Mark Twain: A Biography. Volume II, Part 1: 1886-1900. Paine Albert Bigelow
Читать онлайн книгу.
of manliness. These things are so truly portrayed that every boy and man reader finds the tale fitting into his own remembered years, as if it had grown there. Every boy has played off sick to escape school; every boy has reflected in his heart Tom's picture of himself being brought home dead, and gloated over the stricken consciences of those who had blighted his young life; every boy—of that day, at least—every normal, respectable boy, grew up to "fear God and dread the Sunday-school," as Howells puts it in his review.
As for the story itself, the narrative of it, it is pure delight. The pirate camp on the island is simply boy heaven. What boy, for instance, would not change any other glory or boon that the world holds for this:
They built a fire against the side of a great log twenty or thirty steps within the somber depths of the forest, and then cooked some bacon in the frying-pan for supper, and used up half of the corn "pone" stock they had brought. It seemed glorious sport to be feasting in that wild, free way in the virgin forest of an unexplored and uninhabited island, far from the haunts of men, and they said they never would return to civilization. The climbing fire lit up their faces and threw its ruddy glare upon the pillared tree-trunks of their forest-temple, and upon the varnished foliage and the festooning vines.
There is a magic in it. Mark Twain, when he wrote it, felt renewed in him all the old fascination of those days and nights with Tom Blankenship, John Briggs, and the Bowen boys on Glasscock's Island. Everywhere in Tom Sawyer there is a quality, entirely apart from the humor and the narrative, which the younger reader is likely to overlook. No one forgets the whitewashing scene, but not many of us, from our early reading, recall this delicious bit of description which introduces it:
The locust-trees were in bloom, and the fragrance of the blossoms filled the air. Cardiff Hill, beyond the village and above it, was green with vegetation, and it lay just far enough away to seem a delectable land, dreamy, reposeful, and inviting.
Tom's night visit home; the graveyard scene, with the murder of Dr. Robinson; the adventures of Tom and Becky in the cave—these are all marvelously invented. Literary thrill touches the ultimate in one incident of the cave episode. Brander Matthews has written:
Nor is there any situation quite as thrilling as that awful moment in the cave when the boy and girl are lost in the darkness, and when Tom suddenly sees a human hand bearing a light, and then finds that the hand is the hand of Indian Joe, his one mortal enemy. I have always thought that the vision of the hand in the cave in Tom Sawyer was one of the very finest things in the literature of adventure since Robinson Crusoe first saw a single footprint in the sand of the sea-shore.
Mark Twain's invention was not always a reliable quantity, but with that eccentricity which goes with any attribute of genius, it was likely at any moment to rise supreme. If to the critical, hardened reader the tale seems a shade overdone here and there, a trifle extravagant in its delineations, let him go back to his first long-ago reading of it and see if he recalls anything but his pure delight in it then. As a boy's story it has not been equaled.
Tom Sawyer has ranked in popularity with Roughing It.
Its sales go steadily on from year to year, and are likely to continue so long as boys and girls do not change, and men and women remember.
–[Col. Henry Watterson, when he finished Tom Sawyer, wrote: "I have just laid down Tom Sawyer, and cannot resist the pressure. It is immense! I read every word of it, didn't skip a line, and nearly disgraced myself several times in the presence of a sleeping-car full of honorable and pious people. Once I had to get to one side and have a cry, and as for an internal compound of laughter and tears there was no end to it…. The 'funeral' of the boys, the cave business, and the hunt for the hidden treasure are as dramatic as anything I know of in fiction, while the pathos—particularly everything relating to Huck and Aunt Polly—makes a cross between Dickens's skill and Thackeray's nature, which, resembling neither, is thoroughly impressive and original."]
CX
MARK TWAIN AND BRET HARTE WRITE A PLAY
It was the fall and winter of '76 that Bret Harte came to Hartford and collaborated with Mark Twain on the play "Ah Sin," a comedy-drama, or melodrama, written for Charles T. Parsloe, the great impersonator of Chinese character. Harte had written a successful play which unfortunately he had sold outright for no great sum, and was eager for another venture. Harte had the dramatic sense and constructive invention. He also had humor, but he felt the need of the sort of humor that Mark Twain could furnish. Furthermore, he believed that a play backed by both their reputations must start with great advantages. Clemens also realized these things, and the arrangement was made. Speaking of their method of working, Clemens once said:
"Well, Bret came down to Hartford and we talked it over, and then Bret wrote it while I played billiards, but of course I had to go over it to get the dialect right. Bret never did know anything about dialect." Which is hardly a fair statement of the case. They both worked on the play, and worked hard.
During the period of its construction Harte had an order for a story which he said he must finish at once, as he needed the money. It must be delivered by the following night, and he insisted that he must be getting at it without a moment's delay. Still he seemed in no haste to begin. The evening passed; bedtime came. Then he asked that an open fire might be made in his room and a bottle of whisky sent up, in case he needed. something to keep him awake. George attended to these matters, and nothing more was heard of Harte until very early next morning, when he rang for George and asked for a fresh fire and an additional supply of whisky. At breakfast-time he appeared, fresh, rosy, and elate, with the announcement that his story was complete.
That forenoon the Saturday Morning Club met at the Clemens home. It was a young women's club, of which Mark Twain was a sort of honorary member —a club for the purpose of intellectual advancement, somewhat on the order of the Monday Evening Club of men, except that the papers read before it were not prepared by members, but by men and women prominent in some field of intellectual progress. Bret Harte had agreed to read to them on this particular occasion, and he gaily appeared and gave them the story just finished, "Thankful Blossom," a tale which Mark Twain always regarded as one of Harte's very best.
The new play, "Ah Sin," by Mark Twain and Bret Harte, was put on at Washington, at the National Theater, on the evening of May 7, 1877. It had been widely exploited in the newspapers, and the fame of the authors insured a crowded opening. Clemens was unable to go over on account of a sudden attack of bronchitis. Parsloe was nervous accordingly, and the presence of Harte does not seem to have added to his happiness.
"I am not very well myself," he wrote to Clemens. "The excitement of the first night is bad enough, but to have the annoyance with Harte that I have is too much for a new beginner."
Nevertheless, the play seems to have gone well, with Parsloe as Ah Sin —a Chinese laundryman who was also a great number of other diverting things—with a fair support and a happy-go-lucky presentation of frontier life, which included a supposed murder, a false accusation, and a general clearing-up of mystery by the pleasant and wily and useful and entertaining Ah Sin. It was not a great play. It was neither very coherent nor convincing, but it had a lot of good fun in it, with character parts which, if not faithful to life, were faithful enough to the public conception of it to be amusing and exciting. At the end of each act not only Parsloe, but also the principal members of the company, were called before the curtain for special acknowledgments. When it was over there was a general call for Ah Sin, who came before the curtain and read a telegram.
CHARLES T. PARSLOE,—I am on the sick-list, and therefore cannot come to Washington; but I have prepared two speeches—one to deliver in event of failure of the play, and the other if successful. Please tell me which I shall send. May be better to put it to vote.
The house cheered the letter, and when it was put to vote decided unanimously that the play had been a success—a verdict more kindly than true.
J. I. Ford, of the theater management, wrote to Clemens, next morning after the first performance, urging him to come to Washington in person and "wet nurse" the play until "it could do for itself."
Ford expressed satisfaction with the play and its prospects, and concludes:
I