To
John T. Raymond
per Telegraph Operator
31 August 1874 • Elmira, N.Y.
(Rochester [N.Y.] Democrat and Chronicle, 1 Sept 74, UCCL 12080)
[To John T. Raymond, Rochester ]:
Telegram just received. We are threatened with scarlet [fever ], [& ] I fear to leave my family.1
S. L. Clemens.2
Explanatory Notes | Textual Commentary
simply an incoherent jumble of scenes and acts,
without any sequence or continuity whatever.... We presume it
was the intention of the author, as the piece was written
expressly for Raymond, to make “Sellers”
the leading character, but this had not been effected. The
prominent character being “Laura Hawkins”
... with “Sellers” as the principal
adjunct. It advised Clemens to “revise it
thoroughly from beginning to end, cutting out some of the dialogues
that are much too ‘talky,’ putting in more
situations and above all a considerably larger dose of
‘Sellers.’” Raymond was as absurdly comical as it was possible to be, and
presented a perfectly life-like picture of the pompous,
grandiloquent but good-hearted speculator. It is in this
character that the humor of the author is prominently presented,
and it is indeed only in “Sellers” that
his handiwork can be recognized at all. Into it he has thrown
all the fun-loving humor of his nature, and has succeeded in
making him the very acme of unconscious wit, the only fault
being that there is not enough of him. In selecting Mr. Raymond
to perform this part the author could have selected no one from
the American stage who would be so likely to make it a success,
and right well does he fulfill his part in every particular. He
appears to have caught the very inspiration of the
author’s meaning.... With a different wrapping, this
character, in Raymond’s hands, could be made the
greatest success on the stage. (“The Opera
House.—Initial Performance of the ‘Gilded
Age’ Last Evening,” 1 Sept 74, 2) The Rochester Democrat and
Chronicle made some suggestions for improving
Raymond’s costume and the closings of the acts, but
marveled that Mr. Clemens has been able to evolve so good an
acting piece, and to construct so coherent a plot, from a book
which, although abounding in the broadest humor and the most
incisive wit, and containing a number of thrilling descriptions,
makes no pretensions to the skillful unfolding of scenes in due
subordination to an artistic climax. Mr. Clemens is to be
congratulated upon his success as a dramatist. Colonel Sellers, the paper observed,
“although not essential to the plot becomes in the hands
of Mr. Raymond the most important personage.” Recognizing
Sellers as “a compound of the Missouri
‘Pike’ and ‘Wilkins
Micawber,’” it called him “unique
in conception and irresistible in effect” and predicted
Raymond’s “immense success in this
rendition” (“‘The Gilded
Age,’” 1 Sept 74, 4). The Rochester Evening Express called the play “a
very clever drama” that needed to be “toned
down in some features, and thus be made more attractive.”
It thought that Clemens “evinced genuine
genius” in conceiving Colonel Sellers, who, as played by
Raymond, “is of a better and higher type than any
humorous part now upon the stage” (“The Gilded
Age,” 1 Sept 74, 2). Raymond probably sent Clemens
clippings of all three notices. Clemens certainly saw the Union and Advertiser’s review,
since it was reprinted in the Elmira Advertiser on 4 September (“The Opera
House—Initial Performances of the ‘Gilded
Age,’” 1). The Gilded
Age continued at the Rochester Opera House through 5 September,
drawing large and appreciative audiences (Rochester Union and Advertiser: “Opera
House,” 29 Aug 74, 31 Aug 74, 2–5 Sept 74, 2;
“Amusements,” 31 Aug–5 Sept 74,
1).
Source text(s):Previous publication:
L6, 215–217.
Emendations and textual notes:
Elmira • Elmira
To John T. Raymond, Rochester • To John T. Raymond, Rochester
fever • sever
& • and
Clemens • Clemens
