VII.
As I have tried to say, the printers of that day had nearly all some affinity with literature, if not some love of it; it was in a sort always at their fingers-ends, and they must have got some touch of it whether they would or not. They thought their trade a poor one, moneywise, but they were fond of it and they did not often forsake it. Their hope was somehow to get hold of a country paper and become editors and publishers; and my friend and I, when he was twenty-four and I eighteen, once crossed over into Pennsylvania, where we had heard there was a paper for sale; but we had not the courage to offer even promises to pay for it. The craft had a repute for insolvency which it merited, and it was at odds with the community at large by reason of something not immediately intelligible in it, or at least not classifiable. I remember that when I began to write a certain story of mine, I told Mark Twain, who was once a printer, that I was going to make the hero a printer, and he said, “Better not. People will not understand him. Printing is something every village has in it, but it is always a sort of mystery, and the reader does not like to be perplexed by something that he thinks he knows about.” This seemed very acute and just, though I made my hero a printer all the same, and I offer it to the public as a light on the anomalous relation the country printer bears to his fellow-citizens. They see him following his strange calling among them, but to neither wealth nor worship, and they cannot understand why he does not take up something else, something respectable and remunerative; they feel that there must be something weak, something wrong in a man who is willing to wear his life out in a vocation which keeps him poor and dependent on the favor they grudge him. It is like the relation which all the arts bear to the world, and which is peculiarly thankless in a purely commercial civilization like ours; though I cannot pretend that printing is an art in the highest sense. I have heard old journeymen claim that it was a profession and ought to rank with the learned professions, but I am afraid that was from too fond a pride in it. It is in one sort a handicraft, like any other, like carpentering or stone-cutting; but it has its artistic delight, as every handicraft has. There is the ideal in all work; and I have had moments of unsurpassed gladness in feeling that I had come very near the ideal in what I had done in my trade. This joy is the right of every worker, and in so far as modern methods have taken it from him they have wronged him. I can understand Ruskin in his wish to restore it to some of the handicrafts which have lost it in the “base mechanical” operations of the great manufactories, where men spend their lives in making one thing, or a part of a thing, and cannot follow their work constructively. If that were to be the end, the operative would forever lose the delight in work which is the best thing in the world. But I hope this is not to be the end, and that when people like again to make things for use and not merely for profit, the workman will have again the reward that is more than wages.
I know that in the old-fashioned country printing-office we had this, and we enjoyed our trade as the decorative art it also is. Questions of taste constantly arose in the arrangement of a title-page, the display of a placard or a handbill, the use of this type or that. They did not go far, these questions, but they employed the critical faculty and the æsthetic instinct, and they allied us, however slightly and unconsciously, with the creators of the beautiful.
But now, it must be confessed, printing has shared the fate of all other handicrafts. Thanks to united labor, it is better paid in each of its subdivisions than it once was as a whole. In my time, the hire of a first-rate country printer, who usually worked by the week, was a dollar a day; but of course this was not so little in 1852 as it would be in 1892. My childish remembrance is of the journeymen working two hours after supper, every night, so as to make out a day of twelve hours; but at the time I write of the day of ten hours was the law and the rule, and nobody worked longer, except when the President’s Message was to be put in type, or on some other august occasion.
The pay is not only increased in proportion to the cost of living, but it is really greater, and the conditions are all very much better. But I believe no apprentice now learns the whole trade, and each of our printers, forty years ago, would have known how to do everything in the kind of office he hoped to own. He would have had to make a good many things which the printer now buys, and first among them the rollers, which are used for inking the type on the press. These were of a composition of glue and molasses, and were of an india-rubbery elasticity and consistency, as long as they were in good condition. But with use and time they became hard, the ink smeared on them, and they failed to impart it evenly to the type; they had to be thrown away, or melted over again. This was done on the office stove, in a large bucket which they were cut up into, with fresh glue and molasses added. It seems in the retrospect to have been rather a simple affair, and I do not now see why casting a roller should have involved so much absolute failure, and rarely have given a satisfactory result. The mould was a large copper cylinder, and the wooden core of the roller was fixed in place by an iron cap and foot-piece. The mixture boiled away, as it now seems to me, for days, and far into the sleepy nights, when as a child I was proud of sitting up with it very late. Then at some weird hour, my father or my brother poured it into the mould, and we went home and left the rest with fate. The next morning the whole office crowded round to see the roller drawn from the mould, and it usually came out with such long hollows and gaps in its sides that it had to be cut up at once and melted over again. At present, all rollers are bought somewhere in New York or Chicago, I believe, and a printer would no more think of making a roller than of making any other part of his press. “And you know,” said my brother, who told me of this change, “we don’t wet the paper now.” “Good heavens,” said I, “you don’t print it dry!” “Yes, and it doesn’t blur any more than if it were wet.” I suppose wetting the paper was a usage that antedated the invention of movable type. It used to be drawn, quire by quire, through a vat of clear water, and then the night before publication day it was turned and sprinkled. Now it was printed dry, I felt as if it were time to class Benjamin Franklin with the sun-myths.