29 October 1864
Mark Twain seemed determined to provoke a laugh by giving deceptive titles to his Californian sketches. “Whereas” (no. 94) was an odd combination of humor and satire which had nothing whatever to do with its title. And in the present sketch, his fifth consecutive weekly contribution, he never got around to telling the story of “Little George Washington, who could Not Lie, and the Cherry Tree”—the classic American fable glorifying truth telling. His failure to make good on his title here was, perhaps, an oblique way of commenting on the minimal veracity of the sketch that he did write—as if any comment were really needed. The sketch records the narrator's passage from savage retribution and outrage to understanding, compassion, and peacemaking—a virtual burlesque on a story of Christian conversion.
On the whole, the strain of a weekly contribution to the Californian appears to be showing in this sketch: it is not in Mark Twain's best manner. Nevertheless, either he or Charles Henry Webb decided to include the sketch in the 1867 Jumping Frog book. And although Clemens omitted it from the collection of sketches that he prepared for the Routledges in 1872, he did not remove it from Hotten's Choice Humorous Works in 1873, but tried instead to revise it. The same temptation came upon him in 1875 while preparing copy for Sketches, New and Old, and he considered including the sketch there, but decided against it.
If it please your neighbor to break the sacred calm of night with the snorting of an unholy trombone, it is your duty to put up with his wretched music and your privilege to pity him for the unhappy instinct that moves him to delight in such discordant sounds. I did not always think thus; this consideration for musical amateurs was born of certain disagreeable personal experiences that once followed the development of a like instinct in myself. Now this infidel over the way, who is learning to play on the trombone, and the slowness of whose progress is almost miraculous, goes on with his harrowing work every night, uncursed by me, but tenderly pitied. Ten years ago, for the same offence, I would have set fire to his house. At that time I was a prey to an amateur violinist for two or three weeks, and the sufferings I endured at his hands are inconceivable. He played “Old Dan Tucker,”Ⓔexplanatory note and he never played anything else—but he performed that so badly that he could throw me into fits with it if I were awake, or into a nightmare if I were asleep. As long as he confined himself to “Dan Tucker,” though, I bore with him and abstained from violence; but when he projected a fresh outrage, and tried to do “Sweet Home,” I went over and burnt him out. My next assailant was a wretch who felt a call to play the clarionet. He only played the scale, however, with his distressing instrument, and I let him run the length of his tether, also; but finally, when he branched out into a ghastly tune, I felt my reason desert- [begin page 96] ing me under the exquisite tortureⒶhistorical collation, and I salliedⒶhistorical collation forth and burnt him out likewise. During the next two years I burnedⒶhistorical collation out an amateur cornet-player, a bugler, a bassoon-sharpⒶhistorical collation, and a barbarian whose talents ran in the bass-drum line. IⒶhistorical collation would certainly have scorched this trombone man if he had moved into my neighborhood in those days. But as I said before, I leave him to his own destruction now, because I have had experience as an amateur myself, and I feel nothing but compassion for that kind of people. Besides, I have learned that there lies dormant in the souls of all men a penchant for some particular musical instrument, and an unsuspected yearning to learn to play on it, that are bound to wake up and demand attention some day. Therefore, you who rail at such as disturb your slumbers with unsuccessful and demoralizing attempts to subjugate a fiddle, beware! for sooner or later your own time will come. It is customary and popular to curse these amateurs when they wrench you out of a pleasant dream at night with a peculiarly diabolical note, but seeing that we are all made alike, and must all develop a distorted talent for music in the fullness of time, it is not right. I am charitable to myⒶhistorical collation trombone maniac; in a moment of inspiration he fetches a snort, sometimes, that brings me to a sitting posture in bed, broad awake and weltering in a cold perspiration. Perhaps my first thought is that there has been an earthquake; perhaps I hear the trombone, and my next thought is that suicide and the silence of the grave would beⒶhistorical collation a happy release from this nightly agony; perhaps the old instinct comes strong upon me to go after my matches; but my first cool, collected thought is that the trombone man's destiny is upon him, and he is working it out in suffering and tribulation; and I banish from me the unworthy instinct that would prompt me to burn him out.
After a long immunity from the dreadfulⒶhistorical collation insanity that moves a man to become a musician in defiance of the will of GodⒶhistorical collation that he should confine himself to sawing wood, I finally fell a victim to theⒶhistorical collation instrument they call the Accordeon. At this day I hate that contrivance as fervently as any man can, but at the time I speak of I suddenly acquired a disgusting andⒶhistorical collation idolatrous affection for it. I got one of powerful capacity and learned to play “Auld Lang SyneⒶhistorical collation” on it. It seems to me, now, that I must have been gifted [begin page 97] with a sort of inspiration to be enabled, in the state of ignorance in which I then was, to select out of the whole range of musical composition the one solitary tune that sounds vilest andⒶhistorical collation most distressing on the accordeon. I do not suppose there is another tune in the world with which I could have inflicted so much anguish upon my race as I did with that one during my short musical career.
After I had been playing “Lang SyneⒶhistorical collation” about a week, I had the vanity to think I could improve the original melody, and I set about adding some little flourishes and variations to it, but with rather indifferent success, I suppose, as it brought my landlady into my presence with an expression about her of being opposed to such desperateⒶhistorical collation enterprises. Said she, “Do you know any other tune but that, Mr. Twain?” I told her, meekly, that I did not. “Well, then,” said she, “stick to it just as it is; don't put any variations to it, because it's rough enough on the boardersⒶhistorical collation the way it is now.”
The fact is, it was something more than simply “rough enough” on them; it was altogether too rough; half of them left, and the other half would have followed, but Mrs. Jones saved them by discharging me from the premises.
I only stayed one night at my next lodging-house. Mrs. Smith was after me early in the morning. She said, “You can go, sir; I don't want you here; I have had one of your kind before—a poor lunatic, that played the banjo and danced breakdowns, and jarred the glass all out of the windows; you kept me awake all night, and if you was to do it again I'd take and mashⒶhistorical collation that thing over your head!” I could see that this woman took no delight in music, and I moved to Mrs. Brown's.
For three nights in succession I gave my new neighbors “Auld Lang SyneⒶhistorical collation,” plain and unadulterated, save by a few discords that rather improved the general effect than otherwise. But the very first time I tried the variations the boarders mutinied. I never did find anybody that would stand those variations. I was very well satisfied with my efforts in that house, however, and I left it without any regrets; I drove one boarder as mad as a March hare, and another one tried to scalp his mother. I reflected, though, that if I could only have been allowed to give this latter just one more [begin page 98] touch of the variations, he would have finished the old woman.Ⓐhistorical collation
I went to board at Mrs. Murphy's, an Italian lady of many excellent qualities. The very first time I struck up the variations, a haggard, care-worn, cadaverous old man walked into my room and stood beaming upon me a smile of ineffable happiness. Then he placed his hand upon my head, and looking devoutlyⒶhistorical collation aloft, he said with feeling unction, andⒶhistorical collation in a voice trembling with emotion, “GodⒶhistorical collation bless you, young man! GodⒶhistorical collation bless you! for you have done that for me which is beyond all praise. For years I have suffered from an incurable disease, and knowing my doom was sealed and that I must die, I have striven with all my power to resign myself to my fate, but in vain—the love of life was too strong within me. But Heaven bless you, my benefactor! for since I heard you play that tune and those variations, I do not want to live any longer—I am entirely resigned—I am willing to die—Ⓐhistorical collationI am anxious to die.” And then the old man fell upon my neck and wept a flood of happy tears. I was surprised at these things, but I could not help feeling a little proud at what I had done, nor could I help giving the old gentleman a parting blast in the way of some peculiarlyⒶhistorical collation lacerating variations as he went out at the door.Ⓐemendation They doubled him up like a jack-knife, and the next time he left his bed of pain and suffering, he was all right, in a metallic coffin.
My passion for the accordeonⒶhistorical collation finally spent itself and died out, and I was glad when I found myself free from its unwholesome influence. While the fever was upon me, I was a living, breathing calamity wherever I went, and desolation and disaster followed in my wake. I bred discord in families, I crushed the spirits of the light-hearted, I drove the melancholy to despair, I hurried invalids to premature dissolution, and I fear meⒶhistorical collation I disturbed the very dead in their graves. I did incalculable harm and inflicted untold suffering upon my race with my execrable music, and yet to atone for it all, I did but one single blessed act, in making that weary old man willing to go to his long home.
Still, I derived some little benefit from that accordeon, for while I continued to practice on it, I never had to pay any board—landlords were always willing to compromise, on my leaving before the month was up.
Now, I had two objects in view, in writing the foregoing, one of [begin page 99] which, was to try and reconcile people to those poor unfortunates who feel that they have a genius for music, and who drive their neighbors crazy every night in trying to develop and cultivate it, and the other was to introduce an admirable story about Little George Washington, who could Not Lie, and the Cherry Tree—or the Apple Tree, I have forgotten now, which, although it was told me only yesterday. And writing such a long and elaborate introductory has caused me to forget the story itself; but it was very touching.Ⓐhistorical collation Ⓐemendation
Historical Collation
Texts collated:
Cal “A Touching Story of George Washington's Boyhood,” Californian 1 (29 October 1864): 1.JF1 Jumping Frog (New York: Webb, 1867), pp. 132–140. Reprints Cal with two possibly authorial revisions.
JF1MT The copy of an 1869 impression of JF1 revised by Mark Twain. The revisions were not reprinted.
JF2 Jumping Frog (London: Routledge, 1867), pp. 124–131. Reprints JF1 with few errors.
JF3 Jumping Frog (London: Hotten, 1870), pp. 93–97. Reprints JF2 with few errors.
JF4 Jumping Frog (London: Routledge, 1870 and 1872), pp. 114–120. Reprints JF2 with few errors.
HWa Choice Humorous Works (London: Hotten, 1873), pp. 544–547. Reprints JF3 with no further errors.
HWaMT Sheets of HWa revised by Mark Twain, who made eight changes in this sketch.
HWb Choice Humorous Works (London: Chatto and Windus, 1874), pp. 518–521. Reprints HWa with authorial revisions from HWaMT.
HWbMT Copy of HWb revised by Mark Twain, who revised, then canceled this sketch.
The first printing in the Californian 1 (29 October 1864): 1 is copy-text. Copies: Bancroft; clipping in Scrapbook 4, pp. 20–21, MTP.
Reprintings and Revisions. The sketch was reprinted in JF1, very slightly revised, almost certainly from a clipping of the Californian. No trace of such a clipping survives in the Yale Scrapbook, presumably because the sketch was among those removed from the front part of the scrapbook when whole leaves were cut out. Two verbal changes appear in the JF1 printing: the insertion of “in fact,” before “I am anxious” at 98.15 and the substitution of “bassoon-sophomore” for “bassoon-sharp” at 96.3. Both changes are consistent with holograph revisions Mark Twain made elsewhere in the Yale Scrapbook, but both could easily have been made by Charles Henry Webb as well.
The reprinting of the JF1 text is described in the textual introduction. Routledge reprinted JF1 in 1867 (JF2), and Hotten in turn reprinted JF2 in 1870 (JF3). Routledge also reprinted JF2 in 1870 (JF4a) and, using the unaltered plates of JF4a, reissued the book in 1872 (JF4b). None of these texts was revised by the author, but the compositors of JF2, JF3, and JF4a made several minor errors and sophistications: “sailed” instead of “sallied” (96.1); “burnt” instead of “burned” (96.2); “he” instead of “the” (96.34); “borders” instead of “boarders” (97.16); “smash” instead of “mash” (97.27); and “me” at 98.29 omitted. When Mark Twain prepared the printer's copy for MTSk in March or April 1872, he revised a copy of JF4a and evidently decided to omit this sketch: it was not reprinted in MTSk.
One year later (1873) Hotten reprinted the JF3 text in HWa, perpetuating two of its errors: “sailed” and “smash” (96.1 and 97.27). When Mark Twain revised this book for Chatto and Windus in the fall of 1873 (HWaMT), he made eight changes. He corrected the error deriving from JF2, restoring “sallied” where HWa had “sailed.” He substituted “Days of Absence” for “Auld Lang Syne” three times (96.37–38, 97.8, and 97.30–31). He canceled the sentence at 97.37–98.1: “I reflected, though, that if I could only have been allowed to give this latter just one more touch of the variations, he would have finished the old woman.” And he made his expression somewhat less strenuous in three cases, canceling “a disgusting and” (96.36), “vilest and” (97.3), and “feeling” (98.7). All of the HWaMT changes were incorporated in HWb, published in 1874.
When in 1875 Mark Twain prepared the printer's copy for SkNO, he revised the sketch in HWbMT, canceling “under the exquisite torture” (96.1), “dreadful” (96.31), and “devoutly” (98.6) before deciding to cancel the whole sketch. It was not listed in the Doheny table of contents and was not subsequently reprinted.
Mark Twain had revised the JF1 printing of this sketch well before any of the revisions discussed above. Sometime in 1869 he made several alterations in the Doheny copy of the Jumping Frog, JF1MT; these are typically concerned with removing improprieties: three times he canceled or modified exclamatory references to God (96.32, 98.8, and 98.8), and he made other comparable efforts to give the sketch a less rambunctious tone. Although collation shows that JF1MT was never used as printer's copy for any known reprinting, the revisions it contains are often strikingly similar to, even identical with, those Mark Twain made on HWaMT and HWbMT.
There are no textual notes. The diagram of transmission is given below.