Читать книгу Jean-Christophe Journey's End - Romain Rolland - Страница 5

And now Christophe was absolutely determined that Olivier should succeed in his wooing. He fussed round him like a mother, supervised his dressing, presumed to give him advice as to what he should wear, and even—(think of it!)—tied his tie for him. Olivier bore with him patiently at the cost of having to retie his tie on the stairs when Christophe was no longer present. He smiled inwardly, but he was touched by such great affection. Besides, his love had made him timid, and he was not sure of himself, and was glad of Christophe's advice. He used to tell him everything that happened when he was with Jacqueline, and Christophe would be just as moved by it as himself, and sometimes at night he would lie awake for hours trying to find the means of making the path of love smoother for his friend.

It was in the garden of the Langeais' villa, near Paris, on the outskirts of the forest of Isle-Adam, that Olivier and Jacqueline had the interview which was the turning-point in their lives.

Christophe had gone down with his friend, but he had found a harmonium in the house, and sat playing so as to leave the lovers to walk about the garden in peace.—Truth to tell, they did not wish it. They were afraid to be left alone. Jacqueline was silent and rather hostile. On his last visit Olivier had been conscious of a change in her manner, a sudden coldness, an expression in her eyes which was strange, hard, and almost inimical. It froze him. He dared not ask her for an explanation, for he was fearful of hearing cruel words on the lips of the girl he loved. He trembled whenever he saw Christophe leave them, for it seemed to him that his presence was his only safeguard against the blow which threatened to fall upon him.

It was not that Jacqueline loved Olivier less. Rather she was more in love with him, and it was that that made her hostile. Love, with which till then she had only played, love, to which she had so often called, was there, before her eyes: she saw it gaping before her like an abyss, and she flung back in terror: she could not understand it, and wondered:

"Why? Why? What does it mean?"

Then she would look at Olivier with the expression which so hurt him, and think:

"Who is this man?"

And she could not tell. He was a stranger.

"Why do I love him?"

She could not tell.

"Do I love him?"

She could not tell. … She did not know: and yet she knew that she was caught: she was in the toils of love: she was on the point of losing herself in love, losing herself utterly; her will, her independence, her egoism, her dreams of the future, all were to be swallowed up by the monster. And she would harden herself in anger, and sometimes she would feel that she almost hated Olivier.

They went to the very end of the garden, into the kitchen-garden, which was cut off from the lawns by a hedge of tall trees. They sauntered down the paths bordered on either side with gooseberry bushes, with their clusters of red and golden fruit, and beds of strawberries, the fragrance of which scented the air. It was June: but there had been storms, and the weather was cold. The sky was gray and the light dim: the low-hanging clouds moved in a heavy mass, drifting with the wind, which blew only in the higher air, and never touched the earth; no leaf stirred: but the air was very fresh. Everything was shrouded in melancholy, even their hearts, swelling with the grave happiness that was in them. And from the other end of the garden, through the open windows of the villa, out of sight, there came the sound of the harmonium, grinding out the Fugue in E Flat Minor of Johann Sebastian Bach. They sat down on the coping of a well, both pale and silent. And Olivier saw tears trickling down Jacqueline's cheeks.

"You are crying?" he murmured, with trembling lips.

And the tears came to his own eyes.

He took her hand. She laid her head on Olivier's shoulder. She gave up the struggle: she was vanquished, and it was such sweet comfort to her! … They wept silently as they sat listening to the music under the moving canopy of the heavy clouds, which in their noiseless flight seemed to skim the tops of the trees. They thought of all that they had suffered, and perhaps—who knows?—of all that they were to suffer in the future. There are moments when music summons forth all the sadness woven into the woof of a human being's destiny. …

After a moment or two Jacqueline dried her eyes and looked at Olivier.

And suddenly they kissed. O boundless happiness! Religious happiness!

So sweet and so profound that it is almost sorrow!

[Illustration: Musical notation]

Jacqueline asked:

"Was your sister like you?"

Olivier felt a sudden pang. He said:

"Why do you ask me about her? Did you know her?"

She replied:

"Christophe told me. … You have suffered?"

Olivier nodded: he was too much moved to speak.

"I have suffered too," she said.

She told him of the friend who had been taken from her, her beloved Marthe and with her heart big with emotion she told him how she had wept, wept until she thought she was going to die.

"You will help me?" she said, in a beseeching tone. "You will help me to live, and be good, and to be a little like her? Poor Marthe, you will love her too?"

"We will love them both, as they both love each other."

"I wish they were here."

"They are here."

They sat there locked in each other's arms: they hardly breathed, and could feel heart beating to heart. A gentle drizzle was falling, falling. Jacqueline shivered.

"Let us go in," she said.

Under the trees it was almost dark. Olivier kissed Jacqueline's wet hair: she turned her face up to him, and, for the first time, he felt loving lips against his, a girl's lips, warm and parted a little. They were nigh swooning.

Near the house they stopped once more:

"How utterly alone we were!" he said.

He had already forgotten Christophe.

They remembered him at length. The music had stopped. They went in. Christophe was sitting at the harmonium with his head in his hands, dreaming, he too, of many things in the past. When he heard the door open, he started from his dream, and turned to them affectionately with a solemn, tender smile lighting up his face. He saw in their eyes what had happened, pressed their hands warmly, and said:

"Sit down, and I'll play you something."

They sat down, and he played the piano, telling in music all that was in his heart, and the great love he had for them. When he had done they all three sat in silence. Then he got up and looked at them. He looked so kind, and so much older, so much stronger than they! For the first time she began to appreciate what he was. He hugged them both, and said to Jacqueline:

"You will love him dearly, won't you? You will love him dearly?"

They were filled with gratitude towards him. But at once he turned the conversation, laughed, went to the window, and sprang out into the garden.

* * * * *

During the days following he kept urging Olivier to go and propose his suit to Jacqueline's parents. Olivier dared not, dreading the refusal which he anticipated. Christophe also insisted on his setting about finding work, for even supposing the Langeais accepted him, he could not take Jacqueline's fortune unless he were himself in a position to earn his living. Olivier was of the same opinion, though he did not share his violent and rather comic distrust of wealthy marriages. It was a rooted idea in Christophe's mind that riches are death to the soul. It was on the tip of his tongue to quote the saying of a wise beggar to a rich lady who was worried in her mind about the next life:

"What, madame, you have millions, and you want to have an immortal soul into the bargain?"

"Beware of women," he would say to Olivier—half in jest, half in earnest—"beware of women, but be twenty times more wary of rich women. Women love art, perhaps, but they strangle the artist. Rich women poison both art and artists. Wealth is a disease. And women are more susceptible to it than men. Every rich man is an abnormal being. … You laugh? You don't take me seriously? Look you: does a rich man know what life is? Does he keep himself in touch with the raw realities of life? Does he feel on his face the stinging breath of poverty, the smell of the bread that he must earn, of the earth that he must dig? Can he understand, does he even see people and things as they are? … When I was a little boy I was once or twice taken for a drive in the Grand Duke's landau. We drove through fields in which I knew every blade of grass, through woods that I adored, where I used to run wild all by myself. Well: I saw nothing at all. The whole country had become as stiff and starched as the idiots with whom I was driving. Between the fields and my heart there was not only the curtain of the souls of those formal people. The wooden planks beneath my feet, the moving platform being rolled over the face of Nature, were quite enough. To feel that the earth is my mother, I must have my feet firmly planted on her womb, like a newborn child issuing to the light. Wealth severs the tie which binds men to the earth, and holds the sons of the earth together. And then how can you expect to be an artist? The artist is the voice of the earth. A rich man cannot be a great artist. He would need a thousand times more genius to be so under such unfavorable conditions. Even if he succeeds his art must be a hot-house fruit. The great Goethe struggled in vain: parts of his soul were atrophied, he lacked certain of the vital organs, which were killed by his wealth. You have nothing like the vitality of a Goethe, and you would be destroyed by wealth, especially by a rich woman, a fate which Goethe did at least avoid. Only the man can withstand the scourge. He has in him such native brutality, such a rich deposit of rude, healthy instincts binding him to the earth, that he alone has any chance of escape. But the woman is tainted by the poison, and she communicates the taint to others. She acquires a taste for the reeking scent of wealth, and cannot do without it. A woman who can be rich and yet remain sound in heart is a prodigy as rare as a millionaire who has genius. … And I don't like monsters. Any one who has more than enough to live on is a monster—a human cancer preying upon the lives of the rest of humanity."

Olivier laughed:

"What do you want?" he said. "I can't stop loving Jacqueline because she is not poor, or force her to become poor for love of me."

"Well, if you can't save her, at least save yourself. That's the best way of saving her. Keep yourself pure. Work."

Olivier did not need to go to Christophe for scruples. He was even more nicely sensitive than he in such matters. Not that he took Christophe's diatribes against money seriously: he had been rich himself, and did not loathe riches, and thought them a very good setting for Jacqueline's pretty face. But it was intolerable to think that his love might in any way be contaminated with an imputation of interest. He applied to have his name restored to the University list. For the time being he could not hope for anything better than a moderate post in a provincial school. It was a poor wedding-present to give to Jacqueline. He told her about it timidly. Jacqueline found it difficult at first to see his point of view: she attributed it to an excessive pride, put into his head by Christophe, and she thought it ridiculous: was it not more natural between lovers to set no store by riches or poverty, and was it not rather shabby to refuse to be indebted to her when it would give her such great joy? … However, she threw herself in with Olivier's plans: their austerity and discomfort were the very things that brought her round, for she found in them an opportunity of gratifying her desire for moral heroism. In her condition of proud revolt against her surroundings which had been induced by the death of her aunt, and was exalted by her love, she had gone so far as to deny every element in her nature which was in contradiction to her mystic ardor: in all sincerity her whole being was strained, like a bow, after an ideal of a pure and difficult life, radiant with happiness. … The obstacles, the very smallness and dullness of her future condition in life, were a joy to her. How good and beautiful it would all be! …

Madame Langeais was too much taken up with herself to pay much attention to what was going on about her. For some time past she had been thinking of little outside her health: she spent her whole time in treating imaginary illnesses, and trying one doctor after another: each of them in turn was her saviour, and went on enjoying that position for a fortnight: then it was another's turn. She would stay away from home for months in expensive sanatoria, where she religiously carried out all sorts of preposterous prescriptions to the letter. She had forgotten her husband and daughter.

M. Langeais was not so indifferent, and had begun to suspect the existence of the affair. His paternal jealousy made him feel it. He had for Jacqueline that strange pure affection which many fathers feel for their daughters, an elusive, indefinable feeling, a mysterious, voluptuous, and almost sacred curiosity, in living once more in the lives of fellow-creatures who are of their blood, who are themselves, and are women. In such secrets of the heart there are many lights and shadows which it is healthier to ignore. Hitherto it had amused him to see his daughter making calfish young men fall in love with her: he loved her so, romantic, coquettish, and discreet—(just as he was himself).—But when he saw that this affair threatened to become more serious, he grew anxious. He began by making fun of Olivier to Jacqueline, and then he criticised him with a certain amount of bitterness. Jacqueline laughed at first, and said:

"Don't say such hard things, father: you would find it awkward later on, supposing I wanted to marry him."

M. Langeais protested loudly, and said she was mad: with the result that she lost her head completely. He declared that he would never let her marry Olivier. She vowed that she would marry him. The veil was rent. He saw that he was nothing to her. In his fatherly egoism it had never occurred to him, and he was angry. He swore that neither Olivier nor Christophe should ever set foot inside his house again. Jacqueline lost her temper, and one fine morning Olivier opened the door to admit a young woman, pale and determined looking, who rushed in like a whirlwind, and said:

"Take me away with you! My father and mother won't hear of it. I will marry you. You must compromise me."

Olivier was alarmed though touched by it, and did not even try to argue with her. Fortunately Christophe was there. Ordinarily he was the least reasonable of men, but now he reasoned with them. He pointed out what a scandal there would be, and how they would suffer for it. Jacqueline bit her lip angrily, and said:

"Very well. We will kill ourselves."

So far from frightening Olivier, her threat only helped to make up his mind to side with her. Christophe had no small difficulty in making the crazy pair have a little patience: before taking such desperate measures they might as well try others: let Jacqueline go home, and he would go and see M. Langeais and plead their cause.

A queer advocate! M. Langeais nearly kicked him out on the first words he said: but then the absurdity of the situation struck him, and it amused him. Little by little the gravity of his visitor and his expression of honesty and absolute sincerity began to make an impression: however, he would not fall in with his contentions, and went on firing ironical remarks at him. Christophe pretended not to hear: but every now and then as a more than usually biting shaft struck home he would stop and draw himself up in silence; then he would go on again. Once he brought his fist down on the table with a thud, and said:

"I beg of you to believe that it has given me no pleasure to call on you: I have to control myself to keep from retaliating on you for certain things you have said: but I think it my duty to speak to you, and I am doing so. Forget me, as I forget myself, and weigh well what I am telling you."

M. Langeais listened: and when he heard of the project of suicide, he shrugged his shoulders and pretended to laugh: but he was shaken. He was too clever to take such a threat as a joke: he knew that he had to deal with the insanity of a girl in love. One of his mistresses, a gay, gentle creature, whom he had thought incapable of putting her boastful threat into practice, had shot herself with a revolver before his eyes: she did not kill herself at once, but the scene lived in his memory. … No, one can never be sure with women. He felt a pang at his heart. … "She wishes it? Very well: so be it, and so much the worse for her, little fool! … " He would have granted anything rather than drive his daughter to extremes. In truth he might have used diplomacy, and pretended to give his consent to gain time, gently to wean Jacqueline from Olivier. But doing so meant giving himself more trouble than he could or would be bothered with. Besides, he was weak: and the mere fact that he had angrily said "No!" to Jacqueline, now inclined him to say "Yes." After all, what does one know of life? Perhaps the child was right. The great thing was that they should love each other. M. Langeais knew quite well that Olivier was a serious young man, and perhaps had talent. … He gave his consent.

* * * * *

The day before the marriage the two friends sat up together into the small hours. They did not wish to lose the last hours of their dear life together.—But already it was in the past. It was like those sad farewells on the station platform when there is a long wait before the train moves: one insists on staying, and looking and talking. But one's heart is not in it: one's friend has already gone. … Christophe tried to talk. He stopped in the middle of a sentence, seeing the absent look in Olivier's eyes, and he said, with a smile:

"You are so far away!"

Olivier was confused and begged his pardon. It made him sad to realize that his thoughts were wandering during the last intimate moments with his friend. But Christophe pressed his hand, and said:

"Come, don't constrain yourself. I am happy. Go on dreaming, my boy."

They stayed by the window, leaning out side by side, and looking through the darkness down into the garden. After some time Christophe said to Olivier:

"You are running away from me. You think you can escape me? You are thinking of your Jacqueline. But I shall catch you up. I, too, am thinking of her."

"Poor old fellow," said Olivier, "and I was thinking of you! And even. … "

He stopped.

Christophe laughed and finished the sentence for him.

" … And even taking a lot of trouble over it! … "

* * * * *

Christophe turned out very fine, almost smart, for the wedding. There was no religious ceremony: neither the indifferent Olivier nor the rebellious Jacqueline had wished it. Christophe had written a symphonic fragment for the ceremony at the mairie, but at the last moment he gave up the idea when he realized what a civil marriage is: he thought such ceremonies absurd. People need to have lost both faith and liberty before they can have any belief in them. When a true Catholic takes the trouble to become a free-thinker he is not likely to endow a functionary of the civil State with a religious character. Between God and his own conscience there is no room for a State religion. The State registers, it does not bind man and wife together.

The marriage of Olivier and Jacqueline was not likely to make Christophe regret his decision. Olivier listened with a faintly ironical air of aloofness to the Mayor ponderously fawning upon the young couple, and the wealthy relations, and the witnesses who wore decorations. Jacqueline did not listen: and she furtively put out her tongue at Simone Adam, who was watching her: she had made a bet with her that being "married" would not affect her in the least, and it looked as though she would win it: it hardly seemed to occur to her that it was she who was being married: the idea of it tickled her. The rest were posing for the onlookers: and the onlookers were taking them all in. M. Langeais was showing off: in spite of his sincere affection for his daughter, he was chiefly occupied in taking stock of the guests to find out whether he had left any gaps in his list of invitations. Only Christophe was moved: not one of the rest, relations, bride, and bridegroom, or the Mayor officiating, showed any emotion: he stood gazing hungrily at Olivier, who did not look at him.

In the evening the young couple left for Italy. Christophe and M. Langeais went with them to the station. They seemed happy, not at all sorry to be going, and did not conceal their impatience for the train to move. Olivier looked like a boy, and Jacqueline like a little girl. … What a tender, melancholy charm is in such partings! The father is a little sad to see his child taken away by a stranger, and for what! … and to see her go away from him forever. But they feel nothing but a new intoxicating sense of liberty. There are no more hindrances to life: nothing can stop them ever again: they seem to have reached the very summit: now might they die readily, for they have everything, and nothing to fear. … But soon they see that it was no more than a stage in the journey. The road still lies before them, and winds round the mountain: and there are very few who reach the second stage. …

The train bore them away into the night. Christophe and M. Langeais went home together. Christophe said with naive archness:

"Now we are both widowed!"

M. Langeais began to laugh. He liked Christophe now that he knew him better. They said good-by, and went their ways. They were both unhappy, with an odd mixture of sadness and sweetness. Sitting alone in his room Christophe thought:

"The best of my soul is happy."

Nothing had been altered in Olivier's room. They had arranged that until Olivier returned and settled in a new house his furniture and belongings should stay with Christophe. It was as though he himself was still present. Christophe looked at the portrait of Antoinette, placed it on his desk, and said to it:

"My dear, are you glad?"

He wrote often—rather too often—to Olivier. He had a few vaguely written letters, which were increasingly distant in tone. He was disappointed, but not much affected by it. He persuaded himself that it must be so, and he had no anxiety as to the future of their friendship.

His solitude did not trouble him. Far from it: he did not have enough of it to suit his taste. He was beginning to suffer from the patronage of the Grand Journal. Arsène Gamache had a tendency to believe that he had proprietary rights in the famous men whom he had taken the trouble to discover: he took it as a matter of course that their fame should be associated with his own, much as Louis XIV. grouped Molière, Le Brun, and Lulli about his throne. Christophe discovered that the author of the Hymn to Aegis was not more imperial or more of a nuisance to art than his patron of the Grand Journal. For the journalist, who knew no more about art than the Emperor, had opinions no less decided about it: he could not tolerate the existence of anything he did not like: he decreed that it was bad and pernicious: and he would ruin it in the public interest. It is both comic and terrible to see such coarse-grained uncultivated men of affairs presuming to control not only politics and money, but also the mind, and offering it a kennel with a collar and a dish of food, or, if it refuses, having the power to let loose against it thousands of idiots whom they have trained into a docile pack of hounds!—Christophe was not the sort of man to let himself be schooled and disciplined. It seemed to him a very bad thing that an ignoramus should take upon himself to tell him what he ought and ought not to do in music: and he gave him to understand that art needed a much more severe training than politics. Also, without any sort of polite circumlocution, he declined a proposal that he should set to music a libretto, which the author, a leading member of the staff of the paper, was trying to place, while it was highly recommended by his chief. It had the effect of cooling his relations with Gamache.

Christophe did not mind that in the least. Though he had so lately risen from his obscurity, he was longing to return to it. He found himself "exposed to that great light in which a man is lost among the many." There were too many people bothering their heads about him. He pondered these words of Goethe:

"When a writer has attracted attention by a good piece of work, the public tries to prevent his producing another. … The brooding talent is dragged out into the hurly-burly of the world, in spite of itself, because every one thinks he will be able to appropriate a part of it."

He shut his door upon the outside world, and began to seek the company of some of his old friends in his own house. He revisited the Arnauds, whom he had somewhat neglected. Madame Arnaud, who was left alone for part of the day, had time to think of the sorrows of others. She thought how empty Christophe's life must be now that Olivier was gone: and she overcame her shyness so far as to invite him to dinner. If she had dared, she would even have offered to go in from time to time and tidy his rooms: but she was not bold enough: and no doubt it was better so: for Christophe did not like to have people worrying about him. But he accepted the invitation to dinner, and made a habit of going in to the Arnauds' every evening.

He found them just as united, living in the same atmosphere of rather sad, sorrowful tenderness, though it was even grayer than before, Arnaud was passing through a period of depression, brought on by the wear and tear of his life as a teacher—a life of exhausting labor, in which one day is like unto another, and each day's work is like that of the next, like a wheel turning in one place, without ever stopping, or ever advancing. Though he was very patient, the good man was passing through a crisis of discouragement. He let certain acts of injustice prey upon him, and was inclined to think that all his zeal was futile. Madame Arnaud would comfort him with kind words: she seemed to be just as calm and peaceful as in the old days: but her face was thinner. In her presence Christophe would congratulate Arnaud on having such a sensible wife.

"Yes," Arnaud would say, "she is a good little creature; nothing ever puts her out. She is lucky: so am I. If she had suffered in this cursed life, I don't see how I could have got through."

Madame Arnaud would blush and say nothing. Then in her even tones she would talk of something else.—Christophe's visits had their usual good effect: they brought light in their train: and he, for his part, found it very pleasant to feel the warmth of their kind, honest hearts.

Another friend, a girl, came into his life. Or rather he sought her out: for though she longed to know him, she could not have made the effort to go and see him. She was a young woman of a little more than twenty-five, a musician, and she had taken the first prize at the Conservatoire: her name was Cécile Fleury. She was short and rather thick-set. She had heavy eyebrows, fine, large eyes, with a soft expression, a short, broad, turned-up nose, inclined to redness, like a duck's beak, thick lips, kind and tender, an energetic chin, heavy and solid, and her forehead was broad, but not high. Her hair was done up in a large bun at the back of her neck. She had strong arms and a pianist's hands, very long, with a splayed thumb and square finger-tips. The general impression she gave was one of a rather sluggish vitality and of rude rustic health. She lived with her mother, who was very dear to her: a good, kind woman, who took not the smallest interest in music though she used to talk about it, because she was always hearing about it, and knew everything that happened in Musicopolis. She had a dull, even life, gave lessons all day long, and sometimes concerts, of which nobody took any notice. She used to go home late at night, on foot or in an omnibus, worn out, but quite good-tempered: and she used to practise her scales bravely and trim her own hats, talking a great deal, laughing readily, and often singing for nothing.

She had not been spoiled by life. She knew the value of a little comfort when she had earned it by her own efforts—the joy of a little pleasure, or a little scarcely perceptible advance in her position or her work. Indeed, if one month she could only earn five francs more than in the last, or if she could at length manage to play a certain passage of Chopin which she had been struggling with for weeks—she would be quite happy. Her work, which was not excessive, exactly fitted her aptitude for it, and gave her a healthy satisfaction. Playing, singing, giving lessons gave her a pleasant feeling of satisfied activity, normal and regular, and at the same time a modest competence and a comfortable placid success. She had a healthy appetite, ate much, slept well, and was never ill.

She was clear-headed, sensible, modest, perfectly balanced, and never worried about anything: for she always lived in and for the present, without bothering her head about what had happened or what was going to happen in the future. And as she was always well, and as her life was comparatively secure from the sudden turns of fate, she was almost always satisfied. She took the same pleasure in practising her piano as in keeping house, or talking about things domestic, or doing nothing. She had the art of living, not from day to day—(she was economical and provident)—but from minute to minute. She was not possessed of any sort of idealism: the only ideal she had, if it could be called so, was bourgeois, and was unostentatiously expressed in her every action, and evenly distributed through every moment of the day: it consisted in peacefully loving everything she was doing, whatever it might be. She went to church on Sundays: but the feeling of religion had practically no place in her life. She admired enthusiasts, like Christophe, who had faith or genius: but she did not envy them: what could she have done with their uneasiness and their genius?

How came it, then, that she could feel their music? She would have found it hard to say. But it was very certain that she did feel it. She was superior to other virtuosi by reason of her sturdy quality of balance, physical and moral: in her abounding vitality, in the absence of personal passion, the passions of others found a rich soil in which to come to flower. She was not touched by them. She could translate in all their energy the terrible passions which had consumed the artist without being tainted by their poison: she only felt their force and the great weariness that came after its expression. When it was over, she would be all in a sweat, utterly exhausted: she would smile calmly and feel very happy.

Christophe heard her one evening, and was struck by her playing. He went and shook hands with her after the concert. She was grateful to him for it: there were very few people at the concert, and she was not so used to compliments as to take no delight in them. As she had never been clever enough to throw in her lot with any musical coterie, or cunning enough to surround herself with a group of worshipers, and as she never attempted to make herself particular, either by technical mannerisms or by a fantastic interpretation of the hallowed compositions, or by assuming an exclusive right to play some particular master, such as Johann Sebastian Bach, or Beethoven, and as she had no theories about what she played, but contented herself with playing simply what she felt—nobody paid any attention to her, and the critics ignored her: for nobody told them that she played well, and they were not likely to find it out for themselves.

Christophe saw a good deal of Cécile. Her strength and tranquillity attracted him as a mystery. She was vigorous and apathetic. In his indignation at her not being better known he proposed that he should get his friends of the Grand Journal to write about her. But although she would have liked to be praised, she begged him not to do anything to procure it. She did not want to have the struggle or the bother or the jealousies it would entail: she wanted to be left in peace. She was not talked about: so much the better! She was not envious, and she was the first to be enthusiastic about the technique of other virtuosi. She had no ambition, and no desire for anything. She was much too lazy in mind! When she had not any immediate and definite work to do, she did nothing, nothing; she did not even dream, not even at night, in bed: she either slept or thought of nothing. She had not the morbid preoccupation with marriage, which poisons the lives of girls who shiver at the thought of dying old maids. When she was asked if she would not like to have a husband, she would say:

"Why not throw in fifty thousand a year? One has to take what comes. If any one offers, so much the better! If not, one goes without. Because one can't have cake, I don't see why one shouldn't be glad of honest bread. Especially when one has had to eat stale bread for so long!"

"Besides," her mother would say, "there are plenty of people who never get any bread to eat at all!"

Cécile had good reason to fight shy of men. Her father, who had been dead some years, was a weak, lazy creature: he had wronged his wife and his family. She had also a brother who had turned out badly and did not know what had become of him: every now and then he would turn up and ask for money: she and her mother were afraid of him and ashamed of him, and fearful of what they might hear about him any day: and yet they loved him. Christophe met him once. He was at Cécile's house: there was a ring at the door: and her mother answered it. He heard a conversation being carried on in the next room, and the voices were raised every now and then. Cécile seemed ill at ease, and went out also, leaving Christophe alone. The discussion went on, and the stranger's voice assumed a threatening tone: Christophe thought it time to intervene, and opened the door. He hardly had time to do more than catch a glimpse of a young and slightly deformed man, whose back was turned towards him, for Cécile rushed towards him and implored him to go back. She went with him, and they sat in silence. In the next room the visitor went on shouting for a few minutes longer, and then took his leave and slammed the door. Then Cécile sighed, and said to Christophe:

"Yes. … He is my brother."

Christophe understood:

"Ah!" he said. … "I know. … I have a brother, too. … "

Cécile took his hand with an air of affectionate commiseration:

"You too?"

"Yes," he said. … "These are the joys of a family."

Cécile laughed, and they changed the conversation. No, the joys of a family had no enchantment for her, nor had the idea of marriage any fascination: men were rather a worthless lot on the whole. Her independent life had many advantages: her mother had often sighed after her liberty: she had no desire to lose it. The only day-dream in which she indulged was that some day—Heaven knows when!—she would not have to give lessons any more, and would be able to live in the country. But she did not even take the trouble to imagine such a life in detail: she found it too fatiguing to think of anything so uncertain: it was better to sleep—or do her work. …

In the meanwhile, in default of her castle in Spain, she used to hire a little house in the outskirts of Paris for the summer, and lived there with her mother. It was twenty minutes' journey by train. The house was some distance away from the station, standing alone in the midst of a stretch of waste lands which were called "fields," and Cécile used often to return late at night. But she was not afraid, and did not believe there was any danger. She had a revolver, but she always used to leave it at home. Besides, it was doubtful if she would have known how to use it.

Sometimes, when he went to see her, Christophe would make her play. It amused him to see her keen perception of the music, especially when he had dropped a hint which put her on the track of a feeling that called for expression. He had discovered that she had an excellent voice, but she had no idea of it. He made her practise it, and would give her old German lieder or his own music to sing: it gave her pleasure, and she made such progress as to surprise herself as much as him. She was marvelously gifted. The fire of music had miraculously descended upon this daughter of Parisian middle-class parents who were utterly devoid of any artistic feeling. Philomela—(for so he used to call her)—used sometimes to discuss music with Christophe, but always in a practical, never in a sentimental, way: she seemed only to be interested in the technique of singing and the piano. Generally, when they were together and were not playing music, they talked of the most commonplace things, and Christophe, who could not for a moment have tolerated such conversations with an ordinary woman, would discuss these subjects as a matter of course with Philomela.

They used to spend whole evenings alone together, and were genuinely fond of each other, though their affection was perfectly calm and even almost cold. One evening, when he had dined with her, and had stayed talking longer than usual, a violent storm came on: she said:

"You can't go now! Stay until to-morrow morning."

He was fitted up with an improvised bed in the little sitting-room. Only a thin partition was between it and Cécile's bedroom, and the doors were not locked. As he lay there he could hear her bed creaking and her soft, regular breathing. In five minutes she was asleep: and very soon he followed her example without either of them having had the faintest shadow of an uneasy thought.

At the same time there came into his life a number of other unknown friends, drawn to him by reading his works. Most of them lived far away from Paris or shut up in their homes, and never met him. Even a vulgar success does a certain amount of good: it makes the artist known to thousands of good people in remote corners whom he could never have reached without the stupid articles in the papers. Christophe entered into correspondence with some of them. There were lonely young men, living a life of hardship, their whole being aspiring to an ideal of which they were not sure, and they came greedily to slake their thirst at the well of Christophe's brotherly spirit. There were humble people in the provinces who read his lieder and wrote to him, like old Schulz, and felt themselves one with him. There were poor artists—a composer among others—who had not, and could not attain, not only success, but self-expression, and it made them glad to have their ideas realized by Christophe. And dearest of all, perhaps—there were those who wrote to him without giving their names, and, being thus more free to speak, naively laid bare their touching confidence in the elder brother who had come to their assistance. Christophe's heart would grow big at the thought that he would never know these charming people whom it would have given him such joy to love: he would kiss some of these anonymous letters as the writers of them kissed his lieder; and each to himself would think:

"Dear written sheets, what a deal of good you have done me!"

So, according with the unvaried rhythm of the universe, there was formed about him the little family of genius, grouped about him, giving him food and taking it from him, which grows little by little, and in the end becomes one great collective soul, of which he is the central fire, like a gleaming world, a moral planet moving through space, mingling its chorus of brotherhood with the harmony of the spheres.

And as these mysterious links were forged between Christophe and his unseen friends, a revolution took place in his artistic faculty: it became larger and more human. He lost all interest in music which was a monologue, a soliloquy, and even more so in music which was a scientific structure built entirely for the interest of the profession. He wished his music to be an act of communion with other men. There is no vital art save that which is linked with the rest of humanity. Johann Sebastian Bach, even in his darkest hours of isolation, was linked with the rest of humanity by his religious faith, which he expressed in his art. Handel and Mozart, by dint of circumstances, wrote for an audience, and not for themselves. Even Beethoven had to reckon with the multitude. It is salutary. It is good for humanity to remind genius every now and then:

"What is there for us in your art? If there is nothing, out you go!"

In such constraint genius is the first to gain. There are, indeed, great artists who express only themselves. But the greatest of all are those whose hearts beat for all men. If any man would see the living God face to face, he must seek Him, not in the empty firmament of his own brain, but in the love of men.

The artists of that time were far removed from that love. They wrote only for a more or less anarchical and vain group, uprooted from the life of the country, who preened themselves on not sharing the prejudices and passions of the rest of humanity, or else made a mock of them. It is a fine sort of fame that is won by self-amputation from life, so as to be unlike other men! Let all such artists perish! We will go with the living, be suckled at the breasts of the earth, and drink in all that is most profound and sacred in our people, and all its love from the family and the soil. In the greatest age of liberty, among the people with the most ardent worship of beauty, the young Prince of the Italian Renaissance, Raphael, glorified maternity in his transteverine Madonnas. Who is there now to give us in music a Madonna à la Chaise? Who is there to give us music meet for every hour of life? You have nothing, you have nothing in France. When you want to give your people songs, you are reduced to bringing up to date the German masters of the past. In your art, from top to bottom, everything remains to be done, or to be done again. …

Christophe corresponded with Olivier, who was now settled in a provincial town. He tried to maintain in correspondence that collaboration which had been so fruitful during the time when they had lived together. He wanted him to write him fine poetic words closely allied with the thoughts and deeds of everyday life, like the poems which are the substance of the old German lieder. Short fragments from the Scriptures and the Hindoo poems, and the old Greek philosophers, short religious and moral poems, little pictures of Nature, the emotions of love or family life, the whole poetry of morning, evening, and night, that is in simple, healthy people. Four lines or six are enough for a lied: only the simplest expressions, and no elaborate development or subtlety of harmony. What have I to do with your esthetic tricks? Love my life, help me to love it and to live it. Write me the Hours of France, my Great and Small Hours. And let us together find the clearest melody. Let us avoid like the plague any artistic language that belongs to a caste like that of so many writers, and especially of so many French musicians of to-day. We must have the courage to speak like men, and not like "artists." We must draw upon the common fund of all men, and unashamedly make use of old formulae, upon which the ages have set their seal, formulas which the ages have filled with their spirit. Look at what our forefathers have done. It was by returning to the musical language of all men that the art of the German classics of the eighteenth century came into being. The melodies of Gluck and the creators of the symphony are sometimes trivial and commonplace compared with the subtle and erudite phrases of Johann Sebastian Bach and Rameau. It is their raciness of the soil that gives such zest to, and has procured such immense popularity for the German classics. They began with the simplest musical forms, the lied and the Singspiel, the little flowers of everyday life which impregnated the childhood of men like Mozart and Weber.—Do you do the same. Write songs for all and sundry. Upon that basis you will soon build quartettes and symphonies. What is the good of rushing ahead? The pyramids were not begun at the top. Your symphonies at present are trunkless heads, ideas without any stuffing. Oh, you fair spirits, become incarnate! There must be generations of musicians patiently and joyously and piously living in brotherhood with these people. No musical art was ever built in a day.

Christophe was not content to apply these principles in music: he urged

Olivier to set himself at the head of a similar movement in literature:

"The writers of to-day," he said, "waste their energy in describing human rarities, or cases that are common enough in the abnormal groups of men and women living on the fringe of the great society of active, healthy human beings. Since they themselves have shut themselves off from life, leave them and go where there are men. Show the life of every day to the men and women of every day: that life is deeper and more vast than the sea. The smallest among you bears the infinite in his soul. The infinite is in every man who is simple enough to be a man, in the lover, in the friend, in the woman who pays with her pangs for the radiant glory of the day of childbirth, in every man and every woman who lives in obscure self-sacrifice which will never be known to another soul: it is the very river of life, flowing from one to another, from one to another, and back again and round. … Write the simple life of one of these simple men, write the peaceful epic of the days and nights following, following one like to another, and yet all different, all sons of the same mother, from the dawning of the first day in the life of the world. Write it simply, as simple as its own unfolding. Waste no thought upon the word, and the letter, and the subtle vain researches in which the force of the artists of to-day is turned to nought. You are addressing all men: use the language of all men. There are no words noble or vulgar; there is no style chaste or impure: there are only words and styles which say or do not say exactly what they have to say. Be sound and thorough in all you do: think just what you think—and feel just what you feel. Let the rhythm of your heart prevail in your writings! The style is the soul."

Olivier agreed with Christophe, but he replied rather ironically:

"Such a book would be fine: but it would never reach the people who would care to read it. The critics would strangle it on the way."

"There speaks my little French bourgeois!" replied Christophe. "Worrying his mind about what the critics will or will not think of his work! … The critics, my boy, are only there to register victory or defeat. The great thing is to be victor. … I have managed to get along without them! You must learn how to disregard them, too. … "

* * * * *

But Olivier had learned how to disregard something entirely different! He had turned aside from art, and Christophe, and everybody. At that time he was thinking of nothing but Jacqueline, and Jacqueline was thinking of nothing but him.

The selfishness of their love had cut them off from everything and everybody: they were recklessly destroying all their future resources.

They were in the blind wonder of the first days, when man and woman, joined together, have no thought save that of losing themselves in each other. … With every part of themselves, body and soul, they touch and taste and seek to probe into the very inmost depths. They are alone together in a lawless universe, a very chaos of love, when the confused elements know not as yet what distinguishes one from the other, and strive greedily to devour each other. Each in other finds nothing save delight: each in other finds another self. What is the world to them? Like the antique Androgyne slumbering in his dream of voluptuous and harmonious delights, their eyes are closed to the world, All the world is in themselves. …

O days, O nights, weaving one web of dreams, hours fleeting like the floating white clouds in the heavens, leaving nought but a shimmering wake in dazzled eyes, the warm wind breathing the languor of spring, the golden warmth of the body, the sunlit arbor of love, shameless chastity, embraces, and madness, and sighs, and happy laughter, happy tears, what is there left of the lovers, thrice happy dust? Hardly, it seems, that their hearts could ever remember to beat: for when they were one then time had ceased to exist.

And all their days are one like unto another. … Sweet, sweet dawn. … Together, embracing, they issue from the abyss of sleep: they smile and their breath is mingled, their eyes open and meet, and they kiss. … There is freshness and youth in the morning hours, a virgin air cooling their fever. … There is a sweet languor in the endless day still throbbing with the sweetness of the night. … Summer afternoons, dreams in the fields, on the velvety sward, beneath the rustling of the tall white poplars. … Dreams in the lovely evenings, when, under the gleaming sky, they return, clasping each other, to the house of their love. The wind whispers in the bushes. In the clear lake of the sky hovers the fleecy light of the silver moon. A star falls and dies—hearts give a little throb—a world is silently snuffed out. Swift silent shadows pass at rare intervals on the road near by. The bells of the town ring in the morrow's holiday. They stop for a moment, she nestles close to him, they stand so without a word. … Ah! if only life could be so forever, as still and silent as that moment! … She sighs and says:

"Why do I love you so much? … "

After a few weeks' traveling in Italy they had settled in a town in the west of France, where Olivier had gained an appointment. They saw hardly anybody. They took no interest in anything. When they were forced to pay calls, their scandalous indifference was so open that it hurt some, while it made others smile. Anything that was said to them simply made no impression. They had the impertinently solemn manner common to young married people, who seem to say:

"You people don't know anything at all. … "

Jacqueline's pretty pouting face, with its absorbed expression,

Olivier's happy eyes that looked so far away, said only:

"If you knew how boring we find you! … When shall we be left alone?"

Even the presence of others could not embarrass them. It was hard not to see their exchange of glances as they talked. They did not need to look to see each other: and they would smile: for they knew that they were thinking of the same things at the same time. When they were alone once more, after having suffered the constraint of the presence of others, they would shout for joy—indulge in a thousand childish pranks. They would talk baby-language, and find grotesque nicknames for each other. She used to call him Olive, Olivet, Olifant, Fanny, Mami, Mime, Minaud, Quinaud, Kaunitz, Cosima, Cobourg, Panot, Nacot, Ponette, Naquet, and Canot. She would behave like a little girl; but she wanted to be all things at once to him, to give him every kind of love: mother, sister, wife, sweetheart, mistress.

It was not enough for her to share his pleasures: as she had promised herself, she shared his work: and that, too, was a game. At first she brought to bear on it the amused ardor of a woman to whom work is something new: she seemed really to take a pleasure in the most ungrateful tasks, copying in the libraries, and translating dull books: it was part of her plan of life, that it should be pure and serious, and wholly consecrated to noble thoughts and work in common. And all went well as long as the light of love was in them: for she thought only of him, and not of what she was doing. The odd thing was that everything she did in that way was well done. Her mind found no difficulty in taking in abstract ideas, which at any other time of her life she would have found it hard to follow: her whole being was, as it were, uplifted from the earth by love; she did not know it; like a sleep-walker moving easily over roofs, gravely and gaily, without seeing anything at all, she lived on in her dream. …

And then she began to see the roofs: but that did not give her any qualms: only she asked what she was doing so high up, and became herself again. Work bored her. She persuaded herself that it stood in the way of her love: no doubt because her love had already become less ardent. But there was no evidence of that. They could not bear to be out of each other's sight. They shut themselves off from the world, and closed their doors and refused all invitations. They were jealous of the affections of other people, even of their occupations, of everything which distracted them from their love. Olivier's correspondence with Christophe dwindled. Jacqueline did not like it: he was a rival to her, representing a part of Olivier's past life in which she had had no share; and the more room he filled in Olivier's life, the more she sought, instinctively, to rob him of it. Without any deliberate intention, she gradually and steadily alienated Olivier from his friend: she made sarcastic comments on Christophe's manners, his face, his way of writing, his artistic projects: there was no malice in what she said, nor slyness: she was too good-natured for that. Olivier was amused by her remarks, and saw no harm in them: he thought he still loved Christophe as much as ever, but he loved only his personality: and that counts for very little in friendship: he did not see that little by little he was losing his understanding of him, and his interest in his ideas, and the heroic idealism in which they had been so united. … Love is too sweet a joy for the heart of youth: compared with it, what other faith can hold its ground? The body of the beloved and the soul that breathes in it are all science and all faith. With what a pitying smile does a lover regard the object of another's adoration and the things which he himself once adored! Of all the might of life and its bitter struggles the lover sees nothing but the passing flower, which he believes must live forever. … Love absorbed Olivier. In the beginning his happiness was not so great but it left him with the energy to express it in graceful verse. Then even that seemed vain to him: it was a theft of time from love. And Jacqueline also set to work to destroy their every source of life, to kill the tree of life, without the support of which the ivy of love must die. Thus in their happiness they destroyed each other.

Alas! we so soon grow used to happiness! When selfish happiness is the sole aim of life, life is soon left without an aim. It becomes a habit, a sort of intoxication which we cannot do without. And how vitally important it is that we should do without it. … Happiness is an instant in the universal rhythm, one of the poles between which the pendulum of life swings: to stop the pendulum it must be broken. …

They knew the "boredom of well-being which sets the nerves on edge." Their hours of sweetness dragged, drooped, and withered like flowers without water. The sky was still blue for them, but there was no longer the light morning breeze. All was still: Nature was silent. They were alone, as they had desired.—And their hearts sank.

An indefinable feeling of emptiness, a vague weariness not without a certain charm, came over them. They knew not what it was, and they were darkly uneasy. They became morbidly sensitive. Their nerves, strained in the close watching of the silence, trembled like leaves at the least unexpected clash of life. Jacqueline was often in tears without any cause for weeping, and although she tried hard to convince herself of it, it was not only love that made them flow. After the ardent and tormented years that had preceded her marriage the sudden stoppage of her efforts as she attained—attained and passed—her end—the sudden futility of any new course of action—and perhaps of all that she had done in the past—flung her into a state of confusion, which she could not understand, so that it appalled and crushed her. She would not allow that it was so: she attributed it to her nerves, and pretended to laugh it off: but her laughter was no less uneasy than her tears. She tried bravely to take up her work again: but as soon as she began she could not understand how she could ever have taken any interest in such stupid things, and she flung them aside in disgust. She made an effort to pick up the threads of her social life once more: but with no better success: she had committed herself, and she had lost the trick of dealing with the commonplace people and their commonplace remarks that are inevitable in life: she thought them grotesque; and she flung back into her isolation with her husband, and tried hard to persuade herself, as a result of these unhappy experiences, that there was nothing good in the world save love. And for a time she seemed really to be more in love than ever. Olivier, being less passionate and having a greater store of tenderness, was less susceptible to these apprehensions: only every now and then he would feel a qualm of uneasiness. Besides, his love was preserved in some measure by the constraint of his daily occupation, his work, which was distasteful to him. But as he was highly strung and sensitive, and everything that happened in the heart of the woman he loved affected him also, Jacqueline's secret uneasiness infected him.

One fine afternoon they went for a walk together in the country. They had looked forward to the walk eagerly and happily. All the world was bright and gay about them. But as soon as they set out gloom and heavy sadness descended upon them: they felt chilled to the heart. They could find nothing to say to each other. However, they forced themselves to speak, but every word they said rang hollowly, and made them feel the emptiness of their lives at that moment. They finished their walk mechanically, seeing nothing, feeling nothing. They returned home sick at heart. It was twilight: their rooms were cold, black, and empty. They did not light up at once, to avoid seeing each other. Jacqueline went into her room, and, instead of taking off her hat and cloak, she sat in silence by the window. Olivier sat, too, in the next room with his arms resting on the table. The door was open between the two rooms; they were so near that they could have heard each other's breathing. And in the semi-darkness they both wept, in silence, bitterly. They held their hands over their mouths, so that they should make no sound. At last, in agony, Olivier said:

"Jacqueline. … "

Jacqueline gulped down her sobs, and said:

"What is it?"

"Aren't you coming?"

"Yes, I'm coming."

She took off her hat and cloak, and went and bathed her eyes. He lit the lamp. In a few minutes she came into the room. They did not look at each other. Each knew that the other had been weeping. And they could not console each other, for they knew not why it was.

Then came a time when they could no longer conceal their unhappiness. And as they would not admit the true cause of it, they cast about for another, and had no difficulty in finding it. They set it down to the dullness of provincial life and their surroundings. They found comfort in that. M. Langeais was informed of their plight by his daughter, and was not greatly surprised to hear that she was beginning to weary of heroism. He made use of his political friends, and obtained a post in Paris for his son-in-law.

When the good news reached them, Jacqueline jumped for joy and regained all her old happiness. Now that they were going to leave it, they found that they were quite fond of the dull country: they had sown so many memories of love in it! They occupied their last days in going over the traces of their love. There was a tender melancholy in their pilgrimage. Those calm stretches of country had seen them happy. An inward voice murmured:

"You know what you are leaving behind you. Do you know what lies before you?"

Jacqueline wept the day before they left. Olivier asked her why. She would not say. They took a sheet of paper, and as they always did when they were fearful of the sound of words, wrote:

"My dear, dear Olivier. … "

"My dear, dear Jacqueline. … "

"I am sorry to be going away."

"Going away from what?"

"From the place where we have been lovers."

"Going where?"

"To a place where we shall be older."

"To a place where we shall be together."

"But never so loving."

"Always more loving."

"Who can tell?"

"I know."

"I will be."

Then they drew two circles at the bottom of the paper for kisses. And then she dried her tears, laughed, and dressed him up as a favorite of Henri III by putting her toque on his head and her white cape with its collar turned up like a ruff round his shoulders.

In Paris they resumed all their old friendships, but they did not find their friends just as they had left them. When he heard of Olivier's arrival, Christophe rushed to him delightedly. Olivier was equally rejoiced to see him. But as soon as they met they felt an unaccountable constraint between them. They both tried to break through it, but in vain. Olivier was very affectionate, but there was a change in him, and Christophe felt it. A friend who marries may do what he will: he cannot be the friend of the old days. The woman's soul is, and must be, merged in the man's. Christophe could detect the woman in everything that Olivier said and did, in the imperceptible light of his expression, in the unfamiliar turn of his lips, in the new inflections of his voice and the trend of his ideas. Olivier was oblivious of it: but he was amazed to find Christophe so different from the man he had left. He did not go so far as to think that it was Christophe who had changed: he recognized that the change was in himself, and ascribed it to normal evolution, the inevitable result of the passing years; and he was surprised not to find the same progress in Christophe: he thought reproachfully that he had remained stationary in his ideas, which had once been so dear to him, though now they seemed naïve and out of date. The truth was that they did not sort well with the stranger soul which, unknown to himself, had taken up its abode in him. He was most clearly conscious of it when Jacqueline was present when they were talking: and then between Olivier's eyes and Christophe there was a veil of irony. However, they tried to conceal what they felt. Christophe went often to see them, and Jacqueline innocently let fly at him her barbed and poisoned shafts. He suffered her. But when he returned home he would feel sad and sorry.

Their first months in Paris were fairly happy for Jacqueline, and consequently for Olivier. At first she was busy with their new house: they had found a nice little flat looking on to a garden in an old street at Passy. Choosing furniture and wallpapers kept her time full for a few weeks. Jacqueline flung herself into it energetically, and almost passionately and exaggeratedly: it was as though her eternal happiness depended on the color of her hangings or the shape of an old chest. Then she resumed intercourse with her father and mother and her friends. As she had entirely forgotten them during her year of love, it was as though she had made their acquaintance for the first time: just as part of her soul was merged in Olivier's, so part of Olivier's soul was merged in hers, and she saw her old friends with new eyes. They seemed to her to have gained much. Olivier did not lose by it at first. They were a set-off to each other. The moral reserve and the poetic light and shade of her husband made Jacqueline find more pleasure in those worldly people who only think of enjoying themselves, and of being brilliant and charming: and the seductive but dangerous failings of their world, which she knew so much better because she belonged to it, made her appreciate the security of her lover's affection. She amused herself with these comparisons, and loved to linger over them, the better to justify her choice.—She lingered over them to such an extent that sometimes she could not tell why she had made that choice. Happily, such moments never lasted long. She would be sorry for them, and was never so tender with Olivier as when they were past. Thereupon she would begin again. By the time it had become a habit with her it had ceased to amuse her: and the comparison became more aggressive: instead of complementing each other, the two opposing worlds declared war on each other. She began to wonder why Olivier lacked the qualities, if not some of the failings, which she now admired in her Parisian friends. She did not tell him so: but Olivier often felt his wife looking at him without any indulgence in her eyes, and it hurt him and made him uneasy.

However, he had not lost the ascendancy over Jacqueline which love had given him: and they would have gone on quite happily living their life of tender and hard-working intimacy for long enough had it not been for circumstances which altered their material condition and destroyed its delicate balance.

Quivi trovammo Pluto il gran némico. …

A sister of Madame Langeais died. She was the widow of a rich manufacturer, and had no children. Her whole estate passed to the Langeais. Jacqueline's fortune was more than doubled by it. When she came in for her legacy, Olivier remembered what Christophe had said about money, and remarked:

"We were quite well off without it: perhaps it will be a bad thing for us."

Jacqueline laughed at him:

"Silly!" she said. "As though money could ever do any harm! We won't make any change in our way of living just yet."

Their life remained the same to all appearances: so much the same that after a certain time Jacqueline began to complain that they were not well enough off: proof positive that there was a change somewhere. And, in fact, although their income had been doubled or tripled, they spent the whole of it without knowing how they did it. They began to wonder how they had managed to live before. The money flew, and was swallowed up by a thousand new expenses, which seemed at once to be habitual and indispensable. Jacqueline had begun to patronize the great dressmakers: she had dismissed the family sempstress who came by the day, a woman she had known since she was a child. The days of the little fourpenny hats made out of nothing, though they were quite pretty all the same, were gone—gone the days of the frocks which were not impeccably smart, though they had much of her own grace, and were, indeed, a part of herself! The sweet intimate charm which shone upon all about her grew fainter every day. The poetry of her nature was lost. She was becoming commonplace.

They changed their flat. The rooms which they had furnished with so much trouble and pleasure seemed narrow and ugly. Instead of the cozy little rooms, all radiant with her spirit, with a friendly tree waving its delicate foliage against the windows, they took an enormous, comfortable, well-arranged flat which they did not, could not, love, where they were bored to death. Instead of their old friendly belongings, they obtained furniture and hangings which were strangers to them. There was no place left for memories. The first years of their married life were swept away from their thoughts. … It is a great misfortune for two people living together to have the ties which bind them to their past love broken! The image of their love is a safeguard against the disappointment and hostility which inevitably succeed the first years of tenderness. … The power to spend largely had brought Jacqueline, both in Paris and abroad—(for now that they were rich they often traveled)—into touch with a class of rich and useless people, whose society gave her a sort of contempt for the rest of mankind, all those who had work to do. With her marvelous power of adaptation, she very quickly caught the color of these sterile and rotten men and women. She could not fight against it. At once she became refractory and irritable, regarding the idea that it was possible—and right—to be happy in her domestic duties and the auréa mediocritus as mere "vulgar manners." She had lost even the capacity to understand the bygone days when she had so generously given herself in love.

Olivier was not strong enough to fight against it. He, too, had changed. He had given up his work, and had no fixed and compulsory occupation. He wrote, and the balance of his life was adjusted by it. Till then he had suffered because he could not give his whole life to art. Now that he could do so he felt utterly lost in the cloudy world. Art which is not also a profession, and supported by a healthy practical life, art which knows not the necessity of earning the daily bread, loses the best part of its force and its reality. It is only the flower of luxury. It is not—(what in the greatest, the only great, artists it is)—the sacred fruit of human suffering.—Olivier felt a disinclination to work, a desire to ask: "What is the good of it?" There was nothing to make him write: he would let his pen run on, he dawdled about, he had lost his bearings. He had lost touch with his own class of men and women patiently plowing the hard furrow of their lives. He had fallen into a different world, where he was ill at ease, though on the whole he did not find it unpleasant. Weak, amiable, and curious, he fell complacently to observing that world which was entirely lacking in consistency, though it was not without charm; and he did not see that little by little he was becoming contaminated by it: it was undermining his faith.

No doubt the transformation was not so rapid in him as it was in Jacqueline.—Women have the terrible privilege of being able suddenly to undergo a complete change. The way in which they suddenly die and then as suddenly come to life again is appalling to those who love them. And yet it is perfectly natural for a human being who is full of life without the curb of the will not to be to-morrow what it is to-day. A woman is like running water. The man who loves her must follow the stream or divert it into the channel of his own life. In both cases there must be change. But it is a dangerous experience, and no man really knows love until he has gone through it. And its harmony is so delicate during the first years of married life that often the very smallest change in either husband or wife is enough to destroy their whole relationship. How much more perilous, then, is a sudden change of fortune or of circumstance! They must needs be very strong—or very indifferent to each other—to withstand it.