You can see more of Mark Twain over at the PBS section on him. I note that two daughters, one son, a brother, and his wife all died during his lifetime. An argument could be made quite easily that he is one of the top five greatest American authors, and one of the more "normally tragic" public figures that I know.
You can find the full chapter 23 here . . . which closes with the typical and gripping empathetic sensibilities of Twain, so masterfully composed. Who among us have not done something so foolish and blind and haven't teared up reading of Jim's terrible regret and loneliness -- which of course, for his time and era and country, was precisely the best thing Twain could have done for his underlying goals.
So the duke said these Arkansaw lunkheads couldn’t come up to Shakespeare; what they wanted was low comedy – and maybe something ruther worse than low comedy, he reckoned. He said he could size their style. So next morning he got some big sheets of wrapping paper and some black paint, and drawed off some handbills, and stuck them up all over the village. The bills said:
AT THE COURT HOUSE!
FOR 3 NIGHTS ONLY!
The World-Renowned Tragedians
DAVID GARRICK THE YOUNGER!
AND
EDMUND KEAN THE ELDER!
Of the London and Continental Theatres,
In their Thrilling Tragedy of
THE KING’S CAMELEOPARD,
OR
THE ROYAL NONESUCH ! ! !
Admission 50 cents.
Then at the bottom was the biggest line of all, which said:
LADIES AND CHILDREN NOT ADMITTED.
“There,” says he, “if that line don’t fetch them, I don’t know Arkansaw!”
Well, all day him and the king was hard at it, rigging up a stage and a curtain and a row of candles for footlights; and that night the house was jam full of men in no time. When the place couldn’t hold no more, the duke he quit tending door and went around the back way and come on to the stage and stood up before the curtain and made a little speech, and praised up this tragedy, and said it was the most thrillingest one that ever was; and so he went on a-bragging about the tragedy, and about Edmund Kean the Elder, which was to play the main principal part in it; and at last when he’d got everybody’s expectations up high enough, he rolled up the curtain, and the next minute the king come a-prancing out on all fours, naked; and he was painted all over, ring-streaked-and-striped, all sorts of colors, as splendid as a rainbow. And – but never mind the rest of his outfit; it was just wild, but it was awful funny. The people most killed themselves laughing; and when the king got done capering and capered off behind the scenes, they roared and clapped and stormed and haw-hawed till he come back and done it over again, and after that they made him do it another time. Well, it would make a cow laugh to see the shines that old idiot cut.
Then the duke he lets the curtain down, and bows to the people, and says the great tragedy will be performed only two nights more, on accounts of pressing London engagements, where the seats is all sold already for it in Drury Lane; and then he makes them another bow, and says if he has succeeded in pleasing them and instructing them, he will be deeply obleeged if they will mention it to their friends and get them to come and see it.
Twenty people sings out:
“What, is it over? Is that all?”
The duke says yes. Then there was a fine time. Everybody sings out, “Sold!” and rose up mad, and was a-going for that stage and them tragedians. But a big, fine looking man jumps up on a bench and shouts:
“Hold on! Just a word, gentlemen.” They stopped to listen. “We are sold – mighty badly sold. But we don’t want to be the laughing stock of this whole town, I reckon, and never hear the last of this thing as long as we live. No. What we want is to go out of here quiet, and talk this show up, and sell the rest of the town! Then we’ll all be in the same boat. Ain’t that sensible?” (“You bet it is! – the jedge is right!” everybody sings out.) “All right, then – not a word about any sell. Go along home, and advise everybody to come and see the tragedy.”
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Comments:
“O Fair Ophelia, Ope not thy ponderous and marble jaws!” I love the scene too when the king and the duke pose as long-lost English relatives of a recently deceased (diseased) midwesterner. One is a clergyman and his circumlocutions (such as “funeral orgies”)remind me of the peculiar theo-babble of Frank Griswold and his circle.