by Mark Twain
George Benton was arraigned for trial. Then everybody seemed to forget the widow and orphans in their solicitude for poor George. Everything that money and influence could do was done to save him, but it all failed; he was sentenced to death. Straightway the Governor was besieged with petitions for commutation or pardon; they were brought by tearful young girls; by sorrowful old maids; by deputations of pathetic widows; by shoals of impressive orphans. But no, the Governor—for once—would not yield.
Now George Benton experienced religion. The glad news flew all around. From that time forth his cell was always full of girls and women and fresh flowers; all the day long there was prayer, and hymn-singing, and thanksgiving, and homilies, and tears, with never an interruption, except an occasional five-minute intermission for refreshments.
This sort of thing continued up to the very gallows, and George Benton went proudly home, in the black cap, before a wailing audience of the sweetest and best that the region could produce. His grave had fresh flowers on it every day, for a while, and the head-stone bore these words, under a hand pointing aloft: "He has fought the good fight."
The brave cashier's head-stone has this inscription: "Be pure, honest, sober, industrious, considerate, and you will never—"
Nobody knows who gave the order to leave it that way, but it was so given.
The cashier's family are in stringent circumstances, now, it is said; but no matter; a lot of appreciative people, who were not willing that an act so brave and true as his should go unrewarded, have collected forty-two thousand dollars—and built a Memorial Church with it.
THE FIVE BOONS OF LIFE
Chapter I
In the morning of life came a good fairy with her basket, and said:
"Here are gifts. Take one, leave the others. And be wary, chose wisely; oh, choose wisely! for only one of them is valuable."
The gifts were five: Fame, Love, Riches, Pleasure, Death. The youth said, eagerly:
"There is no need to consider"; and he chose Pleasure.
He went out into the world and sought out the pleasures that youth delights in. But each in its turn was short-lived and disappointing, vain and empty; and each, departing, mocked him. In the end he said: "These years I have wasted. If I could but choose again, I would choose wisely."
Chapter II
The fairy appeared, and said:
"Four of the gifts remain. Choose once more; and oh, remember—time is flying, and only one of them is precious."
The man considered long, then chose Love; and did not mark the tears that rose in the fairy's eyes.
After many, many years the man sat by a coffin, in an empty home. And he communed with himself, saying: "One by one they have gone away and left me; and now she lies here, the dearest and the last. Desolation after desolation has swept over me; for each hour of happiness the treacherous trader, Love, as sold me I have paid a thousand hours of grief. Out of my heart of hearts I curse him."
Chapter III
"Choose again." It was the fairy speaking.
"The years have taught you wisdom—surely it must be so. Three gifts remain. Only one of them has any worth—remember it, and choose warily."
The man reflected long, then chose Fame; and the fairy, sighing, went her way.
Years went by and she came again, and stood behind the man where he sat solitary in the fading day, thinking. And she knew his thought:
"My name filled the world, and its praises were on every tongue, and it seemed well with me for a little while. How little a while it was! Then came envy; then detraction; then calumny; then hate; then persecution. Then derision, which is the beginning of the end. And last of all came pity, which is the funeral of fame. Oh, the bitterness and misery of renown! target for mud in its prime, for contempt and compassion in its decay."
Chapter IV
"Chose yet again." It was the fairy's voice.
"Two gifts remain. And do not despair. In the beginning there was but one that was precious, and it is still here."
"Wealth—which is power! How blind I was!" said the man. "Now, at last, life will be worth the living. I will spend, squander, dazzle. These mockers and despisers will crawl in the dirt before me, and I will feed my hungry heart with their envy. I will have all luxuries, all joys, all enchantments of the spirit, all contentments of the body that man holds dear. I will buy, buy, buy! deference, respect, esteem, worship—every pinchbeck grace of life the market of a trivial world can furnish forth. I have lost much time, and chosen badly heretofore, but let that pass; I was ignorant then, and could but take for best what seemed so."
Three short years went by, and a day came when the man sat shivering in a mean garret; and he was gaunt and wan and hollow-eyed, and clothed in rags; and he was gnawing a dry crust and mumbling:
"Curse all the world's gifts, for mockeries and gilded lies! And miscalled, every one. They are not gifts, but merely lendings. Pleasure, Love, Fame, Riches: they are but temporary disguises for lasting realities—Pain, Grief, Shame, Poverty. The fairy said true; in all her store there was but one gift which was precious, only one that was not valueless. How poor and cheap and mean I know those others now to be, compared with that inestimable one, that dear and sweet and kindly one, that steeps in dreamless and enduring sleep the pains that persecute the body, and the shames and griefs that eat the mind and heart. Bring it! I am weary, I would rest."
Chapter V
The fairy came, bringing again four of the gifts, but Death was wanting. She said:
"I gave it to a mother's pet, a little child. It was ignorant, but trusted me, asking me to choose for it. You did not ask me to choose."
"Oh, miserable me! What is left for me?"
"What not even you have deserved: the wanton insult of Old Age."
THE FIRST WRITING-MACHINES
From My Unpublished Autobiography
Some days ago a correspondent sent in an old typewritten sheet, faded by age, containing the following letter over the signature of Mark Twain:
"Hartford, March 10, 1875.
"Please do not use my name in any way. Please do not even divulge that fact that I own a machine. I have entirely stopped using the typewriter, for the reason that I never could write a letter with it to anybody without receiving a request by return mail that I would not only describe the machine, but state what progress I had made in the use of it, etc., etc. I don't like to write letters, and so I don't want people to know I own this curiosity-breeding little joker."
A note was sent to Mr. Clemens asking him if the letter was genuine and whether he really had a typewriter as long ago as that. Mr. Clemens replied that his best answer is the following chapter from his unpublished autobiography:
1904. VILLA QUARTO, FLORENCE, JANUARY.
Dictating autobiography to a typewriter is a new experience for me, but it goes very well, and is going to save time and "language"—the kind of language that soothes vexation.
I have dictated to a typewriter before—but not autobiography. Between that experience and the present one there lies a mighty gap—more than thirty years! It is sort of lifetime. In that wide interval much has happened—to the type-machine as well as to the rest of us. At the beginning of that interval a type-machine was a curiosity. The person who owned one was a curiosity, too. But now it is the other way about: the person who DOESN'T own one is a curiosity. I saw a type-machine for the first time in—what year? I suppose it was 1873—because Nasby was with me at the time, and it was in Boston. We must have been lecturing, or we could not have been in Boston, I take it. I quitted the platform that season.
But never mind about that, it is no matter. Nasby and I saw the machine through a window, and went in to look at it. The salesman explained it to us, showed us samples of its work, and said it could do fifty-seven words a minute—a statement which we frankly confessed that we did not believe. So he put his type-girl to work, and we timed her by the watch. She actually did the fifty-seven in sixty seconds. We were partly convinced, but
said it probably couldn't happen again. But it did. We timed the girl over and over again—with the same result always: she won out. She did her work on narrow slips of paper, and we pocketed them as fast as she turned them out, to show as curiosities. The price of the machine was one hundred and twenty-five dollars. I bought one, and we went away very much excited.
At the hotel we got out our slips and were a little disappointed to find that they contained the same words. The girl had economized time and labor by using a formula which she knew by heart. However, we argued—safely enough—that the FIRST type-girl must naturally take rank with the first billiard-player: neither of them could be expected to get out of the game any more than a third or a half of what was in it. If the machine survived—IF it survived—experts would come to the front, by and by, who would double the girl's output without a doubt. They would do one hundred words a minute—my talking speed on the platform. That score has long ago been beaten.
At home I played with the toy, repeated and repeating and repeated "The Boy stood on the Burning Deck," until I could turn that boy's adventure out at the rate of twelve words a minute; then I resumed the pen, for business, and only worked the machine to astonish inquiring visitors. They carried off many reams of the boy and his burning deck.
By and by I hired a young woman, and did my first dictating (letters, merely), and my last until now. The machine did not do both capitals and lower case (as now), but only capitals. Gothic capitals they were, and sufficiently ugly. I remember the first letter I dictated, it was to Edward Bok, who was a boy then. I was not acquainted with him at that time. His present enterprising spirit is not new—he had it in that early day. He was accumulating autographs, and was not content with mere signatures, he wanted a whole autograph LETTER. I furnished it—in type-written capitals, SIGNATURE AND ALL. It was long; it was a sermon; it contained advice; also reproaches. I said writing was my TRADE, my bread-and-butter; I said it was not fair to ask a man to give away samples of his trade; would he ask the blacksmith for a horseshoe? would he ask the doctor for a corpse?
Now I come to an important matter—as I regard it. In the year '74 the young woman copied a considerable part of a book of mine ON THE MACHINE. In a previous chapter of this Autobiography I have claimed that I was the first person in the world that ever had a telephone in the house for practical purposes; I will now claim—until dispossess—that I was the first person in the world to APPLY THE TYPE-MACHINE TO LITERATURE. That book must have been THE ADVENTURES OF TOM SAWYER. I wrote the first half of it in '72, the rest of it in '74. My machinist type-copied a book for me in '74, so I concluded it was that one.
That early machine was full of caprices, full of defects—devilish ones. It had as many immoralities as the machine of today has virtues. After a year or two I found that it was degrading my character, so I thought I would give it to Howells. He was reluctant, for he was suspicious of novelties and unfriendly toward them, and he remains so to this day. But I persuaded him. He had great confidence in me, and I got him to believe things about the machine that I did not believe myself. He took it home to Boston, and my morals began to improve, but his have never recovered.
He kept it six months, and then returned it to me. I gave it away twice after that, but it wouldn't stay; it came back. Then I gave it to our coachman, Patrick McAleer, who was very grateful, because he did not know the animal, and thought I was trying to make him wiser and better. As soon as he got wiser and better he traded it to a heretic for a side-saddle which he could not use, and there my knowledge of its history ends.
ITALIAN WITHOUT A MASTER
It is almost a fortnight now that I am domiciled in a medieval villa in the country, a mile or two from Florence. I cannot speak the language; I am too old not to learn how, also too busy when I am busy, and too indolent when I am not; wherefore some will imagine that I am having a dull time of it. But it is not so. The "help" are all natives; they talk Italian to me, I answer in English; I do not understand them, they do not understand me, consequently no harm is done, and everybody is satisfied. In order to be just and fair, I throw in an Italian word when I have one, and this has a good influence. I get the word out of the morning paper. I have to use it while it is fresh, for I find that Italian words do not keep in this climate. They fade toward night, and next morning they are gone. But it is no matter; I get a new one out of the paper before breakfast, and thrill the domestics with it while it lasts. I have no dictionary, and I do not want one; I can select words by the sound, or by orthographic aspect. Many of them have French or German or English look, and these are the ones I enslave for the day's service. That is, as a rule. Not always. If I find a learnable phrase that has an imposing look and warbles musically along I do not care to know the meaning of it; I pay it out to the first applicant, knowing that if I pronounce it carefully HE will understand it, and that's enough.
Yesterday's word was AVANTI. It sounds Shakespearian, and probably means Avaunt and quit my sight. Today I have a whole phrase: SONO DISPIACENTISSIMO. I do not know what it means, but it seems to fit in everywhere and give satisfaction. Although as a rule my words and phrases are good for one day and train only, I have several that stay by me all the time, for some unknown reason, and these come very handy when I get into a long conversation and need things to fire up with in monotonous stretches. One of the best ones is DOV' `E IL GATTO. It nearly always produces a pleasant surprise, therefore I save it up for places where I want to express applause or admiration. The fourth word has a French sound, and I think the phrase means "that takes the cake."
During my first week in the deep and dreamy stillness of this woodsy and flowery place I was without news of the outside world, and was well content without it. It has been four weeks since I had seen a newspaper, and this lack seemed to give life a new charm and grace, and to saturate it with a feeling verging upon actual delight. Then came a change that was to be expected: the appetite for news began to rise again, after this invigorating rest. I had to feed it, but I was not willing to let it make me its helpless slave again; I determined to put it on a diet, and a strict and limited one. So I examined an Italian paper, with the idea of feeding it on that, and on that exclusively. On that exclusively, and without help of a dictionary. In this way I should surely be well protected against overloading and indigestion.
A glance at the telegraphic page filled me with encouragement. There were no scare-heads. That was good—supremely good. But there were headings—one-liners and two-liners—and that was good too; for without these, one must do as one does with a German paper—pay our precious time in finding out what an article is about, only to discover, in many cases, that there is nothing in it of interest to you. The headline is a valuable thing.
Necessarily we are all fond of murders, scandals, swindles, robberies, explosions, collisions, and all such things, when we knew the people, and when they are neighbors and friends, but when they are strangers we do not get any great pleasure out of them, as a rule. Now the trouble with an American paper is that it has no discrimination; it rakes the whole earth for blood and garbage, and the result is that you are daily overfed and suffer a surfeit. By habit you stow this muck every day, but you come by and by to take no vital interest in it—indeed, you almost get tired of it. As a rule, forty-nine-fiftieths of it concerns strangers only—people away off yonder, a thousand miles, two thousand miles, ten thousand miles from where you are. Why, when you come to think of it, who cares what becomes of those people? I would not give the assassination of one personal friend for a whole massacre of those others. And, to my mind, one relative or neighbor mixed up in a scandal is more interesting than a whole Sodom and Gomorrah of outlanders gone rotten. Give me the home product every time.
Very well. I saw at a glance that the Florentine paper would suit me: five out of six of its scandals and tragedies were local; they were adventures of one's very neighbors, one might almost say one's friends. In the matter of world news there was not too much, but just about enough. I
subscribed. I have had no occasion to regret it. Every morning I get all the news I need for the day; sometimes from the headlines, sometimes from the text. I have never had to call for a dictionary yet. I read the paper with ease. Often I do not quite understand, often some of the details escape me, but no matter, I get the idea. I will cut out a passage or two, then you see how limpid the language is:
Il ritorno dei Beati d'Italia
Elargizione del Re all' Ospedale italiano
The first line means that the Italian sovereigns are coming back—they have been to England. The second line seems to mean that they enlarged the King at the Italian hospital. With a banquet, I suppose. An English banquet has that effect. Further:
Il ritorno dei Sovrani
a Roma
ROMA, 24, ore 22,50.—I Sovrani e le Principessine Reali si attendono a Roma domani alle ore 15,51.
Return of the sovereigns to Rome, you see. Date of the telegram, Rome, November 24, ten minutes before twenty-three o'clock. The telegram seems to say, "The Sovereigns and the Royal Children expect themselves at Rome tomorrow at fifty-one minutes after fifteen o'clock."
I do not know about Italian time, but I judge it begins at midnight and runs through the twenty-four hours without breaking bulk. In the following ad, the theaters open at half-past twenty. If these are not matinees, 20.30 must mean 8.30 P.M., by my reckoning.
Spettacolli del di 25
TEATRO DELLA PERGOLA—(Ore 20,30)—Opera. BOH`EME. TEATRO ALFIERI.—Compagnia drammatica Drago—(Ore 20,30)—LA LEGGE. ALHAMBRA—(Ore 20,30)—Spettacolo variato. SALA EDISON—Grandiosoo spettacolo Cinematografico: QUO VADIS?—Inaugurazione della Chiesa Russa—In coda al Direttissimo—Vedute di Firenze con gran movimeno—America: Transporto tronchi giganteschi—I ladri in casa del Diavolo—Scene comiche. CINEMATOGRAFO—Via Brunelleschi n. 4.—Programma straordinario, DON CHISCIOTTE—Prezzi populari.