The Autobiography of Mark Twain by Mark Twain (good book recommendations .TXT) 📕

Tribune, the most important journal in the Middle West, was not able to invent anything fresh, but adopted the view of the humble Daily Graphic, dishonesty charge and all. However, let it go. It is the will of God that we must have critics, and missionaries, and congressmen, and humorists, and we must bear the burden.

What I have been traveling toward all this time is this: The first critic that ever had occasion to describe my personal appearance littered his description with foolish and inexcusable errors whose aggregate furnished the result that I was distinctly and distressingly unhandsome. That description floated around the country in the papers, and was in constant use and wear for a quarter of a century. It seems strange to me that apparently no critic in the country could be found who could look at me and have the courage to take up his pen and destroy that lie. That lie began its course on the Pacific coast, in 1864, and it likened me in personal appearance to Petroleum V Nasby, who had been out there lecturing. For twenty-five years afterward, no critic could furnish a description of me without fetching in Nasby to help out my portrait. I knew Nasby well, and he was a good fellow, but in my life I have not felt malignantly enough about any more than three persons to charge those persons with resembling Nasby. It hurts me to the heart, these things. To this day, it hurts me to the heart, and it had long been a distress to my family⁠—including Susy⁠—that the critics should go on making this wearisome mistake, year after year, when there was no foundation for it. Even when a critic wanted to be particularly friendly and complimentary to me, he didn’t dare to go beyond my clothes. He did not venture beyond that frontier. When he had finished with my clothes he had said all the kind things, the pleasant things, the complimentary things he could risk. Then he dropped back on Nasby.

Yesterday I found this clipping in the pocket of one of those ancient memorandum-books of mine. It is of the date of thirty-nine years ago, and both the paper and the ink are yellow with the bitterness that I felt in that old day when I clipped it out to preserve it and brood over it and grieve about it. I will copy it here, to wit:

A correspondent of the Philadelphia Press, writing of one of Schuyler Colfax’s receptions, says of our Washington correspondent: “Mark Twain, the delicate humorist, was present; quite a lion, as he deserves to be. Mark is a bachelor, faultless in taste, whose snowy vest is suggestive of endless quarrels with Washington washerwomen; but the heroism of Mark is settled for all time, for such purity and smoothness were never seen before. His lavender gloves might have been stolen from some Turkish harem, so delicate were they in size; but more likely⁠—anything else were more likely than that. In form and feature he bears some resemblance to the immortal Nasby; but whilst Petroleum is brunette to the core, Twain is golden, amber-hued, melting, blonde.”

Let us return to Susy’s biography now, and get the opinion of one who is unbiased.

Papa’s appearance has been described many times, but very incorrectly. He has beautiful gray hair, not any too thick or any too long, but just right; a Roman nose, which greatly improves the beauty of his features; kind blue eyes and a small mustache. He has a wonderfully shaped head and profile. He has a very good figure⁠—in short, he is an extrodinarily fine looking man. All his features are perfect, exept that he hasn’t extrodinary teeth. His complexion is very fair, and he doesn’t ware a beard. He is a very good man and a very funny one. He has got a temper, but we all of us have in this family. He is the loveliest man I ever saw or ever hope to see⁠—and oh, so absentminded. He does tell perfectly delightful stories. Clara and I used to sit on each arm of his chair and listen while he told us stories about the pictures on the wall.

I remember the story-telling days vividly. They were a difficult and exacting audience⁠—those little creatures.

New York, Thursday, February 8, 1906

Susy Clemens’s biography continued⁠—Romancer to the children⁠—Incident of the spoon-shaped drive⁠—The burglar alarm does its whole duty.

Along one side of the library, in the Hartford home, the bookshelves joined the mantelpiece⁠—in fact, there were shelves on both sides of the mantelpiece. On these shelves, and on the mantelpiece, stood various ornaments. At one end of the procession was a framed oil-painting of a cat’s head; at the other end was a head of a beautiful young girl, life size, called Emmeline, an impressionist watercolor. Between the one picture and the other there were twelve or fifteen of the bric-a-brac things already mentioned, also an oil-painting by Elihu Vedder, “The Young Medusa.” Every now and then the children required me to construct a romance⁠—always impromptu⁠—not a moment’s preparation permitted⁠—and into that romance I had to get all that bric-a-brac and the three pictures. I had to start always with the cat and finish with Ernmeline. I was never allowed the refreshment of a change, end for end. It was not permissible to introduce a bric-a-brac ornament into the story out of its place in the procession. These bric-a-bracs were never allowed a peaceful day, a reposeful day, a restful Sabbath. In their lives there was no Sabbath. In their lives there was no peace. They knew no existence but a monotonous career of violence and bloodshed. In the course of time the bric-a-brac and the pictures showed wear. It was because they had had so many and such violent adventures in their romantic careers.

As romancer to the children I had a hard time, even from the beginning. If they brought me a picture and required me