And her eyes were lit up by the happiness of having saved her child. That was all. But they felt that the bond between them had become sacred.

On her return to Paris after Lionello's long convalescence, she took a little house at Passy, and did not worry any more about "avoiding scandal": she felt brave enough to dare opinion for her friend's sake. Their life henceforth was so intimately linked that it would have seemed cowardly to her to conceal the friendship which united them at the—inevitable—risk of having it slandered. She received Christophe at all hours of the day, and was seen with him out walking and at the theater: she spoke familiarly to him in company. Colette thought they were making themselves too conspicuous. Grazia would stop her hints with a smile, and quietly go her way.

And yet she had given Christophe no new right over her. They were nothing more than friends: he always addressed her with the same affectionate respect. But they hid nothing from each other: they consulted each other about everything: and insensibly Christophe assumed a sort of paternal authority in the house: Grazia listened to and followed his advice. She was no longer the same woman since the winter she had spent in the sanatorium; the anxiety and fatigue had seriously tried her health, which, till then, had been sturdy. Her soul was affected by it. In spite of an occasional lapse into her old caprices, she had become mysteriously more serious, more reflective, and was more constantly desirous of being kind, of learning and not hurting any one. Every day saw her more softened by Christophe's affection, his disinterestedness, and the purity of his heart: and she was thinking of one day giving him the great happiness of which he no longer dared to dream, that of becoming his wife.

He had never broached the subject again after her first refusal, for he thought he had no right to do so. But regretfully he clung to his impossible hope. Though he respected what his friend had said, he was not convinced by her disillusioned attitude towards marriage: he persisted in believing that the union of two people who love each other, profoundly and devotedly, is the height of human happiness.—His regrets were revived by coming in contact once more with the Arnauds.

Madame Arnaud was more than fifty. Her husband was sixty-five or sixty-six. Both seemed to be older. He had grown stout: she was very thin and rather shrunken: spare though she had been in the old days, she was now just a wisp of a woman. After Arnaud's retirement they had gone to live in a house in the country. They had no link with the life of the time save the newspaper, which in the torpor of their little town and their drowsy life brought them the tardy echo of the voice of the world. Once they saw Christophe's name. Madame Arnaud wrote him a few affectionate, rather ceremonious words, to tell him how glad they were of his fame. He took the train at once without letting them know.

He found them in the garden, dozing under the round canopy of an ash, on a warm summer afternoon. They were like Boecklin's old couple, sleeping hand in hand, in an arbor. Sun, sleep, old age overwhelm them: they are falling, they are already half-buried in the eternal dream. And, as the last gleam of their life, their tenderness persists to the end. The clasp of their hands, the dying warmth of their bodies....—They were delighted to see Christophe, for the sake of all the memories of the past he brought with him. They talked of the old days, which at that distance seemed brilliant and full of light.

Arnaud loved talking, but he had lost his memory for names. Madame Arnaud whispered them to him. She liked saying nothing and preferred listening to talking: but the image of the old times had been kept alive and clear in her silent heart: in glimmers they would appear sharply before her like shining pebbles in a stream. There was one such memory that Christophe more than once saw reflected in her eyes as she looked at him with affectionate compassion: but Olivier's name was not pronounced. Old Arnaud plied his wife with touching, awkward little attentions; he was fearful lest she should catch cold, or be too hot; he would gaze hungrily with anxious love at her dear, faded face, and with a weary smile she would try to reassure him. Christophe watched them tenderly, with a little envy.... To grow old together. To love in the dear companion even the wear of time. To say: "I know those lines round her eyes and nose. I have seen them coming. I know when they came. Her scant gray hair has lost its color, day by day, in my company, something because of me, alas! Her sweet face has swollen and grown red in the fires of the weariness and sorrow that have consumed us. My soul, how much better I love thee for that thou hast suffered and grown old with me. Every one of thy wrinkles is to me as music from the past...." The charm of these old people, who, after the long vigil of life, spent side by side, go side by side to sleep in the peace of the night! To see them was both sweet and profitable and sorrowful for Christophe. Oh! How lovely had life and death been thus!...

When he next saw Grazia, he could not help telling her of his visit. He did not tell her of the thoughts roused in him by his visit. But she divined them. He was tender and wistful as he spoke. He turned his eyes away from her and was silent every now and then. She looked at him and smiled, and Christophe's unease infected her.

That evening, when she was alone in her room, she lay dreaming. She went over the story Christophe had told her; but the image she saw through it was not that of the old couple sleeping under the ash: it was the shy, ardent dream of her friend. And her heart was filled with love for him. She lay in the dark and thought:

"Yes. It is absurd, criminal and absurd, to waste the opportunity for such happiness. What joy in the world can equal the joy of making the man you love happy?... What! Do I love him?..."

She was silent, deeply moved, listening to the answer of her heart.

"I love him."

Just then a dry, hard, hasty cough came from the next room where the children were sleeping. Grazia pricked her ears: since the boy's illness she had always been anxious. She called out to him. He made no reply, and went on coughing. She sprang from her bed and went to him. He was irritated, and moaned, and said that he was not well, and broke out coughing again.

"What is the matter?"

He did not reply, but only groaned that he was ill.

"My darling, please tell me what is the matter?"

"I don't know."

"Is it here?"

"Yes. No. I don't know. I am ill all over."

On that he had a fresh fit of coughing, violent and exaggerated. Grazia was alarmed: she had a feeling that he was forcing himself to cough: but she was ashamed of her thought, as she saw the boy sweating and choking for breath. She kissed him and spoke to him tenderly: he seemed to grow calmer; but as soon as she tried to leave him he broke out coughing again. She had to stay shivering by his bedside, for he would not even allow her to go away to dress herself, and insisted on her holding his hand; and he would not let her go until he fell asleep again. Then she went to bed, chilled, uneasy, harassed. And she found it impossible to gather up the threads of her dreams.

The boy had a singular power of reading his mother's thoughts. This instinctive genius is often—though seldom in such a high degree—to be found in creatures of the same stock: they hardly need to look at each other to know each other's thoughts: they can guess them by the breathing, by a thousand imperceptible signs. This natural aptness, which is fortified by living together, was in Lionello sharpened and refined by his ever wakeful malevolence. He had the insight of the desire to hurt. He detested Christophe. Why? Why does a child take a dislike to a person who has never done him any harm? It is often a matter of chance. It is enough for a child to have begun by persuading himself that he detests some one, for it to become a habit, and the more he is argued with the more desperately he will cling to it. But often, again, there are deeper reasons for it, which pass the child's understanding: he has no idea of them.... From the first moment when he saw Christophe, the son of Count Bereny had a feeling of animosity towards the man whom his mother had loved. It was as though he had instinctively felt the exact moment when Grazia began to think of marrying Christophe. From that moment on he never ceased to spy upon them. He was always between them, and refused to leave the room whenever Christophe came; or he would manage to burst in upon them when they were sitting together. More than that, when his mother was alone, thinking of Christophe, he seemed to divine her thoughts. He would sit near her and watch her. His gaze would embarrass her and almost make her blush. She would get up to conceal her unease.—He would take a delight in saying unkind things about Christophe in her presence. She would bid him be silent, but he would go on. And if she tried to punish him, he would threaten to make himself ill. That was the strategy he had always used successfully since he was a child. When he was quite small, one day when he had been scolded, he had, out of revenge, undressed himself and lain naked on the floor so as to catch cold.—Once, when Christophe brought a piece of music that he had composed for Grazia's birthday, the boy took the manuscript and hid it. It was found in tatters in a wood-box. Grazia lost her patience and scolded him severely. Then he wept and howled, and stamped his feet, and rolled on the ground, and had an attack of nerves. Grazia was terrified, and kissed and implored him, and promised to do whatever he wanted.

From that day on he was the master: for he knew it: and very frequently he had recourse to the weapon with which he had succeeded. There was never any knowing how far his attacks were natural and how far counterfeit. Soon he was not satisfied with using them vengefully when he was opposed in any way, but took to using them out of spite whenever his mother and Christophe planned to spend the evening together. He even went so far as to play his dangerous game out of sheer idleness, or theatricality, to discover the extent of his power. He was extraordinarily ingenious in inventing strange, nervous accidents; sometimes in the middle of dinner he would be seized with a convulsive trembling, and upset his glass or break his plate; sometimes, as he was going upstairs, he would clutch at the banisters with his hand: his fingers would stiffen: he would pretend that he could not open them again; or he would have a sharp pain in his side and roll about, howling; or he would choke. Of course, in the end he developed a genuine nervous illness. Christophe and Grazia were at their wits' end. Their peaceful meetings—their quiet talks, their readings, their music, which were as a festival to them—all their humble happiness was henceforth disturbed.

Every now and then, however, the little imp would, give them a respite, partly because he was tired of his play-acting, partly because his child's nature took possession of him again, and made him think of something else. (He was sure now that he had won the day.)

Then, quickly, quietly, they would seize their opportunity. Every hour that they could steal in this way was the more precious to them as they could never be sure of enjoying it to the end. How near they felt to each other! Why could they not always be so!... One day Grazia herself confessed to her regret. Christophe took her hand.

"Yes. Why?" he asked.

"You know why, my dear," she said, with a miserable smile.

Christophe knew. He knew that she was sacrificing their happiness to her son: he knew that she was not deceived by Lionello's lies, that she still adored him: he knew the blind egoism of such domestic affections which make the best pour out their reserves of devotion to the advantage of the bad or mediocre creatures of their blood, so that there is nothing left for them to give to those who would be more worthy, whom they love best, but who are not of their blood. And although he was irritated by it, although there were times when he longed to kill the little monster who was destroying their lives, yet he bowed his head in silence, and understood that Grazia could not do otherwise.

So they renounced their life without vain recrimination. But if the happiness which was their right could be snatched from them, nothing could prevent the union of their hearts. Their very renunciation, their common sacrifice, held them by bonds stronger than those of the flesh. Each confided the sorrow of it all to the other, passed over the burden of it, and took on the other's suffering: so even their sorrow became joy. Christophe called Grazia "his confessor." He did not hide from her the weaknesses from which his pride had to suffer: rather he accused himself with too great contrition, and she would smilingly soothe his boyish scruples. He even confessed to her his material poverty; but he could only bring himself to do that after it had been agreed between them that she should neither offer him, nor he accept from her, any help. It was the last barrier of pride which he upheld and she respected. In place of the well-being which she could not bring into her friend's life, she found many ways of filling it with what was infinitely more precious to him—namely, her tenderness. He felt the breath of it all about him, during every hour of the day: he never opened his eyes in the morning, never closed them at night, without a prayer of love and adoration. And when she awoke, or at night, as often happened, lay for hours without sleeping, she thought:

"My dear is thinking of me."

And a great peace came upon them and surrounded them.

* * * * *

However, her health had given way. Grazia was constantly in bed, or had to spend the day lying on a sofa. Christophe used to go every day and read to her, and show her his new work. Then she would get up from the chair, and limp to the piano, for her feet were swollen. She would play the music he had brought. It was the greatest joy she could give him. Of all his pupils she and Cecile were the most gifted. But while Cecile had an instinctive feeling for music, with hardly any understanding of it, to Grazia it was a lovely harmonious language full of meaning for her. The demoniac quality in life and art escaped her altogether: she brought to bear on it the clarity of her intelligence and heart. Christophe's genius was saturated with her clarity. His friend's playing helped him to understand the obscure passions he had expressed. With closed eyes he would listen, and follow her, and hold her by the hand, as she led him through the maze of his own thoughts. By living in his music through Grazia's soul, he was wedded to her soul and possessed it. Prom this mysterious conjugation sprang music which was the fruit of the mingling of their lives. One day, as he brought her a collection of his works, woven of his substance and hers, he said:

"Our children."

Theirs was an unbroken communion whether they were together or apart; sweet were the evenings spent in the peace and quiet of the old house, which was a fit setting for the image of Grazia, where the silent, cordial servants, who were devoted to Christophe, extended to him a little of the respectful affection they had for their mistress. Joyous was it to listen to the song of the fleeting hours, and to see the tide of life ebbing away.... A shadow of anxiety was thrown on their happiness by Grazia's failing health. But, in spite of her little infirmities, she was so serene that her hidden sufferings did but heighten her charm. She was his "liebe, leidende, und doch so ruhrende, heitre Freundin" ("his dear, suffering, touching friend, always so bright and cheerful"). And sometimes, in the evening, when he left her with his heart big with love so that he could not wait until the morrow, he would write:

"Liebe, liebe, liebe, liebe, liebe Grazia...."

Their tranquillity lasted for months. They thought it would last forever. The boy seemed to have forgotten them: his attention was distracted by other things. But after this respite he returned to them and never left them again. The horrible little boy had determined to part his mother and Christophe. He resumed his play-acting. He did not set about it upon any premeditated plan, but, from day to day, followed the whimsies of his spite. He had no idea of the harm he might be doing: he only wanted to amuse himself by boring other people. He never relaxed his efforts until he had made Grazia promise to leave Paris and go on a long journey. Grazia had no strength to resist him. Besides, the doctors advised her to pay a visit to Egypt. She had to avoid another winter in the northern climate. Too many things had tried her health: the moral upheaval of the last few years, the perpetual anxiety about her son's health, the long periods of uncertainty, the struggle that had taken place in her without her giving any sign of it, the sorrow of sorrows that she was inflicting on her friend. To avoid adding to the trouble he divined in her, Christophe hid his own grief at the approach of the day of parting: he made no effort to postpone it; and they were outwardly calm, and, though inwardly they were very far from it, yet they succeeded in forcing it upon each other.

The day came. A September morning. They had left Paris together in the middle of July, and spent their last weeks in Switzerland in a mountain hotel, near the place where they had met again six years ago.

They were unable to go out the last five days: the rain came down in unceasing torrents: they were almost alone in the hotel, for all the other travelers had fled. The rain stopped on their last morning, but the mountains were still covered with clouds. The children went on ahead with the servants in another carriage. She drove off. He accompanied her to the place where the road began to descend in steep windings to the plain of Italy. The mist came in under the hood of the carriage. They were very close together, and they said no word: they hardly looked at each other. A strange light, half-day, half-night, wrapped them round.... Grazia's breath left little drops of water on her veil. He pressed her little hand, warm under her cold glove. Their faces came together. Through her wet veil he kissed her dear lips.

They came to the turn of the road. He got down, and the carriage plunged on into the mist and disappeared. For a long time he could hear the rumbling of the wheels and the horses' hoofs. Great masses of white mist rolled over the fields. Through the close tracery of the branches the dripping trees dropped water. Not a breath of wind. The mist was stifling life. Christophe stopped, choking.... There was nothing now. Everything had gone....

He took in a long breath, filling his lungs with the mist, and walked on. Nothing passes for him who does not pass.



III

Absence adds to the power of those we love. The heart retains only what is dear to us in them. The echo of each word coming through space from the distant friend, rings out in the silence, faithfully answering.

The correspondence of Christophe and Grazia took on the serious and restrained tone of a couple who are no longer in the dangerous period of trial of love, but, having passed it, feel sure of the road and march on hand in hand. Each was strong to sustain and direct the other, weak and yielding to the other's support and direction.

Christophe returned to Paris. He had vowed never to go there again. But what are such vows worth? He knew that he would find there the shade of Grazia. And circumstances, conspiring with his secret desires against his will, showed him a new duty to fulfil in Paris. Colette, well informed as to society gossip, told Christophe that his young friend Jeannin was making a fool of himself. Jacqueline, who had always been weak in her dealings with her son, could not hold him in check. She herself was passing through a strange crisis, and was too much occupied with herself to pay much heed to him.

Since the unhappy adventure which had destroyed Olivier's marriage and life, Jacqueline had lived a very worthy life. She withdrew from Parisian society, which, after imposing on her a hypocritical sort of quarantine, had made fresh advances to her, which she had rejected. She was not at all ashamed of what she had done as far as these people were concerned: she thought she had no reason to account to them for it, for they were more worthless than she: what she had done openly, half the women she knew did by stealth, under cover of their homes. She suffered only from the thought of the wrong she had done her nearest and dearest, the only man she had loved. She could not forgive herself for having, in so poor a world, lost an affection like his.

Her regrets, and her sorrow, grew less acute with time. There were left only a sort of mute suffering, a humiliated contempt for herself and others, and the love of her child. This affection, into which she poured all her need of love, disarmed her before him; she could not resist Georges's caprices. To excuse her weakness she persuaded herself that she was paying for the wrong she had done Olivier. She had alternate periods of exalted tenderness and weary indifference: sometimes she would worry Georges with her exacting, anxious love, and sometimes she would seem to tire of him, and she let him do as he liked. She admitted to herself that she was bringing him up badly, and she would torment herself with the admission; but she made no change. When, as she rarely did, she tried to model her principles of conduct on Olivier's way of thinking, the result was deplorable. At heart she wished to have no authority over her son save that of her affection. And she was not wrong: for between these two, however similar they might be, there were no bonds save those of the heart. Georges Jeannin was sensible of his mother's physical charm: he loved her voice, her gestures, her movements, her grace, her love. But in mind he was conscious of strangerhood to her. She only saw it as he began to grow into a man, when he turned from her. Then she was amazed and indignant, and attributed the estrangement to other feminine influences: and, as she tried awkwardly to combat them, she only estranged him more. In reality, they had always lived, side by side, each preoccupied with totally different interests, deceiving themselves as to the gulf that lay between them, with the aid of their common surface sympathies and antipathies, which disappeared when the man began to spring forth from the boy (that ambiguous creature, still impregnated with the perfume of womanhood). And bitterly Jacqueline would say to her son:

"I don't know whom you take after. You are not like your father or me."

So she made him feel all that lay between them; and he took a secret pride that was yet feverish and uneasy.

The younger generation has always a keener sense than the elder of the things that lie between them; they need to gain assurance of the importance of their existence, even at the cost of injustice or of lying to themselves. But this feeling varies in its acuteness from one period to another. In the classic ages when, for a time, the balance of the forces of a civilization are realized,—those high plateaux ending on all sides with steep slopes—the difference in level is not so great from one generation to another. But in the ages of renascence or decadence, the young men climbing or plunging down the giddy slopes, leave their predecessors far behind.—Georges, like the other young men of his time, was ascending the mountain.

He was superior neither in character nor in mind: he had many aptitudes, none of which rose above the level of elegant mediocrity. And yet, without any effort on his part, he found himself at the outset of his career several grades higher than his father, who, in his short life, had expended an incalculable amount of intellect and energy.

Hardly were the eyes of his mind opened upon the light of day than he saw all round him the heaped-up darkness, pierced by luminous gleams, the masses of knowledge and ignorance, warring truths, contradictory errors, in which his father and the men of his father's generation had feverishly groped their way. But at the same time he became conscious of a weapon in his power which they had never known: his force....

Whence did he have it?... Who can tell the mystery of the resurrections of a race, sleeping, worn out, which suddenly awakes brimming like a mountain torrent in the spring!... What would he do with his force? Use it in his turn to explore the inextricable thickets of modern thought? They had no attraction for him. He was oppressed by the menacing dangers which lurked in them. They had crushed his father. Rather than renew that experience and enter the tragic forest he would have set fire to it. He had only to glance at the books of wisdom or sacred folly which had intoxicated Olivier: the Nihilist pity of Tolstoi, the somber destructive pride of Ibsen, the frenzy of Nietzsche, the heroic, sensual pessimism of Wagner. He had turned away from them in anger and terror. He hated the realistic writers who, for half a century, had killed the joy of art. He could not, however, altogether blot out the shadows of the sorrowful dream in which he had been cradled. He would not look behind him, but he well knew that the shadow was there. He was too healthy to seek a counter-irritant to his uneasiness in the lazy skepticism of the preceding epoch: he detested the dilettantism of men like Renan and Anatole France, with their degradation of the free intellect, their joyless mirth, their irony without greatness: a shameful method, fit for slaves, playing with the chains which they are impotent to break.

He was too vigorous to be satisfied with doubt, too weak to create the conviction which, with all his soul, he desired. He asked for it, prayed for it, demanded it. And the eternal snappers-up of popularity, the great writers, the sham thinkers at bay, exploited this imperious and agonized desire, by beating the drums and shouting the clap-trap of their nostrum. From trestles, each of these Hippocrates bawled that his was the only true elixir, and decried all the rest. Their secrets were all equally worthless. None of these pedlars had taken the trouble to find a new recipe. They had hunted about among their old empty bottles. The panacea of one was the Catholic Church: another's was legitimate monarchy: yet another's, the classic tradition. There were queer fellows who declared that the remedy for all evils lay in the return to Latin. Others seriously prognosticated, with an enormous word which imposed on the herd, the domination of the Mediterranean spirit. (They would have been just as ready at some other time to talk of the Atlantic spirit.) Against the barbarians of the North and the East they pompously set up the heirs of a new Roman Empire.... Words, words, all second-hand. The refuse of the libraries scattered to the winds.—Like all his comrades, young Jeannin went from one showman to another, listened to their patter, was sometimes taken in by it, and entered the booth, only to come out disappointed and rather ashamed of having spent his time and his money in watching old clowns buffooning in shabby rags. And yet, such is youth's power of illusion, such was his certainty of gaining certainty, that he was always taken in by each new promise of each new vendor of hope. He was very French, of a hypercritical temper, and an innate lover of order. He needed a leader and could bear none; his pitiless irony always riddled them through and through.

While he was waiting for the advent of a leader who should give him the key to the riddle ... he had no time to wait. He was not the kind of man, like his father, to be satisfied with the lifelong search for truth. With or without a motive, he needed always to make up his mind, to act, to turn to account, to use his energy. Traveling, the delight of art, and especially of music, with which he had gorged himself, had at first been to him an intermittent and passionate diversion. He was handsome, ardent, precocious, beset with temptations, and he early discovered the outwardly enchanting world of love, and plunged into it with an unbridled, poetic, greedy joy. Then this impertinently naive and insatiable cherub wearied of women: he needed action, so he gave himself up uncontrollably to sport. He tried everything, practised everything. He was always going to fencing and boxing matches: he was the French champion runner and high-jumper, and captain of a football team. He competed with a number of other crazy, reckless, rich young men like himself in ridiculous, wild motor races. Finally he threw up everything for the latest fad, and was drawn into the popular craze for flying machines. At the Rheims meetings he shouted and wept for joy with three hundred thousand other men; he felt that he was one with the whole people in a religious jubilation; the human birds flying over their heads bore them upwards in their flight: for the first time since the dawn of the great Revolution the vast multitude had raised their eyes to the heavens and seen them open.—To his mother's terror young Jeannin declared that he was going to throw in his lot with the conquerors of the air. Jacqueline implored him to give up his perilous ambition. She ordered him to do so. He took the bit between his teeth. Christophe, in whom Jacqueline thought she had found an ally, only gave the boy a little prudent advice, which he felt quite sure Georges would not follow (for, in his place, he would not have done so). He did not deem that he had any right,—even had he been able to do so—to fetter the healthy and normal expansion of the boy's vitality, which, if it had been forced into inaction, would have been perverted to his destruction.

Jacqueline could not reconcile herself to seeing her son leave her. She had vainly thought that she had renounced love, for she could not do without the illusion of love; all her affections, all her actions were tinged with it. There are so many mothers who expend on their sons all the secret ardor which they have been unable to give forth in marriage—or out of it! And when they see how easily their sons do without them, when suddenly they understand that they are not necessary to them, they go through the same kind of crisis as befalls them upon the betrayal of a lover, or the disillusion of love.—Once more Jacqueline's whole existence crumbled away. Georges saw nothing. Young people never have any idea of the tragedies of the heart going on around them: they have no time to stop and see them: and they do not wish to see: a selfish instinct bids them march straight on without looking to right or left.

Jacqueline was left alone to gulp down this new sorrow. She only emerged from it when her grief was worn out, worn out like her love. She still loved her son, but with a distant, disillusioned affection, which she knew to be futile, and she lost all interest in herself and him. So she dragged through a wretched, miserable year, without his paying her any heed. And then, poor creature, since her heart could neither live nor die without love, she was forced to find something to love. She fell victim to a strange passion, such as often takes possession of women, and especially, it would seem, of the noblest and most inaccessible, when maturity comes and the fair fruit of life has not been gathered. She made the acquaintance of a woman who, from their first meeting, gained an ascendancy over her through her mysterious power of attraction.

This woman was about her own age, and she was a nun. She was always busy with charitable works. A tall, fine, rather stout woman, dark, with rather bold, handsome features, sharp eyes, a big, sensitive, ever-smiling mouth, and a masterful chin. She was remarkably intelligent, and not at all sentimental; she had the malice of a peasant, a keen business sense, and a southern imagination, which saw everything in exaggeration, though always exactly to scale when necessary: she was a strangely enticing mixture of lofty mysticism and lawyer's cunning. She was used to domination, and the exercise of it was a habit with her. Jacqueline was drawn to her at once. She became enthusiastic over her work, or, at least, believed herself to be so. Sister Angele knew perfectly what was the object of her passion: she was used to provoking them; and without seeming to notice them, she used skilfully to turn them to account for her work and the glory of God. Jacqueline gave up her money, her will, her heart. She was charitable, so she believed, through love.

It was not long before her infatuation was observed. She was the only person not to realize it. Georges's guardian became anxious. Georges was too generous and too easy to worry about money matters, though he saw his mother's subjection, and was shocked by it. He tried, too late in the day, to resume his old intimacy with her, and saw that a veil was drawn between them; he blamed the occult influence for it, and, both against his mother and the nun, whom he called an intriguer, he conceived a feeling of irritation which he made no attempt to disguise: he could not admit a stranger to his place in a heart that he had regarded as his natural right. It never occurred to him that his place was taken because he had left it. Instead of trying patiently to win it back, he was clumsy and cruel. Quick words passed between mother and son, both of whom were hasty and passionate, and the rupture grew marked. Sister Angele established her ascendancy over Jacqueline, and Georges rushed away and kicked over the traces. He plunged into a restless, dissipated life; gambled, lost large sums of money; he put a certain amount of exaggeration into his extravagances, partly for his own pleasure and partly to counterbalance his mother's extravagances.—He knew the Stevens-Delestrades. Colette had marked down the handsome boy, and tried the effect on him of her charms, which she never wearied of using. She knew of all Georges's freaks, and was vastly entertained by them. But her sound common sense and the real kindness concealed beneath her frivolity, helped her to see the danger the young idiot was running. And, being well aware that it was beyond her to save him, she warned Christophe, who came at once.

Christophe was the only person who had any influence over young Jeannin. His influence was limited and very intermittent, but all the more remarkable in that it was difficult to explain. Christophe belonged to the preceding generation against which Georges and his companions were violently in reaction. He was one of the most conspicuous representatives of that period of torment whose art and ideas rouse in them a feeling of suspicion and hostility. He was unmoved by the new Gospels and the charms of the minor prophets and the old cheapjacks who were offering the young men an infallible recipe for the salvation of the world, Rome and France. He was faithful to the free faith, free of all religion, free of all parties, free of all countries, which was no longer the fashion—or had never been fashionable. Finally, though he was altogether removed from national questions, he was a foreigner in Paris at a time when all foreigners were regarded by the natives of the country as barbarians.

And yet, young Jeannin, joyous, easy-going, instinctively hostile to everything that might make him sad or uneasy, ardent in pursuit of pleasure, engrossed in violent sports, easily duped by the rhetoric of his time, in his physical vigor and mental indolence inclined to the brutal doctrines of French action, nationalist, royalist, imperialist—(he did not exactly know)—in his heart reflected only one man: Christophe. His precocious experience and the delicate tact he had inherited from his mother made him see (without being in the least disturbed by it) how little worth was the world that he could not live without, and how superior to it was Christophe. From Olivier he had inherited a vague uneasiness, which visited him in sudden fits that never lasted very long, a need of finding and deciding on some definite aim for what he was doing. And perhaps it was from Olivier that he had also inherited the mysterious instinct which drew him towards the man whom Olivier had loved.

He used to go and see Christophe. He was expansive by nature, and of a rather chattering temper, and he loved indulging in confidences. He never troubled to think whether Christophe had time to listen to him. But Christophe always did listen, and never gave any sign of impatience. Only sometimes he would be rather absent-minded when Georges had interrupted him in his work, but never for more than a few minutes, when his mind would be away putting the finishing touches to its work: then it would return to Georges, who never noticed its absence. He used to laugh at the evasion, and come back like a man tiptoeing into the room, so as not to be heard. But once or twice Georges did notice it, and then he said indignantly:

"But you are not listening!"

Then Christophe was ashamed: and docilely he would listen to Georges's story, and try to win his forgiveness by redoubled attention. The stories were often very funny: and Christophe could not help laughing at the tale of some wild freak: for Georges kept nothing back: his frankness was disarming.

Christophe did not always laugh. Georges's conduct sometimes pained him. Christophe was no saint: he knew he had no right to moralize over anybody. Georges's love affairs, and the scandalous waste of his fortune in folly, were not what shocked him most. What he found it most hard to forgive was the light-mindedness with which Georges regarded his sins: they were no burden to him: he thought them very natural. His conception of morality was very different from Christophe's. He was one of those young men who are fain to see in the relation of the sexes nothing more than a game that has no moral aspect whatever. A certain frankness and a careless kindliness were all that was necessary for an honest man. He was not troubled with Christophe's scruples. Christophe would wax wrath. In vain did he try not to impose his way of feeling upon others: he could not be tolerant, and his old violence was only half tamed. Every now and then he would explode. He could not help seeing how dirty were some of Georges's intrigues, and he used bluntly to tell him so. Georges was no more patient than he, and they used to have angry scenes, after which they would not see each other for weeks. Christophe would realize that his outbursts were not likely to change Georges's conduct, and that it was perhaps unjust to subject the morality of a period to the moral ideas of another generation. But his feeling was too strong for him, and on the next opportunity he would break out again. How can one renounce the faith for which one has lived? That were to renounce life. What is the good of laboring to think thoughts other than one's own, to be like one's neighbor or to meddle with his affairs? That leads to self-destruction, and no one is benefited by it. The first duty is to be what one is, to dare to say: "This is good, that bad." One profits the weak more by being strong than by sharing their weakness. Be indulgent, if you like, towards weakness and past sins. But never compromise with any weakness....

Yes: but Georges never by any chance consulted Christophe about anything he was going to do:—(did he know himself?).—He only told him about things when they were done.—And then?... Then, what could he do but look in dumb reproach at the culprit, and shrug his shoulders and smile, like an old uncle who knows that he is not heeded?

On such occasions they would sit for several minutes in silence. Georges would look up at Christophe's grave eyes, which seemed to be gazing at him from far away. And he would feel like a little boy in his presence. He would see himself as he was, in that penetrating glance, which was shot with a gleam of malice: and he was not proud of it.

Christophe hardly ever made use of Georges's confidences against him; it was often as though he had not heard them. After the mute dialogue of their eyes, he would shake his head mockingly, and then begin to tell a story without any apparent bearing on the story he had just been told, some story about his life, or some one else's life, real or fictitious. And gradually Georges would see his double (he recognized it at once) under a new light, grotesquely, ridiculously postured, passing through vagaries similar to his own. Christophe never added any commentary. The extraordinary kindliness of the story-teller would produce far more effect than the story. He would speak of himself just as he spoke of others, with the same detachment, the same jovial, serene humor. Georges was impressed by his tranquillity. It was for this that he came. When he had unburdened himself of his light-hearted confession, he was like a man stretching out his limbs and lying at full length in the shade of a great tree on a summer afternoon. The dazzling fever of the scorching day would fall away from him. Above him he would feel the hovering of protecting wings. In the presence of this man who so peacefully bore the heavy burden of his life, he was sheltered from his own inward restlessness. He found rest only in hearing him speak. He did not always listen: his mind would wander, but wheresoever it went, it was surrounded by Christophe's laughter.

However, he did not understand his old friend's ideas. He used to wonder how Christophe could bear his soul's solitude, and dispense with being bound to any artistic, political, or religious party, or any group of men. He used to ask him: "Don't you ever want to take refuge in a camp of some sort?"

"Take refuge?" Christophe would say with a laugh. "It is much too good outside. And you, an open-air man, talk of shutting yourself up?"

"Ah!" Georges would reply. "It is not the same thing for body and soul. The mind needs certainty: it needs to think with others, to adhere to the principles admitted by all the men of the time. I envy the men of old days, the men of the classic ages. My friends are right in their desire to restore the order of the past."

"Milksop!" said Christophe. "What have I to do with such disheartened creatures?"

"I am not disheartened," protested Georges indignantly. "None of us is that."

"But you must be," said Christophe, "to be afraid of yourselves. What! You need order and cannot create it for yourselves? You must always be clinging to your great-grandmother's skirts! Dear God! You must walk alone!"

"One must take root," said Georges, proudly echoing one of the pontiffs of the time.

"But do you think the trees need to be shut up in a box to take root? The earth is there for all of us. Plunge your roots into it. Find your own laws. Look to yourself."

"I have no time," said Georges.

"You are afraid," insisted Christophe.

Georges indignantly denied it, but in the end he agreed that he had no taste for examining his inmost soul: he could not understand what pleasure there could be in it: there was the danger of falling over if you looked down into the abyss.

"Give me your hand," said Christophe.

He would amuse himself by opening the trap-door of his realistic, tragic vision of life. Georges would draw away from it, and Christophe would shut it down again, laughing:

"How can you live like that?" Georges would ask.

"I am alive, and I am happy," Christophe would reply.

"I should die if I were forced to see things like that always."

Christophe would slap him on the shoulder:

"Fine athlete you are!... Well, don't look, if your head is not strong enough. There is nothing to make you, after all. Go ahead, my boy. But do you need a master to brand your shoulder, like a sheep? What is the word of command you are waiting for? The signal was given long ago. The signal to saddle has sounded, and the cavalry is on the march. Don't worry about anything but your horse. Take your place! And gallop!"

"But where to?" asked Georges.

"With your regiment to the conquest of the world. Conquer the air, master the elements, dig the last entrenchment of Nature, set back space, drive back death....

"Expertus vacuum Dadalus aera...."

"... Do you know that, you champion of Latin? Can you even tell me what it means?

"Perrupit Acheronta...."

"That is your lot, you happy conquistadores!"

So clearly did he show the duty of heroic action that had devolved upon the new generation, that Georges was amazed, and said:

"But if you feel that, why don't you come with us?"

"Because I have a different task. Go, my boy, do your work. Surpass me, if you can. But I stay here and watch.... Have you read the Arabian Night in which a genii, as tall as a mountain, is imprisoned in a bottle sealed with the seal of Solomon?... The genii is here, in the depths of our soul, the soul into which you are afraid to look down. I and the men of my time spent our lives in struggling with him: we did not conquer him: he conquered us. At present we are both recovering our breath, and, with no rancor nor fear, we are looking at each other, satisfied with the struggles in which we have been engaged, waiting for the agreed armistice to expire. You are profiting by the armistice to gather your strength and cull the world's beauty. Be happy. Enjoy the lull. But remember that one day, you or your children, on your return from your conquests, will have to come back to the place where I stand and resume the combat, with new forces, against the genii by whose side I watch and wait. And the combat will endure with intervals of armistice until one of the two (perhaps both) will be laid low. It is your duty to be stronger and happier than we!...—Meanwhile, indulge in your sport if you like: stiffen your muscles and strengthen your heart: and do not be so foolish as to waste your impatient vigor upon silly trifles: you belong to an age that, if you are patient, will find a use for it."

* * * * *

Georges did not remember much of what Christophe said to him. He was open-minded enough to grasp Christophe's ideas, but they escaped him at once. He forgot everything before he reached the bottom of the stairs. But all the same, he had a feeling of well-being, which endured when the memory of the words that had produced it had long been wiped out. He had a real veneration for Christophe. He believed in nothing that Christophe believed in (at heart he laughed at everything and had no belief). But he would have broken the head of any man who took upon himself to speak ill of his old friend.

Fortunately, no one did speak ill of him in his presence, otherwise he would have been kept busy.

* * * * *

Christophe had accurately forecast the next change of the wind. The new ideal of the new French music was very different from his own; but while that was a reason the more for Christophe to sympathize with it, its exponents had no sympathy with him. His vogue with the public was not likely to reconcile the most hungry for recognition of these young men to him; they were meagerly fed, and their teeth were long, and they bit. Christophe was not put out by their spite.

"How thoroughly they do it!" he would say. "These boys are cutting their teeth...."

He was inclined to prefer them to the other puppies who fawned on him because of his success—those people of whom D'Aubigne writes, who "when a mastiff plunges his nose into a butter-pot, come and lick his whiskers by way of congratulation."

He had a piece accepted at the Opera. Almost at once it was put into rehearsal. Through a newspaper attack Christophe learned that a certain young composer's piece had been postponed for it. The writer of the article waxed indignant over such abuse of power, and made Christophe responsible for it.

Christophe went to see the manager, and said:

"Why didn't you tell me? You must not do it. You must put on the opera you accepted before mine."

The manager protested, began to laugh, refused, covered Christophe's character, work, genius, with flattery, and said that the other man's work was beneath contempt, and assured him that it was worthless and would not make a sou.

"Why did you accept it then?"

"One can't always do as one likes. Every now and then one has to throw a sop to public opinion. Formerly these young men could shout as much as they pleased. And no one listened to them. But now they are able to let loose on us the nationalist Press, which roars 'Treason' and calls you a disloyal Frenchman because you happen to have the misfortune to be unable to go into ecstasies over the younger school. The younger school! Let's look at it!... Shall I tell you what I think of it? I'm sick of it! So is the public. They bore us with their Oremus!... There's no blood in their veins; they're like sacristans chanting Mass: their love ducts are like the De Profundis.... If I were fool enough to put on the pieces I am compelled to accept, I should ruin my theater. I accept them: that is all they can ask.—Let us talk of something serious. Your work means a full house...."

And he went on with his compliments.

Christophe cut him short, and said angrily:

"I am not taken in. Now that I am old and have 'arrived,' you are using me to suppress the young men. When I was a young man you would have suppressed me in just the same way. You must play this boy's piece, or I shall withdraw my own."

The manager threw up his hands, and said:

"But don't you see that if we did what you want, it would look as if we were giving in to these newspaper attacks?"

"What do I care?" said Christophe.

"As you please! You will be their first victim."

They put the young musician's piece into rehearsal without interrupting the preparation of Christophe's. One was in three acts, the other in two: it was arranged to include them both in one program. Christophe went to see the young man, for he wanted to be the first to give him the news. The musician was loud in his promises of eternal gratitude.

Naturally Christophe could not make the manager not devote all his attention to his piece. The interpretation and the scenery of the other were rather scamped. Christophe knew nothing about it. He asked to be allowed to be present at a few rehearsals of the young man's opera: he thought it very mediocre, as he had been told: he ventured to give a little advice which was ill-received: he gave it up then, and did not interfere again. On the other hand, the manager had made the young man admit the necessity for a little cutting to have his piece produced in time. Though the sacrifice was easily consented to at first, it was not long before the author regretted it.

On the evening of the performance the beginner's piece had no success, and Christophe's caused a sensation. Some of the papers attacked Christophe: they spoke of a trick, a plot to suppress a great young French artist: they said that his work had been mutilated to please the German master, whom they represented to be basely jealous of the coming fame of all the new men. Christophe shrugged his shoulders and thought:

"He will reply."

"He" did not reply. Christophe sent him one of the paragraphs with these words:

"Have you read this?"

The other replied:

"How sorry I am! The writer of it has always been so well disposed towards me! Really, I am very sorry. The best thing is to pay no attention to it."

Christophe laughed and thought: "He is right! The little sneak."

And he decided to forget all about it.

But chance would have it that Georges, who seldom read the papers, and that hastily, except for the sporting articles, should light on the most violent attacks on Christophe. He knew the writer. He went to the cafe where he knew he would meet him, found him, struck him, fought a duel with him, and gave him a nasty scratch on the shoulder with his rapier. Next day, at breakfast, Christophe had a letter from a friend telling him of the affair. He was overcome. He left his breakfast and hurried to see Georges. Georges himself opened the door. Christophe rushed in like a whirlwind, seized him by the arms, and shook him angrily, and began to overwhelm him with a storm of furious reproaches.

"You little wretch!" he cried. "You have fought a duel for me! Who gave you leave! A boy, a fly-by-night, to meddle in my affairs! Do you think I can't look after myself? What good have you done? You have done this rascal the honor of fighting him. He asked no more. You have made him a hero. Idiot! And if it had chanced ... (I am sure you rushed at it like a madman as usual) ... if you had been wounded, killed perhaps!... You wretch! I should never have forgiven you as long as you lived!..."

Georges laughed uproariously at this last threat, and was so overcome with merriment, that he cried:

"My dear old friend, how funny you are! Ah! You're unique! Here are you insulting me for having defended you! Next time I shall attack you. Perhaps you'll embrace me then."

Christophe stopped and hugged Georges, and kissed him on both cheeks, and then once more he said:

"My boy!... Forgive me. I am an old idiot.... But my blood boiled when I heard the news. What made you think of fighting? You don't fight with such people. Promise me at once that you will never do it again."

"I'll promise nothing of the kind," said Georges. "I shall do as I like."

"I forbid it. Do you hear? If you do it again, I'll never see you again. I shall publicly disown you in the newspapers I shall...."

"You will disinherit me, you mean."

"Come, Georges. Please. What's the good of it?"

"My dear old friend, you are a thousand times a better man than I am, and you know infinitely more: but I know these people better than you do. Make yourself easy. It will do some good. They will think a little now before they let loose their poisonous insults upon you."

"But what can these idiots do to me? I laugh at anything they may say."

"But I don't. And you must mind your own business."

Thereafter Christophe lived on tenterhooks lest some fresh article might rouse Georges's susceptibilities. It was quite comic to see him during the next few days going to a cafe and devouring the newspapers, which he never read as a rule, ready to go to all lengths (even to trickery) if he found an insulting article, to prevent it reaching Georges. After a week he recovered his equanimity. The boy was right. His action had given the yelping curs food for a moment's reflection.—And, though Christophe went on grumbling at the young lunatic who had made him waste eight working days, he said to himself that, after all, he had no right to lecture him. He remembered a certain day, not so very long ago, when he himself had fought a duel for Olivier's sake. And he thought he heard Olivier's voice saying:

"Let be, Christophe. I am giving you back what you lent me!"

* * * * *

Though Christophe took the attacks on himself lightly, there was one other man who was very far from such disinterestedness. This was Emmanuel.

The evolution of European thought was progressing swiftly. It was as though it had been accelerated by mechanical inventions and the new motors. The stock of prejudices and hopes which in old days were enough to feed humanity for twenty years was now exhausted in five years. The generations of the mind were galloping ahead, one behind the other, often one trampling the other down, with Time sounding the charge.—Emmanuel had been left behind.

The singer of French energy had never denied the idealism of his master, Olivier. Passionate as was his national feeling, he identified himself with his worship of moral greatness. If in his poetry he loudly proclaimed the triumph of France, it was because in her, by an act of faith, he adored the loftiest ideas of modern Europe, the Athena Nike, the victorious Law which takes its revenge on Force.—And now Force had awakened in the very heart of Law, and it was springing up in all its savage nakedness. The new generation, robust and disciplined, was longing for combat, and, before its victory was won, had the attitude of mind of the conqueror. This generation was proud of its strength, its thews, its mighty chest, its vigorous senses so thirsting for delight, its wings like the wings of a bird of prey hovering over the plains, waiting to swoop down and try its talons. The prowess of the race, the mad flights over the Alps and the sea, the new crusades, not much less mystic, not much less interested than those of Philip Augustus and Villehardouin, had turned the nation's head. The children of the nation who had never seen war except in books had no difficulty in endowing it with beauty. They became aggressive. Weary of peace and ideas, they hymned the anvil of battle, on which, with bloody fists, action would one day new-forge the power of France. In reaction against the disgusting abuse of systems of ideas, they raised contempt of the idea to the level of a profession of faith. Blusteringly they exalted narrow common sense, violent realism, immodest national egoism, trampling underfoot the rights of others and other nations, when it served the turn of their country's greatness. They were xenophobes, anti-democrats, and—even the most skeptical of them—set up the return to Catholicism, in the practical necessity for "digging channels for the absolute," and shutting up the infinite under the surveillance of order and authority. They were not content to despise—they regarded the gentle dotards of the preceding generation, the visionary idealists, the humanitarian thinkers of the preceding generation, as public malefactors. Emmanuel was among them in the eyes of the young men. He suffered cruelly and was very angry.

The knowledge that Christophe was, like himself,—more than himself—the victim of their injustice, made him sympathetic. His ungraciousness had discouraged Christophe's visits. He was too proud to show his regret by seeking him out. But he contrived to meet him, as if by chance, and forced Christophe to make the first advances. Thereafter his umbrageous susceptibilities were at rest, and he did not conceal the pleasure he had in Christophe's company. Thereafter they often met in each other's rooms.

Emmanuel confided his bitterness to Christophe. He was exasperated by certain criticisms, and, thinking that Christophe was not sufficiently moved by them, he made him read some of the newspaper appreciations of himself. Christophe was accused of not knowing the grammar of his work, of being ignorant of harmony, of having stolen from other musicians, and, generally, of dishonoring music. He was called: "This old toss-brain...." They said: "We have had enough of these convulsionaries. We are order, reason, classic balance...."

Christophe was vastly entertained.

"It is the law," he said. "The young bury the old.... In my day, it is true, we waited until a man was sixty before we called him an old man. They are going faster, nowadays.... Wireless telegraphy, aeroplanes.... A generation is more quickly exploded.... Poor devils! They won't last long! Let them despise us and strut about in the sun!"

But Emmanuel had not his sanity. Though he was fearless in thought, he was a prey to his diseased nerves; with his ardent soul in his rickety body, he was driven on to the fight and was unfitted for it. The animosity of certain opinions of his work drew blood.

"Ah!" he would say. "If the critics knew the harm they do artists by the unjust words they throw out so recklessly, they would be ashamed of their trade."

"But they do know, my friend. That is the justification of their existence. Everybody must live."

"They are butchers. One is drenched with the blood of life, worn out by the struggle we have to wage with art. Instead of holding out their hands to us, and compassionately telling us of our faults, and brotherly helping us to mend them, they stand there with their hands in their pockets and watch you dragging your burden up the slope, and say: 'You can't do it!' And when you reach the top, some of them say: 'Yes, but that is not the way to climb up.' While the others go on blandly saying: 'You couldn't do it!...' You're lucky if they don't send great stones rolling down on you to send you flying!"

"Bah! There are plenty of good men among them, and think of the good they can do! There are bad men everywhere. They're not peculiar to criticism. Do you know anything worse than an ungenerous, vain, and embittered artist, to whom the world is only loot, that he is furious because he cannot grab? You must don patience for your protection. There is no evil but it may be of good service. The worst of the critics is useful to us; he is a trainer: he does not let us loiter by the way. Whenever we think we have reached the goal, the pack hound us on. Get on! Onward! Upward! They are more likely to weary of running after me than I am of marching ahead of them. Remember the Arabian proverb: 'It is no use flogging sterile trees. Only those are stoned whose front is crowned with golden fruit....' Let us pity the artists who are spared. They will stay half-way, lazily sitting down. When they try to get up their legs will be so stiff that they will be unable to walk. Long live my friend the enemy! They do me more good in my life than the enemy, my friend!"

Emmanuel could not help smiling. Then he said:

"All the same, don't you think it hard for a veteran like you to be taken to task by recruits who are just approaching their first battle?"

"They amuse me," said Christophe. "Such arrogance is the mark of young, hot blood tingling to be up and doing. I was like that once. They are like the showers of March falling on the new-born soil.... Let them take us to task! They are right, after all. Old people must learn from the young! They have profited by us, and are ungrateful: that is in the order of things. But, being enriched by our efforts, they will go farther than we, and will realize what we attempted. If we still have some youth left, let us learn in our turn, and try to rejuvenate ourselves. If we cannot, if we are too old, let us rejoice in them. It is fine to see the perpetual new-flowering of the human soul that seemed, exhausted, the vigorous optimism of these young men, their delight in action and adventures, the races springing to new life for the conquest of the world."

"What would they be without us? Their joy is the fruit of our tears. Their proud force is the flower of the sufferings of a whole generation. Sic vos non nobis...."

"The old saying is wrong. It is for ourselves that we worked, and our reward lies in the creation of a race of men who shall surpass us. We amassed their treasury, we hoarded it in a wretched hovel open to all the winds of Heaven: we had to strain every nerve to keep the doors closed against death. Our arms carved out the triumphal way along which our sons shall march. Our sufferings have saved the future. We have borne the Ark to the threshold of the Promised Land. It will reach that Land with them, and through us."

"Will they ever remember those who crossed the wilderness, bearing the sacred fire, the gods of our race, and them, those children, who now are men? For our share we have had tribulation and ingratitude."

"Do you regret it?"

"No. There is a sort of intoxication in the tragic grandeur of the sacrifice of a mighty epoch like ours to the epoch that it has brought into being. The men of to-day would not be more capable of tasting the sovereign joy of renunciation."

"We have been the happier. We have scaled Mount Nebo, at whose feet lie stretched the countries that we shall never enter. But we enjoy them more than those who will enter them. When you descend to the plain, you lose sight of the plain's immensity and the far horizon."

* * * * *

The soothing influence that Christophe exercised over Georges and Emmanuel had the source of its power in Grazia's love. It was through this love that he felt himself so near to all young things, and had an inexhaustible fund of sympathy for every new form of life. Whatever the forces might be that rekindled the earth, he was always with them, even when they were against him: he had no fear for the immediate future of the democracies, that future which caused such an outcry against the egoism of a handful of privileged men: he did not cling desperately to the paternosters of an old art: he felt quite sure that from the fabulous visions, the realized dreams of science and action, a new art, more puissant than the old, would spring forth: he hailed the new dawn of the world, even though the beauty of the old world were to die with it.

Grazia knew the good that her love did for Christophe: and this consciousness of her power lifted her out of herself. Through her letters she exercised a controlling power over her friend. She was not so absurdly pretentious as to try to control his art: she had too much tact, and knew her limitations. But her true, pure voice was the diapason to which he attuned his soul. Christophe had only to hear her voice echoing his thought to think nothing that was not just, pure, and worthy of repetition. The sound of a beautiful instrument is to a musician like a beautiful body in which his dream at once becomes incarnate. Mysterious is the fusion of two loving spirits: each takes the best from the other, but only to give it back again enriched with love. Grazia was not afraid to tell Christophe that she loved him. Distance gave her more freedom of speech, and also, the certain knowledge that she would never be his. Her love, the religious fervor of which was communicated to Christophe, was a fountain of force and peace to him.

Grazia gave to others more of such force and peace than she had herself. Her health was shattered, her moral balance seriously affected. Her son's condition did not improve. For the last two years she had lived in a perpetual state of anxiety, aggravated by Lionello's fatal skill in playing on it. He had acquired a consummate mastery of the art of keeping those who loved him on tenterhooks: his idle mind was most fertile in inventing ways of rousing interest in himself and tormenting others: it had become a mania with him. And the tragedy of it was, that, while he aped the ravages of disease, the disease did make real inroads upon him, and death peeped forth. Then the expected happened: Grazia, having been tortured by her son for years with his imaginary illness, ceased to believe in it when the illness really came. The heart has its limitations. She had exhausted her store of pity over his lies. She thought Lionello was still a comedian when he spoke the truth. And when the truth was revealed to her, the rest of her life was poisoned by remorse.

Lionello's malice had not laid aside its weapons. Having no love for any one in the world, he could not bear any of those near him to feel love for any one else: jealousy was his only passion. It was not enough for him to have separated his mother and Christophe: he tried to force her to break off the intimacy which subsisted between them. Already he had employed his usual weapon—his illness—to make Grazia swear that she would not marry again. He was not satisfied with her promise. He tried to force his mother to give up writing to Christophe. On this she rebelled; and, being delivered by such an attempted abuse of power, she spoke harshly and severely to Lionello about his habit of lying, and, later on, regarded herself as a criminal for having done so: for her words flung Lionello into a fit of fury which made him really ill. His illness grew worse as he saw that his mother did not believe in it. Then, in his fury, he longed to die so as to avenge himself. He never thought that his wish would be granted.

When the doctor told Grazia that there was no hope for her son, she was dumfounded. But she had to disguise her despair in order to deceive the boy who had so often deceived her. He had a suspicion that this time it was serious, but he refused to believe it; and his eyes watched his mother's eyes for the reproachful expression that had infuriated him when he was lying. There came a time when there was no room for doubt. Then it was terrible, both for him and his mother and sister: he did not wish to die....

When at last Grazia saw him sinking to sleep, she gave no cry and made no moan: she astonished those about her by her silence: she had no strength left for suffering: she had only one desire, to sleep also. However, she went about the business of her life with the same apparent calm. After a few weeks her smile returned to her lips, but she was more silent still. No one suspected her inward distress, Christophe least of all. She had only written to tell him the news, without a word of herself. She did not answer Christophe's anxiously affectionate letters. He wanted to come to her: she begged him not to. At the end of two or three months, she resumed her old grave, serene tone with him. She would have thought it criminal to put upon him the burden of her weakness. She knew how the echo of all her feelings reverberated in him, and how great was his need to lean on her. She did not impose upon herself the restraint of sorrow. This discipline was her salvation. In her weariness of life only two things gave her life: Christophe's love, and the fatalism, which, in sorrow as in joy, lay at the heart of her Italian nature. There was nothing intellectual in her fatalism: it was the animal instinct, which makes a hunted beast go on, with no consciousness of fatigue, in a staring wide-eyed dream, forgetting the stones of the road, forgetting its own body, until it falls. Her fatalism sustained her body. Love sustained her heart. Now that her own life was worn out, she lived in Christophe. And yet she was more scrupulous than ever never in her letters to tell him of the love she had for him: no doubt because her love was greater: but also because she was conscious of the veto of the dead boy, who had made her affection a crime. Then she would relapse into silence, and refrain from writing for a time.

Christophe did not understand her silence. Sometimes in the composed and tranquil tone of one of her letters he would be conscious of an unexpected note that seemed to be quivering with passionate moaning. That would prostrate him: but he dared not say anything: he hardly dared to notice it: he was like a man holding his breath, afraid to breathe, for fear of destroying an illusion. He knew almost infallibly that in the next letter such notes as these would be atoned for by a deliberate coldness. Then, once more, tranquillity ... Meeresstille....

* * * * *

Georges and Emmanuel met at Christophe's one afternoon. Both were preoccupied with their own troubles: Emmanuel with his literary disappointments, and Georges with some athletic failure. Christophe listened to them good-humoredly and teased them affectionately. There was a ring at the door. Georges went to open it. A servant had come with a letter from Colette. Christophe stood by the window to read it. His friends went on with their discussion, and did not see Christophe, whose back was turned to them. He left the room without their noticing it. And when they realized that he had done so, they were not surprised. But as time passed and he did not return, Georges went and knocked at the door of the next room. There was no reply. Georges did not persist, for he knew his old friend's queer ways. A few minutes later Christophe returned without a word. He seemed very calm, very kind, very gentle. He begged their pardon for leaving them, took up the conversation where he had left it, and spoke kindly about their troubles, and said many helpful things. The tone of his voice moved them, though they knew not why.

They left him. Georges went straight to Colette's, and found her in tears. As soon as she saw him she came swiftly to him and asked:

"How did our poor friend take the blow? It is terrible."

Georges did not understand. And Colette told him that she had just sent Christophe the news of Grazia's death.

She was gone, without having had time to say farewell to anybody. For several months past the roots of her life had been almost torn out of the earth: a puff of wind was enough to lay it low. On the evening before the relapse of influenza which carried her off she received a long, kind letter from Christophe. It had filled her with tenderness, and she longed to bid him come to her: she felt that everything else, everything that kept them apart, was absurd and culpable. She was very weary, and put off writing to him until the next day. On the day after she had to stay in bed. She began a letter which she did not finish: she had an attack of giddiness, and her head swam: besides, she was reluctant to speak of her illness, and was afraid of troubling Christophe. He was busy at the time with rehearsals of a choral symphony set to a poem of Emmanuel's: the subject had roused them both to enthusiasm, for it was something symbolical of their own destiny: The Promised Land. Christophe had often mentioned it to Grazia. The first performance was to take place the following week.... She must not upset him. In her letter Grazia just spoke of a slight cold. Then that seemed too much to her. She tore up the letter, and had no strength left to begin another. She told herself that she would write in the evening. When the evening came it was too late—too late to bid him come, too late even to write.... How swiftly everything passes! A few hours are enough to destroy the labor of ages.... Grazia hardly had time to give her daughter a ring she wore and beg her to send it to her friend. Till then she had not been very intimate with Aurora. Now that her life was ebbing away, she gazed passionately at the face of the girl: she clung to the hand that would pass on the pressure of her own, and, joyfully, she thought:

"Not all of me will pass away."

"Quid? hic, inquam, quis est qui complet aures meas tantus et tam dulcis sonus?..."—(The Dream of Scipio.)

When he left Colette, on an impulse of sympathy Georges went back to Christophe's. For a long time, through Colette's indiscretions, he had known the place that Grazia filled in his old friend's heart: he had even—(for youth is not respectful)—made fun of it. But now generously and keenly he felt the sorrow that Christophe must be feeling at such a loss; and he felt that he must go to him, embrace him, pity him. Knowing the violence of his passions,—the tranquillity that Christophe had shown made him anxious. He rang the bell. No answer. He rang once more and knocked, giving the signal agreed between Christophe and himself. He heard the moving of a chair and a slow, heavy tread. Christophe opened the door. His face was so calm that Georges stopped still, just as he was about to fling himself into his arms: he knew not what to say. Christophe asked him gently:

"You, my boy. Have you forgotten something?"

Georges muttered uneasily:

"Yes."

"Come in."

Christophe went and sat in the chair he had left on Georges's arrival, near the window, with his head thrown back, looking at the roofs opposite and the reddening evening sky. He paid no attention to Georges. The young man pretended to look about on the table, while he stole glances at Christophe. His face was set: the beams of the setting sun lit up his cheek-bones and his forehead. Mechanically Georges went into the next room—the bedroom—as though he were still looking for something. It was in this room that Christophe had shut himself up with the letter. It was still there on the bed, which bore the imprint of a body. On the floor lay a book that had slipped down. It had been left open with a page crumpled. Georges picked it up, and read the story of the meeting of the Magdalene and the Gardener in the Gospel.

He came back into the living-room, and moved a few things here and there to gain countenance, and once more he looked at Christophe, who had not budged. He longed to tell him how he pitied him. But Christophe was so radiant with light that Georges felt that it was out of place to speak. It was rather himself who stood in need of consolation. He said timidly:

"I am going."

Without turning his head, Christophe said:

"Good-by, my boy."

Georges went away and closed the door without a sound.

For a long time Christophe sat there. Night came. He was not suffering: he was not thinking: he saw no definite image. He was like a tired man listening to some vague music without making any attempt to understand it. The night was far gone when he got up, cramped and stiff. He flung himself on his bed and slept heavily. The symphony went on buzzing all around him....

And now he saw her, the well-beloved.... She held out her hands to him, and said, smiling:

"Now you have passed through the zone of fire."

Then his heart melted. An indescribable peace filled the starry spaces, where the music of the spheres flung out its great, still, profound sheets of water....

When he awoke (it was day), his strange happiness still endured, with the distant gleam of words falling upon his ears. He got up. He was exalted with a silent, holy enthusiasm.

"... Or vedi, figlio, tra Beatrice e te e questo muro...."

Between Beatrice and himself, the wall was broken down. For a long time now more than half his soul had dwelt upon the other side. The more a man lives, the more a man creates, the more a man loves and loses those whom he loves, the more does he escape from death. With every new blow that we have to bear, with every new work that we round and finish, we escape from ourselves, we escape into the work we have created, the soul we have loved, the soul that has left us. When all is told, Rome is not in Rome: the best of a man lies outside himself. Only Grazia had withheld him on this side of the wall. And now in her turn.... Now the door was shut upon the world of sorrow.

He lived through a period of secret exaltation. He felt the weight of no fetters. He expected nothing of the things of this world. He was dependent upon nothing. He was set free. The struggle was at an end. Issuing from the zone of combat and the circle where reigned the God of heroic conflict, Dominus Deus Sabaoth, he looked down, and in the night saw the torch of the Burning Bush put out. How far away it was! When it had lit up his path he had thought himself almost at the summit. And since then, how far he had had to go! And yet the topmost pinnacle seemed no nearer. He would never reach it (he saw that now), though he were to march on to eternity. But when a man enters the circle of light and knows that he has not left those he loves behind him, eternity is not too long a space to be journeying on with them.

He closed his doors. No one knocked. Georges had expended all his compassion and sympathy in the one impulse; he was reassured by the time he reached home, and forgot all about it by the next day. Colette had gone to Rome. Emmanuel knew nothing, and hypersensitive as usual, he maintained an affronted silence because Christophe had not returned his visit. Christophe was not disturbed in his long colloquy with the woman whom he now bore in his soul, as a pregnant woman bears her precious burden. It was a moving intercourse, impossible to translate into words. Even music could hardly express it. When his heart was full, almost overflowing, Christophe would lie still with eyes closed, and listen to its song. Or, for hours together, he would sit at his piano and let his fingers speak. During this period he improvised more than he had done in the whole of his life. He did not set down his thoughts. What was the good?

When, after several weeks, he took to going out again and seeing other men, while none of his friends, except Georges, had any suspicion of what had happened, the daimon of improvisation pursued him still. It would take possession of Christophe just when he was least expecting it. One evening, at Colette's, Christophe sat down at the piano and played for nearly an hour, absolutely surrendering himself, and forgetting that the room was full of strangers. They had no desire to laugh. His terrible improvisations enslaved and overwhelmed them. Even those who did not understand their meaning were thrilled and moved: and tears came to Colette's eyes.... When Christophe had finished he turned away abruptly: he saw how everybody was moved, and shrugged his shoulders, and—laughed.

He had reached the point at which sorrow also becomes a force—a dominant force. His sorrow possessed him no more: he possessed his sorrow: in vain it fluttered and beat upon its bars: he kept it caged.

From that period date his most poignant and his happiest works: a scene from the Gospel which Georges recognized—

"_Mulier, quid ploras?"—"Quia tulerunt Dominium meum, et nescio ubi posuerunt eum."

Et cum hoec dixisset, conversa est retrorsum, et vidit Jesum stantem: et non sciebat quia Jesus est_.

—a series of tragic lieder set to verses of popular Spanish cantares, among others a gloomy sad love-song, like a black flame—

"Quisiera ser el sepulcro Donde a ti te han de enterrar, Para tenerte en mis brazos Por toda la eternidad." ("Would I were the grave, where thou art to be buried, that I might hold thee in my arms through all eternity.")

—and two symphonies, called The Island of Tranquillity and The Dream of Scipio, in which, more intimately than in any other of the works of Jean-Christophe Krafft, is realized the union of the most beautiful of the forces of the music of his time: the affectionate and wise thought of Germany with all its shadowy windings, the clear passionate melody of Italy, and the quick mind of France, rich in subtle rhythms and variegated harmonies.

This "enthusiasm begotten of despair at the time of a great loss" lasted for a few months. Thereafter Christophe fell back into his place in life with a stout heart and a sure foot. The wind of death had blown away the last mists of pessimism, the gray of the Stoic soul, and the phantasmagoria of the mystic chiaroscura. The rainbow had shone upon the vanishing clouds. The gaze of heaven, purer, as though it had been laved with tears, smiled through them. There was the peace of evening on the mountains.



IV

The fire smoldering in the forest of Europe was beginning to burst into flames. In vain did they try to put it out in one place: it only broke out in another: with gusts of smoke and a shower of sparks it swept from one point to another, burning the dry brushwood. Already in the East there were skirmishes as the prelude to the great war of the nations. All Europe, Europe that only yesterday was skeptical and apathetic, like a dead wood, was swept by the flames. All men were possessed by the desire for battle. War was ever on the point of breaking out. It was stamped out, but it sprang to life again. The world felt that it was the mercy of an accident that might let loose the dogs of war. The world lay in wait. The feeling of inevitability weighed heavily even upon the most pacifically minded. And ideologues, sheltered beneath the massive shadow of the cyclops, Proudhon, hymned in war man's fairest title of nobility....

This, then, was to be the end of the physical and moral resurrection of the races of the West! To such butchery they were to be borne along by the currents of action and passionate faith! Only a Napoleonic genius could have marked out a chosen, deliberate aim for this blind, onward rush. But nowhere in Europe was there any genius for action. It was as though the world had chosen the most mediocre to be its governors. The force of the human mind was in other things.—So there was nothing to be done but to trust to the declivity down which they were moving. This both governors and governed were doing. Europe looked like a vast armed vigil.

Christophe remembered a similar vigil, when he had had Olivier's anxious face by his side. But then the menace of war had been only a passing cloud. Now all Europe lay under its shadow. And Christophe's heart also had changed. He could not share in the hatred of the nations. His state of mind was like that of Goethe in 1813. How could a man fight without hatred? And how could he hate without youth? He had passed through the zone of hatred. Which of the great rival nations was the dearest to him? He had learned to know all their merits, and what the world owed to them. When a man has reached a certain stage in the development of the soul "he knows no nation, he feels the happiness or unhappiness of the neighboring peoples as his own." The storm-clouds are at his feet. Around him is nothing but the sky—"the whole Heavens, the kingdom of the eagle."

And yet Christophe was sometimes embarrassed by this ambient hostility. In Paris he was made to feel too clearly that he was of the hostile race: even his friend Georges could not resist the pleasure of giving vent, in his presence, to feelings about Germany which made him sad. Then he rushed away, on the excuse that he wanted to see Grazia's daughter: and he went and stayed for a time in Rome. But there the atmosphere was no more serene. The great plague of national pride had spread there, and had transformed the Italian character. The Italians, whom Christophe had known to be indifferent and indolent, were now thinking of nothing but military glory, battle, conquests, Roman eagles flying over the sands of Libya: they believed they had returned to the time of the Emperors. The wonderful thing was that this madness was shared, with the best faith in the world, by the opposition parties, socialists and clericals, as well as by the monarchists, and they had not the least idea that they were being unfaithful to their cause. So little do politics and human reason count when the great epidemic passions sweep over the nations. Such passions do not even trouble to suppress individual passions; they use them; and everything converges on the one goal. In the great periods of action it was ever thus. The armies of Henri IV., the Councils of Louis XIV., which forged the greatness of France, numbered as many men of faith and reason as men of vanity, interest, and enjoyment. Jansenists and libertines, Puritans and gallants, served the same destiny in serving their instincts. In the forthcoming wars no doubt internationalists and pacificists will kindle the blaze, in the conviction, like that of their ancestors of the Convention, that they are doing it for the good of the nations and the triumph of peace.