Department of English

Faculty of Arts, Chulalongkorn University


 

The £1,000,000 Bank-Note

(1893)

 

Mark Twain

(November 30, 1835 – April 21, 1910)

 

Notes


60  afternoon board:

60  brig
U.S. Brig Niagara
U.S. Brig Niagara, the third reconstruction of the original 1813 vessel, John Baker, 2013, Flagship Niagara League
  • "brig" (Merriam-Webster)
    A two-masted sailing ship with square rigging on both masts is called a brig. Brigs were both naval and merchant (mercantile) vessels. As merchantmen, they often followed coastal trading routes. However, ocean voyages were not uncommon
  • "brig," An Encyclopedia of Naval History, Anthony Bruce and William Cogar (Chicago: Fitzroy Dearborn, 1998): 52.
    A two-masted sailing vessel of the 18th and 19th centuries. The word "brig" was originally an abbreviation for the brigantine, but evolved as a distinct type with square rigging on both her fore and mainmasts; she also carried on her main mast a lower fore and aft sail with a gaff and boom. With a displacement of between 140 and 500 tons, this relatively small design normally permitted only one deck, one battery of guns and a minimal crew. A brig with a displacement at the upper end of the scale might be over 100 feet (30.4 m) in length and have a beam of 30 feet (9.1 m). The brig was able to serve a dual purpose. In the merchant service it was used for cargo-carrying as well as whaling, while in the main navies of the period it was employed as a small warship.
  • "Rigging of American Sailing Vessels," Peabody Essex Museum

  • Ocean's Eighteen: Life Onboard an 18th-Century Ship, dir. Aleksandr Panov, RT Documentary (2014; 26:09 min.)


60  flunkey:

67  nobby:

68  turned my head:

70  Cheapside: a commercial street in London





73  cribbage: a card game






How to Tell a Story

I do not claim that I can tell a story as it ought to be told. I only claim to know how a story ought to be told, for I have been almost daily in the company of the most expert storytellers for many years.

There are several kinds of stories, but only one difficult kind—the humorous. I will talk mainly about that one. The humorous story is American, the comic story is English, the witty story is French. The humorous story depends for its effect upon the manner of the telling; the comic story and the witty story upon the matter.

The humorous story may be spun out to great length, and may wander around as much as it pleases, and arrive nowhere in particular; but the comic and witty stories must be brief and end with a point. The humorous story bubbles gently along, the others burst.

The humorous story is strictly a work of art,—high and delicate art,—and only an artist can tell it; but no art is necessary in telling the comic and the witty story; anybody can do it. The art of telling a humorous story—understand, I mean by word of mouth, not print—was created in America, and has remained at home.

The humorous story is told gravely; the teller does his best to conceal the fact that he even dimly suspects that there is anything funny about it; but the teller of the comic story tells you beforehand that it is one of the funniest things he has ever heard, then tells it with eager delight, and is the first person to laugh when he gets through. And sometimes, if he has had good success, he is so glad and happy that he will repeat the "nub" of it and glance around from face to face, collecting applause, and then repeat it again. It is a pathetic thing to see.

Very often, of course, the rambling and disjointed humorous story finishes with a nub, point, snapper, or whatever you like to call it. Then the listener must be alert, for in many cases the teller will divert attention from that nub by dropping it in a carefully casual and indifferent way, with the pretense that he does not know it is a nub.

—Mark Twain, "How to Tell a Story," 1895, How to Tell a Story and Other Essays (1897)

 



 

 

Comprehension Check

  • How well does Henry Adams' job as a "mining-broker's clerk" pay him (60)?
  • Where and when does the narrator usually go sailing on his "little sail-boat" (60)?
  • Why does Lloyd Hastings ask Henry "Unreel it? What, again?" (75)? Why is he surprised?
  • Why is Henry puzzled by Hastings' "again" and asks it back (75)?
            



 

 

Study Questions

  • What does it mean that "an expert in all the details of stock traffic" is happy with being without family, being smart, and being honest (60)?
  • What is achieved in the first two paragraphs?
  • What influences or flavor of oral tradition do you find in this short story?
  • What kinds of information does Twain use to describe the very rich?
  • What characteristics of being poor does Twain use to describe the narrator during his first forty-eight hours or so in London?
  • Despite no food and shelter for twenty-four hours (60), why is the narrator able to feel "first rate" (65)?
  • How does the narrator's declaration early on that he is "alone in the world, and had nothing to depend upon but my wits and a clean reputation" (60) set up for the later echo: "I had nothing in the world but a million pounds" (65)?
  • What is the function of Twain's several understatements and overstatements? Consider, for example,
    • one of those large smiles which goes around over, and has folds in it, and wrinkles, and spirals, and looks like the place where you have thrown a brick in a pond; and then in the act of his taking a glimpse of the bill his mile froze solid, and turned yellow, and looked like those wavy, wormy spreads of lava which you find hardened on little levels on the side of Vesuvius. (66)
    • it'll do for a makeshift (67)
    • couldn't appear in an opera-box without concentrating there the fire of a thousand lorgnettes (69)
    • she blushed till her hair turned red (73)
    • she laughed herself lame (73)
    • how poor I am, and how miserable, how defeated, routed, annihilated! (75)
    • I am ruined past hope; nothing can save me! (75)
    • that little loan you let me have (78)
    • it's but a little thing to ask (79)
    • There're not words enough in the unabridged to describe it (79)
  • What do oxymorons and oxymoron-like expressions achieve in the story? Consider such contrastive or contradictory descriptions as
    • muddy treasure (60)
    • gorgeous flunkey (60)
    • It didn't fit, and wasn't in any way attractive [...] so I didn't find any fault (65)
    • plain, rich, modest, and just ducally nobby (67)
    • pauper as I was, I had money to spend (68)
    • this awful career of mine in London (69)
    • English men always eat dinner before they go out to dinner (72)
    • I never saw a painful story—a story of a person's troubles and worries and fears—produce just that kind of effect before. So I loved her all the more (73–74)
    • I [...] tripped him up and tied him.
      Then he lay there, perfectly happy (77)
    • Only just try me thirty or forty years (79)
  • Compare the tailor-shop proprietor's and Tod's reaction to seeing the £1,000,000 bank-note (66–67). How does the behavior of each distinguish him for their different positions?
  • What is the difference between indefinitely and eternally (67)?
  • Consider the multiple temptations thrown in Adams' way. What is revealed by how he handles them?
    • I stopped, of course, and fastened my desiring eye on that muddy treasure. My mouth watered for it, my stomach craved it, my whole being begged for it. But every time I made a move to get it some passing eye detected my purpose, and of course I straightened up, then, and looked indifferent (60)
    • They had just finished their breakfast, and the sight of the remains of it almost overpowered me. I could hardly keep my wits together in the presence of that food (60–61)
    • I must have passed that shop back and forth six times during that manful struggle (65)
    • I was in a kind of agony. I was right on the point of coming out with the words, "Lloyd, I'm a pauper myself—absolutely penniless, and in debt!" But a white-hot idea came flaming through my head, and I gripped my jaws together, and calmed myself down till I was cold as a capitalist (76)
  • Some common words in this story seem to have meanings not so common to us now. Can you guess what Mark Twain, writing in the nineteenth century, must have meant by them? Go to a dictionary like Merriam-Webster or Oxford that gives extensive, archaic or obsolete definitions and look up some of the following to confirm the meaning you arrived at from context clues. Keep in mind, though, that Twain is American and that the story is set in London, so some terms may be more likely to appear with the proper meaning in Merriam-Webster rather than in British English dictionaries or vice versa.
    • board
    • situation
    • gift
    • primate
    • minister
    • romance
  • Consider the many bets formal and informal, explicit and implied in the story. What is at stake and what is the outcome? Look at, for example,
    • these were setting my feet in the road to eventual fortune, and I was content with the prospect (60)
    • Brother B said he would bet twenty thousand pounds that the man would live thirty days, any way, on that million, and keep out of jail, too. Brother A took him up (61)
    • they agreed that I filled the bill all around; so they elected me unanimously (61)
    • you would not listen to me, said I wouldn't succeed (71)
    • you'll forgive me, I know (78)
    • the several surprises (77, 78)
  • What transformations take place throughout the story?
  • Is this story a tragedy or a comedy?

           

 


 

Review Sheet

Characters

Henry Adams, Hal, narrator "When I was twenty-seven years old, I was a mining broker's clerk in San Francisco, and an expert in all the details of stock traffic" (60); "'vest-pocket million-pounder'" (68); "I had always been lucky" (70); "the Henry Adams referred to [...] it isn't six months since you were clerking away for Blake Hopkins in Frisco on a salary" (70)

Portia Langham – "this daughter's [the American minister's daughter's] visiting friend, an English girl of twenty-two, named Portia Langham, whom I fell in love with in two minutes, and she with me" (70)

Papa – "he's my steppapa" (79)
Uncle Abel – "the bet which my brother Abel and I made" (78)

American minister – "It turned out that he [the minister] and my father had been schoolmates in boyhood, Yale students together later" (69)
Lloyd Hastings – "'after a hard six hours' grind over those Extension papers, and I tried to persuade you [Adams] to come to London with me'" (71)
butler – "I was admitted by a gorgeous flunkey" (60); "the same servant appeared" (63)
Tod – "'Tend to you presently'" (65); "the fellow worked up a most sarcastic expression of countenance" (66); "get him his change, Tod" (66)


Place 

San Francisco – "I was a mining-broker's clerk in San Francisco" (60)

London – "I was picked up by a small brig which was bound for London" (60); "when stepped ashore in London my clothes were ragged" (60)

    morning – "About ten o'clock on the following morning, seedy and hungry, I was dragging myself along Portland Place" (60)

    brothers' house

        room – "sumptuous room where a couple of elderly gentlemen were sitting [...] They had just finished their breakfast, and the sight of the remains of it almost overpowered me" (60)

    Harris's – "the nearest cheap eating-house" (62); "but for breakfast I stuck by Harris's humble feeding-house" (68); "From being a poor, struggling, little hand-to-mouth enterprise, it had become celebrated, and overcrowded with customers" (68)

 



 

Vocabulary

plot
conflict
pace, pacing; timing
epiphany
character
characterization
plausibility
dialogue
point of view
first person narrator
reliability
humor
voice
style
tone
diction
imagery
oxymoron
metaphor
simile
understatement
overstatement
irony
symbol(s), symbolism
theme
honesty
trust
loyalty
gratitude
poverty
wealth
class
status
test, trial
speculation; betting; gambling; brokering
contrast
contradiction
transformation
rationality, irrationality
19th-century American literature
oral tradition
romance
tragedy
comedy
form
structure

 



Sample Student Responses to Mark Twain's "The £1,000,000 Bank-Note"

Response 1:

 

 

 



 

Reference

 


Links

 



Media

  • Mark Twain: Father of American Literature, History (2015; 3:21 min.)

Mark Twain
  • "Mark Twain," TFG Film and Tape (1909 Edison film digitally restored; 3:30 min.)

 


Mark Twain

 


 

 

Reference

Twain, Mark. “The £1,000,000 Bank-Note.” 1893. Collected Tales, Sketches, Speeches, and Essays 1891–1910. New York: Library of America, 1992. 60–80. Print.

 

Further Reading


Twain, Mark. The Complete Humorous Sketches and Tales of Mark Twain. Ed. Charles Neider. Illus. Mark Twain. Garden City, NY: Hanover House, 1961. Print.

Twain, Mark. Autobiography of Mark Twain. Vol. 1. Ed. Harriet Elinor Smith. Berkeley: U of California P, 2010. Print.

Twain, Mark. The Adventures of Tom Sawyer. New York: Dell, 1973. Print.

Twain, Mark. The Adventures of Huckleberry Finn. Ed. Peter Coveney. London: Penguin, 1966. Print.


 


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Last updated August 25, 2017