Chapter 44

He went in. They had just finished dinner. His Highness was in one of the drawing-rooms. He was leaning against the mantelpiece, smoking, and talking to his guests, among whom Christophe saw _his_ princess, who was also smoking. She was lying back in an armchair and talking in a loud voice to some officers who made a circle about her. The gathering was lively. They were all very merry, and when Christophe entered he heard the Grand Duke's thick laugh. But he stopped dead when he saw Christophe. He growled and pounced on him.

"Ah! There you are!" he said. "You have condescended to come at last? Do you think you can go on making fun of me any longer? You're a blackguard, sir!"

Christophe was so staggered by this brutal attack that it was some time before he could utter a word. He was thinking that he was only late, and that that could not have provoked such violence. He murmured:

"What have I done, Your Highness?"

His Highness did not listen and went on angrily:

"Be silent! I will not be insulted by a blackguard!" Christophe turned pale, and gulped so as to try to speak, for he was choking. He made an effort, and said:

"Your Highness, you have no right--you have no right to insult me without telling me what I have done."

The Grand Duke turned to his secretary, who produced a paper from his pocket and held it out to him. He was in such a state of exasperation as could not be explained only by his anger: the fumes of good wine had their share in it, too. He came and stood in front of Christophe, and like a toreador with his cape, furiously waved the crumpled newspaper in his face and shouted:

"Your muck, sir!... You deserve to have your nose rubbed in it!"

Christophe recognized the socialist paper.

"I don't see what harm there is in it," he said.

"What! What!" screamed the Grand Duke. "You are impudent!... This rascally paper, which insults me from day to day, and spews out filthy insults upon me!..."

"Sire," said Christophe, "I have not read it."

"You lie!" shouted the Grand Duke.

"You shall not call me a liar," said Christophe. "I have not read it. I am only concerned with reviews, and besides, I have the right to write in whatever paper I like."

"You have no right but to hold your tongue. I have been too kind to you. I have heaped kindness upon you, you and yours, in spite of your misconduct and your father's, which would have justified me in cutting you off. I forbid you to go on writing in a paper which is hostile to me. And further: I forbid you altogether to write anything in future without my authority. I have had enough of your musical polemics. I will not allow any one who enjoys my patronage to spend his time in attacking everything which is dear to people of taste and feeling, to all true Germans. You would do better to write better music, or if that is impossible, to practise your scales and exercises. I don't want to have anything to do with a musical Bebel who amuses himself by decrying all our national glories and upsetting the minds of the people. We know what is good, thank God. We do not need to wait for you to tell us. Go to your piano, sir, or leave us in peace!"

Standing face to face with Christophe the fat man glared at him insultingly. Christophe was livid, and tried to speak. His lips moved; he stammered:

"I am not your slave. I shall say what I like and write what I like ..."

He choked. He was almost weeping with shame and rage. His legs were trembling. He jerked his elbow and upset an ornament on a table by his side. He felt that he was in a ridiculous position. He heard people laughing. He looked down the room, and as through a mist saw the princess watching the scene and exchanging ironically commiserating remarks with her neighbors. He lost count of what exactly happened. The Grand Duke shouted. Christophe shouted louder than he without knowing what he said. The Prince's secretary and another official came towards him and tried to stop him. He pushed them away, and while he talked he waved an ash-tray which he had mechanically picked up from the table against which he was leaning. He heard the secretary say:

"Put it down! Put it down!"

And he heard himself shouting inarticulately and knocking on the edge of the table with the ash-tray.

"Go!" roared the Grand Duke, beside himself with rage. "Go! Go! I'll have you thrown out!"

The officers had come up to the Prince and were trying to calm him. The Grand Duke looked apoplectic. His eyes were starting from his head, he shouted to them to throw the rascal out. Christophe saw red. He longed to thrust his fist in the Grand Duke's face; but he was crushed under a weight of conflicting feelings: shame, fury, a remnant of shyness, of German loyalty, traditional respect, habits of humility in the Prince's presence. He tried to speak; he could not. He tried to move; he could not. He could not see or hear. He suffered them to push him along and left the room.

He passed through the impassive servants who had come up to the door, and had missed nothing of the quarrel. He had to go thirty yards to cross the ante-chamber, and it seemed a lifetime. The corridor grew longer and longer as he walked up it. He would never get out!... The light of day which he saw shining downstairs through the glass door was his haven. He went stumbling down the stairs. He forgot that he was bareheaded. The old usher reminded him to take his hat. He had to gather all his forces to leave the castle, cross the court, reach his home. His teeth were chattering when he opened the door. His mother was terrified by his face and his trembling. He avoided her and refused to answer her questions. He went up to his room, shut himself in, and lay down. He was shaking so that he could not undress. His breathing came in jerks and his whole body seemed shattered.... Oh! If only he could see no more, feel no more, no longer have to bear with his wretched body, no longer have to struggle against ignoble life, and fall, fall, breathless, without thought, and no longer be anywhere!... With frightful difficulty he tore off his clothes and left them on the ground, and then flung himself into his bed and drew the coverings over him. There was no sound in the room save that of the little iron bed rattling on the tiled floor.

Louisa listened at the door. She knocked in vain. She called softly. There was no reply. She waited, anxiously listening through the silence. Then she went away. Once or twice during the day she came and listened, and again at night, before she went to bed. Day passed, and the night. The house was still. Christophe was shaking with fever. Every now and then he wept, and in the night he got up several times and shook his fist at the wall. About two o'clock, in an access of madness, he got up from his bed, sweating and half naked. He wanted to go and kill the Grand Duke, He was devoured by hate and shame. His body and his heart writhed in the fire of it. Nothing of all the storm in him could be heard outside; not a word, not a sound. With clenched teeth he fought it down and forced it back into himself.

* * * * *

Next morning he came down as usual. He was a wreck. He said nothing and his mother dared not question him. She knew, from the gossip of the neighborhood. All day he stayed sitting by the fire, silent, feverish, and with bent head, like a little old man. And when he was alone he wept in silence.

In the evening the editor of the socialist paper came to see him. Naturally he had heard and wished to have details. Christophe was touched by his coming, and interpreted it naïvely as a mark of sympathy and a desire for forgiveness on the part of those who had compromised him. He made a point of seeming to regret nothing and he let himself go and said everything that was rankling in him. It was some solace for him to talk freely to a man who shared his hatred of oppression. The other urged him on. He saw a good chance for his journal in the event, and an opportunity for a scandalous article, for which he expected Christophe to provide him with material if he did not write it himself; for he thought that after such an explosion the Court musician would put his very considerable political talents and his no less considerable little tit-bits of secret information about the Court at the service of "the cause." As he did not plume himself on his subtlety he presented the thing rawly in the crudest light. Christophe started. He declared that he would write nothing and said that any attack on the Grand Duke that he might make would be interpreted as an act of personal vengeance, and that he would be more reserved now that he was free than when, not being free, he ran some risk in saying what he thought. The journalist could not understand his scruples. He thought Christophe narrow and clerical at heart, but he also decided that Christophe was afraid. He said:

"Oh, well! Leave it to us. I will write it myself. You need not bother about it."

Christophe begged him to say nothing, but he had no means of restraining him. Besides, the journalist declared that the affair was not his concern only: the insult touched the paper, which had the right to avenge itself. There was nothing to be said to that. All that Christophe could do was to ask him on his word of honor not to abuse certain of his confidences which had been made to his friend and not to the journalist. The other made no difficulty about that. Christophe was not reassured by it. He knew too well how imprudent he had been. When he was left alone he turned over everything that he had said, and shuddered. Without hesitating for a moment, he wrote to the journalist imploring him once more not to repeat what he had confided to him. (The poor wretch repeated it in part himself in the letter.)

Next day, as he opened the paper with feverish haste, the first thing he read was his story at great length on the front page. Everything that he had said on the evening before was immeasurably enlarged, having suffered that peculiar deformation which everything has to suffer in its passage through the mind of a journalist. The article attacked the Grand Duke and the Court with low invective. Certain details which it gave were too personal to Christophe, too obviously known only to him, for the article not to be attributed to him in its entirety.

Christophe was crushed by this fresh blow. As he read a cold sweat came out on his face. When he had finished he was dumfounded. He wanted to rush to the office of the paper, but his mother withheld him, not unreasonably being fearful of his violence. He was afraid of it himself. He felt that if he went there he would do something foolish; and he stayed--and did a very foolish thing. He wrote an indignant letter to the journalist in which he reproached him for his conduct in insulting terms, disclaimed the article, and broke with the party. The disclaimer did not appear.

Christophe wrote again to the paper, demanding that his letter should be published. They sent him a copy of his first letter, written on the night of the interview and confirming it. They asked if they were to publish that, too. He felt that he was in their hands. Thereupon he unfortunately met the indiscreet interviewer in the street. He could not help telling him of his contempt for him. Next day the paper, without a spark of shame, published an insulting paragraph about the servants of the Court, who even when they are dismissed remain servants and are incapable of being free. A few allusions to recent events left no room for doubt that Christophe was meant.

* * * * *

When it became evident to everybody that Christophe had no single support, there suddenly cropped up a host of enemies whose existence he had never suspected. All those whom he had offended, directly or indirectly, either by personal criticism or by attacking their ideas and taste, now took the offensive and avenged themselves with interest. The general public whom Christophe had tried to shake out of their apathy were quite pleased to see the insolent young man, who had presumed to reform opinion and disturb the rest of people of property, taken down a peg. Christophe was in the water. Everybody did their best to duck him.

They did not come down upon him all at once. One tried first, to spy out the land. Christophe made no response, and he struck more lustily. Others followed, and then the whole gang of them. Some joined in the sport simply for fun, like puppies who think it funny to leave their mark in inappropriate places. They were the flying squadron of incompetent journalists, who, knowing nothing, try to hide their ignorance by belauding the victors and belaboring the vanquished. Others brought the weight of their principles and they shouted like deaf people. Nothing was left of anything when they had passed. They were the critics--with the criticism which kills.

Fortunately for Christophe, he did not read the papers. A few devoted friends took care to send him the most insulting. But he left them in a heap on his desk and never thought of opening them. It was only towards the end of it that his eyes were attracted by a great red mark round an article. He read that his _Lieder_ were like the roaring of a wild beast; that his symphonies seemed to have come from a madhouse; that his art was hysterical, his harmony spasmodic, as a change from the dryness of his heart and the emptiness of his thought. The critic, who was well known, ended with these words:

"Herr Krafft as a journalist has lately given astounding proof of his style and taste, which roused irresistible merriment in musical circles. He was then given the friendly advice rather to devote himself to composition. But the latest products of his muse have shown that this advice, though well-meant, was bad. Herr Krafft should certainly devote himself to journalism."

After reading the article, which prevented Christophe working the whole morning, naturally he began to look for the other hostile papers, and became utterly demoralized. But Louisa, who had a mania for moving everything lying about, by way of "tidying up," had already burned them. He was irritated at first and then comforted, and he held out the last of the papers to her, and said that she had better do the same with that.

Other rebuffs hurt him more. A quartette which he had sent in manuscript to a well-known society at Frankfort was rejected unanimously and returned without explanation. An overture which an orchestra at Cologne seemed disposed to perform was returned after a month as unplayable. But the worst of all was inflicted on him by an orchestral society in the town. The _Kapellmeister_, H. Euphrat, its conductor, was quite a good musician, but like many conductors, he had no curiosity of mind. He suffered (or rather he carried to extremes) the laziness peculiar to his class, which consists in going on and on investigating familiar works, while it shuns any really new work like the plague. He was never tired of organizing Beethoven, Mozart, or Schumann festivals: in conducting these works he had only to let himself be carried along by the purring of the familiar rhythms. On the other hand, contemporary music was intolerable to him. He dared not admit it and pretended to be friendly towards young talent; in fact, whenever he was brought a work built on the old lines--a sort of hotch-potch of works that had been new fifty years before--he would receive it very well, and would even produce it ostentatiously and force it upon the public. It did not disturb either his effects or the way in which the public was accustomed to be moved. On the other hand, he was filled with a mixture of contempt and hatred for anything which threatened to disturb that arrangement and put him to extra trouble. Contempt would predominate if the innovator had no chance of emerging from obscurity. But if there were any danger of his succeeding, then hatred would predominate--of course until the moment when he had gained an established success.

Christophe was not yet in that position: far from it. And so he was much surprised when he was informed, by indirect overtures, that Herr H. Euphrat would be very glad to produce one of his compositions. It was all the more unexpected as he knew that the _Kapellmeister_ was an intimate friend of Brahms and others whom he had maltreated in his criticisms. Being honest himself, he credited his adversaries with the same generous feelings which he would have had himself. He supposed that now that he was down they wished to show him that they were above petty spite. He was touched by it. He wrote effusively to Herr Euphrat and sent him a symphonic poem. The conductor replied through his secretary coldly but politely, acknowledging the receipt of his work, and adding that, in accordance with the rules of the society, the symphony would be given out to the orchestra immediately and put to the test of a general rehearsal before it could be accepted for public hearing. A rule is a rule. Christophe had to bow to it, though it was a pure formality which served to weed out the lucubrations of amateurs which were sometimes a nuisance.

A few weeks later Christophe was told that his composition was to be rehearsed. On principle everything was done privately and even the author was not permitted to be present at the rehearsal. But by a generally agreed indulgence the author was always admitted; only he did not show himself. Everybody knew it and everybody pretended not to know it. On the appointed day one of his friends brought Christophe to the hall, where he sat at the back of a box. He was surprised to see that at this private rehearsal the hall--at least the ground floor seats--were almost all filled; a crowd of dilettante idlers and critics moved about and chattered to each other. The orchestra had to ignore their presence.

They began with the Brahms _Rhapsody_ for alto, chorus of male voices, and orchestra on a fragment of the _Harzreise im Winter_ of Goethe. Christophe, who detested the majestic sentimentality of the work, thought that perhaps the "Brahmins" had introduced it politely to avenge themselves by forcing him to hear a composition of which he had written irreverently. The idea made him laugh, and his good humour increased when after the _Rhapsody_ there came two other productions by known musicians whom he had taken to task; there seemed to be no doubt about their intentions. And while he could not help making a face at it he thought that after all it was quite fair tactics; and, failing the music, he appreciated the joke. It even amused him to applaud ironically with the audience, which made manifest its enthusiasm for Brahms and his like.

At last it came to Christophe's symphony. He saw from the way the orchestra and the people in the hall were looking at his box that they were aware of his presence. He hid himself. He waited with the catch at his heart which every musician feels at the moment when the conductor's wand is raised and the waters of the music gather in silence before bursting their dam. He had never yet heard his work played. How would the creatures of his dreams live? How would their voices sound? He felt their roaring within him; and he leaned over the abyss of sounds waiting fearfully for what should come forth.

What did come forth was a nameless thing, a shapeless hotch-potch. Instead of the bold columns which were to support the front of the building the chords came crumbling down like a building in ruins; there was nothing to be seen but the dust of mortar. For a moment Christophe was not quite sure whether they were really playing his work. He cast back for the train, the rhythm of his thoughts; he could not recognize it; it went on babbling and hiccoughing like a drunken man clinging close to the wall, and he was overcome with shame, as though he had himself been seen in that condition. It was of no avail to think that he had not written such stuff; when an idiotic interpreter destroys a man's thoughts he has always a moment of doubt when he asks himself in consternation if he is himself responsible for it. The audience never asks such a question; the audience believes in the interpreter, in the singers, in the orchestra whom they are accustomed to hear as they believe in their newspaper; they cannot make a mistake; if they say absurd things, it is the absurdity of the author. This audience was the less inclined to doubt because it liked to believe. Christophe tried to persuade himself that the _Kapellmeister_ was aware of the hash and would stop the orchestra and begin again. The instruments were not playing together. The horn had missed his beat and had come in a bar too late; he went on for a few minutes, and then stopped quietly to clean his instrument. Certain passages for the oboe had absolutely disappeared. It was impossible for the most skilled ear to pick up the thread of the musical idea, or even to imagine that there was one. Fantastic instrumentations, humoristic sallies became grotesque through the coarseness of the execution. It was lamentably stupid, the work of an idiot, of a joker who knew nothing of music. Christophe tore his hair. He tried to interrupt, but the friend who was with him held him back, assuring him that the _Herr Kapellmeister_ must surely see the faults of the execution and would put everything right--that Christophe must not show himself and that if he made any remark it would have a very bad effect. He made Christophe sit at the very back of the box. Christophe obeyed, but he beat his head with his fists; and every fresh monstrosity drew from him a groan of indignation and misery.

"The wretches! The wretches!..."

He groaned, and squeezed his hands tight to keep himself from crying out.

Now mingled with the wrong notes there came up to him the muttering of the audience, who were beginning to be restless. At first it was only a tremor; but soon Christophe was left without a doubt; they were laughing. The musicians of the orchestra had given the signal; some of them did not conceal their hilarity. The audience, certain then that the music was laughable, rocked with laughter. This merriment became general; it increased at the return of a very rhythmical motif which the double-basses accentuated in a burlesque fashion. Only the _Kapellmeister_ went on through the uproar imperturbably beating time.

At last they reached the end (the best things come to an end). It was the turn of the audience. They exploded with delight, an explosion which lasted for several minutes. Some hissed; others applauded ironically; the wittiest of all shouted "Encore!" A bass voice coming from a stage box began to imitate the grotesque motif. Other jokers followed suit and imitated it also. Some one shouted "Author!" It was long since these witty folk had been so highly entertained.

When the tumult was calmed down a little the _Kapellmeister_, standing quite impassive with his face turned towards the audience though he was pretending not to see it--(the audience was still supposed to be non-existent)--made a sign to the audience that he was about to speak. There was a cry of "Ssh," and silence. He waited a moment longer; then--(his voice was curt, cold, and cutting):

"Gentlemen," he said, "I should certainly not have let _that_ he played through to the end if I had not wished to make an example of the gentleman who has dared to write offensively of the great Brahms."

That was all; and jumping down from his stand he went out amid cheers from the delighted audience. They tried to recall him; the applause went on for a few minutes longer. But he did not return. The orchestra went away. The audience decided to go too. The concert was over.

It had been a good day.