Answers To Correspondents

Title:     Answers To Correspondents
Author: Mark Twain


[Written about 1865.]
"MORAL STATISTICIAN."--I don't want any of your statistics; I took your whole batch and lit my pipe with it. I hate your kind of people. You are always ciphering out how much a man's health is injured, and how much his intellect is impaired, and how many pitiful dollars and cents he wastes in the course of ninety-two years' indulgence in the fatal practice of smoking; and in the equally fatal practice of drinking coffee; and in playing billiards occasionally; and in taking a glass of wine at dinner, etc., etc., etc. And you are always figuring out how many women have been burned to death because of the dangerous fashion of wearing expansive hoops, etc., etc., etc. You never see more than one side of the question. You are blind to the fact that most old men in America smoke and drink coffee, although, according to your theory, they ought to have died young; and that hearty old Englishmen drink wine and survive it, and portly old Dutchmen both drink and smoke freely, and yet grow older and fatter all the time. And you never by to find out how much solid comfort, relaxation, and enjoyment a man derives from smoking in the course of a lifetime (which is worth ten times the money he would save by letting it alone), nor the appalling aggregate of happiness lost in a lifetime your kind of people from not smoking. Of course you can save money by denying yourself all the little vicious enjoyments for fifty years; but then what can you do with it? What use can you put it to? Money can't save your infinitesimal soul. All the use that money can be put to is to purchase comfort and enjoyment in this life; therefore, as you are an enemy to comfort and enjoyment, where is the use of accumulating cash? It won't do for you say that you can use it to better purpose in furnishing a good table, and in charities, and in supporting tract societies, because you know yourself that you people who have no petty vices are never known to give away a cent, and that you stint yourselves so in the matter of food that you are always feeble and hungry. And you never dare to laugh in the daytime for fear some poor wretch, seeing you in a good humor, will try to borrow a dollar of you; and in church you are always down on your knees, with your eyes buried in the cushion, when the contribution-box comes around; and you never give the revenue officer: full statement of your income. Now you know these things yourself, don't you? Very well, then what is the use of your stringing out your miserable lives to a lean and withered old age? What is the use of your saving money that is so utterly worthless to you? In a word, why don't you go off somewhere and die, and not be always trying to seduce people into becoming as "ornery" and unlovable as you are yourselves, by your villainous "moral statistics"? Now I don't approve of dissipation, and I don't indulge in it, either; but I haven't a particle of confidence in a man who has no redeeming petty vices, and so I don't want to hear from you any more. I think you are the very same man who read me a long lecture last week about the degrading vice of smoking cigars, and then came back, in my absence, with your reprehensible fireproof gloves on, and carried off my beautiful parlor stove.
"YOUNG AUTHOR."--Yes, Agassiz does recommend authors to eat fish, because the phosphorus in it makes brain. So far you are correct. But I cannot help you to a decision about the amount you need to eat--at least, not with certainty. If the specimen composition you send is about your fair usual average, I should judge that perhaps a couple of whales would be all you would want for the present. Not the largest kind, but simply good, middling-sized whales.
"SIMON WHEELER," Sonora.--The following simple and touching remarks and accompanying poem have just come to hand from the rich gold-mining region of Sonora:
To Mr. Mark Twain: The within parson, which I have set to poetry under the name and style of "He Done His Level Best," was one among the whitest men I ever see, and it ain't every man that knowed him that can find it in his heart to say he's glad the poor cuss is busted and gone home to the States. He was here in an early day, and he was the handyest man about takin' holt of anything that come along you most ever see, I judge. He was a cheerful, stirnn' cretur, always doin' somethin', and no man can say he ever see him do anything by halvers. Preachin was his nateral gait, but he warn't a man to lay back a twidle his thumbs because there didn't happen to be nothin' do in his own especial line--no, sir, he was a man who would meander forth and stir up something for hisself. His last acts was to go his pile on "Kings-and" (calkatin' to fill, but which he didn't fill), when there was a "flush" out agin him, and naterally, you see, he went under. And so he was cleaned out as you may say, and he struck the home-trail, cheerful but flat broke. I knowed this talonted man in Arkansaw, and if you would print this humbly tribute to his gorgis abilities, you would greatly obleege his onhappy friend.
HE DONE HIS LEVEL BEST
Was he a mining on the flat--
He done it with a zest;
Was he a leading of the choir--
He done his level best.
If he'd a reg'lar task to do,
He never took no rest;
Or if 'twas off-and-on-the same--
He done his level best.
If he was preachin' on his beat,
He'd tramp from east to west,
And north to south-in cold and heat
He done his level best.
He'd yank a sinner outen (Hades),**
And land him with the blest;
Then snatch a prayer'n waltz in again,
And do his level best.
**Here I have taken a slight liberty with the original MS. "Hades" does not make such good meter as the other word of one syllable, but it sounds better.
He'd cuss and sing and howl and pray,
And dance and drink and jest,
And lie and steal-all one to him--
He done his level best.
Whate'er this man was sot to do,
He done it with a zest;
No matter what his contract was,
HE'D DO HIS LEVEL BEST.
Verily, this man was gifted with "gorgis abilities," and it is a happiness to me to embalm the memory of their luster in these columns. If it were not that the poet crop is unusually large and rank in California this year, I would encourage you to continue writing, Simon Wheeler; but, as it is, perhaps it might be too risky in you to enter against so much opposition.
"PROFESSIONAL BEGGAR."--NO; you are not obliged to take greenbacks at par.
"MELTON MOWBRAY," Dutch Flat.--This correspondent sends a lot of doggerel, and says it has been regarded as very good in Dutch Flat. I give a specimen verse:
The Assyrian came down like a wolf on the fold, And his cohorts were gleaming with purple and gold; And the sheen of his spears was like stars on the sea, When the blue wave rolls nightly on deep Galilee.**
**This piece of pleasantry, published in a San Francisco paper, was mistaken by the country journals for seriousness, and many and loud were the denunciations of the ignorance of author and editor, in not knowing that the lines in question were "written by Byron."
There, that will do. That may be very good Dutch Flat poetry, but it won't do in the metropolis. It is too smooth and blubbery; it reads like butter milk gurgling from a jug. What the people ought to have is something spirited--something like "Johnny Comes Marching Home." However keep on practising, and you may succeed yet. There is genius in you, but too much blubber.
"ST. CLAIR HIGGINS." Los Angeles.--"My life is a failure; I have adored, wildly, madly, and she whom I love has turned coldly from me and shed her affections upon another. What would you advise me to do?"
You should set your affections on another also--or on several, if there are enough to go round. Also, do everything you can to make your former flame unhappy. There is an absurd idea disseminated in novels, that the happier a girl is with another man, the happier it makes the old lover she has blighted. Don't allow yourself to believe any such nonsense as that. The more cause that girl finds to regret that she did not marry you, the more comfortable you will feel over it. It isn't poetical, but it is mighty sound doctrine.
"ARITHMETICUS." Virginia, Nevada.--"If it would take a cannon-ball 3 and 1/3 seconds to travel four miles, and 3 and 3/8 seconds to travel the next four, and 3 and 5/8 to travel the next four, and if its rate of progress continued to diminish in the same ratio, how long would it take it to go fifteen hundred million miles?"
I don't know.
"AMBITIOUS LEARNER," Oakland.--Yes; you are right America was not discovered by Alexander Selkirk.
"DISCARDED LOVER."--"I loved, and still love, the beautiful Edwitha Howard, and intended to marry her. Yet, during my temporary absence at Benicia, last week, alas! she married Jones. Is my happiness to be thus blasted for life? Have I no redress?"
Of course you have. All the law, written and unwritten, is on your side. The intention and not the act constitutes crime--in other words, constitutes the deed. If you call your bosom friend a fool, and intend it for an insult, it is an insult; but if you do it playfully, and meaning no insult, it is not an insult. If you discharge a pistol accidentally, and kill a man, you can go free, for you have done no murder; but if you try to kill a man, and manifestly intend to kill him, but fail utterly to do it, the law still holds that the intention constituted the crime, and you are guilty of murder. Ergo, if you had married Edwitha accidentally, and without really intending to do it, you would not actually be married to her at all, because the act of marriage could not be complete without the intention. And ergo, in the strict spirit of the law, since you deliberately intended to marry Edwitha, and didn't do it, you are married to her all the same--because, as I said before, the intention constitutes the crime. It is as clear as day that Edwitha is your wife, and your redress lies in taking a club and mutilating Jones with it as much as you can. Any man has a right to protect his own wife from the advances of other men. But you have another alternative--you were married to Edwitha first, because of your deliberate intention, and now you can prosecute her for bigamy, in subsequently marrying Jones. But there is another phase in this complicated case: You intended to marry Edwitha, and consequently, according to law, she is your wife--there is no getting around that; but she didn't marry you, and if she never intended to marry you, you are not her husband, of course. Ergo, in marrying Jones, she was guilty of bigamy, because she was the wife of another man at the time; which is all very well as far as it goes--but then, don't you see, she had no other husband when she married Jones, and consequently she was not guilty of bigamy. Now, according to this view of the case, Jones married a spinster, who was a widow at the same time and another man's wife at the same time, and yet who had no husband and never had one, and never had any intention of getting married, and therefore, of course, never had been married; and by the same reasoning you are a bachelor, because you have never been any one's husband; and a married man, because you have a wife living; and to all intents and purposes a widower, because you have been deprived of that wife; and a consummate ass for going off to Benicia in the first place, while things were so mixed. And by this time I have got myself so tangled up in the intricacies of this extraordinary case that I shall have to give up any further attempt to advise you--I might get confused and fail to make myself understood. I think I could take up the argument where I left off, and by following it closely awhile, perhaps I could prove to your satisfaction, either that you never existed at all, or that you are dead now, and consequently don't need the faithless Edwitha--I think I could do that, if it would afford you any comfort.
"ARTHUR AUGUSTUS."--No; you are wrong; that is the proper way to throw a brickbat or a tomahawk; but it doesn't answer so well for a bouquet; you will hurt somebody if you keep it up. Turn your nosegay upside down, take it by the stems, and toss it with an upward sweep. Did you ever pitch quoits? that is the idea. The practice of recklessly heaving immense solid bouquets, of the general size and weight of prize cabbages, from the dizzy altitude of the galleries, is dangerous and very reprehensible. Now, night before last, at the Academy of Music, just after Signorina had finished that exquisite melody, "The Last Rose of Summer," one of these floral pile-drivers came cleaving down through the atmosphere of applause, and if she hadn't deployed suddenly to the right, it would have driven her into the floor like a shinglenail. Of course that bouquet was well meant; but how would you like to have been the target? A sincere compliment is always grateful to a lady, so long as you don't try to knock her down with it.
"YOUNG MOTHER."--And so you think a baby is a thing of beauty and a joy forever? Well, the idea is pleasing, but not original; every cow thinks the same of its own calf. Perhaps the cow may not think it so elegantly, but still she thinks it nevertheless. I honor the cow for it. We all honor this touching maternal instinct wherever we find it, be it in the home of luxury or in the humble cove-shed. But really, madam, when I come to examine the matter in all its bearings, I find that the correctness of your assertion does not assert itself in all cases. A soiled baby, with a neglected nose, cannot be conscientiously regarded as a thing of beauty; and inasmuch as babyhood spans but three short years, no baby is competent to be a joy "forever." It pains me thus to demolish two-thirds of your pretty sentiment in a single sentence; but the position I hold in this chair requires that I shall not permit you to deceive and mislead the public with your plausible figures of speech. I know a female baby, aged eighteen months, in this city, which cannot hold out as a "joy" twenty-four hours on a stretch, let alone "forever." And it possesses some of the most remarkable eccentricities of character and appetite that have ever fallen under my notice. I will set down here a statement of this infant's operations (conceived, planned, and earned out by itself, and without suggestion or assistance from its mother or any one else), during a single day; and what I shall say can be substantiated by the sworn testimony of witnesses.
It commenced by eating one dozen large blue-mass pills, box and all; then it fell down a flight of stairs, and arose with a blue and purple knot on its forehead, after which it proceeded in quest of further refreshment and amusement. It found a glass trinket ornamented with brass-work --smashed up and ate the glass, and then swallowed the brass. Then it drank about twenty drops of laudanum, and more than a dozen tablespoonfuls of strong spirits of camphor. The reason why it took no more laudanum was because there was no more to take. After this it lay down on its back, and shoved five or six, inches of a silver-headed whalebone cane down its throat; got it fast there, and it was all its mother could do to pull the cane out again, without pulling out some of the child with it. Then, being hungry for glass again, it broke up several wine glasses, and fell to eating and swallowing the fragments, not minding a cut or two. Then it ate a quantity of butter, pepper, salt, and California matches, actually taking a spoonful of butter, a spoonful of salt, a spoonful of pepper, and three or four lucifer matches at each mouthful. (I will remark here that this thing of beauty likes painted German lucifers, and eats all she can get of them; but she prefers California matches, which I regard as a compliment to our home manufactures of more than ordinary value, coming, as it does, from one who is too young to flatter.) Then she washed her head with soap and water, and afterward ate what soap was left, and drank as much of the suds as she had room for; after which she sallied forth and took the cow familiarly by the tail, and got kicked heels over head. At odd times during the day, when this joy forever happened to have nothing particular on hand, she put in the time by climbing up on places, and falling down off them, uniformly damaging her self in the operation. As young as she is, she speaks many words tolerably distinctly; and being plain spoken in other respects, blunt and to the point, she opens conversation with all strangers, male or female, with the same formula, "How do, Jim?"
Not being familiar with the ways of children, it is possible that I have been magnifying into matter of surprise things which may not strike any one who is familiar with infancy as being at all astonishing. However, I cannot believe that such is the case, and so I repeat that my report of this baby's performances is strictly true; and if any one doubts it, I can produce the child. I will further engage that she will devour anything that is given her (reserving to myself only the right to exclude anvils), and fall down from any place to which she may be elevated (merely stipulating that her preference for alighting on her head shall be respected, and, therefore, that the elevation chosen shall be high enough to enable her to accomplish this to her satisfaction). But I find I have wandered from my subject; so, without further argument, I will reiterate my conviction that not all babies are things of beauty and joys forever.
"ARITHMETICUS." Virginia, Nevada.--"I am an enthusiastic student of mathematics, and it is so vexatious to me to find my progress constantly impeded by these mysterious arithmetical technicalities. Now do tell me what the difference is between geometry and conchology?"
Here you come again with your arithmetical conundrums, when I am suffering death with a cold in the head. If you could have seen the expression of scorn that darkened my countenance a moment ago, and was instantly split from the center in every direction like a fractured looking-glass by my last sneeze, you never would have written that disgraceful question. Conchology is a science which has nothing to do with mathematics; it relates only to shells. At the same time, however, a man who opens oysters for a hotel, or shells a fortified town, or sucks eggs, is not, strictly speaking, a conchologist-a fine stroke of sarcasm that, but it will be lost on such an unintellectual clam as you. Now compare conchology and geometry together, and you will see what the difference is, and your question will be answered. But don't torture me with any more arithmetical horrors until you know I am rid of my cold. I feel the bitterest animosity toward you at this moment-bothering me in this way, when I can do nothing but sneeze and rage and snort pocket- handkerchiefs to atoms. If I had you in range of my nose now I would blow your brains out.
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[Samuel Clemens] Mark Twain's short story: Answers To Correspondents

Amended Obituaries

Title:     Amended Obituaries
Author: Mark Twain


AMENDED OBITUARIES
TO THE EDITOR:
Sir,--I am approaching seventy; it is in sight; it is only three years away. Necessarily, I must go soon. It is but matter-of-course wisdom, then, that I should begin to set my worldly house in order now, so that it may be done calmly and with thoroughness, in place of waiting until the last day, when, as we have often seen, the attempt to set both houses in order at the same time has been marred by the necessity for haste and by the confusion and waste of time arising from the inability of the notary and the ecclesiastic to work together harmoniously, taking turn about and giving each other friendly assistance--not perhaps in fielding, which could hardly be expected, but at least in the minor offices of keeping game and umpiring; by consequence of which conflict of interests and absence of harmonious action a draw has frequently resulted where this ill-fortune could not have happened if the houses had been set in order one at a time and hurry avoided by beginning in season, and giving to each the amount of time fairly and justly proper to it.
In setting my earthly house in order I find it of moment that I should attend in person to one or two matters which men in my position have long had the habit of leaving wholly to others, with consequences often most regrettable. I wish to speak of only one of these matters at this time: Obituaries. Of necessity, an Obituary is a thing which cannot be so judiciously edited by any hand as by that of the subject of it. In such a work it is not the Facts that are of chief importance, but the light which the obituarist shall throw upon them, the meaning which he shall dress them in, the conclusions which he shall draw from them, and the judgments which he shall deliver upon them. The Verdicts, you understand: that is the danger-line.
In considering this matter, in view of my approaching change, it has seemed to me wise to take such measures as may be feasible, to acquire, by courtesy of the press, access to my standing obituaries, with the privilege--if this is not asking too much--of editing, not their Facts, but their Verdicts. This, not for the present profit, further than as concerns my family, but as a favorable influence usable on the Other Side, where there are some who are not friendly to me.
With this explanation of my motives, I will now ask you of your courtesy to make an appeal for me to the public press. It is my desire that such journals and periodicals as have obituaries of me lying in their pigeonholes, with a view to sudden use some day, will not wait longer, but will publish them now, and kindly send me a marked copy. My address is simply New York City--I have no other that is permanent and not transient.
I will correct them--not the Facts, but the Verdicts--striking out such clauses as could have a deleterious influence on the Other Side, and replacing them with clauses of a more judicious character. I should, of course, expect to pay double rates for both the omissions and the substitutions; and I should also expect to pay quadruple rates for all obituaries which proved to be rightly and wisely worded in the originals, thus requiring no emendations at all.
It is my desire to leave these Amended Obituaries neatly bound behind me as a perennial consolation and entertainment to my family, and as an heirloom which shall have a mournful but definite commercial value for my remote posterity.
I beg, sir, that you will insert this Advertisement (1t-eow, agate, inside), and send the bill to
Yours very respectfully.
Mark Twain.
P.S.--For the best Obituary--one suitable for me to read in public, and calculated to inspire regret--I desire to offer a Prize, consisting of a Portrait of me done entirely by myself in pen and ink without previous instructions. The ink warranted to be the kind used by the very best artists.
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[Samuel L. Clemens]Mark Twain's short story: Amended Obituaries

After-Dinner Speech

Title:     After-Dinner Speech
Author: Mark Twain


[AT A FOURTH OF JULY GATHERING, IN LONDON, OF AMERICANS]
MR. CHAIRMAN AND LADIES AND GENTLEMEN: I thank you for the compliment which has just been tendered me, and to show my appreciation of it I will not afflict you with many words. It is pleasant to celebrate in this peaceful way, upon this old mother soil, the anniversary of an experiment which was born of war with this same land so long ago, and wrought out to a successful issue by the devotion of our ancestors. It has taken nearly a hundred years to bring the English and Americans into kindly and mutually appreciative relations, but I believe it has been accomplished at last. It was a great step when the two last misunderstandings were settled by arbitration instead of cannon. It is another great step when England adopts our sewing-machines without claiming the invention--as usual. It was another when they imported one of our sleeping-cars the other day. And it warmed my heart more than I can tell, yesterday, when I witnessed the spectacle of an Englishman ordering an American sherry cobbler of his own free will and accord--and not only that but with a great brain and a level head reminding the barkeeper not to forget the strawberries. With a common origin, a common language, a common literature, a common religion and--common drinks, what is longer needful to the cementing of the two nations together in a permanent bond of brotherhood?
This is an age of progress, and ours is a progressive land. A great and glorious land, too--a land which has developed a Washington, a Franklin, a William M. Tweed, a Longfellow, a Motley, a Jay Gould, a Samuel C. Pomeroy, a recent Congress which has never had its equal (in some respects), and a United States Army which conquered sixty Indians in eight months by tiring them out--which is much better than uncivilized slaughter, God knows. We have a criminal jury system which is superior to any in the world; and its efficiency is only marred by the difficulty of finding twelve men every day who don't know anything and can't read. And I may observe that we have an insanity plea that would have saved Cain. I think I can say,--and say with pride, that we have some legislatures that bring higher prices than any in the world.
I refer with effusion to our railway system, which consents to let us live, though it might do the opposite, being our owners. It only destroyed three thousand and seventy lives last year by collisions, and twenty-seven thousand two hundred and sixty by running over heedless and unnecessary people at crossings. The companies seriously regretted the killing of these thirty thousand people, and went so far as to pay for some of them--voluntarily, of course, for the meanest of us would not claim that we possess a court treacherous enough to enforce a law against a railway company. But, thank Heaven, the railway companies are generally disposed to do the right and kindly thing without compulsion. I know of an instance which greatly touched me at the time. After an accident the company sent home the remains of a dear distant old relative of mine in a basket, with the remark, "Please state what figure you hold him at--and return the basket." Now there couldn't be anything friendlier than that.
But I must not stand here and brag all night. However, you won't mind a body bragging a little about his country on the fourth of July. It is a fair and legitimate time to fly the eagle. I will say only one more word of brag--and a hopeful one. It is this. We have a form of government which gives each man a fair chance and no favor. With us no individual is born with a right to look down upon his neighbor and hold him in contempt. Let such of us as are not dukes find our consolation in that. And we may find hope for the future in the fact that as unhappy as is the condition of our political morality to-day, England has risen up out of a far fouler since the days when Charles I. ennobled courtesans and all political place was a matter of bargain and sale. There is hope for us yet.
[At least the above is the speech which I was going to make, but our minister, General Schenck, presided, and after the blessing, got up and made a great long inconceivably dull harangue, and wound up by saying that inasmuch as speech-making did not seem to exhilarate the guests much, all further oratory would be dispensed with during the evening, and we could just sit and talk privately to our elbow- neighbors and have a good sociable time. It is known that in consequence of that remark forty-four perfected speeches died in the womb. The depression, the gloom, the solemnity that reigned over the banquet from that time forth will be a lasting memory with many that were there. By that one thoughtless remark General Schenck lost forty-four of the best friends he had in England. More than one said that night, "And this is the sort of person that is sent to represent us in a great sister empire!"]
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[Samuel Clemens] Mark Twain's short story: After-Dinner Speech

Advice to Little Girls

Title:     Advice to Little Girls
Author: Mark Twain


Good little girls ought not to make mouths at their teachers for every trifling offense. This retaliation should only be resorted to under peculiarly aggravated circumstances.
If you have nothing but a rag-doll stuffed with sawdust, while one of your more fortunate little playmates has a costly China one, you should treat her with a show of kindness nevertheless. And you ought not to attempt to make a forcible swap with her unless your conscience would justify you in it, and you know you are able to do it.
You ought never to take your little brother's "chewing-gum" away from him by main force; it is better to rope him in with the promise of the first two dollars and a half you find floating down the river on a grindstone. In the artless simplicity natural to this time of life, he will regard it as a perfectly fair transaction. In all ages of the world this eminently plausible fiction has lured the obtuse infant to financial ruin and disaster.
If at any time you find it necessary to correct your brother, do not correct him with mud--never, on any account, throw mud at him, because it will spoil his clothes. It is better to scald him a little, for then you obtain desirable results. You secure his immediate attention to the lessons you are inculcating, and at the same time your hot water will have a tendency to move impurities from his person, and possibly the skin, in spots.
If your mother tells you to do a thing, it is wrong to reply that you won't. It is better and more becoming to intimate that you will do as she bids you, and then afterward act quietly in the matter according to the dictates of your best judgment.
You should ever bear in mind that it is to your kind parents that you are indebted for your food, and for the privilege of staying home from school when you let on that you are sick. Therefore you ought to respect their little prejudices, and humor their little whims, and put up with their little foibles until they get to crowding you too much.
Good little girls always show marked deference for the aged. You ought never to "sass" old people unless they "sass" you first.
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[Samuel Clemens] Mark Twain short story: Advice to Little Girls

About Play-Acting

Title:     About Play-Acting
Author: Mark Twain

I
I have a project to suggest. But first I will write a chapter of introduction.
I have just been witnessing a remarkable play, here at the Burg Theatre in Vienna. I do not know of any play that much resembles it. In fact, it is such a departure from the common laws of the drama that the name 'play' doesn't seem to fit it quite snugly. However, whatever else it may be, it is in any case a great and stately metaphysical poem, and deeply fascinating. 'Deeply fascinating' is the right term: for the audience sat four hours and five minutes without thrice breaking into applause, except at the close of each act; sat rapt and silent-- fascinated. This piece is 'The Master of Palmyra.' It is twenty years old; yet I doubt if you have ever heard of it. It is by Wilbrandt, and is his masterpiece and the work which is to make his name permanent in German literature. It has never been played anywhere except in Berlin and in the great Burg Theatre in Vienna. Yet whenever it is put on the stage it packs the house, and the free list is suspended. I know people who have seem it ten times; they know the most of it by heart; they do not tire of it; and they say they shall still be quite willing to go and sit under its spell whenever they get the opportunity.
There is a dash of metempsychosis in it--and it is the strength of the piece. The play gave me the sense of the passage of a dimly connected procession of dream-pictures. The scene of it is Palmyra in Roman times. It covers a wide stretch of time--I don't know how many years--and in the course of it the chief actress is reincarnated several times: four times she is a more or less young woman, and once she is a lad. In the first act she is Zoe--a Christian girl who has wandered across the desert from Damascus to try to Christianise the Zeus-worshipping pagans of Palmyra. In this character she is wholly spiritual, a religious enthusiast, a devotee who covets martyrdom--and gets it.
After many years she appears in the second act as Phoebe, a graceful and beautiful young light-o'-love from Rome, whose soul is all for the shows and luxuries and delights of this life--a dainty and capricious feather- head, a creature of shower and sunshine, a spoiled child, but a charming one. In the third act, after an interval of many years, she reappears as Persida, mother of a daughter who is in the fresh bloom of youth. She is now a sort of combination of her two earlier selves: in religious loyalty and subjection she is Zoe: in triviality of character and shallowness of judgement--together with a touch of vanity in dress--she is Phoebe.
After a lapse of years she appears in the fourth act as Nymphas, a beautiful boy, in whose character the previous incarnations are engagingly mixed.
And after another stretch of years all these heredities are joined in the Zenobia of the fifth act--a person of gravity, dignity, sweetness, with a heart filled with compassion for all who suffer, and a hand prompt to put into practical form the heart's benignant impulses.
There are a number of curious and interesting features in this piece. For instance, its hero, Appelles, young, handsome, vigorous, in the first act, remains so all through the long flight of years covered by the five acts. Other men, young in the firs act, are touched with gray in the second, are old and racked with infirmities in the third; in the fourth, all but one are gone to their long home, and this one is a blind and helpless hulk of ninety or a hundred years. It indicates that the stretch of time covered by the piece is seventy years or more. The scenery undergoes decay, too--the decay of age assisted and perfected by a conflagration. The fine new temples and palaces of the second act are by-and-by a wreck of crumbled walls and prostrate columns, mouldy, grass- grown, and desolate; but their former selves are still recognisable in their ruins. The ageing men and the ageing scenery together convey a profound illusion of that long lapse of time: they make you live it yourself! You leave the theatre with the weight of a century upon you.
Another strong effect: Death, in person, walks about the stage in every act. So far as I could make out, he was supposably not visible to any excepting two persons--the one he came for and Appelles. He used various costumes: but there was always more black about them than any other tint; and so they were always sombre. Also they were always deeply impressive and, indeed, awe-inspiring. The face was not subjected to changes, but remained the same first and last--a ghastly white. To me he was always welcome, he seemed so real--the actual Death, not a play-acting artificiality. He was of a solemn and stately carriage; and he had a deep voice, and used it with a noble dignity. Wherever there was a turmoil of merry-making or fighting or feasting or chaffing or quarreling, or a gilded pageant, or other manifestation of our trivial and fleeting life, into it drifted that black figure with the corpse- face, and looked its fateful look and passed on; leaving its victim shuddering and smitten. And always its coming made the fussy human pack seem infinitely pitiful and shabby, and hardly worth the attention of either saving or damning.
In the beginning of the first act the young girl Zoe appears by some great rocks in the desert, and sits down exhausted, to rest. Presently arrive a pauper couple stricken with age and infirmities; and they begin to mumble and pray to the Spirit of Life, who is said to inhabit that spot. The Spirit of Life appears; also Death--uninvited. They are (supposably) invisible. Death, tall, black-robed, corpse-faced, stands motionless and waits. The aged couple pray to the Spirit of Life for a means to prop up their existence and continue it. Their prayer fails. The Spirit of Life prophesies Zoe's martyrdom; it will take place before night. Soon Appelles arrives, young and vigorous and full of enthusiasm: he has led a host against the Persians and won the battle; he is the pet of fortune, rich, honoured, believed, 'Master of Palmyra'. He has heard that whoever stretches himself out on one of those rocks there and asks for a deathless life can have his wish. He laughs at the tradition, but wants to make the trial anyway. The invisible Spirit of Life warns him! 'Life without end can be regret without end.' But he persists: let him keep his youth, his strength, and his mental faculties unimpaired, and he will take all the risks. He has his desire.
From this time forth, act after act, the troubles and sorrows and misfortunes and humiliations of life beat upon him without pity or respite; but he will not give up, he will not confess his mistake. Whenever he meets Death he still furiously defies him--but Death patiently waits. He, the healer of sorrows, is man's best friend: the recognition of this will come. As the years drag on, and on, and on, the friends of the Master's youth grow old; and one by one they totter to the grave: he goes on with his proud fight, and will not yield. At length he is wholly alone in the world; all his friends are dead; last of all, his darling of darlings, his son, the lad Nymphas, who dies in his arms. His pride is broken now; and he would welcome Death, if Death would come, if Death would hear his prayers and give him peace. The closing act is fine and pathetic. Appelles meets Zenobia, the helper of all who suffer, and tells her his story, which moves her pity. By common report she is endowed with more than earthly powers; and since he cannot have the boon of death, he appeals to her to drown his memory in forgetfulness of his griefs--forgetfulness 'which is death's equivalent'. She says (roughly translated), in an exaltation of compassion:
'Come to me!
Kneel; and may the power be granted me
To cool the fires of this poor tortured brain,
And bring it peace and healing.'
He kneels. From her hand, which she lays upon his head, a mysterious influence steals through him; and he sinks into a dreamy tranquility.
'Oh, if I could but so drift
Through this soft twilight into the night of peace,
Never to wake again!
(Raising his hand, as if in benediction.)
O mother earth, farewell!
Gracious thou were to me. Farewell!
Appelles goes to rest.'
Death appears behind him and encloses the uplifted hand in his. Appelles shudders, wearily and slowly turns, and recognises his life-long adversary. He smiles and puts all his gratitude into one simple and touching sentence, 'Ich danke dir,' and dies.
Nothing, I think, could be more moving, more beautiful, than this close. This piece is just one long, soulful, sardonic laugh at human life. Its title might properly be 'Is Life a Failure?' and leave the five acts to play with the answer. I am not at all sure that the author meant to laugh at life. I only notice that he has done it. Without putting into words any ungracious or discourteous things about life, the episodes in the piece seem to be saying all the time, inarticulately: 'Note what a silly poor thing human life is; how childish its ambitions, how ridiculous its pomps, how trivial its dignities, how cheap its heroisms, how capricious its course, how brief its flight, how stingy in happinesses, how opulent in miseries, how few its prides, how multitudinous its humiliations, how comic its tragedies, how tragic its comedies, how wearisome and monotonous its repetition of its stupid history through the ages, with never the introduction of a new detail; how hard it has tried, from the Creation down, to play itself upon its possessor as a boon and has never proved its case in a single instance!'
Take note of some of the details of the piece. Each of the five acts contains an independent tragedy of its own. In each act someone's edifice of hope, or of ambition, or of happiness, goes down in ruins. Even Appelles' perennial youth is only a long tragedy, and his life a failure. There are two martyrdoms in the piece; and they are curiously and sarcastically contrasted. In the first act the pagans persecute Zoe, the Christian girl, and a pagan mob slaughters her. In the fourth act those same pagans--now very old and zealous--are become Christians, and they persecute the pagans; a mob of them slaughters the pagan youth, Nymphas, who is standing up for the old gods of his fathers. No remark is made about this picturesque failure of civilisation; but there it stands, as an unworded suggestion that civilisation, even when Christianised, was not able wholly to subdue the natural man in that old day--just as in our day the spectacle of a shipwrecked French crew clubbing women and children who tried to climb into the lifeboats suggests that civilisation has not succeeded in entirely obliterating the natural man even yet. Common sailors a year ago, in Paris, at a fire, the aristocracy of the same nation clubbed girls and women out of the way to save themselves. Civilisation tested at top and bottom both, you see. And in still another panic of fright we have this same tough civilisation saving its honour by condemning an innocent man to multiform death, and hugging and whitewashing the guilty one.
In the second act a grand Roman official is not above trying to blast Appelles' reputation by falsely charging him with misappropriating public moneys. Appelles, who is too proud to endure even the suspicion of irregularity, strips himself to naked poverty to square the unfair account, and his troubles begin: the blight which is to continue and spread strikes his life; for the frivolous, pretty creature whom he brought from Rome has no taste for poverty and agrees to elope with a more competent candidate. Her presence in the house has previously brought down the pride and broken the heart of Appelles' poor old mother; and her life is a failure. Death comes for her, but is willing to trade her for the Roman girl; so the bargain is struck with Appelles, and the mother is spared for the present.
No one's life escapes the blight. Timoleus, the gay satirist of the first two acts, who scoffed at the pious hypocrisies and money-grubbing ways of the great Roman lords, is grown old and fat and blear-eyed and racked with disease in the third, has lost his stately purities, and watered the acid of his wit. His life has suffered defeat. Unthinkingly he swears by Zeus--from ancient habit--and then quakes with fright; for a fellow-communicant is passing by. Reproached by a pagan friend of his youth for his apostasy, he confesses that principle, when unsupported by an assenting stomach, has to climb down. One must have bread; and 'the bread is Christian now.' Then the poor old wreck, once so proud of his iron rectitude, hobbles away, coughing and barking.
In that same act Appelles give his sweet young Christian daughter and her fine young pagan lover his consent and blessing, and makes them utterly happy--for five minutes. Then the priest and the mob come, to tear them apart and put the girl in a nunnery; for marriage between the sects is forbidden. Appelles' wife could dissolve the rule; and she wants to do it; but under priestly pressure she wavers; then, fearing that in providing happiness for her child she would be committing a sin dangerous to her own, she goes over to the opposition, and throws the casting vote for the nunnery. The blight has fallen upon the young couple, and their life is a failure.
In the fourth act, Longinus, who made such a prosperous and enviable start in the first act, is left alone in the desert, sick, blind, helpless, incredibly old, to die: not a friend left in the world--another ruined life. And in that act, also, Appelles' worshipped boy, Nymphas, done to death by the mob, breathes out his last sigh in his father's arms--one more failure. In the fifth act, Appelles himself dies, and is glad to do it; he who so ignorantly rejoiced, only four acts before, over the splendid present of an earthly immortality--the very worst failure of the lot!
II
Now I approach my project. Here is the theatre list for Saturday, May 7, 1898, cut from the advertising columns of a New York paper:
[graphic here]
Now I arrive at my project, and make my suggestion. From the look of this lightsome feast, I conclude that what you need is a tonic. Send for 'The Master of Palmyra.' You are trying to make yourself believe that life is a comedy, that its sole business is fun, that there is nothing serious in it. You are ignoring the skeleton in your closet. Send for 'The Master of Palmyra.' You are neglecting a valuable side of your life; presently it will be atrophied. You are eating too much mental sugar; you will bring on Bright's disease of the intellect. You need a tonic; you need it very much. Send for 'The Master of Palmyra.' You will not need to translate it; its story is as plain as a procession of pictures.
I have made my suggestion. Now I wish to put an annex to it. And that is this: It is right and wholesome to have those light comedies and entertaining shows; and I shouldn't wish to see them diminished. But none of us is always in the comedy spirit; we have our graver moods; they come to us all; the lightest of us cannot escape them. These moods have their appetites--healthy and legitimate appetites--and there ought to be some way of satisfying them. It seems to me that New York ought to have one theatre devoted to tragedy. With her three millions of population, and seventy outside millions to draw upon, she can afford it, she can support it. America devotes more time, labour, money and attention to distributing literary and musical culture among the general public than does any other nation, perhaps; yet here you find her neglecting what is possibly the most effective of all the breeders and nurses and disseminators of high literary taste and lofty emotion--the tragic stage. To leave that powerful agency out is to haul the culture-wagon with a crippled team. Nowadays, when a mood comes which only Shakespeare can set to music, what must we do? Read Shakespeare ourselves! Isn't it pitiful? It is playing an organ solo on a jew's-harp. We can't read. None but the Booths can do it.
Thirty years ago Edwin Booth played 'Hamlet' a hundred nights in New York. With three times the population, how often is 'Hamlet' played now in a year? If Booth were back now in his prime, how often could he play it in New York? Some will say twenty-five nights. I will say three hundred, and say it with confidence. The tragedians are dead; but I think that the taste and intelligence which made their market are not.
What has come over us English-speaking people? During the first half of this century tragedies and great tragedians were as common with us as farce and comedy; and it was the same in England. Now we have not a tragedian, I believe, and London, with her fifty shows and theatres, has but three, I think. It is an astonishing thing, when you come to consider it. Vienna remains upon the ancient basis: there has been no change. She sticks to the former proportions: a number of rollicking comedies, admirably played, every night; and also every night at the Burg Theatre--that wonder of the world for grace and beauty and richness and splendour and costliness--a majestic drama of depth and seriousness, or a standard old tragedy. It is only within the last dozen years that men have learned to do miracles on the stage in the way of grand and enchanting scenic effects; and it is at such a time as this that we have reduced our scenery mainly to different breeds of parlours and varying aspects of furniture and rugs. I think we must have a Burg in New York, and Burg scenery, and a great company like the Burg company. Then, with a tragedy-tonic once or twice a month, we shall enjoy the comedies all the better. Comedy keeps the heart sweet; but we all know that there is wholesome refreshment for both mind and heart in an occasional climb among the solemn pomps of the intellectual snow-summits built by Shakespeare and those others. Do I seem to be preaching? It is out of my life: I only do it because the rest of the clergy seem to be on vacation.
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-THE END-
[Samuel Clemens] Mark Twain's short story: About Play-Acting