And it seemed to me that now that the fourth act is so successfully written, why not go ahead and write the 3 preceding acts? And then after it is finished, let me put into it a low-comedy character (the girl's or the lover's father or uncle) and gobble a big pecuniary interest in your work for myself. Do not let this generous proposition disturb your rest—but do write the other 3 acts, and then it will be valuable to managers. And don't go and sell it to anybody, like Harte, but keep it for yourself.
Harte's play can be doctored till it will be entirely acceptable and then it will clear a great sum every year. I am out of all patience with Harte for selling it. The play entertained me hugely, even in its present crude state.
Love to you all.
Yrs ever,
MARK
Following the Sellers success, Clemens had made many attempts at
dramatic writing. Such undertakings had uniformly failed, but he
had always been willing to try again. In the next letter we get the
beginning of what proved his first and last direct literary
association, that is to say, collaboration, with Bret Harte.
Clemens had great admiration for Harte's ability and believed that
between them they could turn out a successful play. Whether or not
this belief was justified will appear later. Howells's biography of
Hayes, meanwhile, had not gone well. He reported that only two
thousand copies had been sold in what was now the height of the
campaign. “There's success for you,” he said; “it makes me despair
of the Republic.”
Clemens, on his part, had made a speech for Hayes that Howells
declared had put civil-service reform in a nutshell; he added: “You
are the only Republican orator, quoted without distinction of party
by all the newspapers.”
To W. D. Howells, in Boston:
HARTFORD, Oct. 11, 1876.
MY DEAR HOWELLS, This is a secret, to be known to nobody but you (of course I comprehend that Mrs. Howells is part of you) that Bret Harte came up here the other day and asked me to help him write a play and divide the swag, and I agreed. I am to put in Scotty Briggs (See Buck Fanshaw's Funeral, in “Roughing It.”) and he is to put in a Chinaman (a wonderfully funny creature, as Bret presents him—for 5 minutes—in his Sandy Bar play.) This Chinaman is to be the character of the play, and both of us will work on him and develop him. Bret is to draw a plot, and I am to do the same; we shall use the best of the two, or gouge from both and build a third. My plot is built—finished it yesterday—six days' work, 8 or 9 hours a day, and has nearly killed me.
Now the favor I ask of you is that you will have the words “Ah Sin, a Drama,” printed in the middle of a note-paper page and send the same to me, with Bill. We don't want anybody to know that we are building this play. I can't get this title page printed here without having to lie so much that the thought of it is disagreeable to one reared as I have been. And yet the title of the play must be printed—the rest of the application for copyright is allowable in penmanship.
We have got the very best gang of servants in America, now. When George first came he was one of the most religious of men. He had but one fault—young George Washington's. But I have trained him; and now it fairly breaks Mrs. Clemens's heart to hear George stand at that front door and lie to the unwelcome visitor. But your time is valuable; I must not dwell upon these things.....I'll ask Warner and Harte if they'll do Blindfold Novelettes. Some time I'll simplify that plot. All it needs is that the hanging and the marriage shall not be appointed for the same day. I got over that difficulty, but it required too much MS to reconcile the thing—so the movement of the story was clogged.