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My Mark Twain
A Connecticut Yankee in King Arthur's Court
by Howells, William Dean


(From Harper's Magazine, Jan. 1890)

Mr. Clemens, we call him, rather than Mark Twain, because we feel that in this book our arch-humorist imparts more of his personal quality than in anything else he has done. Here he is to the full the humorist, as we know him; but he is very much more, and his strong, indignant, often infuriate hate of injustice, and his love of equality, burn hot through the manifold adventures and experiences of the tale. What he thought about prescriptive right and wrong, we had partly learned in The Prince and the Pauper and in Huckleberry Finn, but it is this last book which gives his whole mind. The elastic scheme of the romance allows it to play freely back and forward between the sixth century and the nineteenth century; and often while it is working the reader up to a blasting contempt of monarchy and aristocracy in King Arthur's time, the dates are magically shifted under him, and he is confronted with exactly the same principles in Queen Victoria's time. The delicious satire, the marvelous wit, the wild, free, fantastic humor are the colors of the tapestry, while the texture is a humanity that lives in every fibre. At every moment the scene amuses, but it is all the time an object-lesson in democracy. It makes us glad of our republic and our epoch; but it does not flatter us into a fond content with them; there are passages in which we see that the noble of Arthur's day who fattened on the blood and sweat of his bondmen, is one in essence with the capitalist of Mr. Harrison's day who grows rich on the labor of his underpaid wage-men....

Mr. Clemens's glimpses of monastic life in Arthur's realm are true enough; and if they are not the whole truth of the matter, one may easily get it in some such book as Mr. Brace's Gesta Christi, where the full light of history is thrown upon the transformation of the world, if not the Church, under the influence of Christianity. In the mean time, if any one feels that the justice done the churchmen of King Arthur's time is too much of one kind, let him turn to that heart-breaking scene where the brave monk stands with the mother and her babe on the scaffold, and execrates the hideous law which puts her to death for stealing enough to keep her from starving. It is one of many passages in the story where our civilization of today sees itself mirrored in the cruel barbarism of the past, the same in principle and only softened in custom. With shocks of consciousness, one recognizes in such episodes that the laws are still made for the few against the many, and that the preservation of things, not men, is still the ideal of legislation. But we do not wish to leave the reader with the notion that Mr. Clemens's work is otherwise than obliquely serious. Upon the face of it you have a story no more openly didactic than Don Quixote, which we found ourselves more than once thinking of as we read, though always with a sense of the kindlier and truer heart of our time. Never once, we believe, has Mark Twain been funny at the cost of the weak, the unfriended, the helpless; and this is rather more than you can say of Cid Hamet ben Engeli. But the two writers are of the same humorous largeness; and when the Connecticut man rides out at dawn, in a suit of Arthurian armor, and gradually heats up under the mounting sun in what he calls "that stove"; and a fly gets between the bars of his visor; and he cannot reach his handkerchief in his helmet to wipe the sweat from his streaming face; and at last when he cannot bear it any longer, and dismounts at the side of a brook, and makes the distressed damsel who has been riding behind him take off his helmet, and fill it with water, and pour gallon after gallon down the collar of his wrought-iron cutaway, you have a situation of as huge a grotesqueness as any that Cervantes conceived.

The distressed damsel is the Lady Corisande; he calls her Sandy, and he is troubled in mind at riding about the country with her in that way; for he is not only very doubtful that there is nothing in the castle where she says there are certain princesses imprisoned and persecuted by certain giants, but he feels that it is not quite nice: he is engaged to a young lady in East Hartford, and he finds Sandy a fearful bore at first, though in the end he loves and marries her, finding that he hopelessly antedates the East Hartford young lady by thirteen centuries. How he gets into King Arthur's realm, the author concerns himself as little as any of us do with the mechanism of our dreams. In fact, the whole story has the lawless operation of a dream; none of its prodigies are accounted for; they take themselves for granted, and neither explain nor justify themselves. Here he is, that Connecticut man, foreman of one of the shops in Colt's pistol factory, and full to the throat of the invention and the self-satisfaction of the nineteenth century, at the court of the mythic Arthur. He is promptly recognized as a being of extraordinary powers and becomes the king's right-hand man, with the title of The Boss; but as he has apparently no lineage or blazon, he has no social standing, and the meanest noble has precedence of him, just as would happen in England today. The reader may faintly fancy the consequences flowing from this situation, which he will find so vividly fancied for him in the book; but they are simply irreportable. The scheme confesses allegiance to nothing; the incidents, the facts, follow as they will. The Boss cannot rest from introducing the apparatus of our time, and he tries to impart its spirit with a thousand most astonishing effects. He starts a daily paper in Camelot; he torpedoes a holy well; he blows up a party of insolent knights with a dynamite bomb; when he and the king disguise themselves as peasants, in order to learn the real life of the people, and are taken and sold for slaves, and then sent to the gallows for the murder of their master, Launcelot arrives to their rescue with five hundred knights on bicycles. It all ends with the Boss's proclamation of the Republic after Arthur's death, and his destruction of the whole chivalry of England by electricity.

We can give no proper notion of the measureless play of an imagination which has a gigantic jollity in its feats, together with the tenderest sympathy. There are incidents in this wonder-book which wring the heart for what has been of cruelty and wrong in the past, and leave it burning with shame and hate for the conditions which are of like effect in the present. It is one of its magical properties that the fantastic fable of Arthur's far-off time is also too often the sad truth of ours; and the magician who makes us feel in it that we have just begun to know his power, teaches equality and fraternity in every phase of his phantasmagory.

He leaves, to be sure, little of the romance of the olden time, but no one is more alive to the simple, mostly tragic poetry of it; and we do not remember any book which imparts so clear a sense of what was truly heroic in it. With all his scorn of kingcraft, and all his ireful contempt of caste, no one yet has been fairer to the nobility of character which they cost so much too much to develop. The mainly ridiculous Arthur of Mr. Clemens has his moments of being as fine and high as the Arthur of Lord Tennyson; and the keener light which shows his knights and ladies in their child-like simplicity and their innocent coarseness throws all their best qualities into relief. This book is in its last effect the most matter-of-fact narrative, for it is always true to human nature, the only truth possible, the only truth essential, to fiction. The humor of the conception and of the performance is simply immense; but more than ever Mr. Clemens's humor seems the sunny break of his intense conviction. We must all recognize him here as first of those who laugh, not merely because his fun is unrivalled, but because there is a force of right feeling and clear thinking in it that never got into fun before, except in The Bigelow Papers. Throughout, the text in all its circumstances and meaning is supplemented by the illustrations of an artist who has entered into the wrath and the pathos as well as the fun of the thing, and made them his own.

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