As you see, it was an extravagant sort of a tale, and had no purpose but
to exhibit that monstrous "freak" in all sorts of grotesque lights. But
when Roxy wandered into the tale she had to be furnished with something
to do; so she changed the children in the cradle; this necessitated the
invention of a reason for it; this, in turn, resulted in making the
children prominent personages--nothing could prevent it of course. Their
career began to take a tragic aspect, and some one had to be brought in
to help work the machinery; so Pudd'nhead Wilson was introduced and taken
on trial. By this time the whole show was being run by the new people
and in their interest, and the original show was become side-tracked and
forgotten; the twin-monster, and the heroine, and the lads, and the old
ladies had dwindled to inconsequentialities and were merely in the way.
Their story was one story, the new people's story was another story, and
there was no connection between them, no interdependence, no kinship.
It is not practicable or rational to try to tell two stories at the same
time; so I dug out the farce and left the tragedy.
The reader already knew how the expert works; he knows now how the other
kind do it.