Cliches aside, retrieving the outlook of mid-19th Century isn't easy. Having successfully concluded the upheaval of the War Between the States, the people of the USA, while bruised, felt confident. Their sense of righteousness was enhanced - they'd quelled a rebellion and freed slaves. Some took that attitude to other lands. The 1867 SS Quaker City excursion to Europe and the "Holy Land" was but one of those forays. It was special in that it carried one of the more discerning observers the United States had produced - Sam Clemens of Hannibal, Missouri and points West. He was to post letters to the San Francisco newspaper "Daily Alta California" describing the journey. The trip and the account opened Clemens' eyes and those of his readers over numerous legends.
In Clemens' baggage was a strong religious sense imparted by his mother, Jane. This cargo was balanced by Twain's more worldly experience on the Mississippi and his life in the mining communities in the West. When he crossed the gangplank to board the steamer, his gaze was sceptical and his pen ascerbic. His portrayal of the Quaker City's passengers began as they traversed the Atlantic, but it is his depiction of "foreigners" in their homelands that both shocks and enlightens. Starting with the Azores stopover, Clemens' observations of the islands are a tribute to their charms. Of the people, however, he has little positive to impart. They are dirty, noisy, conniving and devious. In general, they're "not American".
The use of the "innocents" is exemplified by Twain's description of contact with the Europeans. Educated in the minimal language training of the day, the travellers struggled to impart their wishes in French shops and restaurants. Twain seems to lay responsibility for this on the French "failure to understand their own language", but his description of the exchanges makes it clear where the problem lay. There was another side to this coin, however. Europeans were caught up in their own affairs. The United States was a remote and unknown element to them - "they'd had a war with somebody recently". Twain notes his shipmates were even then tinged with the arrogance that would fully blossom later. Respect for "tradition" had a variety of expressions in the "Quaker City" passengers. Twain depicts them all with delightful detachment.
As the ship made landfall in Mediterranean ports, Clemens and his comrades visit the "standard" tourist haunts. Paris is a must, Genoa is a treat, Rome is a maze of cathedrals and art galleries. Quickly disenchanted with "guides" he renames them all "Ferguson" and rebukes them at every opportunity. Michaelangelo seems so pervasive in Rome that the Pilgrims ask if Greek or Egyptian artefacts are his work - to the consternation of the "Ferguson" of the day. Twain's flexibility and ability to adapt to events leads some of the "innocents" to take the train from Rome to Naples - a city under quarantine. While the "Quaker City" lies still in the harbour, Twain and his companions tour the city and visit Vesuvius. A similar ploy works in Greece.
It is in the "Holy Land" that Clemens' descriptive powers and distrust of "authorities" flowers most brilliantly. Like many of his fellow passengers, he's been subjected to many tales from "Scripture" and a spate of earlier travel writers in Palestine. Unable to criticise the Bible outright, he lets the words speak for themselves, allowing logic and common sense to question dogma. The effusive travel writers, who had insisted Palestine was a "paradise" are brought out in contrast with Twain's observations of the barren desolation that was the Levant. He is scathing in his criticism of people who fabricate conditions there in order to sell their books. His veracity, of course, nearly had the opposite effect. "The Innocents Abroad" manuscript was originally rejected by Twain's publisher.
Sam Clemens' reputation was "made" with this book. It touched on many aspects of how people in the United States viewed themselves and the world. The subtle, but incisive, comments on tradition and legend were seeds finding fertile ground in a dynamic nation setting the practical foremost. "Innocents" was a challenge to dogmas and a paean to the sense of "realism" that permeated the post-Civil War era. The "Romantic" Era, still evident in mid-19th Century in the earlier accounts of Palestine, would be whisked aside. "Innocents" would be instrumental in that sweeping it away. [stephen a. haines - Ottawa, Canada]