Jean-Christophe Journey's End Part 59

This "enthusiasm begotten of despair at the time of a great loss" lasted for a few months. Thereafter Christophe fell back into his place in life with a stout heart and a sure foot. The wind of death had blown away the last mists of pessimism, the gray of the Stoic soul, and the phantasmagoria of the mystic chiaroscura. The rainbow had shone upon the vanishing clouds. The gaze of heaven, purer, as though it had been laved with tears, smiled through them. There was the peace of evening on the mountains.

IV

The fire smoldering in the forest of Europe was beginning to burst into flames. In vain did they try to put it out in one place: it only broke out in another: with gusts of smoke and a shower of sparks it swept from one point to another, burning the dry brushwood. Already in the East there were skirmishes as the prelude to the great war of the nations.

All Europe, Europe that only yesterday was skeptical and apathetic, like a dead wood, was swept by the flames. All men were possessed by the desire for battle. War was ever on the point of breaking out. It was stamped out, but it sprang to life again. The world felt that it was the mercy of an accident that might let loose the dogs of war. The world lay in wait. The feeling of inevitability weighed heavily even upon the most pacifically minded. And ideologues, sheltered beneath the ma.s.sive shadow of the cyclops, Proudhon, hymned in war man's fairest t.i.tle of n.o.bility....

This, then, was to be the end of the physical and moral resurrection of the races of the West! To such butchery they were to be borne along by the currents of action and pa.s.sionate faith! Only a Napoleonic genius could have marked out a chosen, deliberate aim for this blind, onward rush. But nowhere in Europe was there any genius for action. It was as though the world had chosen the most mediocre to be its governors. The force of the human mind was in other things.--So there was nothing to be done but to trust to the declivity down which they were moving. This both governors and governed were doing. Europe looked like a vast armed vigil.

Christophe remembered a similar vigil, when he had had Olivier's anxious face by his side. But then the menace of war had been only a pa.s.sing cloud. Now all Europe lay under its shadow. And Christophe's heart also had changed. He could not share in the hatred of the nations. His state of mind was like that of Goethe in 1813. How could a man fight without hatred? And how could he hate without youth? He had pa.s.sed through the zone of hatred. Which of the great rival nations was the dearest to him?

He had learned to know all their merits, and what the world owed to them. When a man has reached a certain stage in the development of the soul _"he knows no nation, he feels the happiness or unhappiness of the neighboring peoples as his own."_ The storm-clouds are at his feet. Around him is nothing but the sky--_"the whole Heavens, the kingdom of the eagle."_

And yet Christophe was sometimes embarra.s.sed by this ambient hostility.

In Paris he was made to feel too clearly that he was of the hostile race: even his friend Georges could not resist the pleasure of giving vent, in his presence, to feelings about Germany which made him sad.

Then he rushed away, on the excuse that he wanted to see Grazia's daughter: and he went and stayed for a time in Rome. But there the atmosphere was no more serene. The great plague of national pride had spread there, and had transformed the Italian character. The Italians, whom Christophe had known to be indifferent and indolent, were now thinking of nothing but military glory, battle, conquests, Roman eagles flying over the sands of Libya: they believed they had returned to the time of the Emperors. The wonderful thing was that this madness was shared, with the best faith in the world, by the opposition parties, socialists and clericals, as well as by the monarchists, and they had not the least idea that they were being unfaithful to their cause. So little do politics and human reason count when the great epidemic pa.s.sions sweep over the nations. Such pa.s.sions do not even trouble to suppress individual pa.s.sions; they use them; and everything converges on the one goal. In the great periods of action it was ever thus. The armies of Henri IV., the Councils of Louis XIV., which forged the greatness of France, numbered as many men of faith and reason as men of vanity, interest, and enjoyment. Jansenists and libertines, Puritans and gallants, served the same destiny in serving their instincts. In the forthcoming wars no doubt internationalists and pacificists will kindle the blaze, in the conviction, like that of their ancestors of the Convention, that they are doing it for the good of the nations and the triumph of peace.

With a somewhat ironical smile, Christophe, from the terrace of the Janiculum, looked down on the disparate and harmonious city, the symbol of the universe which it dominated; crumbling ruins, "baroque" facades, modern buildings, cypress and roses intertwined--every age, every style, merged into a powerful and coherent unity beneath the clear light. So the mind should shed over the struggling universe the order and light that are in it.

Christophe did not stay long in Rome. The impression made on him by the city was too strong: he was afraid of it. Truly to profit by its harmony he needed to hear it at a distance: he felt that if he stayed he would be in danger of being absorbed by it, like so many other men of his race.--Every now and then he went and stayed in Germany. But, when all was told, and in spite of the imminence of a Franco-German war, Paris still had the greatest attraction for him. No doubt this was because his adopted son, Georges, lived there. But he was not only swayed by reasons of affection. There were other reasons of an intellectual order that were no less powerful. For an artist accustomed to the full life of the mind, who generously shares in all the sufferings, all the hopes, and all the pa.s.sions of the great human family, it was difficult to grow accustomed to life in Germany. There was no lack of artists there. But the artists lacked air. They were isolated from the rest of the nation, which took no interest in them: other preoccupations, social or practical, absorbed the attention of the public. The poets shut themselves up in disdainful irritation in their disdained art; it became a point of honor with them to sever the last ties which bound them to the life of the people: they wrote only for a few, a little aristocracy full of talent, refined and sterile, being itself divided into rival groups of jaded initiates, and they were stifled in the narrow room in which they were huddled together: they were incapable of expanding it, and set themselves to dig down; they turned the soil over until it was exhausted. Then they drifted away into their archaic dreams, and never even troubled to bring their dreams into the common stock. Each man fought for his place in the mist. They had no light in common. Each man had to look for light within himself.

Yonder, on the other hand, on the other side of the Rhine, among their neighbors on the West, the great winds of collective pa.s.sion, of public turbulence and tribulation, swept periodically over art. And, high above the plain, like their Eiffel Tower above Paris, shone afar off the never-dying light of a cla.s.sic tradition, handed down from generation to generation, which, while it never enslaved nor constrained the mind, showed it the road followed by past ages, and established the communion of a whole nation in its light. Many a German spirit--like birds strayed in the night--came winging towards the distant beacon. But who is there in France can dream of the power of the sympathy which drives so many generous hearts from the neighboring nation towards France! So many hands stretched out: hands that are not responsible for the aims of the politicians!... And you see no more of us, our brothers in Germany, though we say to you: "Here are our hands. In spite of lies and hatred, we will not be parted. We have need of you, you have need of us, to build the greatness of our spirits and our people. We are the two wings of the West. If one be broken, there is an end of flight! Let the war come! It will not break the clasp of our hands or the flight of our genius in brotherhood."

So thought Christophe. He felt the mutual completion which the two races could give each other, and how lame and halting were the spirit, the art, the action of each without the help of the other. For his own part, born in the Rhine-lands where the two civilizations mingle in one stream, from his childhood he had instinctively felt their inevitable union; all through his life the unconscious effort of his genius had been to maintain the balance and equilibrium of the two mighty wings.

The greater was his wealth of Germanic dreams, the more he needed the Latin clarity of mind and order. It was for this reason that France was so dear to him. In France he had the joy of better knowledge and mastery of himself. Only in France was he wholly himself.

He turned to account all the elements that were or might be noxious to him. He a.s.similated foreign energy in his own. A vigorous healthy mind absorbs every kind of force, even that which is hostile to it, and makes it bone and flesh of its bone and flesh. There even comes a time when a man is most attracted by what least resembles him, for therein he finds his most plentiful nourishment.

Christophe did in fact find more pleasure in the work of artists who were set up as his rivals than in the work of his imitators:--for he had imitators who called themselves his disciples, to his great despair.

They were honest, laborious, estimable, and altogether virtuous people who were full of respect and veneration for him. Christophe would have given much if he could have liked their music; but--(it was just his luck!)--he could not do it: he found it meaningless. He was a thousand times more pleased with the talent of musicians who were personally antipathetic to him, and in art represented tendencies hostile to his own.... Well! What did it matter? These men were at least alive! Life is, in itself, such a virtue, that, if a man be deprived of it, though he possess all the other virtues, he will never be a really good man, for he cannot really be a man. Christophe used jokingly to say that the only disciples he recognized were the men who attacked him. And when a young artist came and talked to him about his musical vocation, and tried to win his sympathy by flattering him, Christophe would say:

"So. My music satisfies you? That is how you would express your love, or your hatred?"

"Yes, master."

"Well. Don't. You have nothing to say."

His horror of the submissive temper of mind, of men born to obey, his need of absorbing other ideas than his own, attracted him to circles whose ideas were diametrically opposed to his own. He had friends among men to whom his art, his idealistic faith, his moral conceptions, were a dead letter: they had absolutely different ways of envisaging life, love, marriage, the family, every social relationship:--but they were good fellows, though they seemed to belong to another stage of moral evolution: the anguish and the scruples that had consumed a part of Christophe's life were incomprehensible to them. No doubt that was all the better for them! Christophe had no desire to make them understand.

He did not ask others to confirm his ideas by thinking as he did: he was sure of his own thoughts. He asked them to let him know their thoughts, and to love their souls. He asked always to know and to love more, to see and to learn how to see. He had reached the point not only of admitting in others tendencies of mind that he had once combated, but also of rejoicing in them, for they seemed to him to contribute to the fecundity of the universe. He loved Georges the more because he did not take life tragically, as he did. Humanity would be too poor and too gray in color if it were to be uniformly clad in the moral seriousness, and the heroic restraint with which Christophe was armed. Humanity needed joy, carelessness, irreverent audacity in face of its idols, all its idols, even the most holy. Long live "the Gallic salt which revives the world"! Skepticism and faith are no less necessary. Skepticism, riddling the faith of yesterday, prepares the way for the faith of to-morrow....

How clear everything becomes to the man who stands away from life, and, as in a fine picture, sees the contrasting colors merge into a magical harmony, where, when they were closely seen, they clashed.

Christophe's eyes had been opened to the infinite variety of the material, as of the moral, world. It had been one of his greatest conquests since his first visit to Italy. In Paris he especially sought the company of painters and sculptors; it seemed to him that the best of the French genius was in them. The triumphant audacity with which they pursued and captured movement, vibrant color, and tore away the veils that cover life, made his heart leap with delight. The inexhaustible riches that he who has eyes to see can find in a drop of light, a second of life! Against such sovereign delights of the mind what matters the vain tumult of dispute and war?... But dispute and war also are a part of the marvelous spectacle. We must embrace everything, and, valiantly, joyously, fling into the crucible of our burning hearts both the forces of denial and the forces of affirmation, enemies and friends, the whole metal of life. The end of it all is the statue which takes shape in us, the divine fruit of our minds; and all is good that helps to make it more beautiful even at the cost of the sacrifice of ourselves. What does the creator matter? Only that which is created is real.... You cannot hurt us, ye enemies who seek to reach us with your hostility. We are beyond the reach of your attacks.... You are rending the empty cloak. I have been gone this many a day.

His music had found a more serene form. No longer did it show the storms of spring, which gathered, burst, and disappeared in the old days, but, instead, the white clouds of summer, mountains of snow and gold, great birds of light, slowly soaring, and filling the sky.... Creation.

Ripening crops in the calm August sunlight....

At first a vague, mighty torpor, the obscure joy of the full grape, the swollen ear of corn, the pregnant woman brooding over her ripe fruit. A buzzing like the sound of an organ; the hive all alive with the hum of the bees.... Such somber, golden music, like an autumn honeycomb, slowly gives forth the rhythm which shall mark its path: the round of the planets is made plain: it begins to spin....

Then the will appears. It leaps onto the back of the whinnying dream as it pa.s.ses, and grips it with its knees. The mind recognizes the laws of the rhythm which guides it: it tames the disordered forces and fixes the path they shall take, the goal towards which they shall move. The symphony of reason and instinct is organized. The darkness grows bright.

On the long ribbon of the winding road, at intervals, there are brilliant fires, which in their turn shall be in the work of creation the nucleus of little planetary worlds linked up in the girdle of their solar system....

The main lines of the picture are henceforth fixed. Now it looms through the uncertain light of dawn. Everything is becoming definite: the harmony of the colors, the outline of the figures. To bring the work to its close all the resources of his being are brought into requisition.

The scent-box of memory is opened and exhales its perfumes. The mind unchains the senses: it lets them wax delirious and is silent: but, crouching there, it watches them and chooses its prey....

All is ready: the team of workmen carries out, with the materials s.n.a.t.c.hed from the senses, the work planned by the mind. A great architect must have good journeymen who know their trade and will not spare themselves.--The cathedral is finished.

"And G.o.d looked down on his work. And He saw that _it was not yet good._"

The Master's eyes take in the whole of His creation, and His hand perfects its harmony....

The dream is ended. _Te Deum_....

The white clouds of summer, like great birds of light, slowly soar and hover; and the heavens are filled with their widespread wings.

And yet his life was very far from being one with his art. A man of his kind cannot do without love, not merely that equable love which the spirit of an artist sheds on all things in the world, but a love that knows _preference_: he must always be giving himself to the creatures of his choice. They are the roots of the tree. Through them his heart's blood is renewed.

Christophe's heart's blood was nothing like dried up. He was steeped in a love which was the best part of his joy, a twofold love, for Grazia's daughter and Olivier's son. He united them in thought, and was to unite them in reality.

Georges and Aurora had met at Colette's: Aurora lived in her cousin's house. She spent part of the year in Rome and the rest in Paris. She was eighteen: Georges five years older. She was tall, erect, elegant, with a small head, and an open countenance, fair hair, a dark complexion, a slight down on her lips, bright eyes with a laughing expression behind which lay busy thoughts, a rather plump chin, brown hands, beautiful round strong arms, and a fine bust; and she always looked gay, proud, and worldly. She was not at all intellectual, hardly at all sentimental, and she had inherited her mother's careless indolence. She would sleep eleven hours on end. The rest of the time she spent in lounging and laughing, only half awake. Christophe called her _Dornroschen_--the Sleeping Beauty. She reminded him of his old love, Sabine. She used to sing as she went to bed, and when she got up, and laugh for no reason at all, with merry childish laughter, and then gulp it down with a sort of hiccough. It were impossible to tell how she spent the time. All Colette's efforts to equip her with the brilliant artificiality which is so easily imposed on the mind of a young girl, like a kind of lacquered varnish, had been wasted: the varnish would not hold. She learned nothing: she would take months to read a book, and would like it immensely, though in a week she would forget both its t.i.tle and its subject: without the least embarra.s.sment she would make mistakes in spelling, and when she spoke of learned matters she would fall into the most comical blunders. She was refreshing in her youth, her gaiety, her lack of intellectuality, even in her faults, her thoughtlessness which sometimes amounted to indifference, and her nave egoism. She was always so spontaneous. Young as she was, and simple and indolent, she could when she pleased play the coquette, though in all innocence: then she would spread her net for young men and go sketching, or play the nocturnes of Chopin, or carry books of poetry which she had not read, and indulge in conversations and hats that were about equally idealistic.

Christophe would watch her and laugh gently to himself. He had a fatherly tenderness, indulgent and teasing, for Aurora. And he had also a secret feeling of worship for the woman he had loved who had come again with new youth for another love than his. No one knew the depth of his affection. Only Aurora ever suspected it. From her childhood she had almost always been used to having Christophe near her, and she used to regard him as one of her family. In her old sorrow at being less loved than her brother she had instinctively drawn near to Christophe. She divined that he had a similar sorrow; he saw her grief: and though they never exchanged confidences, they shared each other's feelings. Later, when she discovered the feeling that united her mother and Christophe, it seemed to her that she was in the secret, though they had never told her. She knew the meaning of the message with which Grazia had charged her as she lay dying, and of the ring which was now on Christophe's hand. So there existed hidden ties between her and Christophe, ties which she did not need to understand, to feel them in their complexity.

She was sincerely attached to her old friend, although she could never have made the effort necessary to play or to read his work. Though she was a fairly good musician, she had never even had the curiosity to cut the pages of a score he had dedicated to her. She loved to come and have an intimate talk with him.--She came more often when she found out that she might meet Georges Jeannin in his rooms.

And Georges, too, found an extraordinary interest in Christophe's company.

However, the two young people were slow to realize their real feelings.

They had at first looked at each other mockingly. They were hardly at all alike. He was quicksilver, she was still water. But it was not long before quicksilver tried to appear more at rest, and sleeping water awoke. Georges would criticise Aurora's clothes, and her Italian taste--a slight want of feeling for modulation and a certain preference for crude colors. Aurora used to delight in teasing Georges, and imitating his rather hurried and precious way of speaking. And while they laughed at each other, they both took pleasure ... in laughing, or in entertaining each other? They used to entertain Christophe too, and, far from gainsaying them, he would maliciously transpose these little poisoned darts from one to the other. They pretended not to care: but they soon discovered that they cared only too much; and both, especially Georges, being incapable of concealing their annoyance, as soon as they met they would begin sparring. Their wounds were slight: they were afraid of hurting each other: and the hand which dealt the blow was so dear to the recipient of it that they both found more pleasure in the hurts they received than in those they gave. They used to watch each other curiously, and their eyes, seeking defects, would find only attractions. But they would not admit it. Each, to Christophe, would declare that the other was unbearable, but, for all that, they were not slow to seize every opportunity of meeting that Christophe gave them.

One day when Aurora was with her old friend to tell him that she would come and see him on the following Sunday in the morning, Georges rushed in, like a whirlwind as usual, to tell Christophe that he was coming on Sunday afternoon. On Sunday morning Christophe waited in vain for Aurora. At the hour mentioned by Georges she appeared, and asked him to forgive her because it had been impossible for her to come in the morning: she embroidered her excuses with a circ.u.mstantial story.

Christophe was amused by her innocent roguery, and said:

"It is a pity. You would have seen Georges: he came and lunched with me; but he would not stay this afternoon."

Aurora was discomfited, and did not listen to anything Christophe said.

He went on talking good-humoredly. She replied absently, and was not far from being cross with him. Came a ring at the bell. It was Georges.

Aurora was amazed. Christophe looked at her and laughed. She saw that he had been making fun of her, and laughed and blushed. He shook his finger at her waggishly. Suddenly she ran and kissed him warmly. He whispered to her:

_"Biricchina, ladroncella, furbetta...."_

And she laid her hand on his lips to silence him.

Georges could make nothing of their kissing and laughter. His expression of astonishment, almost of vexation, added to their joy.