by Mark Twain
Elfonzo replied, "Pardon me, my dear madam, for my frankness. I have loved you from my earliest days--everything grand and beautiful hath borne the image of Ambulinia; while precipices on every hand surrounded me, your GUARDIAN ANGEL stood and beckoned me away from the deep abyss. In every trial, in every misfortune, I have met with your helping hand; yet I never dreamed or dared to cherish thy love, till a voice impaired with age encouraged the cause, and declared they who acquired thy favor should win a victory. I saw how Leos worshiped thee. I felt my own unworthiness. I began to KNOW JEALOUSLY, a strong guest--indeed, in my bosom,-- yet I could see if I gained your admiration Leos was to be my rival. I was aware that he had the influence of your parents, and the wealth of a deceased relative, which is too often mistaken for permanent and regular tranquillity; yet I have determined by your permission to beg an interest in your prayers--to ask you to animate my drooping spirits by your smiles and your winning looks; for if you but speak I shall be conqueror, my enemies shall stagger like Olympus shakes. And though earth and sea may tremble, and the charioteer of the sun may forget his dashing steed, yet I am assured that it is only to arm me with divine weapons which will enable me to complete my long-tried intention."
"Return to yourself, Elfonzo," said Ambulinia, pleasantly: "a dream of vision has disturbed your intellect; you are above the atmosphere, dwelling in the celestial regions; nothing is there that urges or hinders, nothing that brings discord into our present litigation. I entreat you to condescend a little, and be a man, and forget it all. When Homer describes the battle of the gods and noble men fighting with giants and dragons, they represent under this image our struggles with the delusions of our passions. You have exalted me, an unhappy girl, to the skies; you have called me a saint, and portrayed in your imagination an angel in human form. Let her remain such to you, let her continue to be as you have supposed, and be assured that she will consider a share in your esteem as her highest treasure. Think not that I would allure you from the path in which your conscience leads you; for you know I respect the conscience of others, as I would die for my own. Elfonzo, if I am worthy of thy love, let such conversation never again pass between us. Go, seek a nobler theme! we will seek it in the stream of time, as the sun set in the Tigris." As she spake these words she grasped the hand of Elfonzo, saying at the same time--"Peace and prosperity attend you, my hero; be up and doing!" Closing her remarks with this expression, she walked slowly away, leaving Elfonzo astonished and amazed. He ventured not to follow or detain her. Here he stood alone, gazing at the stars; confounded as he was, here he stood.
Yes; there he stood. There seems to be no doubt about that. Nearly half of this delirious story has now been delivered to the reader. It seems a pity to reduce the other half to a cold synopsis. Pity! it is more than a pity, it is a crime; for to synopsize McClintock is to reduce a sky-flushing conflagration to dull embers, it is to reduce barbaric splendor to ragged poverty. McClintock never wrote a line that was not precious; he never wrote one that could be spared; he never framed one from which a word could be removed without damage. Every sentence that this master has produced may be likened to a perfect set of teeth, white, uniform, beautiful. If you pull one, the charm is gone.
Still, it is now necessary to begin to pull, and to keep it up; for lack of space requires us to synopsize.
We left Elfonzo standing there amazed. At what, we do not know. Not at the girl's speech. No; we ourselves should have been amazed at it, of course, for none of us has ever heard anything resembling it; but Elfonzo was used to speeches made up of noise and vacancy, and could listen to them with undaunted mind like the "topmost topaz of an ancient tower"; he was used to making them himself; he--but let it go, it cannot be guessed out; we shall never know what it was that astonished him. He stood there awhile; then he said, "Alas! am I now Grief's disappointed son at last?" He did not stop to examine his mind, and to try to find out what he probably meant by that, because, for one reason, "a mixture of ambition and greatness of soul moved upon his young heart," and started him for the village. He resumed his bench in school, "and reasonably progressed in his education." His heart was heavy, but he went into society, and sought surcease of sorrow in its light distractions. He made himself popular with his violin, "which seemed to have a thousand chords--more symphonious than the Muses of Apollo, and more enchanting than the ghost of the Hills." This is obscure, but let it go.
During this interval Leos did some unencouraged courting, but at last, "choked by his undertaking," he desisted.
Presently "Elfonzo again wends his way to the stately walls and new-built village." He goes to the house of his beloved; she opens the door herself. To my surprise--for Ambulinia's heart had still seemed free at the time of their last interview--love beamed from the girl's eyes. One sees that Elfonzo was surprised, too; for when he caught that light, "a halloo of smothered shouts ran through every vein." A neat figure--a very neat figure, indeed! Then he kissed her. "The scene was overwhelming." They went into the parlor. The girl said it was safe, for her parents were abed, and would never know. Then we have this fine picture--flung upon the canvas with hardly an effort, as you will notice.
Advancing toward him, she gave a bright display of her rosy neck, and from her head the ambrosial locks breathed divine fragrance; her robe hung waving to his view, while she stood like a goddess confessed before him.
There is nothing of interest in the couple's interview. Now at this point the girl invites Elfonzo to a village show, where jealousy is the motive of the play, for she wants to teach him a wholesome lesson, if he is a jealous person. But this is a sham, and pretty shallow. McClintock merely wants a pretext to drag in a plagiarism of his upon a scene or two in "Othello."
The lovers went to the play. Elfonzo was one of the fiddlers. He and Ambulinia must not been seen together, lest trouble follow with the girl's malignant father; we are made to understand that clearly. So the two sit together in the orchestra, in the midst of the musicians. This does not seem to be good art. In the first place, the girl would be in the way, for orchestras are always packed closely together, and there is no room to spare for people's girls; in the next place, one cannot conceal a girl in an orchestra without everybody taking notice of it. There can be no doubt, it seems to me, that this is bad art.
Leos is present. Of course, one of the first things that catches his eye is the maddening spectacle of Ambulinia "leaning upon Elfonzo's chair." This poor girl does not seem to understand even the rudiments of concealment. But she is "in her seventeenth," as the author phrases it, and that is her justification.
Leos meditates, constructs a plan--with personal violence as a basis, of course. It was their way down there. It is a good plain plan, without any imagination in it. He will go out and stand at the front door, and when these two come out he will "arrest Ambulinia from the hands of the insolent Elfonzo," and thus make for himself a "more prosperous field of immortality than ever was decreed by Omnipotence, or ever pencil drew or artist imagined." But, dear me, while he is waiting there the couple climb out at the back window and scurry home! This is romantic enough, but there is a lack of dignity in the situation.
At this point McClintock puts in the whole of his curious play-- which we skip.
Some correspondence follows now. The bitter father and the distressed lovers write the letters. Elopements are attempted. They are idiotically planned, and they fail. Then we have several pages of romantic powwow and confusion dignifying nothing. Another elopement is planned; it is to take place on Sunday, when everybody is at church. But the "hero" cannot keep the secret; he tells everybody. Another author would have found another instrument when he decided to defeat this elopement; but that is not McClintock's way. He uses the person that is nearest at hand.
The evasion failed, of course. Ambulinia, in her flight, takes refuge in a neighbor's house. Her father drags her home. The villagers gather, attracted by the racket.
Elfonzo was moved at this sight. The people followed on to
see what was going to become of Ambulinia, while he, with downcast looks, kept at a distance, until he saw them enter the abode of the father, thrusting her, that was the sigh of his soul, out of his presence into a solitary apartment, when she exclaimed, "Elfonzo! Elfonzo! oh, Elfonzo! where art thou, with all thy heroes? haste, oh! haste, come thou to my relief. Ride on the wings of the wind! Turn thy force loose like a tempest, and roll on thy army like a whirlwind, over this mountain of trouble and confusion. Oh friends! if any pity me, let your last efforts throng upon the green hills, and come to the relief of Ambulinia, who is guilty of nothing but innocent love." Elfonzo called out with a loud voice, "My God, can I stand this! arouse up, I beseech you, and put an end to this tyranny. Come, my brave boys," said he, "are you ready to go forth to your duty?" They stood around him. "Who," said he, "will call us to arms? Where are my thunderbolts of war? Speak ye, the first who will meet the foe! Who will go forward with me in this ocean of grievous temptation? If there is one who desires to go, let him come and shake hands upon the altar of devotion, and swear that he will be a hero; yes, a Hector in a cause like this, which calls aloud for a speedy remedy." "Mine be the deed," said a young lawyer, "and mine alone; Venus alone shall quit her station before I will forsake one jot or tittle of my promise to you; what is death to me? what is all this warlike army, if it is not to win a victory? I love the sleep of the lover and the mighty; nor would I give it over till the blood of my enemies should wreak with that of my own. But God forbid that our fame should soar on the blood of the slumberer." Mr. Valeer stands at his door with the frown of a demon upon his brow, with his dangerous weapon[3] ready to strike the first man who should enter his door. "Who will arise and go forward through blood and carnage to the rescue of my Ambulinia?" said Elfonzo. "All," exclaimed the multitude; and onward they went, with their implements of battle. Others, of a more timid nature, stood among the distant hills to see the result of the contest.
It will hardly be believed that after all this thunder and lightning not a drop of rain fell; but such is the fact. Elfonzo and his gang stood up and black-guarded Mr. Valeer with vigor all night, getting their outlay back with interest; then in the early morning the army and its general retired from the field, leaving the victory with their solitary adversary and his crowbar. This is the first time this has happened in romantic literature. The invention is original. Everything in this book is original; there is nothing hackneyed about it anywhere. Always, in other romances, when you find the author leading up to a climax, you know what is going to happen. But in this book it is different; the thing which seems inevitable and unavoidable never happens; it is circumvented by the art of the author every time.
Another elopement was attempted. It failed.
We have now arrived at the end. But it is not exciting. McClintock thinks it is; but it isn't. One day Elfonzo sent Ambulinia another note--a note proposing elopement No. 16. This time the plan is admirable; admirable, sagacious, ingenious, imaginative, deep-- oh, everything, and perfectly easy. One wonders why it was never thought of before. This is the scheme. Ambulinia is to leave the breakfast-table, ostensibly to "attend to the placing of those flowers, which should have been done a week ago"--artificial ones, of course; the others wouldn't keep so long--and then, instead of fixing the flowers, she is to walk out to the grove, and go off with Elfonzo. The invention of this plan overstrained the author that is plain, for he straightway shows failing powers. The details of the plan are not many or elaborate. The author shall state them himself-- this good soul, whose intentions are always better than his English:
"You walk carelessly toward the academy grove, where you will find me with a lightning steed, elegantly equipped to bear you off where we shall be joined in wedlock with the first connubial rights."
Last scene of all, which the author, now much enfeebled, tries to smarten up and make acceptable to his spectacular heart by introducing some new properties--silver bow, golden harp, olive branch--things that can all come good in an elopement, no doubt, yet are not to be compared to an umbrella for real handiness and reliability in an excursion of that kind.
And away she ran to the sacred grove, surrounded with glittering pearls, that indicated her coming. Elfonzo hails her with his silver bow and his golden harp. The meet--Ambulinia's countenance brightens-- Elfonzo leads up the winged steed. "Mount," said he, "ye true-hearted, ye fearless soul--the day is ours." She sprang upon the back of the young thunderbolt, a brilliant star sparkles upon her head, with one hand she grasps the reins, and with the other she holds an olive branch. "Lend thy aid, ye strong winds," they exclaimed, "ye moon, ye sun, and all ye fair host of heaven, witness the enemy conquered." "Hold," said Elfonzo, "thy dashing steed." "Ride on," said Ambulinia, "the voice of thunder is behind us." And onward they went, with such rapidity that they very soon arrived at Rural Retreat, where they dismounted, and were united with all the solemnities that usually attended such divine operations.
There is but one Homer, there is but one Shakespeare, there is but one McClintock--and his immortal book is before you. Homer could not have written this book, Shakespeare could not have written it, I could not have done it myself. There is nothing just like it in the literature of any country or of any epoch. It stands alone; it is monumental. It adds G. Ragsdale McClintock's to the sum of the republic's imperishable names.
[1] The name here given is a substitute for the one actually attached to the pamphlet. [2] Further on it will be seen that he is a country expert on the fiddle, and has a three-township fame. [3] It is a crowbar.
THE CURIOUS BOOK
Complete
[The foregoing review of the great work of G. Ragsdale McClintock is liberally illuminated with sample extracts, but these cannot appease the appetite. Only the complete book, unabridged, can do that. Therefore it is here printed.--M.T.]
THE ENEMY CONQUERED; OR, LOVE TRIUMPHANT
Sweet girl, thy smiles are full of charms,
Thy voice is sweeter still, It fills the breast with fond alarms,
Echoed by every rill.
I begin this little work with an eulogy upon woman, who has ever been distinguished for her perseverance, her constancy, and her devoted attention to those upon whom she has been pleased to place her AFFECTIONS. Many have been the themes upon which writers and public speakers have dwelt with intense and increasing interest. Among these delightful themes stands that of woman, the balm to all our sighs and disappointments, and the most pre-eminent of all other topics. Here the poet and orator have stood and gazed with wonder and with admiration; they have dwelt upon her innocence, the ornament of all her virtues. First viewing her external charms, such as set forth in her form and benevolent countenance, and then passing to the deep hidden springs of loveliness and disinterested devotion. In every clime, and in every age, she has been the pride of her NATION. Her watchfulness is untiring; she who guarded the sepulcher was the first to approach it, and the last to depart from its awful yet sublime scene. Even here, in this highly favored land, we look to her for the security of our institutions, and for our future greatness as a nation. But, strange as it may appear, woman's charms and virtues are but slightly appreciated by thousands. Those who should raise the standard of female worth, and paint her value with her virtues, in living colors, upon the banners that are fanned by the zephyrs of heaven, and hand them down to posterity as emblematical of a rich inheritance, do not properly estimate them.
Man is not sensible, at all times, of the nature and the emotions which bear that name; he does not understand, he will not comprehend; his intelligence has not expanded to that degree of glory which drinks in the vast revolution of humanity, its end, its mighty destination, and the causes which operated, and are still operating, to produce a more elevated station, and the objects which energize and enliven its consummation. This he is a stranger to; he is not aware that woman is the recipient of celestial love, and that man is dependent upon her to perfect his character; that without her, philosophically and truly speaking,
the brightest of his intelligence is but the coldness of a winter moon, whose beams can produce no fruit, whose solar light is not its own, but borrowed from the great dispenser of effulgent beauty. We have no disposition in the world to flatter the fair sex, we would raise them above those dastardly principles which only exist in little souls, contracted hearts, and a distracted brain. Often does she unfold herself in all her fascinating loveliness, presenting the most captivating charms; yet we find man frequently treats such purity of purpose with indifference. Why does he do it? Why does he baffle that which is inevitably the source of his better days? Is he so much of a stranger to those excellent qualities as not to appreciate woman, as not to have respect to her dignity? Since her art and beauty first captivated man, she has been his delight and his comfort; she has shared alike in his misfortunes and in his prosperity.
Whenever the billows of adversity and the tumultuous waves of trouble beat high, her smiles subdue their fury. Should the tear of sorrow and the mournful sigh of grief interrupt the peace of his mind, her voice removes them all, and she bends from her circle to encourage him onward. When darkness would obscure his mind, and a thick cloud of gloom would bewilder its operations, her intelligent eye darts a ray of streaming light into his heart. Mighty and charming is that disinterested devotion which she is ever ready to exercise toward man, not waiting till the last moment of his danger, but seeks to relieve him in his early afflictions. It gushes forth from the expansive fullness of a tender and devoted heart, where the noblest, the purest, and the most elevated and refined feelings are matured and developed in those may kind offices which invariably make her character.
