Jean-Christophe In Paris — THE HOUSE, I, part 3

* * * * * Many of the characteristics of these idealists seemed to the German more German than French.

But all of them had the love for the "fine speech of France" and the sap of the myths of Greece ran through their poetry.

Scenes of France and daily life were by some hidden magic transformed in their eyes into visions of Attica.

It was as though antique souls had come to life again in these twentieth-century Frenchmen, and longed to fling off their modern garments to appear again in their lovely nakedness.

Their poetry as a whole gave out the perfume of a rich civilization that has ripened through the ages, a perfume such as could not be found anywhere else in Europe.

It were impossible to forget it once it had been breathed.

It attracted foreign artists from every country in the world.

They became French poets, almost bigotedly French: and French classical art had no more fervent disciples than these Anglo-Saxons and Flemings and Greeks.

Christophe, under Olivier's guidance, was impregnated with the pensive beauty of the Muse of France, while in his heart he found the aristocratic lady a little too intellectual for his liking, and preferred a pretty girl of the people, simple, healthy, robust, who thinks and argues less, but is more concerned with love.

* * * * * The same _odor di bellezza_ arose from all French art, as the scent of ripe strawberries and raspberries ascends from autumn woods warmed by the sun.

French music was like one of those little strawberry plants, hidden in the grass, the scent of which sweetens all the air of the woods.

At first Christophe had passed it by without seeing it, for in his own country he had been used to whole thickets of music, much fuller and bearing more brilliant fruits.

But now the delicate perfume made him turn: with Olivier's help among the stones and brambles and dead leaves which usurped the name of music, he discovered the subtle and ingenuous art of a handful of musicians.

Amid the marshy fields and the factory chimneys of democracy, in the heart of the Plaine-Saint-Denis, in a little magic wood fauns were dancing blithely.

Christophe was amazed to hear the ironic and serene notes of their flutes which were like nothing he had ever heard: "_A little reed sufficed for me To make the tall grass quiver, And all the meadow, The willows sweet.

And the singing stream also: A little reed sufficed, for me To make the forest sing.

_" Beneath the careless grace and the seeming dilettantism of their little piano pieces, and songs, and French chamber-music, which German art never deigned to notice, while Christophe himself had hitherto failed to see the poetic accomplishment of it all, he now began to see the fever of renovation, and the uneasiness,--unknown on the other side of the Rhine,--with which French musicians were seeking in the unfilled fields of their art the germs from which the future might grow.

While German musicians sat stolidly in the encampments of their forebears, and arrogantly claimed to stay the evolution of the world at the barrier of their past victories, the world was moving onwards: and in the van the French plunged onward to discovery: they explored the distant realms of art, dead suns and suns lit up once more, and vanished Greece, and the Far East, after its age-long slumber, once more opening its slanting eyes, full of vasty dreams, upon the light of day.

In the music of the West, run off into channels by the genius of order and classic reason, they opened up the sluices of the ancient fashions: into their Versailles pools they turned all the waters of the universe: popular melodies and rhythms, exotic and antique scales, new or old beats and intervals.

Just as, before them, the impressionist painters had opened up a new world to the eyes,--Christopher Columbuses of light,--so the musicians were rushing on to the conquest of the world of Sound; they pressed on into mysterious recesses of the world of Hearing: they discovered new lands in that inward ocean.

It was more than probable that they would do nothing with their conquests.

As usual the French were the harbingers of the world.

Christophe admired the initiative of their music born of yesterday and already marching in the van of art.

What valiance there was in the elegant tiny little creature!

He found indulgence for the follies that he had lately seen in her.

Only those who attempt nothing never make mistakes.

But error struggling on towards the living truth is more fruitful and more blessed than dead truth.

Whatever the results, the effort was amazing.

Olivier showed Christophe the work done in the last thirty-five years, and the amount of energy expended in raising French music from the void in which it had slumbered before 1870: no symphonic school, no profound culture, no traditions, no masters, no public: the whole reduced to poor Berlioz, who died of suffocation and weariness.

And now Christophe felt a great respect for those who had been the laborers in the national revival: he had no desire now to jeer at their esthetic narrowness or their lack of genius.

They had created something much greater than music: a musical people.

Among all the great toilers who had forged the new French music one man was especially dear to him: César Franck, who died without seeing the victory for which he had paved the way, and yet, like old Schütz, through the darkest years of French art, had preserved intact the treasure of his faith and the genius of his race.

It was a moving thing to see: amid pleasure-seeking Paris, the angelic master, the saint of music, in a life of poverty and work despised, preserving the unimpeachable serenity of his patient soul, whose smile of resignation lit up his music in which is such great goodness.

* * * * * To Christophe, knowing nothing of the depths of the life of France, this great artist, adhering to his faith in the midst of a country of atheists, was a phenomenon, almost a miracle.

But Olivier would gently shrug his shoulders and ask if any other country in Europe could show a painter so wholly steeped in the spirit of the Bible as François Millet;--a man of science more filled with burning faith and humility than the clear-sighted Pasteur, bowing down before the idea of the infinite, and, when that idea possessed his mind, "in bitter agony"--as he himself has said--"praying that his reason might be spared, so near it was to toppling over into the sublime madness of Pascal."

Their deep-rooted Catholicism was no more a bar in the way of the heroic realism of the first of these two men, than of the passionate reason of the other, who, sure of foot and not deviating by one step, went his way through "the circles of elementary nature, the great night of the infinitely little, the ultimate abysses of creation, in which life is born."

It was among the people of the provinces, from which they sprang, that they had found this faith, which is for ever brooding on the soil of France, while in vain do windy demagogues struggle to deny it.

Olivier knew well that faith: it had lived in his own heart and mind.

He revealed to Christophe the magnificent movement towards a Catholic revival, which had been going on for the last twenty-five years, the mighty effort of the Christian idea in France to wed reason, liberty, and life: the splendid priests who had the courage, as one of their number said, "to have themselves baptized as men," and were claiming for Catholicism the right to understand everything and to join in every honest idea: for "every honest idea, even when it is mistaken, is sacred and divine": the thousands of young Catholics banded by the generous vow to build a Christian Republic, free, pure, in brotherhood, open to all men of good-will: and, in spite of the odious attacks, the accusations of heresy, the treachery on all sides, right and left,--(especially on the right),--which these great Christians had to suffer, the intrepid little legion advancing towards the rugged defile which leads to the future, serene of front, resigned to all trials and tribulations, knowing that no enduring edifice can be built, except it be welded together with tears and blood.

The same breath of living idealism and passionate liberalism brought new life to the other religions in France.

The vast slumbering bodies of Protestantism and Judaism were thrilling with new life.

All in generous emulation had set themselves to create the religion of a free humanity which should sacrifice neither its power for reason, nor its power for enthusiasm.

This religious exaltation was not the privilege of the religious: it was the very soul of the revolutionary movement.

There it assumed a tragic character.

Till now Christophe had only seen the lowest form of socialism,--that of the politicians who dangled in front of the eyes of their famished constituents the coarse and childish dreams of Happiness, or, to be frank, of universal Pleasure, which Science in the hands of Power could, according to them, procure.

Against such revolting optimism Christophe saw the furious mystic reaction of the élite arise to lead the Syndicates of the working-classes on to battle.

It was a summons to "war, which engenders the sublime," to heroic war "which alone can give the dying worlds a goal, an aim, an ideal."

These great Revolutionaries, spitting out such "bourgeois, peddling, peace-mongering, English" socialism, set up against it a tragic conception of the universe, "whose law is antagonism," since it lives by sacrifice, perpetual sacrifice, eternally renewed.

--If there was reason to doubt that the army, which these leaders urged on to the assault upon the old world, could understand such warlike mysticism, which applied both Kant and Nietzsche to violent action, nevertheless it was a stirring sight to see the revolutionary aristocracy, whose blind pessimism, and furious desire for heroic life, and exalted faith in war and sacrifice, were like the militant religious ideal of some Teutonic Order or the Japanese Samurai.

And yet they were all Frenchmen: they were of a French stock whose characteristics have endured unchanged for centuries.

Seeing with Olivier's eyes Christophe marked them in the tribunes and proconsuls of the Convention, in certain of the thinkers and men of action and French reformers of the _Ancien Régime_.

Calvinists, Jansenists, Jacobins, Syndicalists, in all there was the same spirit of pessimistic idealism, struggling against nature, without illusions and without loss of courage:--the iron bands which uphold the nation.

Christophe drank in the breath of these mystic struggles, and he began to understand the greatness of that fanaticism, into which France brought uncompromising faith and honesty, such as were absolutely unknown to other nations more familiar with _combinazioni_.

Like all foreigners it had pleased him at first to be flippant about the only too obvious contradiction between the despotic temper of the French and the magic formula which their Republic wrote up on the walls of their buildings.

Now for the first time he began to grasp the meaning of the bellicose Liberty which they adored as the terrible sword of Reason.

No: it was not for them, as he had thought, mere sounding rhetoric and vague ideology.

Among a people for whom the demands of reason transcend all others the fight for reason dominated every other.

What did it matter whether the fight appeared absurd to nations who called themselves practical?

To eyes that see deeply it is no less vain to fight for empire, or money, or the conquest of the world: in a million years there will be nothing left of any of these things.

But if it is the fierceness of the fight that gives its worth to life, and uplifts all the living forces to the point of sacrifice to a superior Being, then there are few struggles that do more honor life than the eternal battle waged in France for or against reason.

And for those who have tasted the bitter savor of it the much-vaunted apathetic tolerance of the Anglo-Saxons is dull and unmanly.

The Anglo-Saxons paid for it by finding elsewhere an outlet for their energy.

Their energy is not in their tolerance, which is only great when, between factions, it becomes heroism.

In Europe of to-day it is most often indifference, want of faith, want of vitality.

The English, adapting a saying of Voltaire, are fain to boast that "diversity of belief has produced more tolerance in England" than the Revolution has done in France.

--The reason is that there is more faith in the France of the Revolution than in all the creeds of England.

* * * * * From the circle of brass of militant idealism and the battles of Reason,--like Virgil leading Dante, Olivier led Christophe by the hand to the summit of the mountain where, silent and serene, dwelt the small band of the elect of France who were really free.

Nowhere in the world are there men more free.

They have the serenity of a bird soaring in the still air.

On such a height the air was so pure and rarefied that Christophe could hardly breathe.

There he met artists who claimed the absolute and limitless liberty of dreams,--men of unbridled subjectivity, like Flaubert, despising "the poor beasts who believe in the reality of things":--thinkers, who, with supple and many-sided minds, emulating the endless flow of moving things, went on "ceaselessly trickling and flowing," staying nowhere, nowhere coming in contact with stubborn earth or rock, and "depicted not the essence of life, but the _passage_," as Montaigne said, "the eternal passage, from day to day, from minute to minute";--men of science who knew the emptiness and void of the universe, wherein man has builded his idea, his God, his art, his science, and went on creating the world and its laws, that vivid day's dream.

They did not demand of science either rest, or happiness, or even truth:--for they doubted whether it were attainable: they loved it for itself, because it was beautiful, because it alone was beautiful, and it alone was real.

On the topmost pinnacles of thought these men of science, passionately Pyrrhonistic, indifferent to all suffering, all deceit, almost indifferent to reality, listened, with closed eyes, to the silent music of souls, the delicate and grand harmony of numbers and forms.

These great mathematicians, these free philosophers,--the most rigorous and positive minds in the world,--had reached the uttermost limit of mystic ecstasy: they created a void about themselves, they hung over the abyss, they were drunk with its dizzy depths: into the boundless night with joy sublime they flashed the lightnings of thought.

Christophe leaned forward and tried to look over as they did: and his head swam.

He who thought himself free because he had broken away from all laws save those of his own conscience, now became fearfully conscious of how little he was free compared with these Frenchmen who were emancipated from every absolute law of mind, from every categorical imperative, from every reason for living.

Why, then, did they live?

"For the joy of being free," replied Olivier.

But Christophe, who was unsteadied by such liberty, thought regretfully of the mighty spirit of discipline and German authoritarianism: and he said: "Your joy is a snare, the dream of an opium-smoker.

You make yourselves drunk with liberty, and forget life.

Absolute liberty means madness to the mind, anarchy to the State ...

Liberty!

What man is free in this world?

What man in your Republic is free?

--Only the knaves.

You, the best of the nation, are stilled.

You can do nothing but dream.

Soon you will not be able even to dream."

"No matter!"

said Olivier.

"My poor dear Christophe, you cannot know the delight of being free.

It is worth while paying for it with so much danger, and suffering, and even death.

To be free, to feel that every mind about you--yes, even the knave's--is free, is a delicious pleasure which it is impossible to express: it is as though your soul were soaring through the infinite air.

It could not live otherwise.

What should I do with the security you offer me, and your order and your impeccable discipline, locked up in the four walls of your Imperial barracks?

I should die of suffocation.

Air!

give me air, more and more of it!

Liberty, more and more of that!"

"There must be law in the world," replied Christophe.

"Sooner or later the master cometh."

But Olivier laughed and reminded Christophe of the saying of old Pierre de l'Estoile: _It is as little in the power of all the dominions of the earth to curb the French liberty of speech, as to bury the sun in the earth or to shut it up inside a hole.

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