Moments with Mark Twain

I do envy these Europeans the comfort they take. When the work of the day is done, they forget it.

VENICE

It was a long, long ride. But toward evening, as we sat silent and hardly conscious of where we were—subdued into that meditative calm that comes so surely after a conversational storm—some one shouted:

“VENICE!”

And sure enough, afloat on the placid sea a league away, lay a great city with its towers and domes and steeples drowsing in a golden midst of sunset.

The venerable Mother of the Republics is scarce a fit subject for flippant speech or the idle gossiping of tourists. It seems a sort of sacrilege to disturb the glamour of old romance that pictures her to us softly from afar off as through a tinted mist, and curtains her ruin and her desolation from our view. One ought, indeed, to turn away from her rags, her poverty, and her humiliation, and think of her only as she was when she sunk the fleets of Charlemagne; when she humbled Frederick Barbarossa or waved her victorious banners above the battlements of Constantinople.

There was music everywhere—choruses, string bands, brass bands, flutes, everything. I was so surrounded, walled in with music, magnificence, and loveliness, that I became inspired with the spirit of the scene, and sang one tune myself. However, when I observed that the other gondolas had sailed away, and my gondolier was preparing to go overboard, I stopped.

In the glare of the day, there is little poetry about Venice, but under the charitable moon her stained palaces are white again, their battered sculptures are hidden in shadows, and the old city seems crowned once more with the grandeur that was hers five hundred years ago. It is easy, then, in fancy, to people these silent canals with plumed gallants and fair ladies—with Shylocks in gaberdine and sandals, venturing loans upon the rich argosies of Venetian commerce—with Othellos and Desdemonas, with Iagos and Roderigos—with noble fleets and victorious legions returning from the wars. In the treacherous sunlight we see Venice decayed, forlorn, poverty-stricken, and commerceless—forgotten and utterly insignificant. But in the moonlight, her fourteen centuries of greatness fling their glories about her, and once more is she the princeliest among the nations of the earth.

Yes, I think we have seen all Venice. We have seen in these old churches a profusion of costly and elaborate sepulchre ornamentation such as we never dreamt of before. We have stood in the dim religious light of these hoary sanctuaries, in the midst of long ranks of dusty monuments and effigies of the great dead of Venice, until we seemed drifting back, back, back, into the solemn past, and looking upon the scenes and mingling with the people of a remote antiquity. We have been in a half-waking sort of a dream all the time. I do not know how else to describe the feeling. A part of our being has remained still in the nineteenth century, while another part of it has seemed in some unaccountable way walking among the phantoms of the tenth.

We have seen famous pictures until our eyes are weary with looking at them and refuse to find interest in them any longer.... We have striven hard to learn. We have had some success. We have mastered some things, possibly of trifling import in the eyes of the learned, but to us they give pleasure, and we take as much pride in our little acquirements as do others who have learned far more, and we love to display them full as well. When we see a monk going about with a lion and looking tranquilly up to heaven, we know that that is St. Mark. When we see a monk with a book and a pen, looking tranquilly up to heaven, trying to think of a word, we know that that is St. Matthew. When we see a monk sitting on a rock, looking tranquilly up to heaven, with a human skull beside him, and without other baggage, we know that that is St. Jerome. Because we know that he always went flying light in the matter of baggage. When we see a party looking tranquilly up to heaven, unconscious that his body is shot through and through with arrows, we know that that is St. Sebastian. When we see other monks looking tranquilly up to heaven, but having no trademark, we always ask who those parties are. We do this because we humbly wish to learn....

And so, having satisfied ourselves, we depart to-morrow, and leave the venerable Queen of the Republics to summon her vanished ships, and marshal her shadowy armies, and know again in dreams the pride of her old renown.

AT PISA

The Baptistery, which is a few years older than the Leaning Tower, is a stately rotunda of huge dimensions, and was a costly structure. In it hangs the lamp whose measured swing suggested to Galileo the pendulum. It looked an insignificant thing to have conferred upon the world of science and mechanics such a mighty extension of their dominions as it has. Pondering, in its suggestive presence, I seemed to see a crazy universe of swinging disks, the toiling children of this sedate parent. He appeared to have an intelligent expression about him of knowing that he was not a lamp at all; that he was a Pendulum; a pendulum disguised, for prodigious and inscrutable purposes of his own deep devising, and not a common pendulum either, but the old original patriarchal Pendulum—the Abraham Pendulum of the world.

CHRISTIAN PERSUASION

How times have changed, between the older ages and the new! Some seventeen or eighteen centuries ago, the ignorant men of Rome were wont to put Christians in the arena of the Coliseum yonder, and turn the wild beasts in upon them, for show. It was for a lesson as well. It was to teach the people to abhor and fear the new doctrine the followers of Christ were teaching. The beasts tore the victims limb from limb and made poor mangled corpses of them in the twinkling of an eye. But when the Christians came into power, when the holy Mother Church became mistress of the barbarians, she taught them the error of their ways by no such means. No, she put them in this pleasant Inquisition and pointed to the Blessed Redeemer, who was so gentle and so merciful toward all men, and they urged the barbarians to love him; and they did all they could to persuade them to love and honor him—first by twisting their thumbs out of joint with a screw; then by nipping their flesh with pincers—red-hot ones, because they are the most comfortable in cold weather; then by skinning them alive a little, and finally by roasting them in public. They always convinced those barbarians. The true religion, properly administered, as the good Mother Church used to administer it, is very, very soothing. It is wonderfully persuasive also. There is a great difference between feeding parties to wild beasts and stirring up their finer feelings in an Inquisition. One is the system of degraded barbarians, the other of enlightened civilized people. It is a great pity the playful Inquisition is no more.

TAKING IT OUT OF THE GUIDES

I never felt so fervently thankful, so soothed, so tranquil, so filled with a blessed peace, as I did yesterday when I learned that Michael Angelo was dead.

But we have taken it out of this guide. He has marched us through miles of pictures and sculpture in the vast corridors of the Vatican; and through miles of pictures and sculpture in twenty other palaces; he has shown us the great picture in the Sistine Chapel, and frescoes enough to fresco the heavens—pretty much all done by Michael Angelo. So with him we have played that game which has vanquished so many guides for us—imbecility and idiotic questions. These creatures never suspect—they have no idea of a sarcasm.

He shows us a figure and says: “Statoo brunzo.” (Bronze statue).

We look at it indifferently and the doctor asks: “By Michael Angelo?”

“No—not know who.”

Then he shows us the ancient Roman Forum. The doctor asks: “Michael Angelo?”

A stare from the guide. “No—a thousan’ year before he is born.”

Then an Egyptian obelisk. Again: “Michael Angelo?”

“Oh, mon dieu, genteelman! Zis is TWO thousan’ year before he is born.”

He grows so tired of that unceasing question sometimes, that he dreads to show us anything at all. The wretch has tried all the ways he can think of to make us comprehend that Michael Angelo is only responsible for the creation of a _part_ of the world, but somehow he has not succeeded yet. Relief for overtasked eyes and brain from study and sightseeing is necessary, or we shall become idiotic, sure enough. Therefore this guide must continue to suffer. If he does not enjoy it, so much the worse for him. We do.

In this place I might as well jot down a chapter concerning those necessary nuisances, European guides. Many a man has wished in his heart he could do without his guide; but knowing he could not, has wished he could get some amusement out of him as a remuneration for the affliction of his society. We accomplished this latter matter, and if our experience can be made useful to others they are welcome to it.

Guides know about enough English to tangle everything up so that a man can make neither head nor tail of it. They know their story by heart—the history of every statue, painting, cathedral, or other wonder they show you. They know it and tell it as a parrot would—and if you interrupt, and throw them off the track, they have to go back and begin over again. All their lives long, they are employed in showing strange things to foreigners and listening to their bursts of admiration. It is human nature to take delight in exciting admiration. It is what prompts children to say “smart” things, and to do absurd ones, and in other ways “show off” when company is present. It is what makes gossips turn out in rain and storm to go and be the first to tell a startling bit of news. Think, then, what a passion it becomes with a guide, whose privilege it is, every day, to show to strangers wonders that throw them into perfect ecstasies of admiration! He gets so that he could not by any possibility live in a soberer atmosphere. After we discovered this, we _never_ went into ecstasies any more—we never admired anything—we never showed any but impassible faces and stupid indifference in the presence of the sublimest wonders a guide had to display. We had found their weak point. We have made good use of it ever since. We have made some of those people savage, at times, but we have never lost our own serenity.

The doctor asks the questions, generally, because he can keep his countenance, and look more like an inspired idiot, and throw more imbecility into the tone of his voice than any man that lives. It comes natural to him.

The guides in Genoa are delighted to secure an American party, because Americans have so much wonder, and deal so much in sentiment and emotion before any relic of Columbus. Our guide there fidgeted about as if he had swallowed a spring mattress. He was full of animation—full of impatience. He said:

“Come wis me, genteelmen!—come! I show you ze letter writing by Christopher Colombo! write it himself!—write it wis his own hand!—come!”

He took us to the municipal palace. After much impressive fumbling of keys and opening of locks, the stained and aged document was spread before us. The guide’s eyes sparkled. He danced about us and tapped the parchment with his finger:

“What I tell you, genteelmen! Is it not so? See! handwriting Christopher Colombo!—write it himself!”

We looked indifferent—unconcerned. The doctor examined the document very deliberately, during a painful pause. Then he said, without any show of interest:

“Ah—Ferguson—what—what did you say was the name of the party who wrote this?”

“Christopher Colombo! ze great Christopher Colombo.”

Another deliberate examination.

“Ah—did he write it himself, or—or how?”

“He write it himself!—Christopher Colombo! he’s own handwriting, write by himself!”

Then the doctor laid the document down and said:

“Why, I have seen boys in America only fourteen years old that could write better than that.”

“But zis is ze great Christo——”

“I don’t care who it is! It’s the worst writing I ever saw. Now you mustn’t think you can impose on us because we are strangers. We are not fools, by a good deal. If you have got any specimens of penmanship of real merit, trot them out!—and if you haven’t, drive on!”

We drove on. The guide was considerably shaken up, but he made one more venture. He had something which he thought would overcome us. He said:

“Ah, genteelmen, you come wis me! I show you beautiful, oh, magnificent bust Christopher Colombo!—splendid, grand, magnificent!”

He brought us before the beautiful bust—for it _was_ beautiful—and sprang back and struck an attitude:

“Ah, look, genteelmen!—beautiful, grand,—bust Christopher Colombo!—Beautiful bust, beautiful pedestal!”

The doctor put up his eyeglass—procured for such occasions:

“Ah—what did you say this gentleman’s name was?”

“Christopher Colombo! ze great Christopher Colombo!”

“Christopher Colombo—the great Christopher Colombo. Well what did _he_ do?”

“Discover America!—discover America, oh, ze devil!”

“Discover America. No—that statement will hardly wash. We are just from America ourselves. We heard nothing about it. Christopher Colombo—pleasant name—is—is he dead?”

“Oh, corpo di Baccho!—three hundred year!”

“What did he die of?”

“I do not know!—I cannot tell.”

“Smallpox, think?”

“I do not know, genteelmen!—I do not know _what_ he die of!”

“Measles, likely?”

“Maybe—maybe—I do not know—I think he die of somethings.”

“Parents living?”

“Im-posseeble!”

“Ah—which is the bust and which is the pedestal?”

“Santa Maria!—_zis_ ze bust!—_zis_ ze pedestal!”

“Ah, I see, I see—happy combination—very happy combination, indeed. Is—is this the first time this gentleman was ever on a bust?”

That joke was lost on the foreigner—guides cannot master subtleties of the American joke.

We have made it interesting for this Roman guide. Yesterday we spent three or four hours in the Vatican again, that wonderful world of curiosities. We came very near expressing interest, sometimes—even admiration—it was very hard to keep from it. We succeeded though. Nobody else ever did, in the Vatican museums. The guide was bewildered—nonplussed. He walked his legs off, nearly, hunting up extraordinary things, and exhausted all his ingenuity on us, but it was a failure; we never showed any interest in anything. He had reserved what he considered to be his greatest wonder till the last—a royal Egyptian mummy; the best-preserved in the world, perhaps. He took us there. He felt so sure, this time, that some of his old enthusiasm came back to him:

“See, genteelmen!—Mummy! Mummy!”

The eyeglass came up as calmly, as deliberately as ever.

“Ah,—Ferguson—what did I understand you to say the gentleman’s name was?”

“Name?—he got no name! Mummy!—’Gyptian mummy!”

“Yes, yes. Born here?”

“No! _’Gyptian_ mummy!”

“Ah, just so. Frenchman, I presume?”

“No!—_Not_ Frenchman, not Roman!—born in Egypta!”

“Born in Egypta. Never heard of Egypta before. Foreign locality, likely. Mummy—mummy. How calm he is—how self-possessed. Is, ah—is he dead?”

“Oh, SACRE BLEU, been dead three thousan’ year!”

The doctor turned on him savagely:

“Here, now, what do you mean by such conduct as this! Playing us for Chinamen because we are strangers and trying to learn. Trying to impose your vile second-hand carcasses on _us_!—thunder and lightning, I’ve a notion to—to—if you’ve got a nice _fresh_ corpse, fetch him out!—or, by George, we’ll brain you!”

We make it exceedingly interesting for this Frenchman. However, he has paid us back, partly, without knowing it. He came to the hotel this morning to ask if we were up, and he endeavored as well as he could to describe us, so that the landlord would know which persons he meant. He finished with the casual remark that we were lunatics. The observation was so innocent and so honest that it amounted to a very good thing for a guide to say.

There is one remark (already mentioned) which never yet has failed to disgust these guides. We use it always, when we can think of nothing else to say. After they have exhausted their enthusiasm pointing out to us and praising the beauties of some ancient bronze image or broken-legged statue, we look at it stupidly and in silence for five, ten, fifteen minutes—as long as we can hold out, in fact—and then ask:

“Is—is he dead?”

A SURFEIT OF ART

When I was a schoolboy and was to have a new knife, I could not make up my mind as to which was the prettiest in the showcase, and I did not think any of them were particularly pretty; and so I chose with a heavy heart. But when I looked at my purchase, at home, where no glittering blades came into composition with it, I was astonished to see how handsome it was. To this day my new hats look better out of the shop than they did in it, with other new hats. It begins to dawn upon me now, that possibly, what I have been taking for uniform ugliness in the galleries may be uniform beauty, after all. I honestly hope it is, to others, but certainly it is not to me. Perhaps the reason I used to enjoy going to the Academy of Fine Arts in New York was because there were but a few hundred paintings in it, and it did not surfeit me to go through the list. I suppose the Academy was bacon and beans in the Forty-Mile Desert, and a European gallery is a state dinner of thirteen courses. One leaves no sign after him of the one dish, but the thirteen frighten away his appetite and give him no satisfaction.

There is one thing I am certain of, though. With all the Michael Angelos, the Raphaels, the Guidos, and the other old masters, the sublime history of Rome remains unpainted! They painted Virgins enough, and Popes enough, and saintly scarecrows enough, to people Paradise, almost, and these things are all they did paint. “Nero fiddling o’er burning Rome,” the assassination of Caesar, the stirring spectacle of a hundred thousand people bending forward with rapt interest, in the coliseum, to see two skilful gladiators hacking away each other’s lives, a tiger springing upon a kneeling martyr—these and a thousand other matters which we read of with a living interest, must be sought for only in books—not among the rubbish left by the old masters—who are no more, I have the satisfaction of informing the public.

AT POMPEII

Everywhere, you see things that make you wonder how old these old houses were before the night of destruction came—things, too, which bring back those long-dead inhabitants and place them living before your eyes. For instance: The steps (two feet thick—lava blocks) that lead up out of the school, and the same kind of steps that lead up into the dress circle of the principal theater, are almost worn through! For ages the boys hurried out of that school, and for ages their parents hurried into that theater, and the nervous feet that have been dust and ashes for eighteen centuries have left their record for us to read to-day. I imagined I could see crowds of gentlemen and ladies thronging into the theater, with tickets for secured seats in their hands, and on the wall I read the imaginary placard, in infamous grammar, “POSITIVELY NO FREE LIST, EXCEPT MEMBERS OF THE PRESS!” Hanging about the doorway (I fancied) were slouchy Pompeiian street boys uttering slang and profanity, and keeping a wary eye out for checks. I entered the theater, and sat down in one of the long rows of stone benches in the dress circle, and looked at the place for the orchestra, and the ruined stage, and around at the wide sweep of empty boxes, and thought to myself, “This house won’t pay.” I tried to imagine the music in full blast, the leader of the orchestra beating time, and the “versatile” So-and-So (who had “just returned from a most successful tour in the provinces to play his last and farewell engagement of positively six nights only, in Pompeii, previous to his departure for Herculaneum”) charging around the stage and piling the agony mountains high—but I could not do it with such a “house” as that; those empty benches tied my fancy down to dull reality. I said, these people that ought to be here have been dead, and still, and moldering to dust for ages and ages, and will never care for the trifles and follies of life any more forever—“Owing to circumstances, etc., etc., there will not be any performance to-night.” Close down the curtains. Put out the lights.