The Autobiography of Mark Twain Mark Twain (best beach reads .TXT) 📖

library with the family, but was required to go at once to George Warner’s house, a hundred and fifty yards away, across the grounds. This was a heavy disappointment, and I tried to beg off, but did not succeed. I couldn’t even find out why I must waste this precious evening in a visit to a friend’s house when our own house offered so many and superior advantages. There was a mystery somewhere, but I was not able to get to the bottom of it. So we tramped across in the snow, and I found the Warner drawing-room crowded with seated people. There was a vacancy in the front row, for me⁠—in front of a curtain. At once the curtain was drawn, and before me, properly costumed, was the little maid, Margaret Warner, clothed in Tom Canty’s rags, and beyond an intercepting railing was Susy Clemens, arrayed in the silks and satins of the prince. Then followed with good action and spirit the rest of that first meeting between the prince and the pauper. It was a charming surprise, and to me a moving one. Other episodes of the tale followed, and I have seldom in my life enjoyed an evening so much as I enjoyed that one. This lovely surprise was my wife’s work. She had patched the scenes together from the book and had trained the six or eight young actors in their parts, and had also designed and furnished the costumes.

Afterward, I added a part for myself (Miles Hendon), also a part for Katy and a part for George. I think I have not mentioned George before. He was a colored man⁠—the children’s darling and a remarkable person. He had been a member of the family a number of years at that time. He had been born a slave, in Maryland, was set free by the Proclamation when he was just entering young manhood. He was body servant to General Devens all through the war, and then had come North and for eight or ten years had been earning his living by odd jobs. He came out to our house once, an entire stranger, to clean some windows⁠—and remained eighteen years. Mrs. Clemens could always tell enough about a servant by the look of him⁠—more, in fact, than she, or anybody else, could tell about him by his recommendations.

We played “The Prince and the Pauper” a number of times in our house to seated audiences of eighty-four persons, which was the limit of our space, and we got great entertainment out of it. As we played the piece it had several superiorities over the play as presented on the public stage in England and America, for we always had both the prince and the pauper on deck, whereas these parts were always doubled on the public stage⁠—an economical but unwise departure from the book, because it necessitated the excision of the strongest and most telling of the episodes. We made a stirring and handsome thing out of the coronation scene. This could not be accomplished otherwise than by having both the prince and the pauper present at the same time. Clara was the little Lady Jane Grey, and she performed the part with electrifying spirit. Twichell’s littlest cub, now a grave and reverend clergyman, was a page. He was so small that people on the back seats could not see him without an opera-glass, but he held up Lady Jane’s train very well. Jean was only something past three years old, therefore was too young to have a part, but she produced the whole piece every day independently, and played all the parts herself. For a one-actor piece it was not bad. In fact, it was very good⁠—very entertaining. For she was in very deep earnest, and, besides, she used an English which none but herself could handle with effect.

Our children and the neighbors’ children played well; easily, comfortably, naturally, and with high spirit. How was it that they were able to do this? It was because they had been in training all the time from their infancy. They grew up in our house, so to speak, playing charades. We never made any preparation. We selected a word, whispered the parts of it to the little actors; then we retired to the hall where all sorts of costumery had been laid out ready for the evening. We dressed the parts in three minutes and each detachment marched into the library and performed its syllable, then retired, leaving the fathers and mothers to guess that syllable if they could. Sometimes they could.

Will Gillette, now world-famous actor and dramatist, learned a part of his trade by acting in our charades. Those little chaps, Susy and Clara, invented charades themselves in their earliest years, and played them for the entertainment of their mother and me. They had one high merit⁠—none but a high-grade intellect could guess them. Obscurity is a great thing in a charade. These babies invented one once which was a masterpiece in this regard. They came in and played the first syllable, which was a conversation in which the word red occurred with suggestive frequency. Then they retired⁠—came again, continuing an angry dispute which they had begun outside, and in which several words like just, fair, unfair, unjust, and so on, kept occurring; but we noticed that the word just was in the majority⁠—so we set that down along with the word red and discussed the probabilities while the children went out to recostume themselves. We had thus “red,” “just.” They soon appeared and began to do a very fashionable morning call, in which the one made many inquiries of the other concerning some lady whose name was persistently suppressed, and who was always referred to as “her,” even when the grammar did not permit of that form of the pronoun. The children retired. We took an account of stock and, so far as we could see, we had three syllables, “red,” “just,” “her.” But that was all.