Seven days later, the Fourth of July, he said:
I have piled up one hundred and fifty-one pages on my comedy. The first, second and fourth acts are done, and done to my satisfaction, too. To-morrow and next day will finish the third act, and the play. Never had so much fun over anything in my life never such consuming interest and delight. And just think! I had Sol Smith Russell in my mind's eye for the old detective's part, and bang it! he has gone off pottering with Oliver Optic, or else the papers lie.
He was working with enthusiasm, you see, believing in it with a faith which, alas, was no warrant for its quality. Even Howells caught his enthusiasm and became eager to see the play, and to have the story it contained told for the Atlantic.
But in the end it proved a mistake. Dion Boucicault, when he read the manuscript, pronounced it better than "Ah Sin," but that was only qualified praise. Actors who considered the play, anxious enough to have Mark Twain's name on their posters and small bills, were obliged to admit that, while it contained marvelous lines, it wouldn't "go." John Brougham wrote:
There is an absolute "embarrassment of riches" in your "Detective" most assuredly, but the difficulty is to put it into profitable form. The quartz is there in abundance, only requiring the necessary manipulation to extract the gold.
In narrative structure the story would be full of life, character, and the most exuberant fun, but it is altogether too diffuse in its present condition for dramatic representation, and I confess I do not feel sufficient confidence in my own experience (even if I had the time, which on reflection I find I have not) to undertake what, under different circumstances, would be a "labor of love."
That was frank, manly, and to the point; it covered the ground exactly. "Simon Wheeler, the Amateur Detective," had plenty of good material in it—plenty of dialogue and situations; but the dialogue wouldn't play, and the situations wouldn't act. Clemens realized that perhaps the drama was not, after all, his forte; he dropped "Simon Wheeler," lost his interest in "Ah Sin," even leased "Colonel Sellers" for the coming season, and so, in a sort of fury, put theatrical matters out of his mind.
He had entered upon what, for him, was a truer domain. One day he picked up from among the books at the farm a little juvenile volume, an English story of the thirteenth century by Charlotte M. Yonge, entitled, The Prince and the Page. It was a story of Edward I. and his cousins, Richard and Henry de Montfort; in part it told of the submerged personality of the latter, picturing him as having dwelt in disguise as a blind beggar for a period of years. It was a story of a sort and with a setting that Mark Twain loved, and as he read there came a correlative idea. Not only would he disguise a prince as a beggar, but a beggar as a prince. He would have them change places in the world, and each learn the burdens of the other's life.—[There is no point of resemblance between the Prince and the Pauper and the tale that inspired it. No one would ever guess that the one had grown out of the readings of the other, and no comparison of any sort is possible between them.]
The plot presented physical difficulties. He still had some lurking thought of stage performance, and saw in his mind a spectacular presentation, with all the costumery of an early period as background for a young and beautiful creature who would play the part of prince. The old device of changelings in the cradle (later used in Pudd'nhead Wilson) presented itself to him, but it could not provide the situations he had in mind. Finally came the thought of a playful interchange of raiment and state (with startling and unlooked-for consequence)—the guise and personality of Tom Canty, of Offal Court, for those of the son of Henry VIII., little Edward Tudor, more lately sixth English king of that name. This little prince was not his first selection for the part. His original idea had been to use the late King Edward VII. (then Prince of Wales) at about fifteen, but he found that it would never answer to lose a prince among the slums of modern London, and have his proud estate denied and jeered at by a modern mob. He felt that he could not make it seem real; so he followed back through history, looking along for the proper time and prince, till he came to little Edward, who was too young —but no matter, he would do.
He decided to begin his new venture in story form. He could dramatize it later. The situation appealed to him immensely. The idea seemed a brand-new one; it was delightful, it was fascinating, and he was saturated with the atmosphere and literature and history—the data and detail of that delightful old time. He put away all thought of cheap, modern play-acting and writing, to begin one of the loveliest and most entertaining and instructive tales of old English life. He decided to be quite accurate in his picture of the period, and he posted himself on old London very carefully. He bought a pocket-map which he studied in the minutest detail.
He wrote about four hundred manuscript pages of the tale that summer; then, as the inspiration seemed to lag a little, put it aside, as was his habit, to wait until the ambition for it should be renewed. It was a long wait, as usual. He did not touch it again for more than three years.
CXIII
TWO DOMESTIC DRAMAS
Some unusual happenings took place that summer of 1877. John T. Lewis (colored), already referred to as the religious antagonist of Auntie Cord, by great presence of mind and bravery saved the lives of Mrs. Clemens's sister-in-law, Mrs. Charles ("Charley") Langdon, her little daughter Julia, and her nurse-maid. They were in a buggy, and their runaway horse was flying down East Hill toward Elmira to certain destruction, when Lewis, laboring slowly homeward with a loaded wagon, saw them coming and turned his team across the road, after which he leaped out and with extraordinary strength and quickness grabbed the horse's bridle and brought him to a standstill. The Clemens and Crane families, who had seen the runaway start at the farm gate, arrived half wild with fear, only to find the supposed victims entirely safe.
Everybody contributed in rewarding Lewis. He received money ($1,500) and various other presents, including inscribed books and trinkets, also, what he perhaps valued more than anything, a marvelous stem-winding gold watch. Clemens, writing a full account to Dr. Brown of the watch, says:
And if any scoffer shall say, "behold this thing is out of character," there is an inscription within which will silence him; for it will teach him that this wearer aggrandizes the watch, not the watch the wearer.
In another paragraph he says:
When Lewis arrived the other evening, after having saved those lives by a feat which I think is the most marvelous I can call to mind, when he arrived hunched up on his manure-wagon and as grotesquely picturesque as usual, everybody wanted to go and see how he looked. They came back and said he was beautiful. It was so, too, and yet he would have photographed exactly as he would have done any day these past seven years that he has occupied this farm.
Lewis acknowledged his gifts in a letter which closed with a paragraph of rare native loftiness:
But I beg to say, humbly, that inasmuch as divine Providence saw fit to use me as an instrument for the saving of those preshious lives, the honner conferd upon me was greater than the feat performed.
Lewis lived to enjoy his prosperity, and the honor of the Clemens and Langdon households, for twenty-nine years. When he was too old to work there was a pension, to which Clemens contributed; also Henry H. Rogers.
So the simple-hearted, noble old negro closed his days in peace.
Mrs. Crane, in a letter, late in July, 1906, told of his death:
He was always cheerful, and seemed not to suffer much pain, told stories, and was able to eat almost everything.
Three days ago a new difficulty appeared, on account of which his doctor said he must go to the hospital for care such as it was quite impossible to give in his home.
He died on his way there.
Thus it happened that he died on the road where he had performed his great deed.
A second unusual incident of that summer occurred in Hartford. There had been a report of a strange man seen about the Clemens place, thought to be a prospecting burglar, and Clemens went over to investigate. A little searching inquiry revealed that the man was not a burglar, but a mechanic out of employment, a lover of one of the house-maids, who