Chapter 43
Still under the spell of Corinne and full of the ideas they had exchanged about art, Christophe dreamed of writing the music for a play in which Corinne should act and sing a few airs--a sort of poetic melodrama. That form of art once so much in favor in Germany, passionately admired by Mozart, and practised by Beethoven, Weber, Mendelssohn and Schumann, and all the great classics, had fallen into discredit since the triumph of Wagnerism, which claimed to have realized the definite formula of the theater and music. The Wagnerian pedants, not content with proscribing every new melodrama, busied themselves with dressing up the old melodramas and operas. They carefully effaced every trace of spoken dialogue and wrote for Mozart, Beethoven, or Weber, recitations in their own manner; they were convinced that they were doing a service to the fame of the masters and filling out their thoughts by the pious deposit of their dung upon masterpieces.
Christophe, who had been made more sensible of the heaviness, and often the ugliness, of Wagnerian declamation by Corinne, had for some time been debating whether it was not nonsense and an offense against nature to harness and yoke together the spoken word and the word sung in the theater: it was like harnessing a horse and a bird to a cart. Speech and singing each had its rhythm. It was comprehensible that an artist should sacrifice one of the two arts to the triumph of that which he preferred. But to try to find a compromise between them was to sacrifice both: it was to want speech no longer to be speech, and singing no longer to be singing; to want singing to let its vast flood be confined between the banks of monotonous canals, to want speech to cloak its lovely naked limbs with rich, heavy stuffs which must paralyze its gestures and movements. Why not leave both with their spontaneity and freedom of movement? Like a beautiful girl walking tranquilly, lithely along a stream, dreaming as she goes: the gay murmur of the water lulls her dreams, and unconsciously she brings her steps and her thoughts in tune with the song of the stream. So being both free, music and poesy would go side by side, dreaming, their dreams mingling. Assuredly all music was not good for such a union, nor all poetry. The opponents of melodrama had good ground for attack in the coarseness of the attempts which had been made in that form, and of the interpreters. Christophe had for long shared their dislike: the stupidity of the actors who delivered these recitations spoken to an instrumental accompaniment, without bothering about the accompaniment, without trying to merge their voices in it, rather, on the contrary, trying to prevent anything being heard but themselves, was calculated to revolt any musical ear. But since he had tasted the beauty of Corinne's harmonious voice--that liquid and pure voice which played upon music like a ray of light on water, which wedded every turn of a melody, which was like the most fluid and most free singing,--he had caught a glimpse of the beauty of a new art.
Perhaps he was right, but he was still too inexperienced to venture without peril upon a form which--if it is meant to be beautiful and really artistic--is the most difficult of all. That art especially demands one essential condition, the perfect harmony of the combined efforts of the poet, the musicians, and the actors. Christophe had no tremors about it: he hurled himself blindly at an unknown art of which the laws were only known to himself.
His first idea had been to clothe in music a fairy fantasy of Shakespeare or an act of the second part of _Faust_. But the theaters showed little disposition to make the experiment. It would be too costly and appeared absurd. They were quite willing to admit Christophe's efficiency in music, but that he should take upon himself to have ideas about poetry and the theater made them smile. They did not take him seriously. The world of music and the world of poesy were like two foreign and secretly hostile states. Christophe had to accept the collaboration of a poet to be able to set foot upon poetic territory, and he was not allowed to choose his own poet. He would not have dared to choose himself. He did not trust his taste in poetry. He had been told that he knew nothing about it; and, indeed, he could not understand the poetry which was admired by those about him. With his usual honesty and stubbornness, he had tried hard sometimes to feel the beauty of some of these works, but he had always been bewildered and a little ashamed of himself. No, decidedly he was not a poet. In truth, he loved passionately certain old poets, and that consoled him a little. But no doubt he did not love them as they should be loved. Had he not once expressed, the ridiculous idea that those poets only are great who remain great even when they are translated into prose, and even into the prose of a foreign language, and that words have no value apart from the soul which they express? His friends had laughed at him. Mannheim had called him a goose. He did not try to defend himself. As every day he saw, through the example of writers who talk of music, the absurdity of artists who attempt to image any art other than their own, he resigned himself--though a little incredulous at heart--to his incompetence in poetry, and he shut his eyes and accepted the judgments of those whom he thought were better informed than himself. So he let his friends of the Review impose one of their number on him, a great man of a decadent coterie, Stephen von Hellmuth, who brought him an _Iphigenia_. It was at the time when German poets (like their colleagues in France) were recasting all the Greek tragedies. Stephen von Hellmuth's work was one of those astounding Græco-German plays in which Ibsen, Homer, and Oscar Wilde are compounded--and, of course, a few manuals of archeology. Agamemnon was neurasthenic and Achilles impotent: they lamented their condition at length, and naturally their outcries produced no change. The energy of the drama was concentrated in the rôle of Iphigenia--a nervous, hysterical, and pedantic Iphigenia, who lectured the hero, declaimed furiously, laid bare for the audience her Nietzschian pessimism and, glutted with death, cut her throat, shrieking with laughter.
Nothing could be more contrary to Christophe's mind than such pretentious, degenerate, Ostrogothic stuff, in Greek dress. It was hailed as a masterpiece by everybody about him. He was cowardly and was overpersuaded. In truth, he was bursting with music and thinking much more of his music than of the text. The text was a new bed into which to let loose the flood of his passions. He was as far as possible from the state of abnegation and intelligent impersonality proper to musical translation of a poetic work. He was thinking only of himself and not at all of the work. He never thought of adapting himself to it. He was under an illusion: he saw in the poem something absolutely different from what was actually in it--just as when he was a child he used to compose in his mind a play entirely different from that which was upon the stage.
It was not until it came to rehearsal that he saw the real play. One day he was listening to a scene, and he thought it so stupid that he fancied the actors must be spoiling it, and went so far as to explain it to them in the poet's presence; but also to explain it to the poet himself, who was defending his interpretation. The author refused bluntly to hear him, and said with some asperity that he thought he knew what he had meant to write. Christophe would not give in, and maintained that Hellmuth knew nothing about it. The general merriment told him that he was making himself ridiculous. He said no more, agreeing that after all it was not he who had written the poem. Then he saw the appalling emptiness of the play and was overwhelmed by it: he wondered how he could ever have been persuaded to try it. He called himself an idiot and tore his hair. He tried in vain to reassure himself by saying: "You know nothing about it; it is not your business. Keep to your music." He was so much ashamed of certain idiotic things in it, of the pretentious pathos, the crying falsity of the words, the gestures and attitudes, that sometimes, when he was conducting the orchestra, he hardly had the strength to raise his baton. He wanted to go and hide in the prompter's box. He was too frank and too little politic to conceal what he thought. Every one noticed it: his friends, the actors, and the author. Hellmuth said to him with a frigid smile:
"Is it not fortunate enough to please you?"
Christophe replied honestly:
"Truth to tell, no. I don't understand it,"
"Then you did not read it when you set it to music?"
"Yes," said Christophe naïvely, "but I made a mistake. I understood it differently."
"It is a pity you did not write what you understood yourself."
"Oh! If only I could have done so!" said Christophe.
The poet was vexed, and in his turn criticised the music. He complained that it was in the way and prevented his words being heard.
If the poet did not understand the musician, or the musician the poet, the actors understood neither the one nor the other, and did not care. They were only asking for sentences in their parts on which to bring in their usual effects. They had no idea of adapting their declamation to the formality of the piece and the musical rhythm. They went one way, the music another. It was as though they were constantly singing out of tune. Christophe ground his teeth and shouted the note at them until he was hoarse. They let him shout and went on imperturbably, not even understanding what he wanted them to do.
Christophe would have flung the whole thing up if the rehearsals had not been so far advanced, and he had not been bound to go on by fear of legal proceedings. Mannheim, to whom he confided his discouragement, laughed at him:
"What is it?" he asked. "It is all going well. You don't understand each other? What does that matter? Who has ever understood his work but the author? It is a toss-up whether he understands it himself!"
Christophe was worried about the stupidity of the poem, which, he said, would ruin the music. Mannheim made no difficulty about admitting that there was no common sense in the poem and that Hellmuth was "a muff," but he would not worry about him: Hellmuth gave good dinners and had a pretty wife. What more did criticism want?
Christophe shrugged his shoulders and said that he had no time to listen to nonsense.
"It is not nonsense!" said Mannheim, laughing. "How serious people are! They have no idea of what matters in life."
And he advised Christophe not to bother so much about Hellmuth's business, but to attend to his own. He wanted him to advertise a little. Christophe refused indignantly. To a reporter who came and asked for a history of his life, he replied furiously:
"It is not your affair!"
And when they asked for his photograph for a review, he stamped with rage and shouted that he was not, thank God! an emperor, to have his face passed from hand to hand. It was impossible to bring him into touch with influential people. He never replied to invitations, and when he had been forced by any chance to accept, he would forget to go or would go with such a bad grace that he seemed to have set himself to be disagreeable to everybody.
But the climax came when he quarreled with his review, two days before the performance.
* * * * *
The thing was bound to happen. Mannheim had gone on revising Christophe's articles, and he no longer scrupled about deleting whole lines of criticism and replacing them with compliments.
One day, out visiting, Christophe met a certain virtuoso--a foppish pianist whom he had slaughtered. The man came and thanked him with a smile that showed all his white teeth. He replied brutally that there was no reason for it. The other insisted and poured forth expressions of gratitude. Christophe cut him short by saying, that if he was satisfied with the article that was his affair, but that the article had certainly not been written with a view to pleasing him. And he turned his back on him. The virtuoso thought him a kindly boor and went away laughing. But Christophe remembered having received a card of thanks from another of his victims, and a suspicion flashed upon him. He went out, bought the last number of the Review at a news-stand, turned to his article, and read... At first he wondered if he were going mad. Then he understood, and, mad with rage, he ran to the office of the _Dionysos_.
Waldhaus and Mannheim were there, talking to an actress whom they knew. They had no need to ask Christophe what brought him. Throwing a number of the Review on the table, Christophe let fly at them without stopping to take breath, with extraordinary violence, shouting, calling them rogues, rascals, forgers, thumping on the floor with a chair. Mannheim began to laugh. Christophe tried to kick him. Mannheim took refuge behind the table and rolled with laughter. But Waldhaus took it very loftily. With dignity, formally, he tried to make himself heard through the row, and said that he would not allow any one to talk to him in such a tone, that Christophe should hear from him, and he held out his card. Christophe flung it in his face.
"Mischief-maker!--I don't need your card to know what you are.... You are a rascal and a forger!... And you think I would fight with you ... a thrashing is all you deserve!..."
His voice could be heard in the street. People stopped to listen. Mannheim closed the windows. The actress tried to escape, but Christophe was blocking the way. Waldhaus was pale and choking. Mannheim was stuttering and stammering and trying to reply. Christophe did not let them speak. He let loose upon them every expression he could think of, and never stopped until he was out of breath and had come to an end of his insults. Waldhaus and Mannheim only found their tongues after he had gone. Mannheim quickly recovered himself: insults slipped from him like water from a duck's back. But Waldhaus was still sore: his dignity had been outraged, and what made the affront more mortifying was that there had been witnesses. He would never forgive it. His colleagues joined chorus with him. Mannheim only of the staff of the Review was not angry with Christophe. He had had his fill of entertainment out of him: it did not seem to him a heavy price to pay for his pound of flesh, to suffer a few violent words. It had been a good joke. If he had been the butt of it he would have been the first to laugh. And so he was quite ready to shake hands with Christophe as though nothing had happened. But Christophe was more rancorous and rejected all advances. Mannheim did not care. Christophe was a toy from which he had extracted all the amusement possible. He was beginning to want a new puppet. From that very day all was over between them. But that did not prevent Mannheim still saying, whenever Christophe was mentioned in his presence, that they were intimate friends. And perhaps he thought they were.
Two days after the quarrel the first performance of _Iphigenia_ took place. It was an utter failure. Waldhaus' review praised the poem and made no mention of the music. The other papers and reviews made merry over it. They laughed and hissed. The piece was withdrawn after the third performance, but the jokes at its expense did not disappear so quickly. People were only too glad of the opportunity of having a fling at Christophe, and for several weeks the _Iphigenia_ remained an unfailing subject for joking. They knew that Christophe had no weapon of defense, and they took advantage of it. The only thing which held them back a little was his position at the Court. Although his relation with the Grand Duke had become quite cold, for the Prince had several times made remarks to which he had paid no attention whatever, he still went to the Palace at intervals, and still enjoyed, in the eye of the public, a sort of official protection, though it was more visionary than real. He took upon himself to destroy even that last support.
He suffered from the criticisms. They were concerned not only with his music, but also with his idea of a new form of art, which the writers did not take the trouble to understand. It was very easy to travesty it and make fun of it. Christophe was not yet wise enough to know that the best reply to dishonest critics is to make none and to go on working. For some months past he had fallen into the bad habit of not letting any unjust attack go unanswered. He wrote an article in which he did not spare certain of his adversaries. The two papers to which he took it returned it with ironically polite excuses for being unable to publish it. Christophe stuck to his guns. He remembered that the socialist paper in the town had made advances to him. He knew one of the editors. They used to meet and talk occasionally. Christophe was glad to find some one who would talk freely about power, the army and oppression and archaic prejudices. But they could not go far with each other, for the socialist always came back to Karl Marx, about whom Christophe cared not a rap. Moreover, Christophe used to find in his speeches about the free man--besides a materialism which was not much to his taste--a pedantic severity and a despotism of thought, a secret cult of force, an inverse militarism, all of which did not sound very different from what he heard every day in German.
However, he thought of this man and his paper when he saw all other doors in journalism closed to him. He knew that his doing so would cause a scandal. The paper was violent, malignant, and always being condemned. But as Christophe never read it, he only thought of the boldness of its ideas, of which he was not afraid, and not of the baseness of its tone, which would have repelled him. Besides, he was so angry at seeing the other papers in alliance to suppress him that perhaps he would have gone on even if he had been warned. He wanted to show people that he was not so easily got rid of. So he took his article to the socialist paper, which received it with open arms. The next day the article appeared, and the paper announced in large letters that it had engaged the support of the young and talented maestro, Jean-Christophe Krafft, whose keen sympathy with the demands of the working classes was well known.
Christophe read neither the note nor the article, for he had gone out before dawn for a walk in the country, it being Sunday. He was in fine fettle. As he saw the sun rise he shouted, laughed, yodeled, leaped, and danced. No more review, no more criticisms to do! It was spring and there was once more the music of the heavens and the earth, the most beautiful of all. No more dark concert rooms, stuffy and smelly, unpleasant people, dull performers. Now the marvelous song of the murmuring forests was to be heard, and over the fields like waves there passed the intoxicating scents of life, breaking through the crust of the earth and issuing from the grave.
He went home with his head buzzing with light and music, and his mother gave him a letter which had been brought from the Palace while he was away. The letter was in an impersonal form, and told Herr Krafft that he was to go to the Palace that morning. The morning was past, it was nearly one o'clock. Christophe was not put about.
"It is too late now," he said. "It will do to-morrow."
But his mother said anxiously:
"No, no. You cannot put off an appointment with His Highness like that: you must go at once. Perhaps it is a matter of importance."
Christophe shrugged his shoulders.
"Important! As if those people could have anything important to say!... He wants to tell me his ideas about music. That will be funny!... If only he has not taken it into his head to rival Siegfried Meyer [Footnote: A nickname given by German pamphleteers to H.M. (His Majesty) the Emperor.] and wants to show me a _Hymn to Aegis_! I vow that I will not spare him. I shall say: 'Stick to politics. You are master there. You will always be right. But beware of art! In art you are seen without your plumes, your helmet, your uniform, your money, your titles, your ancestors, your policemen--and just think for a moment what will be left of you then!'"
Poor Louisa took him quite seriously and raised her hands in horror.
"You won't say that!... You are mad! Mad!"
It amused him to make her uneasy by playing upon her credulity until he became so extravagant that Louisa began to see that he was making fun of her.
"You are stupid, my boy!"
He laughed and kissed her. He was in a wonderfully good humor. On his walk he had found a beautiful musical theme, and he felt it frolicking in him like a fish in water. He refused to go to the Palace until he had had something to eat. He was as hungry as an ape. Louisa then supervised his dressing, for he was beginning to tease her again, pretending that he was quite all right as he was with his old clothes and dusty boots. But he changed them all the same, and cleaned his boots, whistling like a blackbird and imitating all the instruments in an orchestra. When he had finished his mother inspected him and gravely tied his tie for him again. For once in a way he was very patient, because he was pleased with himself--which was not very usual. He went off saying that he was going to elope with Princess Adelaide--the Grand Duke's daughter, quite a pretty woman, who was married to a German princeling and had come to stay with her parents for a few weeks. She had shown sympathy for Christophe when he was a child, and he had a soft side for her. Louisa used to declare that he was in love with her, and he would pretend to be so in fun.
He did not hurry; he dawdled and looked into the shops, and stopped to pat some dog that he knew as it lay on its side and yawned in the sun. He jumped over the harmless railings which inclosed the Palace square--a great empty square, surrounded with houses, with two little fountains, two symmetrical bare flower-beds, divided, as by a parting, by a gravel path, carefully raked and bordered by orange trees in tubs. In the middle was the bronze statue of some unknown Grand Duke in the costume of Louis Philippe, on a pediment adorned at the four corners by allegorical figures representing the Virtues. On a seat one solitary man was dozing over his paper. Behind the silly moat of the earthworks of the Palace two sleepy cannon yawned upon the sleepy town. Christophe laughed at the whole thing.
He entered the Palace without troubling to take on a more official manner. At most he stopped humming, but his thoughts went dancing on inside him. He threw his hat on the table in the hall and familiarly greeted the old usher, whom he had known since he was a child. (The old man had been there on the day when Christophe had first entered the Palace, on the evening when he had seen Hassler.) But to-day the old man, who always used to reply good-humoredly to Christophe's disrespectful sallies, now seemed a little haughty. Christophe paid no heed to it. A little farther on, in the ante-chamber, he met a clerk of the chancery, who was usually full of conversation and very friendly. He was surprised to see him hurry past him to avoid having to talk. However, he did not attach any significance to it, and went on and asked to be shown in.