Mark Twain: A Biography. Volume II, Part 2: 1886-1900. Paine Albert Bigelow

very thing that would sustain such a great message and make it permanent would be the care, the restraint, the artistic worthiness of its construction. One must believe in a story like that to be convinced of its logic. To lose faith in it—in its narrative—is absolutely fatal to its purpose. The Yankee in King Arthur's Court not only offended the English nation, but much of it offended the better taste of Mark Twain's own countrymen, and in time it must have offended even Mark Twain himself. Reading it, one can visualize the author as a careering charger, with a bit in his teeth, trampling the poetry and the tradition of the romantic days, the very things which he himself in his happier moods cared for most. Howells likened him to Cervantes, laughing Spain's chivalry away. The comparison was hardly justified. It was proper enough to laugh chivalry out of court when it was a reality; but Mark Twain, who loved Sir Thomas Malory to the end of his days, the beauty and poetry of his chronicles; who had written 'The Prince and the Pauper', and would one day write that divine tale of the 'Maid of Orleans'; who was himself no more nor less than a knight always ready to redress wrong, would seem to have been the last person to wish to laugh it out of romance.

      And yet, when all is said, one may still agree with Howells in ranking the Yankee among Mark Twain's highest achievements in the way of "a greatly imagined and symmetrically developed tale." It is of that class, beyond doubt. Howells goes further:

      Of all the fanciful schemes in fiction it pleases me most, and I give myself with absolute delight to its notion of a keen East Hartford Yankee finding himself, by a retroactionary spell, at the court of King Arthur of Britain, and becoming part of the sixth century with all the customs and ideas of the nineteenth in him and about him. The field for humanizing satire which this scheme opens is illimitable.

      Colossal it certainly is, as Howells and Stedman agreed: colossal in its grotesqueness as in its sublimity. Howells, summarizing Mark Twain's gifts (1901), has written:

      He is apt to burlesque the lighter colloquiality, and it is only in the more serious and most tragical junctures that his people utter themselves with veracious simplicity and dignity. That great, burly fancy of his is always tempting him to the exaggeration which is the condition of so much of his personal humor, but which when it invades the drama spoils the illusion. The illusion renews itself in the great moments, but I wish it could be kept intact in the small, and I blame him that he does not rule his fancy better.

      All of which applies precisely to the writing of the Yankee in King Arthur's Court. Intended as a fierce heart-cry against human injustice —man's inhumanity to man—as such it will live and find readers; but, more than any other of Mark Twain's pretentious works, it needs editing —trimming by a fond but relentless hard.

      CLXXII

      THE "YANKEE" IN ENGLAND

      The London publishers of the Yankee were keenly anxious to revise the text for their English readers. Clemens wrote that he had already revised the Yankee twice, that Stedman had critically read it, and that Mrs. Clemens had made him strike out many passages and soften others. He added that he had read chapters of it in public several times where Englishmen were present and had profited by their suggestions. Then he said:

      Now, mind you, I have taken all this pains because I wanted to say a Yankee mechanic's say against monarchy and its several natural props, and yet make a book which you would be willing to print exactly as it comes to you, without altering a word.

      We are spoken of (by Englishmen) as a thin-skinned people. It is you who are thin-skinned. An Englishman may write with the most brutal frankness about any man or institution among us and we republish him without dreaming of altering a line or a word. But England cannot stand that kind of a book written about herself. It is England that is thin-skinned. It causeth me to smile when I read the modifications of my language which have been made in my English editions to fit them for the sensitive English palate.

      Now, as I say, I have taken laborious pains to so trim this book of offense that you'll not lack the nerve to print it just as it stands. I am going to get the proofs to you just as early as I can. I want you to read it carefully. If you can publish it without altering a single word, go ahead. Otherwise, please hand it to J. R. Osgood in time for him to have it published at my expense.

      This is important, for the reason that the book was not written for America; it was written for England. So many Englishmen have done their sincerest best to teach us something for our betterment that it seems to me high time that some of us should substantially recognize the good intent by trying to pry up the English nation to a little higher level of manhood in turn.

      So the Yankee was published in England just as he had written it,—[The preface was shortened and modified for both the American and English editions. The reader will find it as originally written under Appendix S, at the end of last volume.]—and the criticisms were as plentiful as they were frank. It was referred to as a "lamentable failure" and as an "audacious sacrilege" and in terms still less polite. Not all of the English critics were violent. The Daily Telegraph gave it something more than a column of careful review, which did not fail to point out the book's sins with a good deal of justice and dignity; but the majority of English papers joined in a sort of objurgatory chorus which, for a time at least, spared neither the author nor his work. Strictures on the Yankee extended to his earlier books. After all, Mark Twain's work was not for the cultivated class.

      These things must have begun to gravel Clemens a good deal at last, for he wrote to Andrew Lang at considerable length, setting forth his case in general terms—that is to say, his position as an author—inviting Lang to stand as his advocate before the English public. In part he said:

      The critic assumes every time that if a book doesn't meet the cultivated-class standard it isn't valuable . . . The critic has actually imposed upon the world the superstition that a painting by Raphael is more valuable to the civilizations of the earth than is a chromo; and the august opera more than the hurdy-gurdy and the villagers' singing society; and the Latin classics than Kipling's far-reaching bugle-note; and Jonathan Edwards than the Salvation Army . . . . If a critic should start a religion it would not have any object but to convert angels, and they wouldn't need it. It is not that little minority who are already saved that are best worth lifting up, I should think, but the mighty mass of the uncultivated who are underneath! That mass will never see the old masters—that sight is for the few; but the chromo-maker can lift them all one step upward toward appreciation of art; they cannot have the opera, but the hurdy-gurdy and the singing-class lift them a little way toward that far height; they will never know Homer, but the passing rhymester of their day leaves them higher than he found them; they may never even hear of the Latin classics, but they will strike step with Kipling's drum-beat and they will march; for all Jonathan Edwards's help they would die in their slums, but the Salvation Army will beguile some of them to a purer air and a cleaner life.

      I have never tried, in even one single little instance, to help cultivate the cultivated classes. I was not equipped for it either by native gifts or training. And I never had any ambition in that direction, but always hunted for bigger game—the masses. I have seldom deliberately tried to instruct them, but I have done my best to entertain them, for they can get instruction elsewhere . . . . My audience is dumb; it has no voice in print, and so I cannot know whether I have won its approval or only got its censure.

      He closed by asking that Lang urge the critics to adopt a rule recognizing the masses, and to formulate a standard whereby work done for them might be judged. "No voice can reach further than yours in a case of this kind," he said, "or carry greater weight of authority." There was no humor in this letter, and the writer of it was clearly in earnest.

      Lang's response was an article published in the Illustrated London News on the art of Mark Twain. He began by gently ridiculing hyperculture —the new culture—and ended with a eulogy on Huck Finn. It seems worth while, however, to let Andrew Lang speak for himself.

      I have been educated till I nearly dropped; I have lived with the earliest apostles of culture, in the days when Chippendale was first a name to conjure with, and Japanese art came in like a raging lion, and Ronsard was the favorite poet, and Mr. William Morris was a poet, too, and blue and green were the only wear, and the name of Paradise was Camelot. To be sure, I cannot say that I took all this quite seriously, but "we, too,