Read Ebook: Jean-Christophe Journey's End by Rolland Romain Cannan Gilbert Translator

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Ebook has 1695 lines and 193647 words, and 34 pages

"Yes, you coward."

Everything happened exactly to the letter as Christophe had foreseen it would. His indiscretions were published, his letter was not. Gamache only went so far as to write to him that he recognized the generosity of his feelings, and that his scruples were an honor to him: but he kept his scruples dark: and the falsified opinions attributed to Christophe went on being circulated, provoking biting criticism in the Parisian papers, and later in Germany, where much indignation was felt that a German artist should express himself with so little dignity about his country.

"Better and better!" said Christophe. "But what on earth has my music to do with politics?"

"It is usual with us," said Olivier. "Look at the battles that have taken place over Beethoven. Some people will have it that he was a Jacobin, others a mountebank, others still a P?re Duchesne, and others a prince's lackey."

"He'd knock their heads together."

"Well, do the same."

Christophe only wished he could. But he was too amiable with people who were friendly towards him. Olivier never felt happy when he left him alone. For they were always coming to interview him: and it was no use Christophe promising to be guarded: he could not help being confidential and unreserved. He said everything that came into his head. Women journalists would come and make a fuss of him, and get him to talk about his sentimental adventures. Others would make use of him to speak ill of such-an-one, or so-and-so. When Olivier came in he would find Christophe utterly downcast.

"Another howler?" he would ask.

"Of course," Christophe would reply in despair.

"You are incorrigible!"

"I ought to be locked up.... But I swear that it is the last time."

"Yes, I know. Until the next...."

"No. This really is the last."

Next day Christophe said triumphantly to Olivier:

"Another one came to-day. I shut the door in his face."

"Don't go too far," said Olivier. "Be careful with them. 'This animal is dangerous.' He will attack you if you defend yourself.... It is so easy for them to avenge themselves! They can twist the least little thing you may have said to their uses."

Christophe drew his hand across his forehead:

"Oh! Good Lord!"

"What's the matter?"

"When I shut the door in his face I told...."

"What?"

"The Emperor's joke."

"The Emperor's?"

"Yes. His or one of his people's...."

"How awful! You'll see it to-morrow on the front page!"

Christophe shuddered. But, next day, what he saw was a description of his room, which the journalist had not seen, and a report of a conversation which he had not had with him.

Olivier might have had the answer pat:

"A man must eat to work. Who will give him his bread?"

But that would not have abashed them. They would have replied with their magnificent serenity:

"That is a detail. An artist must suffer. And what does a little suffering matter?"

Of course, they were men of the world, quite well off, who professed these Stoic theories. As the millionaire once said to the simple person who came and asked him to help a poverty-stricken artist:

"But, sir, Mozart died of poverty."

They would have thought it very bad taste on Olivier's part if he had told them that Mozart would have asked nothing better than to go on living, and that Christophe was determined to do so.

Christophe was getting heartily sick of the vulgar tittle-tattle. He began to wonder if it were going on forever.--But it was all over in a fortnight. The newspapers gave up talking about him. However, he had become known. When his name was mentioned, people said, not:

He was famous.

Olivier knew it by the number of letters that came for Christophe, and even for himself, in his reflected glory: offers from librettists, proposals from concert-agents, declarations of friendship from men who had formerly been his enemies, invitations from women. His opinion was asked, for newspaper inquiries, about anything and everything: the depopulation of France, idealist art, women's corsets, the nude on the stage,--and did he believe that Germany was decadent, or that music had reached its end, etc., etc. They used to laugh at them all. But, though he laughed, lo and behold! Christophe, that Huron, steadily accepted the invitations to dinner! Olivier could not believe his eyes.

"You?" he said.

"I! Certainly," replied Christophe jeeringly. "You thought you were the only man who could go and see the beautiful ladies? Not at all, my boy! It's my turn now. I want to amuse myself!"

"You? Amuse yourself? My dear old man!"

Behind all these artists and men of intellect who had been great, or might have been great, there was certain to be some woman preying upon them. They were all dangerous, both the fools and those who were by no means fools: both those who loved and those who loved themselves: the best of them were the worst: for they were all the more certain to snuff out the artist with their immoderate affection, which made them in all good faith try to domesticate genius, turn it to their own uses, drag it down, prune it, pare it down, scent it, until they had brought it into line with their sensibility, their petty vanity, their mediocrity, and the mediocrity of the world they lived in.

Although Christophe only passed through that section of society, he saw enough of it to feel its danger. More than one woman, of course, tried to take possession of him for her circle, to press him into her service: and, of course, Christophe nibbled at the hook baited with friendly words and alluring smiles. But for his sturdy common sense and the disquieting spectacle of the transformations already effected in the men about them by these modern Circes, he would not have escaped uncontaminated. But he had no mind to swell the herd of these lovely goose-girls. The danger would have been greater for him if there had not been so many of them angling for him. Now that everybody, men and women, were properly convinced that they had a genius in their midst, as usual, they set to work to stifle him. Such people, when they see a flower, have only one idea: to put it in a pot,--a bird: to put it in a cage,-- a free man: to turn him into a smooth lackey.

Christophe was shaken for a moment, pulled himself together, and sent them all packing.

Fate is ironical. Those who do not care slip through the meshes of the net: but those who are suspicious, those who are prudent, and forewarned, are never suffered to escape. It was not Christophe who was caught in the net of Paris, but Olivier.

He had benefited by his friend's success: Christophe's fame had given him a reflected glory. He was better known now, for having been mentioned in a few papers as the man who had discovered Christophe, than for anything he had written during the last six years. He was included in many of the invitations that came for Christophe: and he went with him, meaning carefully and discreetly to look after him. No doubt he was too much absorbed in doing so to look after himself. Love passed by and caught him.

Their daughter was a bond between them, though she was the object of an unspoken rivalry between them: for they both loved her jealously. They both saw themselves in her with their pet faults idealized by the grace of childhood: and each strove cunningly to steal her from the other. And the child had in due course become conscious of it, with the artful candor of such little creatures, who are only too ready to believe that the universe gravitates round themselves: and she turned it to good account. She had them perpetually outbidding each other for her affection. She never had a whim but she was sure that one of them would indulge it if the other refused: and the other would be so vexed at being outdone that she would at once be offered an even greater indulgence than the first. She had been dreadfully spoiled: and it was very fortunate for her that there was no evil in her nature,--outside the egoism common to almost all children, though in children who are too rich and too much pampered it assumes various morbid shapes, due to the absence of difficulties and the want of any goal to aim at.

Though they adored her, neither M. nor Madame Langeais ever thought of sacrificing their own personal convenience to her. They used to leave the child alone, for the greater part of the day, to gratify her thousand and one fancies. She had plenty of time for dreaming, and she wasted none of it. She was precocious and quick to grasp at incautious remarks let fall in her presence--,--and when she was six years old she used to tell her dolls love-stories, the characters in which were husband, wife, and lover. It goes without saying that she saw no harm in it. Directly she began to perceive a shade of feeling underlying the words it was all over for the dolls: she kept her stories to herself. There was in her a strain of innocent sensuality, which rang out in the distance like the sound of invisible bells, over there, over there, on the other side of the horizon. She did not know what it was. Sometimes it would come wafted on the wind: it came she did not know from whence, and wrapped her round and made the blood mount to her cheeks, and she would lose her breath in the fear and pleasure of it. She could not understand it. And then it would disappear as strangely as it had come. There was never another sound. Hardly more than a faint buzzing, an imperceptible resonance, fainter and fainter, in the blue air. Only she knew that it was yonder, on the other side of the mountain, and thither she must go, go as soon as possible: for there lay happiness. Ah! If only she could reach it!...

In the meanwhile, until she should reach that land of happiness, she wove strange dreams of what she would find there. For the chief occupation of the child's mind was guessing at its nature. She had a friend of her own age, Simone Adam, with whom she used often to discuss these great subjects. Each brought to bear on them the light of her twelve years' experience, conversations overheard and stolen reading. On tip-toe, clinging to the crannies in the stones, the two little girls strained to peer over the old wall which hid the future from them. But it was all in vain, and it was idle for them to pretend that they could see through the chinks: they could see nothing at all. They were both a mixture of innocence, poetic salaciousness, and Parisian irony. They used to say the most outrageous things without knowing it, and they were always making mountains out of molehills. Jacqueline, who was always prying, without anybody to find fault with her, used to burrow in all her father's books. Fortunately, she was protected from coming to any harm by her very innocence and her own young, healthy instincts: an unduly described scene or a coarse word disgusted her at once: she would drop the book at once, and she passed through the most infamous company, like a frightened cat through puddles of dirty water,--without so much as a splash.

As a rule, novels did not attract her: they were too precise, too dry. But books of poetry used to make her heart flutter with emotion and hope of finding the key to the riddle,--love-poems, of course. They coincided to a certain extent with her childish outlook on things. The poets did not see things as they were, they imagined them through the prism of desire or regret: they seemed, like herself, to be peering through the chinks of the old wall. But they knew much more, they knew all the things which she was longing to know, and clothed them with sweet, mysterious words, which she had to unravel with infinite care to find ... to find ... Ah! She could find nothing, but she was always sure that she was on the very brink of finding it....

Their curiosity was indomitable. They would thrill as they whispered verses of Alfred de Musset and Sully Prudhomme, into which they read abyss on abyss of perversity: they used to copy them out, and ask each other about the hidden meanings of passages, which generally contained none. These little women of thirteen, who knew nothing of love, used, in their innocent effrontery, to discuss, half in jest, half in earnest, love and the sweets of love: and, in school, under the fatherly eye of the master--a very polite and mild old gentleman--verses like the following, which he confiscated one day, when they made him gasp:

"Let, oh! let me clasp you in my arms, And in your kisses drink insensate love Drop by drop in one long draught...."

They attended lectures at a fashionable and very prosperous school, the teachers of which were Masters of Art of the University. There they found material for their sentimental aspirations. Almost all the girls were in love with their masters. If they were young and not too ugly, that was quite enough for them to make havoc of their pupils' hearts--who would work like angels to please their sultan. And they would weep when he gave them bad marks in their examinations: though they did not care when anybody else did the same. If he praised them, they would blush and go pale by turns, and gaze at him coquettishly in gratitude. And if he called them aside to give them advice or pay them a compliment, they were in Paradise. There was no need for him to be an eagle to win their favor. When the gymnastic instructor took Jacqueline in his arms to lift her up to the trapeze, she would be in ecstasies. And what furious emulation there was between them! How coaxingly and with what humility they would make eyes at the master to attract his attention from a presumptuous rival! At lectures, when he opened his lips to speak, pens and pencils would be hastily produced to take down what he said. They made no attempt to understand: the chief thing was not to lose a syllable. And while they went on writing and writing without ceasing, with stealthy glances to take in their idol's play of expression and gestures, Jacqueline and Simone would whisper to each other:

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