Jean-Christophe Part 16

"No offense, Jean-Christophe!" said the clerk kindly, when the boy came into the office again. Jean-Christophe let him shake his hand without daring to raise his eyes. He found himself outside the Palace. He was cold with shame. Everything that had been said to him recurred in his memory, and he imagined that there was an insulting irony in the pity of the people who honored and were sorry for him. He went home, and answered only with a few irritable words Louisa's questions, as though he bore a grudge against her for what he had just done. He was racked by remorse when he thought of his father. He wanted to confess everything to him, and to beg his pardon.

Melchior was not there. Jean-Christophe kept awake far into the night, waiting for him. The more he thought of him the more his remorse quickened.

He idealized him; he thought of him as weak, kind, unhappy, betrayed by his own family. As soon as he heard his step on the stairs he leaped from his bed to go and meet him, and throw himself in his arms; but Melchior was in such a disgusting state of intoxication that Jean-Christophe had not even the courage to go near him, and he went to bed again, laughing bitterly at his own illusions.

When Melchior learned a few days later of what had happened, he was in a towering pa.s.sion, and, in spite of all Jean-Christophe's entreaties, he went and made a scene at the Palace. But he returned with his tail between his legs, and breathed not a word of what had happened. He had been very badly received. He had been told that he would have to take a very different tone about the matter, that the pension had only been continued out of consideration for the worth of his son, and that if in the future there came any scandal concerning him to their ears, it would be suppressed. And so Jean-Christophe was much surprised and comforted to see his father accept his living from day to day, and even boast about having taken, the initiative in the _sacrifice_.

But that did not keep Melchior from complaining outside that he had been robbed by his wife and children, that he had put himself out for them all his life, and that now they let him want for everything. He tried also to extract money from Jean-Christophe by all sorts of ingenious tricks and devices, which often used to make Jean-Christophe laugh, although he was hardly ever taken in by them. But as Jean-Christophe held firm, Melchior did not insist. He was curiously intimidated by the severity in the eyes of this boy of fourteen who judged him. He used to avenge himself by some stealthy, dirty trick. He used to go to the cabaret and eat and drink as much as he pleased, and then pay nothing, pretending that his son would pay his debts. Jean-Christophe did not protest, for fear of increasing the scandal, and he and Louisa exhausted their resources in discharging Melchior's debts. In the end Melchior more and more lost interest in his work as violinist, since he no longer received his wages, and his absence from the theater became so frequent that, in spite of Jean-Christophe's entreaties, they had to dismiss him. The boy was left to support his father, his brothers, and the whole household.

So at fourteen Jean-Christophe became the head of the family.

He stoutly faced his formidable task. His pride would not allow him to resort to the charity of others. He vowed that he would pull through alone.

From his earliest days he had suffered too much from seeing his mother accept and even ask for humiliating charitable offerings. He used to argue the matter with her when she returned home triumphant with some present that she had obtained from one of her patronesses. She saw no harm in it, and was glad to be able, thanks to the money, to spare Jean-Christophe a little, and to bring another meager dish forth for supper. But Jean-Christophe would become gloomy, and would not talk all evening, and would even refuse, without giving any reason, to touch food gained in this way. Louisa was vexed, and clumsily urged her son to eat. He was not to be budged, and in the end she would lose her temper, and say unkind things to him, and he would retort. Then he would fling his napkin on the table and go out. His father would shrug his shoulders and call him a _poseur_; his brothers would laugh at him and eat his portion.

But he had somehow to find a livelihood. His earnings from the orchestra were not enough. He gave lessons. His talents as an instrumentalist, his good reputation, and, above all, the Prince's patronage, brought him a numerous _clientele_ among the middle cla.s.ses. Every morning from nine o'clock on he taught the piano to little girls, many of them older than himself, who frightened him horribly with their coquetry and maddened him with the clumsiness of their playing. They were absolutely stupid as far as music went, but, on the other hand, they had all, more or less, a keen sense of ridicule, and their mocking looks spared none of Jean-Christophe's awkwardnesses. It was torture for him. Sitting by their side on the edge of his chair, stiff, and red in the face; bursting with anger, and not daring to stir; controlling himself so as not to say stupid things, and afraid of the sound of his own voice, so that he could hardly speak a word; trying to look severe, and feeling that his pupil was looking at him out of the corner of her eye, he would lose countenance, grow confused in the middle of a remark; fearing to make himself ridiculous, he would become so, and break out into violent reproach. But it was very easy for his pupils to avenge themselves, and they did not fail to do so, and upset him by a certain way of looking at him, and by asking him the simplest questions, which made him blush up to the roots of his hair; or they would ask him to do them some small service, such as fetching something they had forgotten from a piece of furniture, and that was for him a most painful ordeal, for he had to cross the room under fire of malicious looks, which pitilessly remarked the least awkwardness in his movements and his clumsy legs, his stiff arms, his body cramped by his shyness.

From these lessons he had to hasten to rehearsal at the theater. Often he had no time for lunch, and he used to carry a piece of bread and some cold meat in his pocket to eat during the interval. Sometimes he had to take the place of Tobias Pfeiffer, the _Musik Direktor_, who was interested in him, and sometimes had him to conduct the orchestra rehearsals instead of himself. And he had also to go on with his own musical education. Other piano lessons filled his day until the hour of the performance, and very often in the evening after the play he was sent for to play at the Palace.

There he had to play for an hour or two. The Princess laid claim to a knowledge of music. She was very fond of it, but had never been able to perceive the difference between good and bad. She used to make Jean-Christophe play through strange programmes, in which dull rhapsodies stood side by side with masterpieces. But her greatest pleasure was to make him improvise, and she used to provide him with heartbreakingly sentimental themes.

Jean-Christophe used to leave about midnight, worn out, with his hands burning, his head aching, his stomach empty. He was in a sweat, and outside snow would be falling, or there would be an icy fog. He had to walk across half the town to reach home. He went on foot, his teeth chattering, longing to sleep and to cry, and he had to take care not to splash his only evening dress-suit in the puddles.

He would go up to his room, which he still shared with his brothers, and never was he so overwhelmed by disgust and despair with his life as at the moment when in his attic, with its stifling smell, he was at last permitted to take off the halter of his misery. He had hardly the heart to undress himself. Happily, no sooner did his head touch the pillow than he would sink into a heavy sleep which deprived him of all consciousness of his troubles.

But he had to get up by dawn in summer, and before dawn in winter. He wished to do his own work. It was all the free time that he had between five o'clock and eight. Even then he had to waste some of it by work to command, for his t.i.tle of _Hof Musicus_ and his favor with the Grand Duke exacted from him official compositions for the Court festivals.

So the very source of his life was poisoned. Even his dreams were not free, but, as usual, this restraint made them only the stronger. When nothing hampers action, the soul has fewer reasons for action, and the closer the walls of Jean-Christophe's prison of care and ba.n.a.l tasks were drawn about him, the more his heart in its revolt felt its independence. In a life without obstacles he would doubtless have abandoned himself to chance and to the voluptuous sauntering of adolescence. As he could be free only for an hour or two a day, his strength flowed into that s.p.a.ce of time like a river between walls of rock. It is a good discipline for art for a man to confine his efforts between unshakable bounds. In that sense it may be said that misery is a master, not only of thought, but of style; it teaches sobriety to the mind as to the body. When time is doled out and thoughts measured, a man says no word too much, and grows accustomed to thinking only what is essential; so he lives at double pressure, having less time for living.

This had happened in Jean-Christophe's case. Under his yoke he took full stock of the value of liberty and he never frittered away the precious minutes with useless words or actions. His natural tendency to write diffusely, given up to all the caprice of a mind sincere but indiscriminating, found correction in being forced to think and do as much as possible in the least possible time. Nothing had so much influence on his artistic and moral development--not the lessons of his masters, nor the example of the masterpieces. During the years when the character is formed he came to consider music as an exact language, in which every sound has a meaning, and at the same time he came to loathe those musicians who talk without saying anything.

And yet the compositions which he wrote at this time were still far from expressing himself completely, because he was still very far from having completely discovered himself. He was seeking himself through the ma.s.s of acquired feelings which education imposes on a child as second nature. He had only intuitions of his true being, until he should feel the pa.s.sions of adolescence, which strip the personality of its borrowed garments as a thunder-clap purges the sky of the mists that hang over it. Vague and great forebodings were mingled in him with strange memories, of which he could not rid himself. He raged against these lies; he was wretched to see how inferior what he wrote was to what he thought; he had bitter doubts of himself. But he could not resign himself to such a stupid defeat. He longed pa.s.sionately to do better, to write great things, and always he missed fire. After a moment of illusion as he wrote, he saw that what he had done was worthless. He tore it up; he burned everything that he did; and, to crown his humiliation, he had to see his official works, the most mediocre of all, preserved, and he could not destroy them--the concerto, _The Royal Eagle_, for the Prince's birthday and the cantata, _The Marriage of Pallas_, written on the occasion of the marriage of Princess Adelaide--published at great expense in _editions de luxe_, which perpetuated his imbecilities for posterity; for he believed in posterity.

He wept in his humiliation.

Fevered years! No respite, no release--nothing to create a diversion from such maddening toil; no games, no friends. How should he have them? In the afternoon, when other children played, young Jean-Christophe, with his brows knit in attention, was at his place in the orchestra in the dusty and ill-lighted theater; and in the evening, when other children were abed, he was still there, sitting in his chair, bowed with weariness.

No intimacy with his brothers. The younger, Ernest, was twelve. He was a little ragam.u.f.fin, vicious and impudent, who spent his days with other rapscallions like himself, and from their company had caught not only deplorable manners, but shameful habits which good Jean-Christophe, who had never so much as suspected their existence, was horrified to see one day. The other, Rodolphe, the favorite of Uncle Theodore, was to go into business. He was steady, quiet, but sly. He thought himself much superior to Jean-Christophe, and did not admit his authority in the house, although it seemed natural to him to eat the food that he provided. He had espoused the cause of Theodore and Melchior's ill-feeling against Jean-Christophe and used to repeat their absurd gossip. Neither of the brothers cared for music, and Rodolphe, in imitation of his uncle, affected to despise it.

Chafing against Jean-Christophe's authority and lectures--for he took himself very seriously as the head of the family--the two boys had tried to rebel; but Jean-Christophe, who had l.u.s.ty fists and the consciousness of right, sent them packing. Still they did not for that cease to do with him as they liked. They abused his credulity, and laid traps for him, into which he invariably fell. They used to extort money from him with barefaced lies, and laughed at him behind his back. Jean-Christophe was always taken in. He had so much need of being loved that an affectionate word was enough to disarm his rancor. He would have forgiven them everything for a little love. But his confidence was cruelly shaken when he heard them laughing at his stupidity after a scene of hypocritical embracing which had moved him to tears, and they had taken advantage of it to rob him of a gold watch, a present from the Prince, which they coveted. He despised them, and yet went on letting himself be taken in from his unconquerable tendency to trust and to love. He knew it. He raged against himself, and he used to thrash his brothers soundly when he discovered once more that they had tricked him.

That did not keep him from swallowing almost immediately the fresh hook which it pleased them to bait for him.

A more bitter cause of suffering was in store for him. He learned from officious neighbors that his father was speaking ill of him. After having been proud of his son's successes, and having boasted of them everywhere, Melchior was weak and shameful enough to be jealous of them. He tried to decry them. It was stupid to weep; Jean-Christophe could only shrug his shoulders in contempt. It was no use being angry about it, for his father did not know what he was doing, and was embittered by his own downfall. The boy said nothing. He was afraid, if he said anything, of being too hard; but he was cut to the heart.

They were melancholy gatherings at the family evening meal round the lamp, with a spotted cloth, with all the stupid chatter and the sound of the jaws of these people whom he despised and pitied, and yet loved in spite of everything. Only between himself and his brave mother did Jean-Christophe feel a bond of affection. But Louisa, like himself, exhausted herself during the day, and in the evening she was worn out and hardly spoke, and after dinner used to sleep in her chair over her darning. And she was so good that she seemed to make no difference in her love between her husband and her three sons. She loved them all equally. Jean-Christophe did not find in her the trusted friend that he so much needed.

So he was driven in upon himself. For days together he would not speak, fulfilling his tiresome and wearing task with a sort of silent rage. Such a mode of living was dangerous, especially for a child at a critical age, when he is most sensitive, and is exposed to every agent of destruction and the risk of being deformed for the rest of his life. Jean-Christophe's health suffered seriously. He had been endowed by his parents with a healthy const.i.tution and a sound and healthy body; but his very healthiness only served to feed his suffering when the weight of weariness and too early cares had opened up a gap by which it might enter. Quite early in life there were signs of grave nervous disorders. When he was a small boy he was subject to fainting-fits and convulsions and vomiting whenever he encountered opposition. When he was seven or eight, about the time of the concert, his sleep had been troubled. He used to talk, cry, laugh and weep in his sleep, and this habit returned to him whenever he had too much to think of. Then he had cruel headaches, sometimes shooting pains at the base of his skull or the top of his head, sometimes a leaden heaviness. His eyes troubled him. Sometimes it was as though red-hot needles were piercing his eyeb.a.l.l.s. He was subject to fits of dizziness, when he could not see to read, and had to stop for a minute or two. Insufficient and unsound food and irregular meals ruined the health of his stomach. He was racked by internal pains or exhausted by diarrhea. But nothing brought him more suffering than his heart. It beat with a crazy irregularity. Sometimes it would leap in his bosom, and seem like to break; sometimes it would hardly beat at all, and seem like to stop. At night his temperature would vary alarmingly; it would change suddenly from fever-point to next to nothing.

He would burn, then s.h.i.+ver with cold, pa.s.s through agony. His throat would go dry; a lump in it would prevent his breathing. Naturally his imagination took fire. He dared not say anything to his family of what he was going through, but he was continually dissecting it with a minuteness which either enlarged his sufferings or created new ones. He decided that he had every known illness one after the other. He believed that he was going blind, and as he sometimes used to turn giddy as he walked, he thought that he was going to fall down dead. Always that dreadful fear of being stopped on his road, of dying before his time, obsessed him, overwhelmed him, and pursued him. Ah, if he had to die, at least let it not be now, not before he had tasted victory!...

Victory ... the fixed idea which never ceases to burn within him without his being fully aware of it--the idea which bears him up through all his disgust and fatigues and the stagnant mora.s.s of such a life! A dim and great foreknowledge of what he will be some day, of what he is already!...

What is he? A sick, nervous child, who plays the violin in the orchestra and writes mediocre concertos? No; far more than such a child. That is no more than the wrapping, the seeming of a day; that is not his Being. There is no connection between his Being and the existing shape of his face and thought. He knows that well. When he looks at himself in the mirror he does not know himself. That broad red face, those prominent eyebrows, those little sunken eyes, that short thick nose, that sullen mouth--the whole mask, ugly and vulgar, is foreign to himself. Neither does he know himself in his writings. He judges, he knows that what he does and what he is are nothing; and yet he is sure of what he will be and do. Sometimes he falls foul of such certainty as a vain lie. He takes pleasure in humiliating himself and bitterly mortifying himself by way of punishment. But his certainty endures; nothing can alter it. Whatever he does, whatever he thinks, none of his thoughts, actions, or writings contain him or express him, He knows, he has this strange presentiment, that the more that he is, is not contained in the present but is what he _will be_, what he _will be to-morrow. He will be!_... He is fired by that faith, he is intoxicated by that light! Ah, if only _To-day_ does not block the way! If only he does not fall into one of the cunning traps which _To-day_ is forever laying for him!

So he steers his bark across the sea of days, turning his eyes neither to right nor left, motionless at the helm, with his gaze fixed on the bourne, the refuge, the end that he has in sight. In the orchestra, among the talkative musicians, at table with his own family, at the Palace, while he is playing without a thought of what he is playing, for the entertainment of Royal folk--it is in that future, that future which a speck may bring toppling to earth--no matter, it is in that that he lives.

He is at his old piano, in his garret, alone. Night falls. The dying light of day is cast upon his music. He strains his eyes to read the notes until the last ray of light is dead. The tenderness of hearts that are dead breathed forth from the dumb page fills him with love. His eyes are filled with tears. It seems to him that a beloved creature is standing behind him, that soft breathing caresses his cheek, that two arms are about his neck.

He turns, trembling. He feels, he knows, that he is not alone. A soul that loves and is loved is there, near him. He groans aloud because he cannot perceive it, and yet that shadow of bitterness falling upon his ecstasy has sweetness, too. Even sadness has its light. He thinks of his beloved masters, of the genius that is gone, though its soul lives on in the music which it had lived in its life. His heart is overflowing with love; he dreams of the superhuman happiness which must have been the lot of these glorious men, since the reflection only of their happiness is still so much aflame. He dreams of being like them, of giving out such love as this, with lost rays to lighten his misery with a G.o.dlike smile. In his turn to be a G.o.d, to give out the warmth of joy, to be a sun of life!...

Alas! if one day he does become the equal of those whom he loves, if he does achieve that brilliant happiness for which he longs, he will see the illusion that was upon him....

II

OTTO

One Sunday when Jean-Christophe had been invited by his _Musik Direktor_ to dine at the little country house which Tobias Pfeiffer owned an hour's journey from the town, he took the Rhine steamboat. On deck he sat next to a boy about his own age, who eagerly made room for him. Jean-Christophe paid no attention, but after a moment, feeling that his neighbor had never taken his eyes off him, he turned and looked at him. He was a fair boy, with round pink cheeks, with his hair parted on one side, and a shade of down on his lip. He looked frankly what he was--a hobbledehoy--though he made great efforts to seem grown up. He was dressed with ostentatious care--flannel suit, light gloves, white shoes, and a pale blue tie--and he carried a little stick in his hand. He looked at Jean-Christophe out of the corner of his eye without turning his head, with his neck stiff, like a hen; and when Jean-Christophe looked at him he blushed up to his ears, took a newspaper from his pocket, and pretended to be absorbed in it, and to look important over it. But a few minutes later he dashed to pick up Jean-Christophe's hat, which had fallen. Jean-Christophe, surprised at such politeness, looked once more at the boy, and once more he blushed.

Jean-Christophe thanked him curtly, for he did not like such obsequious eagerness, and he hated to be fussed with. All the same, he was flattered by it.

Soon it pa.s.sed from his thoughts; his attention was occupied by the view.

It was long since he had been able to escape from the town, and so he had keen pleasure in the wind that beat against his face, in the sound of the water against the boat, in the great stretch of water and the changing spectacle presented by the banks--bluffs gray and dull, willow-trees half under water, pale vines, legendary rocks, towns crowned with Gothic towers and factory chimneys belching black smoke. And as he was in ecstasy over it all, his neighbor in a choking voice timidly imparted a few historic facts concerning the ruins that they saw, cleverly restored and covered with ivy.

He seemed to be lecturing to himself. Jean-Christophe, roused to interest, plied him with questions. The other replied eagerly, glad to display his knowledge, and with every sentence he addressed himself directly to Jean-Christophe, calling him "_Herr Hof Violinist_."

"You know me, then?" said Jean-Christophe.

"Oh yes," said the boy, with a simple admiration that tickled Jean-Christophe's vanity.

They talked. The boy had often seen Jean-Christophe at concerts, and his imagination had been touched by everything that he had heard about him. He did not say so to Jean-Christophe, but Jean-Christophe felt it, and was pleasantly surprised by it. He was not used to being spoken to in this tone of eager respect. He went on questioning his neighbor about the history of the country through which they were pa.s.sing. The other set out all the knowledge that he had, and Jean-Christophe admired his learning. But that was only the peg on which their conversation hung. What interested them was the making of each other's acquaintance. They dared not frankly approach the subject; they returned to it again and again with awkward questions.

Finally they plunged, and Jean-Christophe learned that his new friend was called Otto Diener, and was the son of a rich merchant in the town. It appeared, naturally, that they had friends in common, and little by little their tongues were loosed. They were talking eagerly when the boat arrived at the town at which Jean-Christophe was to get out. Otto got out, too.

That surprised them, and Jean-Christophe proposed that they should take a walk together until dinner-time. They struck out across the fields.

Jean-Christophe had taken Otto's arm familiarly, and was telling him his plans as if he had known him from his birth. He had been so much deprived of the society of children of his own age that he found an inexpressible joy in being with this boy, so learned and well brought up, who was in sympathy with him.

Time pa.s.sed, and Jean-Christophe took no count of it. Diener, proud of the confidence which the young musician showed him, dared not point out that the dinner-hour had rung. At last he thought that he must remind him of it, but Jean-Christophe, who had begun the ascent of a hill in the woods, declared that they most go to the top, and when they reached it he lay down on the gra.s.s as though he meant to spend the day there. After a quarter of an hour Diener, seeing that he seemed to have no intention of moving, hazarded again:

"And your dinner?"

Jean-Christophe, lying at full length, with his hands behind his head, said quietly:

"Tss.h.!.+"

Then he looked at Otto, saw his scared look, and began to laugh.

"It is too good here," he explained. "I shan't go. Let them wait for me!"

He half rose.

"Are you in a hurry? No? Do you know what we'll do? We'll dine together. I know of an inn."

Diener would have had many objections to make--not that any one was waiting for him, but because it was hard for him to come to any sudden decision, whatever it might be. He was methodical, and needed to be prepared beforehand. But Jean-Christophe's question was put in such a tone as allowed of no refusal. He let himself be dragged off, and they began to talk again.