by Mark Twain
Bayard Taylor, after describing the details of the Taj, goes on to say:
"On both sides the palm, the banyan, and the feathery bamboo mingle their foliage; the song of birds meets your ears, and the odor of roses and lemon flowers sweetens the air. Down such a vista and over such a foreground rises the Taj. There is no mystery, no sense of partial failure about the Taj. A thing of perfect beauty and of absolute finish in every detail, it might pass for the work of genii who knew naught of the weaknesses and ills with which mankind are beset."
All of these details are true. But, taken together, they state a falsehood—to you. You cannot add them up correctly. Those writers know the values of their words and phrases, but to you the words and phrases convey other and uncertain values. To those writers their phrases have values which I think I am now acquainted with; and for the help of the reader I will here repeat certain of those words and phrases, and follow them with numerals which shall represent those values—then we shall see the difference between a writer's ciphering and a mistaken reader's:
Precious stones, such as agate, jasper, etc.—5.
With which every salient point is richly fretted—5.
First in the world for purely decorative workmanship—9.
The Taj represents the stage where the architect ends and the jeweler begins—5.
The Taj is entirely of marble and gems—7.
Inlaid with precious stones in lovely patterns of flowers—5.
The inlaid work of flowers done in gems is very brilliant (followed by a most important modification which the reader is sure to read too carelessly)—2.
The vast mausoleum—5.
This marvel of marble—5.
The exquisite enclosure—5.
Inlaid with flowers made of costly gems—5.
A thing of perfect beauty and absolute finish—5.
Those details are correct; the figures which I have placed after them represent quite fairly their individual values. Then why, as a whole, do they convey a false impression to the reader? It is because the reader—beguiled by his heated imagination—masses them in the wrong way. The writer would mass the first three figures in the following way, and they would speak the truth.
Total—19
But the reader masses them thus—and then they tell a lie—559.
The writer would add all of his twelve numerals together, and then the sum would express the whole truth about the Taj, and the truth only—63.
But the reader—always helped by his imagination—would put the figures in a row one after the other, and get this sum, which would tell him a noble big lie:
559575255555.
You must put in the commas yourself; I have to go on with my work.
The reader will always be sure to put the figures together in that wrong way, and then as surely before him will stand, sparkling in the sun, a gem-crusted Taj tall as the Matterhorn.
I had to visit Niagara fifteen times before I succeeded in getting my imaginary Falls gauged to the actuality and could begin to sanely and wholesomely wonder at them for what they were, not what I had expected them to be. When I first approached them it was with my face lifted toward the sky, for I thought I was going to see an Atlantic ocean pouring down thence over cloud-vexed Himalayan heights, a sea-green wall of water sixty miles front and six miles high, and so, when the toy reality came suddenly into view—that beruffled little wet apron hanging out to dry—the shock was too much for me, and I fell with a dull thud.
Yet slowly, surely, steadily, in the course of my fifteen visits, the proportions adjusted themselves to the facts, and I came at last to realize that a waterfall a hundred and sixty-five feet high and a quarter of a mile wide was an impressive thing. It was not a dipperful to my vanished great vision, but it would answer.
I know that I ought to do with the Taj as I was obliged to do with Niagara—see it fifteen times, and let my mind gradually get rid of the Taj built in it by its describers, by help of my imagination, and substitute for it the Taj of fact. It would be noble and fine, then, and a marvel; not the marvel which it replaced, but still a marvel, and fine enough. I am a careless reader, I suppose—an impressionist reader; an impressionist reader of what is not an impressionist picture; a reader who overlooks the informing details or masses their sum improperly, and gets only a large splashy, general effect—an effect which is not correct, and which is not warranted by the particulars placed before me—particulars which I did not examine, and whose meanings I did not cautiously and carefully estimate. It is an effect which is some thirty-five or forty times finer than the reality, and is therefore a great deal better and more valuable than the reality; and so, I ought never to hunt up the reality, but stay miles away from it, and thus preserve undamaged my own private mighty Niagara tumbling out of the vault of heaven, and my own ineffable Taj, built of tinted mists upon jeweled arches of rainbows supported by colonnades of moonlight. It is a mistake for a person with an unregulated imagination to go and look at an illustrious world's wonder.
I suppose that many, many years ago I gathered the idea that the Taj's place in the achievements of man was exactly the place of the ice-storm in the achievements of Nature; that the Taj represented man's supremest possibility in the creation of grace and beauty and exquisiteness and splendor, just as the ice-storm represents Nature's supremest possibility in the combination of those same qualities. I do not know how long ago that idea was bred in me, but I know that I cannot remember back to a time when the thought of either of these symbols of gracious and unapproachable perfection did not at once suggest the other. If I thought of the ice-storm, the Taj rose before me divinely beautiful; if I thought of the Taj, with its encrustings and inlayings of jewels, the vision of the ice-storm rose. And so, to me, all these years, the Taj has had no rival among the temples and palaces of men, none that even remotely approached it—it was man's architectural ice-storm.
Here in London the other night I was talking with some Scotch and English friends, and I mentioned the ice-storm, using it as a figure—a figure which failed, for none of them had heard of the ice-storm. One gentleman, who was very familiar with American literature, said he had never seen it mentioned in any book. That is strange. And I, myself, was not able to say that I had seen it mentioned in a book; and yet the autumn foliage, with all other American scenery, has received full and competent attention.
The oversight is strange, for in America the ice-storm is an event. And it is not an event which one is careless about. When it comes, the news flies from room to room in the house, there are bangings on the doors, and shoutings, "The ice-storm! the ice-storm!" and even the laziest sleepers throw off the covers and join the rush for the windows. The ice-storm occurs in midwinter, and usually its enchantments are wrought in the silence and the darkness of the night. A fine drizzling rain falls hour after hour upon the naked twigs and branches of the trees, and as it falls it freezes. In time the trunk and every branch and twig are incased in hard pure ice; so that the tree looks like a skeleton tree made all of glass—glass that is crystal-clear. All along the underside of every branch and twig is a comb of little icicles—the frozen drip. Sometimes these pendants do not quite amount to icicles, but are round beads—frozen tears.
The weather clears, toward dawn, and leaves a brisk pure atmosphere and a sky without a shred of cloud in it—and everything is still, there is not a breath of wind. The dawn breaks and spreads, the news of the storm goes about the house, and the little and the big, in wraps and blankets, flock to the window and press together there, and gaze intently out upon the great white ghost in the grounds, and nobody says a word, nobody stirs. All are waiting; they know what is coming, and they are waiting waiting for the miracle. The minutes drift on and on and on, with not a sound but the ticking of the clock; at last the sun fires a sudden sheaf of rays into the ghostly tree and turns it into a white splendor of glittering diamonds. Everybody catches his breath, and feels a swelling in his throat and a moisture in his eyes-but waits agai
n; for he knows what is coming; there is more yet. The sun climbs higher, and still higher, flooding the tree from its loftiest spread of branches to its lowest, turning it to a glory of white fire; then in a moment, without warning, comes the great miracle, the supreme miracle, the miracle without its fellow in the earth; a gust of wind sets every branch and twig to swaying, and in an instant turns the whole white tree into a spouting and spraying explosion of flashing gems of every conceivable color; and there it stands and sways this way and that, flash! flash! flash! a dancing and glancing world of rubies, emeralds, diamonds, sapphires, the most radiant spectacle, the most blinding spectacle, the divinest, the most exquisite, the most intoxicating vision of fire and color and intolerable and unimaginable splendor that ever any eye has rested upon in this world, or will ever rest upon outside of the gates of heaven.
By all my senses, all my faculties, I know that the icestorm is Nature's supremest achievement in the domain of the superb and the beautiful; and by my reason, at least, I know that the Taj is man's ice-storm.
In the ice-storm every one of the myriad ice-beads pendant from twig and branch is an individual gem, and changes color with every motion caused by the wind; each tree carries a million, and a forest-front exhibits the splendors of the single tree multiplied by a thousand.
It occurs to me now that I have never seen the ice-storm put upon canvas, and have not heard that any painter has tried to do it. I wonder why that is. Is it that paint cannot counterfeit the intense blaze of a sun-flooded jewel? There should be, and must be, a reason, and a good one, why the most enchanting sight that Nature has created has been neglected by the brush.
Often, the surest way to convey misinformation is to tell the strict truth. The describers of the Taj have used the word gem in its strictest sense—its scientific sense. In that sense it is a mild word, and promises but little to the eye—nothing bright, nothing brilliant, nothing sparkling, nothing splendid in the way of color. It accurately describes the sober and unobtrusive gem-work of the Taj; that is, to the very highly-educated one person in a thousand; but it most falsely describes it to the 999. But the 999 are the people who ought to be especially taken care of, and to them it does not mean quiet-colored designs wrought in carnelians, or agates, or such things; they know the word in its wide and ordinary sense only, and so to them it means diamonds and rubies and opals and their kindred, and the moment their eyes fall upon it in print they see a vision of glorious colors clothed in fire.
These describers are writing for the "general," and so, in order to make sure of being understood, they ought to use words in their ordinary sense, or else explain. The word fountain means one thing in Syria, where there is but a handful of people; it means quite another thing in North America, where there are 75,000,000. If I were describing some Syrian scenery, and should exclaim, "Within the narrow space of a quarter of a mile square I saw, in the glory of the flooding moonlight, two hundred noble fountains—imagine the spectacle!" the North American would have a vision of clustering columns of water soaring aloft, bending over in graceful arches, bursting in beaded spray and raining white fire in the moonlight-and he would be deceived. But the Syrian would not be deceived; he would merely see two hundred fresh-water springs—two hundred drowsing puddles, as level and unpretentious and unexcited as so many door-mats, and even with the help of the moonlight he would not lose his grip in the presence of the exhibition. My word "fountain" would be correct; it would speak the strict truth; and it would convey the strict truth to the handful of Syrians, and the strictest misinformation to the North American millions. With their gems—and gems—and more gems—and gems again—and still other gems—the describers of the Taj are within their legal but not their moral rights; they are dealing in the strictest scientific truth; and in doing it they succeed to admiration in telling "what ain't so."
CHAPTER LX.
SATAN (impatiently) to NEW-COMER. The trouble with you Chicago people is, that you think you are the best people down here; whereas you are merely the most numerous.
—Pudd'nhead Wilson's New Calendar.
To Lahore—The Governor's Elephant—Taking a Ride—No Danger from Collision—Rawal Pindi—Back to Delhi—An Orientalized Englishman—Monkeys and the Paint-pot—Monkey Crying over my Note-book—Arrival at Jeypore—In Rajputana—Watching Servants—The Jeypore Hotel—Our Old and New Satan—Satan as a Liar—The Museum—A Street Show—Blocks of Houses—A Religious Procession
We wandered contentedly around here and there in India; to Lahore, among other places, where the Lieutenant-Governor lent me an elephant. This hospitality stands out in my experiences in a stately isolation. It was a fine elephant, affable, gentlemanly, educated, and I was not afraid of it. I even rode it with confidence through the crowded lanes of the native city, where it scared all the horses out of their senses, and where children were always just escaping its feet. It took the middle of the road in a fine independent way, and left it to the world to get out of the way or take the consequences. I am used to being afraid of collisions when I ride or drive, but when one is on top of an elephant that feeling is absent. I could have ridden in comfort through a regiment of runaway teams. I could easily learn to prefer an elephant to any other vehicle, partly because of that immunity from collisions, and partly because of the fine view one has from up there, and partly because of the dignity one feels in that high place, and partly because one can look in at the windows and see what is going on privately among the family. The Lahore horses were used to elephants, but they were rapturously afraid of them just the same. It seemed curious. Perhaps the better they know the elephant the more they respect him in that peculiar way. In our own case—we are not afraid of dynamite till we get acquainted with it.
We drifted as far as Rawal Pindi, away up on the Afghan frontier—I think it was the Afghan frontier, but it may have been Hertzegovina—it was around there somewhere—and down again to Delhi, to see the ancient architectural wonders there and in Old Delhi and not describe them, and also to see the scene of the illustrious assault, in the Mutiny days, when the British carried Delhi by storm, one of the marvels of history for impudent daring and immortal valor.
We had a refreshing rest, there in Delhi, in a great old mansion which possessed historical interest. It was built by a rich Englishman who had become orientalized—so much so that he had a zenana. But he was a broadminded man, and remained so. To please his harem he built a mosque; to please himself he built an English church. That kind of a man will arrive, somewhere. In the Mutiny days the mansion was the British general's headquarters. It stands in a great garden—oriental fashion—and about it are many noble trees. The trees harbor monkeys; and they are monkeys of a watchful and enterprising sort, and not much troubled with fear. They invade the house whenever they get a chance, and carry off everything they don't want. One morning the master of the house was in his bath, and the window was open. Near it stood a pot of yellow paint and a brush. Some monkeys appeared in the window; to scare them away, the gentleman threw his sponge at them. They did not scare at all; they jumped into the room and threw yellow paint all over him from the brush, and drove him out; then they painted the walls and the floor and the tank and the windows and the furniture yellow, and were in the dressing-room painting that when help arrived and routed them.
Two of these creatures came into my room in the early morning, through a window whose shutters I had left open, and when I woke one of them was before the glass brushing his hair, and the other one had my note-book, and was reading a page of humorous notes and crying. I did not mind the one with the hair-brush, but the conduct of the other one hurt me; it hurts me yet. I threw something at him, and that was wrong, for my host had told me that the monkeys were best left alone. They threw everything at me that they could lift, and then went into the bathroom to get some more things, and I shut the door on them.
At Jeypore, in Rajputana, we made a considerable stay. We were not in the native city, but several miles from it, in the small Eu
ropean official suburb. There were but few Europeans—only fourteen but they were all kind and hospitable, and it amounted to being at home. In Jeypore we found again what we had found all about India—that while the Indian servant is in his way a very real treasure, he will sometimes bear watching, and the Englishman watches him. If he sends him on an errand, he wants more than the man's word for it that he did the errand. When fruit and vegetables were sent to us, a "chit" came with them—a receipt for us to sign; otherwise the things might not arrive. If a gentleman sent up his carriage, the chit stated "from" such-and-such an hour "to" such-and-such an hour—which made it unhandy for the coachman and his two or three subordinates to put us off with a part of the allotted time and devote the rest of it to a lark of their own.
