he could introduce himself more effectively than any one else.  His usual formula was to present himself as the chairman of the committee, introducing the lecturer of the evening; then, with what was in effect a complete change of personality, to begin his lecture.  It was always startling and amusing, always a success; but the papers finally printed this formula, which took the freshness out of it, so that he had to invent others.  Sometimes he got up with the frank statement that he was introducing himself because he had never met any one who could pay a proper tribute to his talents; but the newspapers printed that too, and he often rose and began with no introduction at all.

Whatever his method of beginning, Mark Twain’s procedure probably was the purest exemplification of the platform entertainer’s art which this country has ever seen.  It was the art that makes you forget the artisanship, the art that made each hearer forget that he was not being personally entertained by a new and marvelous friend, who had traveled a long way for his particular benefit.  One listener has written that he sat “simmering with laughter” through what he supposed was the continuation of the introduction, waiting for the traditional lecture to begin, when presently the lecturer, with a bow, disappeared, and it was over.  The listener looked at his watch; he had been there more than an hour.  He thought it could be no more than ten minutes, at most.  Many have tried to set down something of the effect his art produced on them, but one may not clearly convey the story of a vanished presence and a silent voice.

There were other pleasant associations in Boston.  Howells was there, and Aldrich; also Bret Harte, who had finished his triumphal progress across the continent to join the Atlantic group.  Clemens appears not to have met Aldrich before, though their acquaintance had begun a year earlier, when Aldrich, as editor of Every Saturday, had commented on a poem entitled, “The Three Aces,” which had appeared in the Buffalo Express.  Aldrich had assumed the poem to be the work of Mark Twain, and had characterized it as “a feeble imitation of Bret Harte’s ’Heathen Chinee.’” Clemens, in a letter, had mildly protested as to the charge of authorship, and Aldrich had promptly printed the letter with apologetic explanation.  A playful exchange of personal letters followed, and the beginning of a lifelong friendship.

One of the letters has a special interest here.  Clemens had followed his protest with an apology for it, asking that no further notice be taken of the matter.  Aldrich replied that it was too late to prevent “doing him justice,” as his explanation was already on the press, but that if Clemens insisted he would withdraw it in the next issue.  Clemens then wrote that he did not want it withdrawn, and explained that he hated to be accused of plagiarizing Bret Harte, to whom he was deeply indebted for literary schooling in the California days.  Continuing he said: