s
enthusiasm and became eager to see the play, and to have the story it
contained told for the Atlantic.

But in the end it proved a mistake. Dion Boucicault, when he read the
manuscript, pronounced it better than "Ah Sin," but that was only
qualified praise. Actors who considered the play, anxious enough to have
Mark Twain's name on their posters and small bills, were obliged to admit
that, while it contained marvelous lines, it wouldn't "go." John
Brougham wrote:

There is an absolute "embarrassment of riches" in your "Detective"
most assuredly, but the difficulty is to put it into profitable
form. The quartz is there in abundance, only requiring the
necessary manipulation to extract the gold.

In narrative structure the story would be full of life, character,
and the most exuberant fun, but it is altogether too diffuse in its
present condition for dramatic representation, and I confess I do
not feel sufficient confidence in my own experience (even if I had
the time, which on reflection I find I have not) to undertake what,
under different circumstances, would be a "labor of love."

Yours sincerely, JOHN BROUGHAM.

That was frank, manly, and to the point; it covered the ground exactly.
"Simon Wheeler, the Amateur Detective," had plenty of good material in
it--plenty of dialogue and situations; but the dialogue wouldn't play,
and the situations wouldn't act. Clemens realized that perhaps the drama
was not, after all, his forte; he dropped "Simon Wheeler," lost his
interest in "Ah Sin," even leased "Colonel Sellers" for the coming
season, and so, in a sort of fury, put theatrical matters out of his
mind.

He had entered upon what, for him, was a truer domain. One day he picked
up from among the books at the farm a little juvenile volume, an English
story of the thirteenth century by Charlotte M. Yonge, entitled, The
Prince and the Page. It was a story of Edward I. and his cousins,
Richard and Henry de Montfort; in part it told of the submerged
personality of the latter, picturing him as having dwelt in disguise as a
blind beggar for a period of years. It was a story of a sort and with a
setting that Mark Twain loved, and as he read there came a correlative
idea. Not only would he disguise a prince as a beggar, but a beggar as a
prince. He would have them change places in the world, and each learn
the burdens of the other's life.--[There is no point of