Jean-Christophe Journey's End Part 1

Jean-Christophe Journey's End.

by Romain Rolland.

LOVE AND FRIENDSHIP

I

In spite of the success which was beginning to materialize outside France, the two friends found their financial position very slow in mending. Every now and then there recurred moments of penury when they were obliged to go without food. They made up for it by eating twice as much as they needed when they had money. But, on the whole, it was a trying existence.

For the time being they were in the period of the lean kine. Christophe had stayed up half the night to finish a dull piece of musical transcription for Hecht: he did not get to bed until dawn, and slept like a log to make up for lost time. Olivier had gone out early: he had a lecture to give at the other end of Paris. About eight o'clock the porter came with the letters, and rang the bell. As a rule he did not wait for them to come, but just slipped the letters under the door. This morning he went on knocking. Only half awake, Christophe went to the door growling: he paid no attention to what the smiling, loquacious porter was saying about an article in the paper, but just took the letters without looking at them, pushed the door to without closing it, went to bed, and was soon fast asleep once more.

An hour later he woke up with a start on hearing some one in his room: and he was amazed to see a strange face at the foot of his bed, a complete stranger bowing gravely to him. It was a journalist, who, finding the door open, had entered without ceremony. Christophe was furious, and jumped out of bed:

"What the devil are you doing here?" he shouted.

He grabbed his pillow to hurl it at the intruder, who skipped back. He explained himself. A reporter of the Nation wished to interview M.

Krafft about the article which had appeared in the _Grand Journal_.

"What article?"

"Haven't you read it?"

The reporter began to tell him what it was about.

Christophe went to bed again. If he had not been so sleepy he would have kicked the fellow out: but it was less trouble to let him talk. He curled himself up in the bed, closed his eyes, and pretended to be asleep. And very soon he would really have been off, but the reporter stuck to his guns, and in a loud voice read the beginning of the article. At the very first words Christophe p.r.i.c.ked up his ears. M.

Krafft was referred to as the greatest musical genius of the age.

Christophe forgot that he was pretending to be asleep, swore in astonishment, sat up in bed, and said:

"They are mad! Who has been pulling their legs?"

The reporter seized the opportunity, and stopped reading to ply Christophe with a series of questions, which he answered unthinkingly.

He had picked up the paper, and was gazing in utter amazement at his own portrait, which was printed as large as life on the front page: but he had no time to read the article, for another journalist entered the room. This time Christophe was really angry. He told them to get out: but they did not comply until they had made hurried notes of the furniture in the room, and the photographs on the wall, and the features of the strange being who, between laughter and anger, thrust them out of the room, and, in his nightgown, took them to the door and bolted it after them.

But it was ordained that he should not be left in peace that day. He had not finished dressing when there came another knock at the door, a prearranged knock which was only known to a few of their friends.

Christophe opened the door, and found himself face to face with yet another stranger, whom he was just about to dismiss in a summary fashion, when the man protested that he was the author of the article.... How are you to get rid of a man who regards you as a genius!

Christophe had grumpily to submit to his admirer's effusions. He was amazed at the sudden notoriety which had come like a bolt from the blue, and he wondered if, without knowing it, he had had a masterpiece produced the evening before. But he had no time to find out. The journalist had come to drag him, whether he liked it or not, there and then, to the offices of the paper where the editor, the great a.r.s.ene Gamache himself, wished to see him: the car was waiting downstairs.

Christophe tried to get out of it: but, in spite of himself, he was so navely responsive to the journalist's friendly protestations that in the end he gave way.

Ten minutes later he was introduced to a potentate in whose presence all men trembled. He was a st.u.r.dy little man, about fifty, short and stout, with a big round head, gray hair brushed up, a red face, a masterful way of speaking, a thick, affected accent, and every now and then he would break out into a choppy sort of volubility. He had forced himself on Paris by his enormous self-confidence. A business man, with a knowledge of men, nave and deep, pa.s.sionate, full of himself, he identified his business with the business of France, and even with the affairs of humanity. His own interests, the prosperity of his paper, and the _salus publica_, all seemed to him to be of equal importance and to be narrowly a.s.sociated. He had no doubt that any man who wronged him, wronged France also: and to crush an adversary, he would in perfectly good faith have overthrown the Government. However, he was by no means incapable of generosity. He was an idealist of the after-dinner order, and loved to be a sort of G.o.d Almighty, and to lift some poor devil or other out of the mire, by way of demonstrating the greatness of his power, whereby he could make something out of nothing, make and unmake Ministers, and, if he had cared to, make and unmake Kings. His sphere was the universe. He would make men of genius, too, if it so pleased him.

That day he had just "made" Christophe.

It was Olivier who in all innocence had belled the cat.

Olivier, who could do nothing to advance his own interests, and had a horror of notoriety, and avoided journalists like the plague, took quite another view of these things where his friend was in question. He was like those loving mothers, the right-living women of the middle-cla.s.s, those irreproachable wives, who would sell themselves to procure any advantage for their rascally young sons.

Writing for the reviews, and finding himself in touch with a number of critics and dilettanti, Olivier never let slip an opportunity of talking about Christophe: and for some time past he had been surprised to find that they listened to him. He could feel a sort of current of curiosity, a mysterious rumor flying about literary and polite circles. What was its origin? Were there echoes of newspaper opinion, following on the recent performances of Christophe's work in England and Germany? It seemed impossible to trace it to any definite source. It was one of those frequent phenomena of those men who sniff the air of Paris, and can tell the day before, more exactly than the meteorological observatory of the tower of Saint-Jacques, what wind is blowing up for the morrow, and what it will bring with it. In that great city of nerves, through which electric vibrations pa.s.s, there are invisible currents of fame, a latent celebrity which precedes the actuality, the vague gossip of the drawing-rooms, the _nescio quid majus nascitur Iliade_, which, at a given moment, bursts out in a puffing article, the blare of the trumpet which drives the name of the new idol into the thickest heads. Sometimes that trumpet-blast alienates the first and best friends of the man whose glory it proclaims. And yet they are responsible for it.

So Olivier had a share in the article in the _Grand Journal_. He had taken advantage of the interest displayed in Christophe, and had carefully stoked it up with adroitly worded information. He had been careful not to bring Christophe directly into touch with the journalists, for he was afraid of an outburst. But at the request of the _Grand Journal_ he had slyly introduced Christophe to a reporter in a cafe without his having any suspicion. All these precautions only p.r.i.c.ked curiosity, and made Christophe more interesting. Olivier had never had anything to do with publicity before: he had not stopped to consider that he was setting in motion a machine which, once it got going, it was impossible to direct or control.

He was in despair when, on his way to his lecture, he read the article in the _Grand Journal_. He had not foreseen such a calamity. Above all, he had not expected it to come so soon. He had reckoned on the paper waiting to make sure and verify its facts before it published anything. He was too nave. If a newspaper takes the trouble to discover a new celebrity, it is, of course, for its own sake, so that its rivals may not have the honor of the discovery. It must lose no time, even if it means knowing nothing whatever about the person in question. But an author very rarely complains: if he is admired, he has quite as much understanding as he wants.

The _Grand Journal_, after setting out a few ridiculous stories about Christophe's struggles, representing him as a victim of German despotism, an apostle of liberty, forced to fly from Imperial Germany and take refuge in France, the home and shelter of free men,--(a fine pretext for a Chauvinesque tirade!)--plunged into lumbering praise of his genius, of which it knew nothing,--nothing except a few tame melodies, dating from Christophe's early days in Germany, which Christophe, who was ashamed of them, would have liked to have seen destroyed. But if the author of the article knew nothing at all about Christophe's work, he made up for it in his knowledge of his plans--or rather such plans as he invented for him. A few words let fall by Christophe or Olivier, or even by Goujart, who pretended to be well-informed, had been enough for him to construct a fanciful Jean-Christophe, "a Republican genius,--the great musician of democracy." He seized the opportunity to decry various contemporary French musicians, especially the most original and independent among them, who set very little store by democracy. He only excepted one or two composers, whose electoral opinions were excellent in his eyes. It was annoying that their music was not better. But that was a detail. And besides, his eulogy of these men, and even his praise of Christophe, was of not nearly so much account as his criticism of the rest. In Paris, when you read an article eulogizing a man's work, it is always as well to ask yourself:

"Whom is he decrying?"

Olivier went hot with shame as he read the paper, and said to himself:

"A fine thing I've done!"

He could hardly get through his lecture. As soon as he had finished he hurried home. What was his consternation to find that Christophe had already gone out with the journalists! He delayed lunch for him.

Christophe did not return. Hours pa.s.sed, and Olivier grew more and more anxious and thought:

"What a lot of foolish things they will make him say!"

About three o'clock Christophe came home quite lively. He had had lunch with a.r.s.ene Gamache, and his head was a little muzzy with the champagne he had drunk. He could not understand Olivier's anxiety, who asked him in fear and trembling what he had said and done.

"What have I been doing? I've had a splendid lunch. I haven't had such a good feed for a long time."

He began to recount the menu.

"And wine.... I had wine of every color."

Olivier interrupted him to ask who was there.

"Who was there?... I don't know. There was Gamache, a little round man, true as gold: Clodomir, the writer of the article, a charming fellow: three or four journalists whom I didn't know, very jolly, all very nice and charming to me--the cream of good fellows."

Olivier did not seem to be convinced. Christophe was astonished at his small enthusiasm.

"Haven't you read the article?"

"Yes. I have. Have you read it?"

"Yes.... That is to say, I just glanced at it. I haven't had time."

"Well: read it."

Christophe took it up. At the first words he spluttered.

"Oh! The idiot!" he said.

He roared with laughter.

"Bah!" he went on. "These critics are all alike. They know nothing at all about it."

But as he read farther he began to lose his temper: it was too stupid, it made him look ridiculous. What did they mean by calling him "a Republican musician"; it did not mean anything.... Well, let the fib pa.s.s.... But when they set his "Republican" art against the "sacristy art" of the masters who had preceded him,--(he whose soul was nourished by the souls of those great men),--it was too much....