1601 by Mark Twain (novels for beginners TXT) 📖

Clemens, referring to Hay’s delicious notes, “what an unsurpassable touch John Hay had!”

 

HUMOR AT WEST POINT

The first printing of 1601 in actual book form was “Donne at ye Academie Press,” in 1882, West Point, New York, under the supervision of Lieut. C. E. S. Wood, then adjutant of the U. S. Military Academy.

In 1882 Mark Twain and Joe Twichell visited their friend Lieut. Wood at West Point, where they learned that Wood, as Adjutant, had under his control a small printing establishment. On Mark’s return to Hartford, Wood received a letter asking if he would do Mark a great favor by printing something he had written, which he did not care to entrust to the ordinary printer. Wood replied that he would be glad to oblige. On April 3, 1882, Mark sent the manuscript:

“I enclose the original of 1603 [sic] as you suggest. I am afraid there are errors in it, also, heedlessness in antiquated spelling—e’s stuck on often at end of words where they are not strickly necessary, etc….. I would go through the manuscript but I am too much driven just now, and it is not important anyway. I wish you would do me the kindness to make any and all corrections that suggest themselves to you.

“Sincerely yours, “S. L. Clemens.”

 

Charles Erskine Scott Wood recalled in a foreword, which he wrote for the limited edition of 1601 issued by the Grabhorn Press, how he felt when he first saw the original manuscript. “When I read it,” writes Wood, “I felt that the character of it would be carried a little better by a printing which pretended to the eye that it was contemporaneous with the pretended ‘conversation.’

“I wrote Mark that for literary effect I thought there should be a species of forgery, though of course there was no effort to actually deceive a scholar. Mark answered that I might do as I liked;—that his only object was to secure a number of copies, as the demand for it was becoming burdensome, but he would be very grateful for any interest I brought to the doing.

“Well, Tucker [foreman of the printing shop] and I soaked some handmade linen paper in weak coffee, put it as a wet bundle into a warm room to mildew, dried it to a dampness approved by Tucker and he printed the ‘copy’ on a hand press. I had special punches cut for such Elizabethan abbreviations as the a, e, o and u, when followed by m or n—and for the (commonly and stupidly pronounced ye).

“The only editing I did was as to the spelling and a few old English words introduced. The spelling, if I remember correctly, is mine, but the text is exactly as written by Mark. I wrote asking his view of making the spelling of the period and he was enthusiastic—telling me to do whatever I thought best and he was greatly pleased with the result.”

Thus was printed in a de luxe edition of fifty copies the most curious masterpiece of American humor, at one of America’s most dignified institutions, the United States Military Academy at West Point.

“1601 was so be-praised by the archaeological scholars of a quarter of a century ago,” wrote Clemens in his letter to Charles Orr, “that I was rather inordinately vain of it. At that time it had been privately printed in several countries, among them Japan. A sumptuous edition on large paper, rough-edged, was made by Lieut. C. E. S. Wood at West Point —an edition of 50 copies—and distributed among popes and kings and such people. In England copies of that issue were worth twenty guineas when I was there six years ago, and none to be had.”

 

FROM THE DEPTHS

Mark Twain’s irreverence should not be misinterpreted: it was an irreverence which bubbled up from a deep, passionate insight into the well-springs of human nature. In 1601, as in ‘The Man That Corrupted Hadleyburg,’ and in ‘The Mysterious Stranger,’ he tore the masks off human beings and left them cringing before the public view. With the deftness of a master surgeon Clemens dealt with human emotions and delighted in exposing human nature in the raw.

The spirit and the language of the Fireside Conversation were rooted deep in Mark Twain’s nature and in his life, as C. E. S. Wood, who printed 1601 at West Point, has pertinently observed,

“If I made a guess as to the intellectual ferment out of which 1601 rose I would say that Mark’s intellectual structure and subconscious graining was from Anglo-Saxons as primitive as the common man of the Tudor period. He came from the banks of the Mississippi—from the flatboatmen, pilots, roustabouts, farmers and village folk of a rude, primitive people—as Lincoln did.

“He was finished in the mining camps of the West among stage drivers, gamblers and the men of ‘49. The simple roughness of a frontier people was in his blood and brain.

“Words vulgar and offensive to other ears were a common language to him. Anyone who ever knew Mark heard him use them freely, forcibly, picturesquely in his unrestrained conversation. Such language is forcible as all primitive words are. Refinement seems to make for weakness—or let us say a cutting edge—but the old vulgar monosyllabic words bit like the blow of a pioneer’s ax—and Mark was like that. Then I think 1601 came out of Mark’s instinctive humor, satire and hatred of puritanism. But there is more than this; with all its humor there is a sense of real delight in what may be called obscenity for its own sake. Whitman and the Bible are no more obscene than Nature herself—no more obscene than a manure pile, out of which come roses and cherries. Every word used in 1601 was used by our own rude pioneers as a part of their vocabulary—and no word was ever invented by man with obscene intent, but only as language to express his meaning. No act of nature is obscene in itself—but when such words and acts are dragged in for an ulterior purpose they become offensive, as everything out of place is offensive. I think he delighted, too, in shocking—giving resounding slaps on what Chaucer would quite simply call ‘the bare erse.’”

Quite aside from this Chaucerian “erse” slapping, Clemens had also a semi-serious purpose, that of reproducing a past time as he saw it in Shakespeare, Dekker, Jonson, and other writers of the Elizabethan era. Fireside Conversation was an exercise in scholarship illumined by a keen sense of character. It was made especially effective by the artistic arrangement of widely-gathered material into a compressed picture of a phase of the manners and even the minds of the men and women “in the spacious times of great Elizabeth.”

Mark Twain made of 1601 a very smart and fascinating performance, carried over almost to grotesqueness just to show it was not done for mere delight in the frank naturalism of the functions with which it deals. That Mark Twain had made considerable study of this frankness is apparent from chapter four of ‘A Yankee At King Arthur’s Court,’ where he refers to the conversation at the famous Round Table thus:

“Many of the terms used in the most matter-of-fact way by this great assemblage of the first ladies and gentlemen of the land would have made a Comanche blush. Indelicacy is too mild a term to convey the idea. However, I had read Tom Jones and Roderick Random and other books of that kind and knew that the highest and first ladies and gentlemen in England had remained little or no cleaner in their talk, and in the morals and conduct which such talk implies, clear up to one hundred years ago; in fact clear into our own nineteenth century—in which century, broadly speaking, the earliest samples of the real lady and the real gentleman discoverable in English history,—or in European history, for that matter—may be said to have made their appearance. Suppose Sir Walter [Scott] instead of putting the conversation into the mouths of his characters, had allowed the characters to speak for themselves? We should have had talk from Rebecca and Ivanhoe and the soft lady Rowena which would embarrass a tramp in our day. However, to the unconsciously indelicate all things are delicate.”

Mark Twain’s interest in history and in the depiction of historical periods and characters is revealed through his fondness for historical reading in preference to fiction, and through his other historical writings. Even in the hilarious, youthful days in San Francisco, Paine reports that “Clemens, however, was never quite ready for sleep. Then, as ever, he would prop himself up in bed, light his pipe, and lose himself in English or French history until his sleep conquered.” Paine tells us, too, that Lecky’s ‘European Morals’ was an old favorite.

The notes to ‘The Prince and the Pauper’ show again how carefully Clemens examined his historical background, and his interest in these materials. Some of the more important sources are noted: Hume’s ‘History of England’, Timbs’ ‘Curiosities of London’, J. Hammond Trumbull’s ‘Blue Laws, True and False’. Apparently Mark Twain relished it, for as Bernard DeVoto points out, “The book is always Mark Twain. Its parodies of Tudor speech lapse sometimes into a callow satisfaction in that idiom—Mark hugely enjoys his nathlesses and beshrews and marrys.” The writing of 1601 foreshadows his fondness for this treatment.

“Do you suppose the liberties and the Brawn of These States have to do only with delicate lady-words? with gloved gentleman words” Walt Whitman, ‘An American Primer’.

Although 1601 was not matched by any similar sketch in his published works, it was representative of Mark Twain the man. He was no emaciated literary tea-tosser. Bronzed and weatherbeaten son of the West, Mark was a man’s man, and that significant fact is emphasized by the several phases of Mark’s rich life as steamboat pilot, printer, miner, and frontier journalist.

On the Virginia City Enterprise Mark learned from editor R. M. Daggett that “when it was necessary to call a man names, there were no expletives too long or too expressive to be hurled in rapid succession to emphasize the utter want of character of the man assailed…. There were typesetters there who could hurl anathemas at bad copy which would have frightened a Bengal tiger. The news editor could damn a mutilated dispatch in twenty-four languages.”

In San Francisco in the sizzling sixties we catch a glimpse of Mark Twain and his buddy, Steve Gillis, pausing in doorways to sing “The Doleful Ballad of the Neglected Lover,” an old piece of uncollected erotica. One morning, when a dog began to howl, Steve awoke “to find his room-mate standing in the door that opened out into a back garden, holding a big revolver, his hand shaking with cold and excitement,” relates Paine in his Biography.

“‘Come here, Steve,’ he said. ‘I’m so chilled through I can’t get a bead on him.’

“‘Sam,’ said Steve, ‘don’t shoot him. Just swear at him. You can easily kill him at any range with your profanity.’

“Steve Gillis declares that Mark Twain let go such a scorching, singeing blast that the brute’s owner sold him the next day for a Mexican hairless dog.”

Nor did Mark’s “geysers of profanity” cease spouting after these gay and youthful days in San Francisco. With Clemens it may truly be said that profanity was an art—a pyrotechnic art that entertained nations.

“It was my duty to keep buttons on his shirts,” recalled Katy Leary, life-long housekeeper and friend in the Clemens menage, “and he’d swear something terrible if I didn’t. If he found a shirt in his drawer without a button on, he’d take every single shirt out of that drawer and throw them right out of the window, rain or shine—out of the bathroom window they’d go. I used to look out every morning to see the snowflakes—anything white. Out