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The Hannibal of the forties and the fifties was hardly a town one would pick deliberately for the education of a great man of letters. It lay just a few miles above the northern line of Pike County--that Pike County, Missouri, that gave name to the shiftless, hand-to-mouth, ague-shaken type of humanity later to be celebrated so widely as the Pike. Hannibal was not a Pike community, but it was typically southwestern in its somnolent, slave-holding, care-free atmosphere. The one thing that forever rescued it from the commonplace was the River, the tremendous Mississippi, source of endless dreams and romance. Mark Twain has given us a picture, perfect as an etching, of this river and the little town that nestled beside it:

After all these years I can picture that old time to myself now, just as it was then: the white town drowsing in the sunshine of a summer's morning; the streets empty, or pretty nearly so; one or two clerks sitting in front of the Water Street stores, with their splint-bottomed chairs tilted back against the wall, chins on breast, hats slouched over their faces, asleep--with shingle shavings enough around to show what broke them down; a sow and a litter of pigs loafing along the sidewalk, doing a good business in water-melon rinds and seeds; two or three lonely little freight piles scattered around the "levee"; a pile of "skids" on the slope of the stone-paved wharf, and the fragrant town drunkard asleep in the shadow of them; two or three wood flats at the head of the wharf, but nobody to listen to the peaceful lapping of the wavelets against them; the great Mississippi, the majestic, the magnificent Mississippi, rolling its mile-wide tide along, shining in the sun; the dense forest away on the other side; the "point" above the town, and the "point" below, bounding the river glimpse and turning it into a sort of sea, and withal a very still and brilliant and lonely one. Presently a film of dark smoke appears above one of these remote "points"; instantly a negro drayman, famous for his quick eye and prodigious voice, lifts up the cry, "S-t-e-a-m boat a-comin'!" and the scene changes! The town drunkard stirs, the clerks wake up, a furious clatter of drays follows, every house and store pours out a human contribution, and all in a twinkling the dead town is alive and moving. Drays, carts, men, boys, all go hurrying to a common center, the wharf. Assembled there, the people fasten their eyes upon the coming boat as upon a wonder they are seeing for the first time.... The furnace doors are open and the fires glaring bravely; the upper decks are black with passengers; the captain stands by the big bell, calm, imposing, the envy of all; great volumes of the blackest smoke are rolling and tumbling out of the chimneys--a husbanded grandeur created with a bit of pitch pine just before arriving at a town; the crew are grouped on the forecastle; the broad stage is run far out over the port bow, and an envied deck-hand stands picturesquely on the end of it with a coil of rope in his hand; the pent steam is screaming through the gage-cocks; the captain lifts his hand, a bell rings, the wheels stop; then they turn back, churning the water to foam, and the steamer is at rest. Then such a scramble as there is to get aboard, and to get ashore, and to take in freight, and to discharge freight, all at one and the same time; and such a yelling and cursing as the mates facilitate it all with! Ten minutes later the steamer is under way again, with no flag on the jack-staff and no black smoke issuing from the chimneys. After ten more minutes the town is dead again, and the town drunkard asleep by the skids once more.

It was the romance of this river, the vastness and the mystery of it, the great unknown world which lay beyond those "points" where all things disappeared, that made of the boy a restless soul, a dreamer and an idealist--that made of him indeed the Mark Twain of the later years. His books nowhere rise into the pure serene of literature unless touched at some point by this magic stream that flowed so marvelously through his boyhood. The two discoverers of the Mississippi were De Soto and Mark Twain.

During the next four years he gave himself heart and soul to the almost superhuman task of committing to memory every sandbar and point and landmark in twelve hundred miles of a shifting, treacherous river. The difficulties he has explained fully in his book. It was a college course of four years, and no man ever had a better one. To quote his own words:

In that brief, sharp schooling I got personally and familiarly acquainted with all the different types of human nature that are to be found in fiction, biography, or history. When I find a well-drawn character in fiction or biography, I generally take a warm personal interest in him, for the reason that I have known him before--met him on the river.

It taught him far more than this. The pilot of a great Mississippi boat was a man with peculiar responsibilities. The lives of the passengers and the safety of the cargo were absolutely in his hands. His authority was above even the captain's. Only picked men of courage and judgment with a self-reliance that never wavered in any crisis were fit material for pilots. To quote Horace Bixby, the most noted of them all:

Under such conditions men were valued only for what they actually could do. There was no entrance into the inner circle of masters of the river save through genuineness and real efficiency. Sentimentalizing and boasting and sham died instantly in that stern atmosphere. To live for four years in daily contact with such men taught one coarseness of speech and an appalling fluency in the use of profanity, but it taught one at the same time to look with supreme contempt upon inefficiency and pretense.

After a few weeks in a self-recruited troop that fell to pieces before it could join the Confederate army, the late pilot, now twenty-six years old, started by stage coach across the Plains with his brother Orion, who had just been appointed secretary to the new Governor of Nevada. It was Mark Twain's entry upon what, in college terms, may be called his graduate course. It was six years long and it covered one of the most picturesque eras in the history of Western America.

Bret Harte trimmed and trained and schooled me patiently until he changed me from an awkward utterer of coarse grotesqueness to a writer of paragraphs and chapters that have found a certain favor in the eyes of even some of the very decentest people in the land.

It makes my heart ache yet to call to mind some of those days. Still it shouldn't, for right in the depths of their poverty and their pocket-hunting vagabondage lay the germ of my coming good fortune. You remember the one gleam of jollity that shot across our dismal sojourn in the rain and mud of Angel's Camp--I mean that day we sat around the tavern and heard that chap tell about the frog and how they filled him with shot. And you remember how we quoted from the yarn and laughed over it out there on the hillside while you and dear old Stoker panned and washed. I jotted the story down in my note-book that day, and would have been glad to get ten or fifteen dollars for it--I was just that blind. But then we were so hard up. I published that story, and it became widely known in America, India, China, England, and the reputation it made for me has paid me thousands and thousands of dollars since.

It was not to be a tour of Europe, as Longfellow and Willis and Taylor had made it, the pilgrimage of a devotee to holy shrines; it was to be a great picnic with sixty-seven in the picnic party. Moreover, the recorder of it was bound by his instructions to report it in the style that had won him California fame. It was to be a Western book, written by a Westerner from the Western standpoint, but this does not imply that his Western readers expected an illiterate production full of coarseness and rude wit. California had produced a school of poets and romancers; she had serious literary journals, and she was proud of them. The letters, if California was to set her stamp of approval upon them, must have literary charm; they must have, moreover, freshness and originality; and they must sparkle with that spirit of humor which already had begun to be recognized as a native product.

We open the book and linger a moment over the preface:

I offer no apologies for any departures from the usual style of travel-writing that may be charged against me--for I think I have seen with impartial eyes, and I am sure I have written at least honestly, whether wisely or not.

He is not always critical. Genuineness and real worth never fail to impress him. Often he stands before a landscape, a city, a cathedral, as enthusiastic as any of the older school of travelers. The book is full of vivid descriptions, some of them almost poetic in their spirit and diction. But things must be what they pretend to be, or they will disgust him. Everywhere there is scorn for the mere echoer of the enthusiasm of others. He will not gush over an unworthy thing even if he knows the whole world has gushed over it. Da Vinci's "Last Supper," painted on a dilapidated wall and stained and scarred and dimmed, may once have been beautiful, he admits, but it is not so now. The pilgrims who stand before it "able to speak only in catchy ejaculations of rapture" fill him with wrath. "How can they see what is not visible?" The work of the old masters fills him always with indignation. They painted not Hebrews in their scriptural pieces, but Italians. "Their nauseous adulation of princely patrons was more prominent to me and claimed my attention more than the charms of color." "Raphael pictured such infernal villains as Catherine and Marie de Medicis seated in heaven conversing familiarly with the Virgin Mary and the angels , and yet my friends abuse me because I am a little prejudiced against the old masters."

Everywhere he strikes out at sentimentality. When he learns how Abelard deliberately sacrificed H?lo?se to his own selfish ideals, he bursts out: "The tons of sentiment I have wasted on that unprincipled humbug in my ignorance! I shall throttle down my emotions hereafter, about this sort of people, until I have read them up and know whether they are entitled to any tearful attentions or not." He is eager to see a French "grissette," but having seen one, bursts out in true Artemus Ward fashion: "Aroint thee, wench! I sorrow for the vagabond student of the Latin Quarter now, even more than formerly I envied him. Thus topples to the earth another idol of my infancy." The story of Petrarch's love for Laura only fills him with pity for the outrageously treated "Mr. Laura," the unknown husband of the heroine, who bore the burden but got none of the glory, and when they tell the thrilling legend of the old medieval castle, he makes only the comment, "Splendid legend--splendid lie--drive on!"

The days of sentimental journeyings are over. The dear old book of travel ... is a thing of the past. Sentimental musings on foreign scenes are just now restricted to the private diaries of young and impressible ladies and clergymen with affections of the bronchial tubes.... A race of good humored, engaging iconoclasts seem to have precipitated themselves upon the old altars of mankind, and like their predecessors of the eighth century, have paid particular attention to the holy church. Mr. Howells has slashed one or two sacred pictorial canvases with his polished rapier; Mr. Swift has made one or two neat long shots with a rifled Parrott, and Mr. Mark Twain has used brickbats on stained glass windows with damaging effect. And those gentlemen have certainly brought down a heap of rubbish.

First of all, it is necessary that we examine the man himself. Nature seems to have forced him into the ranks of the comedians. From his mother he inherited a drawl that was inexpressibly funny; he had a laughable personality, and a laughable angle from which he looked at life. He could no more help provoking mirth than he could help being himself. Moreover, he had been thrown during his formative years into a veritable training school for humorists. On the river and in the mines and the raw towns and cities of the West, he had lived in a gale of high spirits, of loud laughter, of practical jokes, and droll stories that had gone the rough round of the boats or the camps. His humor, therefore, was an echo of the laughter of elemental men who have been flung into conditions full of incongruities and strange contrasts. It is the humor of exaggeration run wild, of youthful high spirits, of rough practical jokes, of understatement, of irreverence, and gross absurdity.

The feller ... give it back to Smiley, and says, very deliberate, "Well, I don't see no pints about that frog that's any better'n any other frog."

And the feller studied a minute, and then says, kinder sad like, "Well, I'm only a stranger here, and I ain't got no frog; but if I had a frog, I'd bet you!"

I went away from there. I do not say that I went away in any sort of a hurry, but I simply went--that is sufficient. I went out at the window, and I carried the sash along with me. I did not need the sash, but it was handier to take it than it was to leave it, and so I took it. I was not scared, but I was considerably agitated.

They are not artistic books. The author had little skill in construction. He excelled in brilliant dashes, not in long-continued effort. He was his own Colonel Sellers, restless, idealistic, Quixotic. What he did he did with his whole soul without restraint or sense of proportion. There is in all he wrote a lack of refinement, kept at a minimum, to be sure, by his wife, who for years was his editor and severest critic, but likely at any moment to crop out. His books, all of them, are monotones, a running series of episodes and descriptions all of the same value, never reaching dramatic climax. The episodes themselves, however, are told with graphic intensity; some of them are gems well-nigh perfect. Here is a picture of the famous pony express of the Plains:

The pony-rider was usually a little bit of a man, brimful of spirit and endurance. No matter what time of the day or night his watch came on, and no matter whether it was winter or summer, raining, snowing, hailing, or sleeting, or whether his "beat" was a level straight road or a crazy trail over mountain crags and precipices, or whether it led through peaceful regions that swarmed with hostile Indians, he must be always ready to leap into the saddle and be off like the wind. He rode fifty miles without stopping, by daylight, moonlight, starlight, or through the blackness of darkness--just as it happened. He rode a splendid horse that was born for a racer and fed and lodged like a gentleman; kept him at his utmost speed for ten miles, and then, as he came crashing up to the station where stood two men holding fast a fresh, impatient steed, the transfer of rider and mailbag was made in the twinkling of an eye, and away flew the eager pair and were out of sight before the spectator could hardly get the ghost of a look.

We had had a consuming desire, from the beginning, to see a pony-rider, but somehow or other all that had passed us and all that met us managed to streak by in the night, and so we heard only a whiz and a hail, and the swift phantom of the desert was gone before we could get our heads out of the windows. But now we were expecting one along every moment, and we would see him in broad daylight. Presently the driver exclaims:

"Here he comes!"

Every neck is stretched further, and every eye strained wider. Away across the endless dead level of the prairie a black speck appears against the sky, and it is plain that it moves. Well, I should think so! In a second or two it becomes a horse and rider, rising and falling, rising and falling--sweeping toward us nearer and nearer--growing more and more distinct, more and more sharply defined--nearer and still nearer, and the flutter of the hoofs comes faintly to the ear--another instant a whoop and a hurrah from our upper deck, a wave of the rider's hand, but no reply, and man and horse burst past our excited faces, and go winging away like a belated fragment of a storm.

So he jested and capered while his heart was heavy with personal sorrows that came thick upon him as the years went by, and with the baseness and weakness and misery of humanity as the spectacle passed under his keen observation. Yet in it all he was true to himself. That sentence in the preface tells the whole story: "I have written at least honestly." His own generation bought his books for the fun in them; their children are finding now that their fathers bought not, as they supposed, clownish ephemerae, but true literature, the classics of the period.

And yet--strange paradox!--it was the cap and bells that made Mark Twain and that hastened the coming of the new period in American literature. The cap and bells it was that made him known in every hamlet and in every household of America, north and south and east and west, and in all lands across all oceans. Only Cooper and Mrs. Stowe of all our American authors are known so widely. This popularity it was that gave wings to the first all-American literature and that inspired a new school of American writers. After Mark Twain American literature was no longer confined to Boston and its environs; it was as wide as the continent itself.

BIBLIOGRAPHY

BRET HARTE

The feebleness of the period was understood even at the time. Charles Eliot Norton wrote Lowell in 1874: "There is not much in the magazine that is likely to be read twice save by its writers, and this is what the great public likes. There must be a revival of letters in America, if literature as an art is not to become extinct. You should hear Godkin express himself in private on this topic."

The new American fiction began with Bret Harte.

To turn from Mark Twain to Bret Harte is like turning from the great river on a summer night, fragrant and star-lit, to the glamour and unreality of the city theater. No contrast could be more striking. Francis Brett Harte, born August 25, 1839, was pre?minently a man of the East and pre?minently also a man of the city. He was born at Albany, New York, he spent his childhood in Providence, Rhode Island, in Philadelphia, in Lowell, Massachusetts, in Boston and other places, and the formative years between nine and eighteen he passed in Brooklyn and New York City. He lived all his young life in an atmosphere of culture. His father, a Union College man, a scholar, and a teacher who knew French and Spanish and Italian, Latin and Greek, had accumulated a large and well-selected library in which the boy, frail and sensitive, too frail in his early years to attend school, spent much of his childhood, reading Shakespeare and Froissart at six and Charles Dickens at seven. His mother, a woman of culture, directed his reading, and criticized with discernment his earliest attempts at poetry. It was the training school for a poet, a Bryant or a Longfellow, who should look to the older art for models and be inspired with the dream that had sent Irving and Willis and Taylor as pilgrims to the holy lands of literature across the sea.

The turning point in Harte's life came in 1854, when he was in his fifteenth year. His biographer, Merwin, tells the story:

In 1853 his mother went to California with a party of relatives and friends, in order to make her home there with her elder son, Henry. She had intended to take with her the other two children, Margaret and Francis Brett; but as the daughter was in school, she left the two behind for a few months, and they followed in February, 1854. They traveled by the Nicaragua route, and after a long, tiresome, but uneventful journey, landed safely in San Francisco.

The mother must have remarried shortly after her arrival in California, for two sentences later on the biographer records that "They went the next morning to Oakland across the Bay, where their mother and her second husband, Colonel Andrew Williams, were living."

The young poet had been transplanted into new and strange soil and he took root slowly. During the next year, making his home with his mother at Oakland, he attempted to teach school and then to serve as an apothecary's assistant, but he made little headway in either profession. His heart was far away from the rough, new land that he had entered. He wrote poems and stories and sketches and sent them to the Eastern magazines; he read interminably, and dreamed of literature just as Aldrich and Timrod and Hayne and Stedman and Stoddard were even then dreaming of it on the other side of the continent.

Borne on the swell of your long waves receding, I touch the further Past-- I see the dying glow of Spanish glory, The sunset dream and last.

Before me rise the dome-shaped Mission towers; The white Presidio; The swart commander in his leathern jerkin, The priest in stole of snow.

Once more I see Portata's cross uplifting Above the setting sun; And past the headland, northward, slowly drifting The freighted galleon.

Meager and fragmentary as these Spanish sketches are, they nevertheless opened the way for a new school of American romance.

But even in the earlier version of the story there are false notes. The names of the characters strike us as unusual: M'liss, McSnagley, Morpher, Clytemnestra, Kerg, Aristides, Cellerstina. We feel that the author is straining for the unusual; and we feel it more when the Rev. Joshua McSnagley comes upon the scene:

The reverend gentleman was glad to see him. Moreover, he observed that the master was looking "peartish," and hoped he had got over the "neuralgy" and "rheumatiz." He himself had been troubled with the dumb "ager" since last conference. But he had learned to "rastle and pray." Pausing a moment to enable the master to write his certain method of curing the dumb "ager" upon the book and volume of his brain, Mr. McSnagley proceeded to inquire after Sister Morpher. "She is an adornment to Christewanity, and has a likely growin' young family," added Mr. McSnagley.

Somehow it does not ring true. The author is thinking of the effect he hopes to produce. He must fill his reader with wonder. "A saintly Raphael-face, with blond beard and soft blue eyes, belonging to the biggest scamp in the diggings, turned toward the child and whispered, 'Stick to it, M'liss.'" That sentence is the key to the author's later manner. "Life in California is a paradox," he seems everywhere to say, "just look at this."

The art of Dickens was peculiar. He had found in the lower strata of the population of London, that vast settling pool of Great Britain, a society made up of many sharply individualized personalities, abnormalities in body and soul, results of the peculiar inflexible characteristics of the English race and their hard and fast social distinctions. From fragments of this lower London Dickens built him a world of his own and peopled it with composite creations such as one finds nowhere save in the folklore of a primitive people--creatures as strange as their names, Quilp, Scrooge, Cratchit, Squeers, Snagsby. So tremendously did he believe in them, that we believe in them ourselves. So overflowing was he with high spirits and boisterous laughter that before we realize it we have surrendered completely and are living hilariously not in a land of actual men and women, but in the world that never was and never can be save in the books of Dickens. He never analyzed, he never sought the heart of things, or got at all below the surface of his characters; he was content simply to exhibit his marvelous creations with all their ludicrous incongruities, and the show is so entertaining and the showman exhibits it with such zest, such joyous abandon, that we stand like children and lose ourselves in wonder and enjoyment.

There was not much to hear. The hat was saying to the ribbons that it was a fine night, and remarking generally upon the clear outline of the Sierras against the blue-black sky. The ribbons, it so appeared, had admired this all the way home, and asked the hat if it had ever seen anything half so lovely as the moonlight on the summit? The hat never had; it recalled some lovely nights in the South in Alabama , but then there were other things that made the night seem so pleasant. The ribbons could not possibly conceive what the hat could be thinking about. At this point there was a pause, of which Mr. Folinsbee availed himself to walk very grimly and craunchingly down the gravel walk toward the gate. Then the hat was lifted, and disappeared in the shadow, and Mr. Folinsbee confronted only the half-foolish, half-mischievous, but wholly pretty face of his daughter.

Harte had nothing of the earnestness and the sincerity of the older master; after a time he outgrew his manner, and evolved a style of his own--compressed, rapid, picturesque; but this early point of view he never changed. He sought ever for the startling and the dramatic and he elaborated the outside of it with care. He studied the map of California for picturesque names, just as Dickens studied the street signs of London. He passed by the common materials of human life to exhibit the strange phenomena of one single accidental moment in a corner of America.

Despite his biographers, the latter part of his life is full of mystery. After seven years of literary work in New York City, he went in 1878 as consul to Crefeld, Germany. Two years later he was transferred to Glasgow, Scotland, where he remained for five years. The rest of his life he spent in London, writing year after year new books of California stories. He never returned to America; he was estranged from his family; he seemed to wish to sever himself entirely from all that had to do with his earlier life. He died May 5, 1902, and was buried in Frimby churchyard, in Surrey.

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