The Complete Travel Books, Anecdotes & Memoirs of Mark Twain (Illustrated). Марк ТвенЧитать онлайн книгу.

      It is done in this way. You dig a square in the steep base of the mountain, and set up two uprights and top them with two joists. Then you stretch a great sheet of "cotton domestic" from the point where the joists join the hill-side down over the joists to the ground; this makes the roof and the front of the mansion; the sides and back are the dirt walls your digging has left. A chimney is easily made by turning up one corner of the roof. Oliver was sitting alone in this dismal den, one night, by a sage-brush fire, writing poetry; he was very fond of digging poetry out of himself--or blasting it out when it came hard. He heard an animal's footsteps close to the roof; a stone or two and some dirt came through and fell by him. He grew uneasy and said "Hi!--clear out from there, can't you!"--from time to time. But by and by he fell asleep where he sat, and pretty soon a mule fell down the chimney! The fire flew in every direction, and Oliver went over backwards. About ten nights after that, he recovered confidence enough to go to writing poetry again. Again he dozed off to sleep, and again a mule fell down the chimney. This time, about half of that side of the house came in with the mule. Struggling to get up, the mule kicked the candle out and smashed most of the kitchen furniture, and raised considerable dust. These violent awakenings must have been annoying to Oliver, but he never complained. He moved to a mansion on the opposite side of the canon, because he had noticed the mules did not go there. One night about eight o'clock he was endeavoring to finish his poem, when a stone rolled in--then a hoof appeared below the canvas--then part of a cow--the after part. He leaned back in dread, and shouted "Hooy! hooy! get out of this!" and the cow struggled manfully--lost ground steadily--dirt and dust streamed down, and before Oliver could get well away, the entire cow crashed through on to the table and made a shapeless wreck of every thing!

      Then, for the first time in his life, I think, Oliver complained. He said,

      "This thing is growing monotonous!"

      Then he resigned his judgeship and left Humboldt county. "Butchered to make a Roman holyday" has grown monotonous to me.

      In this connection I wish to say one word about Michael Angelo Buonarotti. I used to worship the mighty genius of Michael Angelo--that man who was great in poetry, painting, sculpture, architecture--great in every thing he undertook. But I do not want Michael Angelo for breakfast--for luncheon--for dinner--for tea--for supper--for between meals. I like a change, occasionally. In Genoa, he designed every thing; in Milan he or his pupils designed every thing; he designed the Lake of Como; in Padua, Verona, Venice, Bologna, who did we ever hear of, from guides, but Michael Angelo? In Florence, he painted every thing, designed every thing, nearly, and what he did not design he used to sit on a favorite stone and look at, and they showed us the stone. In Pisa he designed every thing but the old shot-tower, and they would have attributed that to him if it had not been so awfully out of the perpendicular. He designed the piers of Leghorn and the custom house regulations of Civita Vecchia. But, here--here it is frightful. He designed St. Peter's; he designed the Pope; he designed the Pantheon, the uniform of the Pope's soldiers, the Tiber, the Vatican, the Coliseum, the Capitol, the Tarpeian Rock, the Barberini Palace, St. John Lateran, the Campagna, the Appian Way, the Seven Hills, the Baths of Caracalla, the Claudian Aqueduct, the Cloaca Maxima--the eternal bore designed the Eternal City, and unless all men and books do lie, he painted every thing in it! Dan said the other day to the guide, "Enough, enough, enough! Say no more! Lump the whole thing! say that the Creator made Italy from designs by Michael Angelo!"

      I never felt so fervently thankful, so soothed, so tranquil, so filled with a blessed peace, as I did yesterday when I learned that Michael Angelo was dead.

      But we have taken it out of this guide. He has marched us through miles of pictures and sculpture in the vast corridors of the Vatican; and through miles of pictures and sculpture in twenty other palaces; he has shown us the great picture in the Sistine Chapel, and frescoes enough to frescoe the heavens--pretty much all done by Michael Angelo. So with him we have played that game which has vanquished so many guides for us--imbecility and idiotic questions. These creatures never suspect--they have no idea of a sarcasm.

      He shows us a figure and says: "Statoo brunzo." (Bronze statue.)

      We look at it indifferently and the doctor asks: "By Michael Angelo?"

      "No--not know who."

      Then he shows us the ancient Roman Forum. The doctor asks: "Michael Angelo?"

      A stare from the guide. "No--thousan' year before he is born."

      Then an Egyptian obelisk. Again: "Michael Angelo?"

      "Oh, mon dieu, genteelmen! Zis is two thousan' year before he is born!"

      He grows so tired of that unceasing question sometimes, that he dreads to show us any thing at all. The wretch has tried all the ways he can think of to make us comprehend that Michael Angelo is only responsible for the creation of a part of the world, but somehow he has not succeeded yet. Relief for overtasked eyes and brain from study and sightseeing is necessary, or we shall become idiotic sure enough. Therefore this guide must continue to suffer. If he does not enjoy it, so much the worse for him. We do.

      In this place I may as well jot down a chapter concerning those necessary nuisances, European guides. Many a man has wished in his heart he could do without his guide; but knowing he could not, has wished he could get some amusement out of him as a remuneration for the affliction of his society. We accomplished this latter matter, and if our experience can be made useful to others they are welcome to it.

      Guides know about enough English to tangle every thing up so that a man can make neither head or tail of it. They know their story by heart--the history of every statue, painting, cathedral or other wonder they show you. They know it and tell it as a parrot would--and if you interrupt, and throw them off the track, they have to go back and begin over again. All their lives long, they are employed in showing strange things to foreigners and listening to their bursts of admiration. It is human nature to take delight in exciting admiration. It is what prompts children to say "smart" things, and do absurd ones, and in other ways "show off" when company is present. It is what makes gossips turn out in rain and storm to go and be the first to tell a startling bit of news. Think, then, what a passion it becomes with a guide, whose privilege it is, every day, to show to strangers wonders that throw them into perfect ecstasies of admiration! He gets so that he could not by any possibility live in a soberer atmosphere. After we discovered this, we never went into ecstasies any more--we never admired any thing--we never showed any but impassible faces and stupid indifference in the presence of the sublimest wonders a guide had to display. We had found their weak point. We have made good use of it ever since. We have made some of those people savage, at times, but we have never lost our own serenity.

      The doctor asks the questions, generally, because he can keep his countenance, and look more like an inspired idiot, and throw more imbecility into the tone of his voice than any man that lives. It comes natural to him.

      The guides in Genoa are delighted to secure an American party, because Americans so much wonder, and deal so much in sentiment and emotion before any relic of Columbus. Our guide there fidgeted about as if he had swallowed a spring mattress. He was full of animation--full of impatience. He said:

      "Come wis me, genteelmen!--come!

---

Скачать книгу