Bret Harte (Photogravure)[Frontispiece.]
From a photograph by Hollyer taken in 1896.
Bernard Hart, Bret Harte’s Grandfather[6]
From a painting in the possession of Messrs. Arthur Lipper & Co., New York.
San Francisco, November, 1844[24]
After a sketch by J. C. Ward.
Bret Harte in 1861[32]
The facsimile of Bret Harte’s handwriting is taken from the back of the photograph
in the possession of Miss Elizabeth Benton Frémont.
Storeship Apollo, used as a Saloon[40]
After a drawing by W. Taber.
Grand Plaza, San Francisco, 1852[60]
From an old print.
The First Hotel at San Francisco[86]
After a drawing by W. Taber.
Miners’ Ball[94]
After a drawing by A. Castaigne.
The Two Opponents Came Nearer[114]
After a drawing by Frederic Remington illustrating “The Iliad of Sandy Bar.”
Sacramento City in 1852[120]
From an old print.
The Post-Office, San Francisco, 1849-50[144]
After a drawing by A. Castaigne.
He Looked Curiously at his Reflection[166]
After a drawing by E. Boyd Smith, illustrating “Left Out on Lone Star Mountain.”
Dennison’s Exchange, and Parker House, December, 1849, before the Fire[178]
After a drawing by W. Taber.
Main Street, Nevada City, 1852[196]
From a photograph in the possession of Colonel Thomas L. Livermore.
The Bells, San Gabriel Mission[212]
From a photograph.
I Thought You Were that Horse-Thief[248]
After a drawing by Denman Fink, illustrating “Lanty Foster’s Mistake.”
The Home of “Truthful James,” Jackass Flat, Tuolumne County, California[310]
From a photograph.

THE LIFE OF BRET HARTE

BRET HARTE

CHAPTER I

BRET HARTE’S ANCESTRY

Francis Brett Harte was born at Albany in the State of New York, on August twenty-fifth, 1836. By his relatives and early friends he was called Frank; but soon after beginning his career as an author in San Francisco he signed his name as “Brett,” then as “Bret,” and finally as “Bret Harte.” “Bret Harte,” therefore, is in some degree a nom de guerre, and it was commonly supposed at first, both in the Eastern States and in England, to be wholly such. Our great New England novelist had a similar experience, for “Nathaniel Hawthorne” was long regarded by most of his readers as an assumed name, happily chosen to indicate the quaint and poetic character of the tales to which it was signed. Bret Harte’s father was Henry Hart;[1] but before we trace his ancestry, let us endeavor to see how he looked. Fanny Kemble met him at Lenox, in the year 1875, and was much impressed by his appearance. In a letter to a relative she wrote: “He reminded me a good deal of our old pirate and bandit friend, Trelawney, though the latter was an almost orientally dark-complexioned man, and Mr. Bret Harte was comparatively fair. They were both tall, well-made men of fine figure; both, too, were handsome, with a peculiar expression of face which suggested small sucsuccess to any one who might engage in personal conflict with them.”

In reality Bret Harte was not tall, though others beside Mrs. Kemble thought him to be so; his height was five feet, eight and a half inches. His face was smooth and regular, without much color; the chin firm and well rounded; the nose straight and rather large, “the nose of generosity and genius”; the under-lip having what Mr. Howells called a “fascinating, forward thrust.”

The following description dates from the time when he left California: “He was a handsome, distinguished-looking man, and although his oval face was slightly marred by scars of small-pox, and his abundant dark hair was already streaked with gray, he carried his slight, upright figure with a quiet elegance that would have made an impression, even when the refinement of face, voice and manner had not been recognized.”