ection of caves was the origin of it.
I changed it to echoes because these being invisible and intangible,
constituted a still more absurd species of property, and yet a man could
really own an echo, and sell it, too, for a high figure--such an echo
as that at the Villa Siminetti, two miles from Milan, for instance.
My first purpose was to have the man make a collection of caves and
afterwards of echoes; but perceived that the element of absurdity and
impracticability was so nearly identical as to amount to a repetition of
an idea.....

I will not, and do not, believe that there is a possibility of Hayes's
defeat, but I want the victory to be sweeping.....

It seems odd to find myself interested in an election. I never was
before. And I can't seem to get over my repugnance to reading or
thinking about politics, yet. But in truth I care little about any
party's politics--the man behind it is the important thing.

You may well know that Mrs. Clemens liked the Parlor Car--enjoyed it
ever so much, and was indignant at you all through, and kept exploding
into rages at you for pretending that such a woman ever existed--closing
each and every explosion with "But it is just what such a woman would
do."--"It is just what such a woman would say." They all voted the
Parlor Car perfection--except me. I said they wouldn't have been allowed
to court and quarrel there so long, uninterrupted; but at each critical
moment the odious train-boy would come in and pile foul literature all
over them four or five inches deep, and the lover would turn his head
aside and curse--and presently that train-boy would be back again (as
on all those Western roads) to take up the literature and leave prize
candy.

Of course the thing is perfect, in the magazine, without the train-boy;
but I was thinking of the stage and the groundlings. If the dainty
touches went over their heads, the train-boy and other possible
interruptions would fetch them every time. Would it mar the flow of the
thing too much to insert that devil? I thought it over a couple of hours
and concluded it wouldn't, and that he ought to be in for the sake of
the groundlings (and to get new copyright on the piece.)

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 in