one of the volumes on his bed. By Clara he sent word that he wished to see me, and when I came in he spoke of two unfinished manuscripts which he wished me to "throw away," as he briefly expressed it, for his words were few, now, and uncertain. I assured him that I would attend to the matter and he pressed my hand. It was his last word to me. During the afternoon, while Clara stood by him, he sank into a doze, and from it passed into a deeper slumber and did not heed us any more.

Through that peaceful spring afternoon the life-wave ebbed lower and lower. It was about half-past six, and the sun lay just on the horizon, when Dr. Quintard noticed that the breathing, which had gradually become more subdued, broke a little. There was no suggestion of any struggle. The noble head turned a little to one side, there was a fluttering sigh, and the breath that had been unceasing for seventy-four tumultuous years had stopped forever.

In the Brick Church, New York, Mark Twain—dressed in the white he loved so well—lay, with the nobility of death upon him, while a multitude of those who loved him passed by and looked at his face for the last time. Flowers in profusion were banked about him, but on the casket lay a single wreath which Dan Beard and his wife had woven from the laurel which grows on Stormfield hill. He was never more beautiful than as he lay there, and it was an impressive scene to see those thousands file by, regard him for a moment, gravely, thoughtfully, and pass on. All sorts were there, rich and poor; some crossed themselves, some saluted, some paused a little to take a closer look.

That night we went with him to Elmira, and next day he lay in those stately parlors that had seen his wedding-day, and where little Langdon and Susy had lain, and Mrs. Clemens, and then Jean, only a little while before.

The worn-out body had reached its journey's end; but his spirit had never grown old, and to-day, still young, it continues to cheer and comfort a tired world.

Mark Twain’s Humor, Genius and Philosophy

(back to
main contents
)

PART ONE

"Exhilaration can be infinite, like sorrow; a joke can be so big that it breaks the roof of the stars. By simply going on being absurd, a thing can become godlike; there is but one step from the ridiculous to the sublime."
GILBERT K. CHESTERTON: Charles Dickens.

OT without wide significance in its bearing upon the general outlines of American literature is the circumstance that Mark Twain served his apprenticeship to letters in the high school of journalism. Like his contemporaries, Artemus Ward and Bret Harte, he first found free play for his comic intransigeance in the broad freedom of the journal for the masses. Brilliant as he was, Artemus Ward seemed most effective only when he spoke in weird vernacular through the grotesque mouthpiece of his own invention. Bret Harte sacrificed more and more of the native flavour of his genius in his progressive preoccupation with the more sophisticated refinements of the purely literary. Mark Twain never lost the ruddy glow of his first inspiration, and his style, to the very end, remained as it began—journalistic, untamed, primitive.

Both Rudyard Kipling and Bernard Shaw, who like Mark Twain have achieved comprehensive international reputations, have succeeded in preserving the early vigour and telling directness acquired in journalistic apprenticeship. It was by the crude, almost barbaric, cry of his journalese that Rudyard Kipling awoke the world with a start. That trenchant and forthright style which imparts such an air of heightened verisimilitude to his plays, Bernard Shaw acquired in the ranks of the new journalism. "The writer who aims at producing the platitudes which are 'not for an age, but for all time,'" says Bernard Shaw, "has his reward in being unreadable in all ages; whilst Plato and Aristophanes trying to knock some sense into the Athens of their day, Shakespeare peopling that same Athens with Elizabethan mechanics and Warwickshire hunts, Ibsen photographing the local doctors and vestrymen of a Norwegian parish, Carpaccio painting the life of St. Ursula exactly as if she were a lady living in the next street to him, are still alive and at home everywhere among the dust and ashes of many thousands of academic, punctilious, most archaeologically correct men of letters and art who spent their lives haughtily avoiding the journalists' vulgar obsession with the ephemeral." Mark Twain began his career by studying the people and period he knew in relation to his own life. Jamestown, Hannibal, and Virginia City, the stately Mississippi, and the orgiastic, uproarious life of Western prairie, mountain, and gulch start to life and live again in the pages of his books. Colonel Sellers, in the main correct but "stretched a little" here and there; Tom Sawyer, the "magerful" hero of boyhood; the shrewd and kindly Aunt Polly, drawn from his own mother; Huck Finn, with the tender conscience and the gentle heart—these and many another were drawn from the very life. In writing of his time
a propo
of himself, Mark Twain succeeded in telling the truth about humanity in general and for any time.

In the main—though there are noteworthy exceptions—Mark Twain's works originated fundamentally in the facts of his own life. He is a master humorist—which is only another way of saying that he is a master psychologist with the added gift of humour—because he looked upon himself always as a complete and well-rounded repository of universally human characteristics.
Humanus sum; et nil humanum mihi alienum est
—this might well have served for his motto. It was his conviction that the American possessed no unique and peculiar human characteristics differentiating him from the rest of the world. In the same way, he regarded himself as possessing no unique or peculiar human characteristics differentiating him from the rest of the human race. Like Omar he might have said "I myself am Heaven and Hell"——for within himself he recognized, in some form, at higher or lower power, every feature, trait, instinct, characteristic of which a human being is capable. The last half century of his life, as he himself said in his Autobiography, had been constantly and faithfully devoted to the study of the human race. His knowledge came from minute self-examination—for he regarded himself as the entire human race compacted together. It was by concentrating his attention upon himself, by recognizing in himself the quintessential type of the race, that he succeeded in producing works of such pure naturalness and utter verity. A humour which is at bottom good humour is always contagious; but there is a deeper and more universal appeal which springs from genial and unaffected representation of the human species, of the universal 'Genus Homo'.

It has been said, by foreign critics, that the intellectual life of America in general takes its cue from the day, whilst the intellectual life of Europe derives from history. If American literature be really "Journalism under exceptionally favourable conditions," as defined by the Danish critic, Johannes V. Jensen, then must Mark Twain be a typical product of American literature. A certain modicum of truth may rest in this startling and seemingly uncomplimentary definition. Interpreted liberally, it may be taken to mean that America finds her key to the future in the immediate vital present, rather than in a remote and hazy past. Mark Twain was a great creative genius because he saw himself, and so saw human nature, in the strong, searching light of the living present. He is the greatest genius evolved by natural selection out of the ranks of American journalism. Crude, rudimentary and boisterous as his early writing was, at times provincial and coarse, it bore upon its face the fresh stamp of contemporary actuality.

To the general, Mark Twain is, first and foremost and exclusively, the humorist—with his shrieking Philistinism, his dominant sense for the colossally incongruous, his spontaneous faculty for staggering, ludicrous contrast. To the reflective, Mark Twain subsumed within himself a "certain surcharge and overplus of power, a buoyancy, and a sense of conquest" which typified the youth of America. It is memorable that he breathed in his youth the bracing air of the prairie, shared the collective ardour of the Argonauts, felt the rising thrill of Western adventure, and expressed the crude and manly energy of navigation, exploration, and the daring hazard for new fortune. To those who knew him in personal intimacy, the quality that was outstanding, omnipresent and eternally ineradicable from his nature was—paradoxical as it may sound—not humour, not wit, not irony, not a thousand other terms that might be associated with his name, but—the spirit of eternal youth. It is comprehensively significant and conclusive that, to the day of her death, Mrs. Clemens never called her husband anything but the bright nickname—"Youth." Mark Twain is great as humorist, admirable as teller of tales, pungent as stylist. But he has achieved another sort of eminence that is peculiarly gratifying to Americans. "They distinguish in his writings," says an acute French critic, "exalted and sublimated by his genius, their national qualities of youth and of gaiety, of force and of faith; they love his philosophy, at once practical and high—minded. They are fond of his simple style, animated with verve and spice, thanks to which his work is accessible to every class of readers. They think he describes his contemporaries with such an art of distinguishing their essential traits, that he manages to evoke, to create even, characters and types of eternal verity. They profess for Mark Twain the same sort of vehement admiration that we have in France for Balzac."

Whilst Mark Twain has solemnly averred that humour is a subject which has never had much interest for him, it is nothing more than a commonplace to say that it is as a humorist, and as a humorist only, that the world seems to persist in regarding him. The philosophy of his early life was what George Meredith has aptly termed the "philosophy of the Broad Grin." Mr. Gilbert Chesterton once said that "American humour, neither unfathomably absurd like the French, nor sharp and sensible and full of the realities of life like the Scotch, is simply the humour of imagination. It consists in piling towers on towers and mountains on mountains; of heaping a joke up to the stars and extending it to the end of the world." This partial and somewhat conventional foreign conception of American humour is admirably descriptive of the cumulative and "sky-breaking" humour of the early Mark Twain. Then no exaggeration was too absurd for him, no phantasm too unreal, no climax too extreme.