Jean-Christophe Part 3

Sometimes the old man would sleep too long, and his face would grow rigid, and his long nose would grow longer, and his mouth stand open.

Jean-Christophe used then to look at him uneasily, and in fear of seeing his head change gradually into some fantastic shape. He used to sing loudly, so as to wake him up, or tumble down noisily from his heap of stones. One day it occurred to him to throw a handful of pine-needles in his grandfather's face, and tell him that they had fallen from the tree.

The old man believed him, and that made Jean-Christophe laugh. But, unfortunately, he tried the trick again, and just when he had raised his hand he saw his grandfather's eyes watching him. It was a terrible affair.

The old man was solemn, and allowed no liberty to be taken with the respect due to himself. They were estranged for more than a week.

The worse the road was, the more beautiful it was to Jean-Christophe. Every stone had a meaning for him; he knew them all. The shape of a rut seemed to him to be a geographical accident almost of the same kind as the great ma.s.s of the Taunus. In his head he had the map of all the ditches and hillocks of the region extending two kilometers round about the house, and when he made any change in the fixed ordering of the furrows, he thought himself no less important than an engineer with a gang of navvies; and when with his heel he crushed the dried top of a clod of earth, and filled up the valley at the foot of it, it seemed to him that his day had not been wasted.

Sometimes they would meet a peasant in his cart on the highroad, and, if the peasant knew Jean-Christophe's grandfather they would climb up by his side. That was a Paradise on earth. The horse went fast, and Jean-Christophe laughed with delight, except when they pa.s.sed other people walking; then he would look serious and indifferent, like a person accustomed to drive in a carriage, but his heart was filled with pride. His grandfather and the man would talk without bothering about him. Hidden and crushed by their legs, hardly sitting, sometimes not sitting at all, he was perfectly happy. He talked aloud, without troubling about any answer to what he said. He watched the horse's ears moving. What strange creatures those ears were! They moved in every direction--to right and left; they hitched forward, and fell to one side, and turned backwards in such a ridiculous way that he: burst out laughing. He would pinch his grandfather to make him look at them; but his grandfather was not interested in them.

He would repulse Jean-Christophe, and tell him to be quiet. Jean-Christophe would ponder. He thought that when people grow up they are not surprised by anything, and that when they are strong they know everything; and he would try to be grown up himself, and to hide his curiosity, and appear to be indifferent.

He was silent them The rolling of the carriage made him drowsy. The horse's little bells danced--ding, ding; dong, ding. Music awoke in the air, and hovered about the silvery bells, like a swarm of bees. It beat gaily with the rhythm of the cart--an endless source of song, and one song came on another's heels. To Jean-Christophe they were superb. There was one especially which he thought so beautiful that he tried to draw his grandfather's attention to it. He sang it aloud. They took no heed of him. He began it again in a higher key, then again shrilly, and then old Jean Michel said irritably: "Be quiet; you are deafening me with your trumpet-call!" That took away his breath. He blushed and was silent and mortified. He crushed with his contempt the two stockish imbeciles who did not understand the sublimity of his song, which opened wide the heavens! He thought them very ugly, with their week-old beards, and they smelled very ill.

He found consolation, in watching the horse's shadow. That an astonis.h.i.+ng sight. The beast ran along with them lying on its side. In the evening, when they returned, it covered a part of the field. They came upon a rick, and the shadow's head would rise up and then return to its place when they had pa.s.sed. Its snout was flattened out like a burst balloon; its ears were large, and pointed like candles. Was it really a shadow or a creature?

Jean-Christophe would not have liked to encounter it alone. He would not have run after it as he did after his grandfather's shadow, so as to walk on its head and trample it under foot. The shadows of the trees when the sun was low were also objects of meditation. They made barriers along the road, and looked like phantoms, melancholy and grotesque, saying, "Go no farther!" and the creaking axles and the horse's shoes repeated, "No farther!"

Jean-Christophe's grandfather and the driver never ceased their endless chatter. Sometimes they would raise their voices, especially when they talked of local affairs or things going wrong. The child would cease to dream, and look at them uneasily. It seemed to him that they were angry with each other, and he was afraid that they would come to blows. However, on the contrary, they best understood each other in their common dislikes.

For the most part, they were without haired or the least pa.s.sion; they talked of small matters loudly, just for the pleasure of talking, as is the joy of the people. But Jean-Christophe, not understanding their conversation, only heard the loud tones of their voices and saw their agitated faces, and thought fearfully: "How wicked he looks! Surely they hate each other! How he rolls his eyes, and how wide he opens his mouth! He spat on my nose in his fury. O Lord, he will kill my grandfather!..."

The carriage stopped. The peasant said: "Here you are." The two deadly enemies shook hands. Jean-Christophe's grandfather got down first; the peasant handed him the little boy. The whip flicked the horse, the carriage rolled away, and there they were by the little sunken road near the Rhine.

The sun dipped down below the fields. The path wound almost to the water's edge. The plentiful soft gra.s.s yielded under their feet, crackling.

Alder-trees leaned over the river, almost half in the water. A cloud of gnats danced. A boat pa.s.sed noiselessly, drawn on by the peaceful current, striding along. The water sucked the branches of the willows with a little noise like lips. The light was soft and misty, the air fresh, the river silvery gray. They reached their home, and the crickets chirped, and on the threshold smiled his mother's dear face....

Oh, delightful memories, kindly visions, which will hum their melody in their tuneful flight through life!... Journeys in later life, great towns and moving seas, dream countries and loved faces, are not so exactly graven in the soul as these childish walks, or the corner of the garden seen every day through the window, through the steam and mist made by the child's mouth glued to it for want of other occupation....

Evening now, and the house is shut up. Home ... the refuge from all terrifying things--darkness, night, fear, things unknown. No enemy can pa.s.s the threshold.... The fire flares. A golden duck turns slowly on the spit; a delicious smell of fat and of crisping flesh scents the room. The joy of eating, incomparable delight, a religious enthusiasm, thrills of joy! The body is too languid with the soft warmth, and the fatigues of the day, and the familiar voices. The act of digestion plunges it in ecstasy, and faces, shadows, the lampshade, the tongues of flame dancing with a shower of stars in the fireplace--all take on a magical appearance of delight.

Jean-Christophe lays his cheek on his plate, the better to enjoy all this happiness....

He is in his soft bed. How did he come there? He is overcome with weariness. The buzzing of the voices in the room and the visions of the day are intermingled in his mind. His father takes his violin; the shrill sweet sounds cry out complaining in the night. But the crowning joy is when his mother comes and takes Jean-Christophe's hands. He is drowsy, and, leaning over him, in a low voice she sings, as he asks, an, old song with words that have no meaning. His father thinks such music stupid, but Jean-Christophe never wearies of it. He holds his breath, and is between laughing and crying. His heart is intoxicated. He does not know where he is, and he is overflowing with tenderness. He throws his little arms round his mother's neck, and hugs her with all his strength. She says, laughing:

"You want to strangle me?"

He hugs her close. How he loves her! How he loves everything! Everybody, everything! All is good, all is beautiful.... He sleeps. The cricket on the hearth cheeps. His grandfather's tales, the great heroes, float by in the happy night.... To be a hero like them!... Yes, he will be that ... he is that.... Ah, how good it is to live!

What an abundance of strength, joy, pride, is in that little creature! What superfluous energy! His body and mind never cease to move; they are carried round and round breathlessly. Like a little salamander, he dances day and night in the flames. His is an unwearying enthusiasm finding its food in all things. A delicious dream, a bubbling well, a treasure of inexhaustible hope, a laugh, a song, unending drunkenness. Life does not hold him yet; always he escapes it. He swims in the infinite. How happy he is! He is made to be happy! There is nothing in him that does not believe in happiness, and does not cling to it with all his little strength and pa.s.sion!...

Life will soon see to it that he is brought to reason.

II

L'alba vinceva l'ora, mattutina.

Che fuggia 'nnanzi, si che di lontano Con.o.bbi il tremolar della marina....

_Purgatorio_, i.

The Kraffts came originally from Antwerp. Old Jean Michel had left the country as a result of a boyish freak, a violent quarrel, such as he had often had, for he was devilish pugnacious, and it had had an unfortunate ending. He settled down, almost fifty years ago, in the little town of the princ.i.p.ality, with its red-pointed roofs and shady gardens, lying on the slope of a gentle hill, mirrored in the pale green eyes of _Vater Rhein_.

An excellent musician, he had readily gained appreciation in a country of musicians. He had taken root there by marrying, forty years ago, Clara Sartorius, daughter of the Prince's _Kapellmeister_, whose duties he took over. Clara was a placid German with two pa.s.sions--cooking and music. She had for her husband a veneration only equaled by that which she had for her father, Jean Michel no less admired his wife. They had lived together in perfect amity for fifteen years, and they had four children. Then Clara died; and Jean Michel bemoaned her loss, and then, five months later, married Ottilia Schutz, a girl of twenty, with red cheeks, robust and smiling. After eight years of marriage she also died, but in that time she gave him seven children--eleven children in all, of whom only one had survived. Although he loved them much, all these bereavements had not shaken his good-humor. The greatest blow had been the death of Ottilia, three years ago, which had come to him at an age when it is difficult to start life again and to make a new home. But after a moment's confusion old Jean Michel regained his equilibrium, which no misfortune seemed able to disturb.

He was an affectionate man, but health was the strongest thing in him. He had a physical repugnance from sadness, and a need of gaiety, great gaiety, Flemish fas.h.i.+on--an enormous and childish laugh. Whatever might be his grief, he did not drink one drop the less, nor miss one bite at table, and his band never had one day off. Under his direction the Court orchestra won a small celebrity in the Rhine country, where Jean Michel had become legendary by reason of his athletic stature and his outbursts of anger. He could not master them, in spite of all his efforts, for the violent man was at bottom timid and afraid of compromising himself. He loved decorum and feared opinion. But his blood ran away with him. He used to see red, and he used to be the victim of sudden fits of crazy impatience, not only at rehearsals, but at the concerts, where once in the Prince's presence he had hurled his baton and had stamped about like a man possessed, as he apostrophized one of the musicians in a furious and stuttering voice. The Prince was amused, but the artists in question were rancorous against him. In vain did Jean Michel, ashamed of his outburst, try to pa.s.s it by immediately in exaggerated obsequiousness. On the next occasion he would break out again, and as this extreme irritability increased with age, in the end it made his position very difficult. He felt it himself, and one day, when his outbursts had all but caused the whole orchestra to strike, he sent in his resignation. He hoped that in consideration of his services they would make difficulties about accepting it, and would ask him to stay.

There was nothing of the kind, and as he was too proud to go back on his offer, he left, brokenhearted, and crying out upon the ingrat.i.tude of mankind.

Since that time he had not known how to fill his days. He was more than seventy, but he was still vigorous, and he went on working and going up and down the town from morning to night, giving lessons, and entering into discussions, p.r.o.nouncing perorations, and entering into everything. He was ingenious, and found all sorts of ways of keeping himself occupied.

He began to repair musical instruments; he invented, experimented, and sometimes discovered improvements. He composed also, and set store by his compositions. He had once written a _Missa Solennis_, of which he used often to talk, and it was the glory of his family. It had cost him so much trouble that he had all but brought about a congestion of the mind in the writing of it. He tried to persuade himself that it was a work of genius, but he knew perfectly well with what emptiness of thought it had been written, and he dared not look again at the ma.n.u.script, because every time he did so he recognized in the phrases that he had thought to be his own, rags taken from other authors, painfully pieced together haphazard. It was a great sorrow to him. He had ideas sometimes which he thought admirable.

He would run tremblingly to his table. Could he keep his inspiration this time? But hardly had he taken pen in hand than he found himself alone in silence, and all his efforts to call to life again the vanished voices ended only in bringing to his ears familiar melodies of Mendelssohn or Brahms.

"There are," says George Sand, "unhappy geniuses who lack the power of expression, and carry down to their graves the unknown region of their thoughts, as has said a member of that great family of ill.u.s.trious mutes or stammerers--Geoffrey Saint-Hilaire." Old Jean Michel belonged to that family. He was no more successful in expressing himself in music than in words, and he always deceived himself. He would so much have loved to talk, to write, to be a great musician, an eloquent orator! It was his secret sore. He told no one of it, did not admit it to himself, tried not to think of it; but he did think of it, in spite of himself, and so there was the seed of death in his soul.

Poor old man! In nothing did he succeed in being absolutely himself. There were in him so many seeds of beauty and power, but they never put forth fruit; a profound and touching faith in the dignity of Art and the moral value of life, but it was nearly always translated in an emphatic and ridiculous fas.h.i.+on; so much n.o.ble pride, and in life an almost servile admiration of his superiors; so lofty a desire for independence, and, in fact, absolute docility; pretensions to strength of mind, and every conceivable superst.i.tion; a pa.s.sion for heroism, real courage, and so much timidity!--a nature to stop by the wayside.

Jean Michel had transferred all his ambitions to his son, and at first Melchior had promised to realize them. From childhood he had shown great musical gifts. He learned with extraordinary facility, and quickly acquired as a violinist a virtuosity which for a long time made him the favorite, almost the idol, of the Court concerts. He played the piano and other instruments pleasantly. He was a fine talker, well, though a little heavily, built, and was of the type which pa.s.ses in Germany for cla.s.sic beauty; he had a large brow that expressed nothing, large regular features, and a curled beard--a Jupiter of the banks of the Rhine. Old Jean Michel enjoyed his son's success; he was ecstatic over the virtuoso's _tours de force_, he who had never been able properly to play any instrument. In truth, Melchior would have had no difficulty in expressing what he thought.

The trouble was that he did not think; and he did not even bother about it.

He had the soul of a mediocre comedian who takes pains with the inflexions of his voice without caring about what they express, and, with anxious vanity, watches their effect on his audience.

The odd thing was that, in spite of his constant anxiety about his stage pose, there was in him, as in Jean Michel, in spite of his timid respect for social conventions, a curious, irregular, unexpected and chaotic quality, which made people say that the Kraffts were a bit crazy. It did not harm him at first; it seemed as though these very eccentricities were the proof of the genius attributed to him; for it is understood among people of common sense that an artist has none. But it was not long before his extravagances were traced to their source--usually the bottle.

Nietzsche says that Bacchus is the G.o.d of Music, and Melchior's instinct was of the same opinion; but in his case his G.o.d was very ungrateful to him; far from giving him the ideas he lacked, he took away from him the few that he had. After his absurd marriage--absurd in the eyes of the world, and therefore also in his own--he gave himself up to it more and more. He neglected his playing--so secure in his own superiority that very soon he lost it. Other _virtuosi_ came to succeed him in public favor. That was bitter to him, but instead of rousing his energy, these rebuffs only discouraged him. He avenged himself by crying down his rivals with his pot-fellows. In his absurd conceit he counted on succeeding his father as musical director: another man was appointed. He thought himself persecuted, and took on the airs of a misunderstood genius. Thanks to the esteem in which old Krafft was held, he kept his place as a violin in the orchestra, but gradually he lost all his lessons in the town. And if this blow struck most at his vanity, it touched his purse even more. For several years the resources of his household had grown less and less, following on various reverses of fortune. After having known plenty, want came, and every day increased. Melchior refused to take notice of it; he did not spend one penny the less on his toilet or his pleasures.

He was not a bad man, but a half-good man, which is perhaps worse--weak, without spring, without moral strength, but for the rest, in his own opinion, a good father, a good son, a good husband, a good man--and perhaps he was good, if to be so it is enough to possess an easy kindness, which is quickly touched, and that animal affection by which a man loves his kin as a part of himself. It cannot even be said that he was very egoistic; he had not personality enough for that. He was nothing. They are a terrible thing in life, these people who are nothing. Like a dead weight thrown into the air, they fall, and must fall; and in their fall they drag with them everything that they have.

It was when the situation of his family had reached its most difficult point, that little Jean-Christophe began to understand what was going on about him.

He was no longer the only child. Melchior gave his wife a child every year, without troubling to think what was to become of it later. Two had died young; two others were three and four years old. Melchior never bothered about them. Louisa, when she had to go out, left them with Jean-Christophe, now six years old.

The charge cost Jean-Christophe something, for he had to sacrifice to his duty his splendid afternoons in the fields. But he was proud of being treated as a man, and gravely fulfilled his task. He amused the children as best he could by showing them his games, and he set himself to talk to them as he had heard his mother talking to the baby. Or he would carry them in his arms, one after another, as he had seen her do; he bent under their weight, and clenched his teeth, and with all his strength clutched his little brother to his breast, so as to prevent his falling. The children always wanted to be carried--they were never tired of it; and when Jean-Christophe could do no more, they wept without ceasing. They made him very unhappy, and he was often troubled about them. They were very dirty, and needed maternal attentions. Jean-Christophe did not know what to do.

They took advantage of him. Sometimes he wanted to slap them, but he thought, "They are little; they do not know," and, magnanimously, he let them pinch him, and beat him, and tease him. Ernest used to howl for nothing; he used to stamp his feet and roll about in a pa.s.sion; he was a nervous child, and Louisa had bidden Jean-Christophe not to oppose his whims. As for Rodolphe, he was as malicious as a monkey; he always took advantage of Jean-Christophe having Ernest in his arms, to play all sorts of silly pranks behind his back; he used to break toys, spill water, dirty his frock, and knock the plates over as he rummaged in the cupboard.

And when Louisa returned, instead of praising Jean-Christophe, she used to say to him, without scolding him, but with an injured air, as she saw the havoc; "My poor child, you are not very clever!"

Jean-Christophe would be mortified, and his heart would grow big within him.

Louisa, who let no opportunity escape of earning a little money, used to go out as cook for exceptional occasions, such, as marriages or baptismal feasts. Melchior pretended to know nothing about it--it touched his vanity--but he was not annoyed with her for doing it, so long as he did not know. Jean-Christophe had as yet no idea of the difficulties of life; he knew no other limit to his will than the will of his parents, and that did not stand much in his way, for they let him do pretty much as he pleased.

His one idea was to grow up, so as to be able to do as he liked. He had no conception of obstacles standing in the way at every turn, and he had never the least idea but that his parents were completely their own masters. It was a shock to his whole being when, for the first time, he perceived that among men there are those who command, and those who are commanded, and that his own people were not of the first cla.s.s; it was the first crisis of his life.

It happened one afternoon. His mother had dressed him in his cleanest clothes, old clothes given to her which Louisa's ingenuity and patience had turned to account. He went to find her, as they had agreed, at the house in which she was working. He was abashed at the idea of entering alone. A footman was swaggering in the porch; he stopped the boy, and asked him patronizingly what he wanted. Jean-Christophe blushed, and murmured that he had come to see "Frau Krafft"--as he had been told to say.

"Frau Krafft? What do you want with Frau Krafft?" asked the footman, ironically emphasizing the word _Frau_, "Your mother? Go down there.

You will find Louisa in the kitchen at the end of the pa.s.sage."

He went, growing redder and redder. He was ashamed to hear his mother called familiarly _Louisa_. He was humiliated; he would have liked to run away down to his dear river, and the shelter of the brushwood where he used to tell himself stories.

In the kitchen he came upon a number of other servants, who greeted him with noisy exclamations. At the back, near the stove, his mother smiled at him with tender embarra.s.sment. He ran to her, and clung to her skirts. She was wearing a white ap.r.o.n, and holding a wooden spoon. She made him more unhappy by trying to raise his chin so as to look in his face, and to make him hold out his hand to everybody there and say good-day to them. He would not; he turned to the wall and hid his face in his arms. Then gradually he gained courage, and peeped out of his hiding-place with merry bright eyes, which hid again every time any one looked at him. He stole looks at the people there. His mother looked busy and important, and he did not know her like that; she went from one saucepan to another, tasting, giving advice, in a sure voice explaining recipes, and the cook of the house listened respectfully. The boy's heart swelled with pride as he saw how much his mother was appreciated, and the great part that she played in this splendid room, adorned with magnificent objects of gold and silver.

Suddenly conversation ceased. The door opened. A lady entered with a rustling of the stuffs she was wearing. She cast a suspicious look about her. She was no longer young, and yet she was wearing a light dress with wide sleeves. She caught up her dress in her hand, so as not to brush against anything. It did not prevent her going to the stove and looking at the dishes, and even tasting them. When she raised her hand a little, her sleeve fell back, and her arm was bare to the elbow. Jean-Christophe thought this ugly and improper. How dryly and abruptly she spoke to Louisa!