MARK TWAIN
[This biographical criticism was written to serve as an introduction to the complete edition of Mark Twain's Works.]
It is a common delusion of those who discuss contemporary literature that there is such an entity as the "reading public," possest of a certain uniformity of taste. There is not one public; there are many publics,—as many in fact as there are different kinds of taste; and the extent of an author's popularity is in proportion to the number of these separate publics he may chance to please. Scott, for example, appealed not only to those who relished romance and enjoyed excitement, but also to those who appreciated his honest portrayal of sturdy characters. Thackeray is preferred by ambitious youths who are insidiously flattered by his tacit compliments to their knowledge of the world, by the disenchanted who cannot help seeing the petty meannesses of society, and by the less sophisticated in whom sentiment has not gone to seed in sentimentality. Dickens in his own day bid for the approval of those who liked broad caricature (and were, therefore, pleased with Stiggins and Chadband), of those who fed greedily on plentiful pathos (and were, therefore, delighted with the deathbeds of Smike and Paul Dombey and Little Nell) and also of those who asked for unexpected adventure (and were, therefore, glad to disentangle the melodramatic intrigues of Ralph Nickleby).
In like manner the American author who has chosen to call himself Mark Twain has attained to an immense popularity because the qualities he possesses in a high degree appeal to so many and so widely varied publics,—first of all, no doubt, to the public that revels in hearty and robust fun, but also to the public which is glad to be swept along by the full current of adventure, which is sincerely touched by manly pathos, which is satisfied by vigorous and exact portrayal of character, which respects shrewdness and wisdom and sanity and which appreciates a healthy hatred of pretense and affectation and sham. Perhaps no one book of Mark Twain's—with the possible exception of 'Huckleberry Finn'—is equally a favorite with all his readers; and perhaps some of his best characteristics are absent from his earlier books or but doubtfully latent in them. Mark Twain is many-sided; and he has ripened in knowledge and in power since he first attracted attention as a wild Western funny man. As he has grown older he has reflected more; he has both broadened and deepened. The writer of "comic copy" for a mining-camp newspaper has developed into a liberal humorist, handling life seriously and making his readers think as he makes them laugh, until to-day Mark Twain has perhaps the largest audience of any author now using the English language. To trace the stages of this evolution and to count the steps whereby the sage-brush reporter has risen to the rank of a writer of world-wide celebrity, is as interesting as it is instructive.