But when he opened his eyes it was day, and it no longer shone so lightly or so carelessly as its predecessor. There was a great change in the world. Jean-Christophe now knew the meaning of injustice.

* * * * *

There were now times of extremely straitened circumstances at home. They became more and more frequent. They lived meagerly then. No one was more sensible of it than Jean-Christophe. His father saw nothing. He was served first, and there was always enough for him. He talked noisily, and roared with laughter at his own jokes, and he never noticed his wife's glances as she gave a forced laugh, while she watched him helping himself. When he passed the dish it was more than half empty. Louisa helped the children—two potatoes each. When it came to Jean-Christophe's turn there were sometimes only three left, and his mother was not helped. He knew that beforehand; he had counted them before they came to him. Then he summoned up courage, and said carelessly:

"Only one, mother."

She was a little put out.

"Two, like the others."

"No, please; only one."

"Aren't you hungry?"

"No, I'm not very hungry."

But she, too, only took one, and they peeled them carefully, cut them up in little pieces, and tried to eat them as slowly as possible. His mother watched him. When he had finished:

"Come, take it!"

"No, mother."

"But you are ill?"

"I am not ill, but I have eaten enough."

Then his father would reproach him with being obstinate, and take the last potato for himself. But Jean-Christophe learned that trick, and he used to keep it on his plate for Ernest, his little brother, who was always hungry, and watched him out of the corner of his eyes from the beginning of dinner, and ended by asking:

"Aren't you going to eat it? Give it me, then, Jean-Christophe."

Oh, how Jean-Christophe detested his father, how he hated him for not thinking of them, or for not even dreaming that he was eating their share! He was so hungry that he hated him, and would gladly have told him so; but he thought in his pride that he had no right, since he could not earn his own living. His father had earned the bread that he took. He himself was good for nothing; he was a burden on everybody; he had no right to talk. Later on he would talk—if there were any later on. Oh, he would die of hunger first!...

He suffered more than another child would have done from these cruel fasts. His robust stomach was in agony. Sometimes he trembled because of it; his head ached. There was a hole in his chest—a hole which turned and widened, as if a gimlet were being twisted in it. But he did not complain. He felt his mother's eyes upon him, and assumed an expression of indifference. Louisa, with a clutching at her heart, understood vaguely that her little boy was denying himself so that the others might have more. She rejected the idea, but always returned to it. She dared not investigate it or ask Jean-Christophe if it were true, for, if it were true, what could she do? She had been used to privation since her childhood. What is the use of complaining when there is nothing to be done? She never suspected, indeed—she, with her frail health and small needs—that the boy might suffer more than herself. She did not say anything, but once or twice, when the others were gone, the children to the street, Melchior about his business, she asked her eldest son to stay to do her some small service. Jean-Christophe would hold her skein while she unwound it. Suddenly she would throw everything away, and draw him passionately to her. She would take him on her knees, although he was quite heavy, and would hug and hug him. He would fling his arms round her neck, and the two of them would weep desperately, embracing each other.

"My poor little boy!..."

"Mother, mother!..."

They said no more, but they understood each other.

* * * * *

It was some time before Jean-Christophe realized that his father drank. Melchior's intemperance did not—at least, in the beginning—exceed tolerable limits. It was not brutish. It showed itself rather by wild outbursts of happiness. He used to make foolish remarks, and sing loudly for hours together as he drummed on the table, and sometimes he insisted on dancing with Louisa and the children. Jean-Christophe saw that his mother looked sad. She would shrink back and bend her face over her work; she avoided the drunkard's eyes, and used to try gently to quiet him when he said coarse things that made her blush. But Jean-Christophe did not understand, and he was in such need of gaiety that these noisy home-comings of his father were almost a festival to him. The house was melancholy, and these follies were a relaxation for him. He used to laugh heartily at Melchior's crazy antics and stupid jokes; he sang and danced with him; and he was put out when his mother in an angry voice ordered him to cease. How could it be wrong, since his father did it? Although his ever keen observation, which never forgot anything it had seen, told him that there were in his father's behavior several things which did not accord with his childish and imperious sense of justice, yet he continued to admire him. A child has so much need of an object of admiration! Doubtless it is one of the eternal forms of self-love. When a man is, or knows himself to be, too weak to accomplish his desires and satisfy his pride, as a child he transfers them to his parents, or, as a man who has failed, he transfers them to his children. They are, or shall be, all that he dreamed of being—his champions, his avengers—and in this proud abdication in their favor, love and egoism are mingled so forcefully and yet so gently as to bring him keen delight. Jean-Christophe forgot all his grudges against his father, and cast about to find reasons for admiring him. He admired his figure, his strong arms, his voice, his laugh, his gaiety, and he shone with pride when he heard praise of his father's talents as a virtuoso, or when Melchior himself recited with some amplification the eulogies he had received. He believed in his father's boasts, and looked upon him as a genius, as one of his grandfather's heroes.

One evening about seven o'clock he was alone in the house. His little brothers had gone out with Jean Michel. Louisa was washing the linen in the river. The door opened, and Melchior plunged in. He was hatless and disheveled. He cut a sort of caper to cross the threshold, and then plumped down in a chair by the table. Jean-Christophe began to laugh, thinking it was a part of one of the usual buffooneries, and he approached him. But as soon as he looked more closely at him the desire to laugh left him. Melchior sat there with his arms hanging, and looking straight in front of him, seeing nothing, with his eyes blinking. His face was crimson, his mouth was open, and from it there gurgled every now and then a silly laugh. Jean-Christophe stood stock-still. He thought at first that his father was joking, but when he saw that he did not budge he was panic-stricken.

"Papa, papa!" he cried.

Melchior went on gobbling like a fowl. Jean-Christophe took him by the arm in despair, and shook him with all his strength.

"Papa, dear papa, answer me, please, please!"

Melchior's body shook like a boneless thing, and all but fell. His head flopped towards Jean-Christophe; he looked at him and babbled incoherently and irritably. When Jean-Christophe's eyes met those clouded eyes he was seized with panic terror. He ran away to the other end of the room, and threw himself on his knees by the bed, and buried his face in the clothes. He remained so for some time. Melchior swung heavily on the chair, sniggering. Jean-Christophe stopped his ears, so as not to hear him, and trembled. What was happening within him was inexpressible. It was a terrible upheaval—terror, sorrow, as though for some one dead, some one dear and honored.

No one came; they were left alone. Night fell, and Jean-Christophe's fear grew as the minutes passed. He could not help listening, and his blood froze as he heard the voice that he did not recognize. The silence made it all the more terrifying; the limping clock beat time for the senseless babbling. He could bear it no longer; he wished to fly. But he had, to pass his father to get out, and Jean-Christophe shuddered, at the idea of seeing those eyes again; it seemed to him that he must die if he did. He tried to creep on hands and knees to the door of the room. He could not breathe; he would not look; he stopped at the least movement from Melchior, whose feet he could see under the table. One of the drunken man's legs trembled. Jean-Christophe reached the door. With one trembling hand he pushed the handle, but in his terror he let go. It shut to again. Melchior turned to look. The chair on which he was balanced toppled over; he fell down with a crash. Jean-Christophe in his terror had no strength left for flight. He remained glued to the wall, looking at his father stretched there at his feet, and he cried for help.

His fall sobered Melchior a little. He cursed and swore, and thumped on the chair that had played him such a trick. He tried vainly to get up, and then did manage to sit up with his back resting against the table, and he recognized his surroundings. He saw Jean-Christophe crying; he called him. Jean-Christophe wanted to run away; he could not stir. Melchior called him again, and as the child did not come, he swore angrily. Jean-Christophe went near him, trembling in every limb. Melchior drew the boy near him, and made him sit on his knees. He began by pulling his ears, and in a thick, stuttering voice delivered a homily on the respect due from a son to his father. Then he went off suddenly on a new train of thought, and made him jump in his arms while he rattled off silly jokes. He wriggled with laughter. From that he passed immediately to melancholy ideas. He commiserated the boy and himself; he hugged him so that he was like to choke, covered him with kisses and tears, and finally rocked him in his arms, intoning the De Profundis. Jean-Christophe made no effort to break loose; he was frozen with horror. Stifled against his father's bosom, feeling his breath hiccoughing and smelling of wine upon his face, wet with his kisses and repulsive tears, he was in an agony of fear and disgust. He would have screamed, but no sound would come from his lips. He remained in this horrible condition for an age, as it seemed to him, until the door opened, and Louisa came in with a basket of linen on her arm. She gave a cry, let the basket fall, rushed at Jean-Christophe, and with a violence which seemed incredible in her she wrenched Melchior's arm, crying:

"Drunken, drunken wretch!"

Her eyes flashed with anger.

Jean-Christophe thought his father was going to kill her. But Melchior was so startled by the threatening appearance of his wife that he made no reply, and began to weep. He rolled on the floor; he beat his head against the furniture, and said that she was right, that he was a drunkard, that he brought misery upon his family, and was ruining his poor children, and wished he were dead. Louisa had contemptuously turned her back on him. She carried Jean-Christophe into the next room, and caressed him and tried to comfort him. The boy went on trembling, and did not answer his mother's questions; then he burst out sobbing. Louisa bathed his face with water. She kissed him, and used tender words, and wept with him. In the end they were both comforted. She knelt, and made him kneel by her side. They prayed to God to cure father of his disgusting habit, and make him the kind, good man that he used to be. Louisa put the child to bed. He wanted her to stay by his bedside and hold his hand. Louisa spent part of the night sitting on Jean-Christophe's bed. He was feverish. The drunken man snored on the floor.

Some time after that, one day at school, when Jean-Christophe was spending his time watching the flies on the ceiling, and thumping his neighbors, to make them fall off the form, the schoolmaster, who had taken a dislike to him, because he was always fidgeting and laughing, and would never learn anything, made an unhappy allusion. Jean-Christophe had fallen down himself, and the schoolmaster said he seemed to be like to follow brilliantly in the footsteps of a certain well-known person. All the boys burst out laughing, and some of them took upon themselves to point the allusion with comment both lucid and vigorous. Jean-Christophe got up, livid with shame, seized his ink-pot, and hurled it with all his strength at the nearest boy whom he saw laughing. The schoolmaster fell on him and beat him. He was thrashed, made to kneel, and set to do an enormous imposition.

He went home, pale and storming, though he said never a word. He declared frigidly that he would not go to school again. They paid no attention to what he said. Next morning, when his mother reminded him that it was time to go, he replied quietly that he had said that he was not going any more. In rain Louisa begged and screamed and threatened; it was no use. He stayed sitting in his corner, obstinate. Melchior thrashed him. He howled, but every time they bade him go after the thrashing was over he replied angrily, "No!" They asked him at least to say why. He clenched his teeth, and would not. Melchior took hold of him, carried him to school, and gave him into the master's charge. They set him on his form, and he began methodically to break everything within reach—his inkstand, his pen. He tore up his copy-book and lesson-book, all quite openly, with his eye on the schoolmaster, provocative. They shut him up in a dark room. A few moments later the schoolmaster found him with his handkerchief tied round his neck, tugging with all his strength at the two ends of it. He was trying to strangle himself.

They had to send him back.

* * * * *

Jean-Christophe was impervious to sickness. He had inherited from his father and grandfather their robust constitutions. They were not mollycoddles in that family; well or ill, they never worried, and nothing could bring about any change in the habits of the two Kraffts, father and son. They went out winter and summer, in all weathers, and stayed for hours together out in rain or sun, sometimes bareheaded and with their coats open, from carelessness or bravado, and walked for miles without being tired, and they looked with pity and disdain upon poor Louisa, who never said anything, but had to stop. She would go pale, and her legs would swell, and her heart would thump. Jean-Christophe was not far from sharing the scorn of his mother; he did not understand people being ill. When he fell, or knocked himself, or cut himself, or burned himself, he did not cry; but he was angry with the thing that had injured him. His father's brutalities and the roughness of his little playmates, the urchins of the street, with whom he used to fight, hardened him. He was not afraid of blows, and more than once he returned home with bleeding nose and bruised forehead. One day he had to be wrenched away, almost suffocated, from one of these fierce tussles in which he had bowled over his adversary, who was savagely banging his head on the ground. That seemed natural enough to him, for he was prepared to do unto others as they did unto himself.

And yet he was afraid of all sorts of things, and although no one knew it—for he was very proud—nothing brought him go much suffering during a part of his childhood as these same terrors. For two or three years especially they gnawed at him like a disease.

He was afraid of the mysterious something that lurks in darkness—evil powers that seemed to lie in wait for his life, the roaring of monsters which fearfully haunt the mind of every child and appear in everything that he sees, the relic perhaps of a form long dead, hallucinations of the first days after emerging from chaos, from the fearful slumber in his mother's womb, from the awakening of the larva from the depths of matter.

He was afraid of the garret door. It opened on to the stairs, and was almost always ajar. When he had to pass it he felt his heart heating; he would spring forward and jump by it without looking. It seemed to him that there was some one or something behind it. When it was closed he heard distinctly something moving behind it. That was not surprising, for there were large rats; but he imagined a monster, with rattling bones, and flesh hanging in rags, a horse's head, horrible and terrifying eyes, shapeless. He did not want to think of it, but did so in spite of himself. With trembling hand he would make sure that the door was locked; but that did not keep him from turning round ten times as he went downstairs.

He was afraid of the night outside. Sometimes he used to stay late with his grandfather, or was sent out in the evening on some errand. Old Krafft lived a little outside the town in the last house on the Cologne road. Between the house and the first lighted windows of the town there was a distance of two or three hundred yards, which seemed three times as long to Jean-Christophe. There were places where the road twisted and it was impossible to see anything. The country was deserted in the evening, the earth grew black, and the sky was awfully pale. When he came out from the hedges that lined the road, and climbed up the slope, he could still see a yellowish gleam on the horizon, but it gave no light, and was more oppressive than the night; it made the darkness only darker; it was a deathly light. The clouds came down almost to earth. The hedges grew enormous and moved. The gaunt trees were like grotesque old men. The sides of the wood were stark white. The darkness moved. There were dwarfs sitting in the ditches, lights in the grass, fearful flying things in the air, shrill cries of insects coming from nowhere. Jean-Christophe was always in anguish, expecting some fearsome or strange putting forth of Nature. He would run, with his heart leaping in his bosom.

When he saw the light in his grandfather's room he would gain confidence. But worst of all was when old Krafft was not at home. That was most terrifying. The old house, lost in the country, frightened the boy even in daylight. He forgot his fears when his grandfather was there, but sometimes the old man would leave him alone, and go out without warning him. Jean-Christophe did not mind that. The room was quiet. Everything in it was familiar and kindly. There was a great white wooden bedstead, by the bedside was a great Bible on a shelf, artificial flowers were on the mantelpiece, with photographs of the old man's two wives and eleven children—and at the bottom of each photograph he had written the date of birth and death—on the walls were framed texts and vile chromolithographs of Mozart and Beethoven. A little piano stood in one corner, a great violoncello in another; rows of books higgledy-piggledy, pipes, and in the window pots of geraniums. It was like being surrounded with friends. The old man could be heard moving about in the next room, and planing or hammering, and talking to himself, calling himself an idiot, or singing in a loud voice, improvising a potpourri of scraps of chants and sentimental Lieder, warlike marches, and drinking songs. Here was shelter and refuge. Jean-Christophe would sit in the great armchair by the window, with a book on his knees, bending over the pictures and losing himself in them. The day would die down, his eyes would grow weary, and then he would look no more, and fall into vague dreaming. The wheels of a cart would rumble by along the road, a cow would moo in the fields; the bells of the town, weary and sleepy, would ring the evening Angelus. Vague desires, happy presentiments, would awake in the heart of the dreaming child.

Suddenly Jean-Christophe would awake, filled with dull uneasiness. He would raise his eyes—night! He would listen—silence! His grandfather had just gone out. He shuddered. He leaned out of the window to try to see him. The road was deserted; things began to take on a threatening aspect. Oh God! If that should be coming! What? He could not tell. The fearful thing. The doors were not properly shut. The wooden stairs creaked as under a footstep. The boy leaped up, dragged the armchair, the two chairs and the table, to the most remote corner of the room; he made a barrier of them; the armchair against the wall, a chair to the right, a chair to the left, and the table in front of him. In the middle he planted a pair of steps, and, perched on top with his book and other books, like provisions against a siege, he breathed again, having decided in his childish imagination that the enemy could not pass the barrier—that was not to be allowed.

But the enemy would creep forth, even from his book. Among the old books which the old man had picked up were some with pictures which made a profound impression on the child: they attracted and yet terrified him. There were fantastic visions—temptations of St. Anthony—in which skeletons of birds hung in bottles, and thousands of eggs writhe like worms in disemboweled frogs, and heads walk on feet, and asses play trumpets, and household utensils and corpses of animals walk gravely, wrapped in great cloths, bowing like old ladies. Jean-Christophe was horrified by them, but always returned to them, drawn on by disgust. He would look at them for a long time, and every now and then look furtively about him to see what was stirring in the folds of the curtains. A picture of a flayed man in an anatomy book was still more horrible to him. He trembled as he turned the page when he came to the place where it was in the book. This shapeless medley was grimly etched for him. The creative power inherent in every child's mind filled out the meagerness of the setting of them. He saw no difference between the daubs and the reality. At night they had an even more powerful influence over his dreams than the living things that he saw during the day.

He was afraid to sleep. For several years nightmares poisoned his rest. He wandered in cellars, and through the manhole saw the grinning flayed man entering. He was alone in a room, and he heard a stealthy footstep in the corridor; he hurled himself against the door to close it, and was just in time to hold the handle; but it was turned from the outside; he could not turn the key, his strength left him, and he cried for help. He was with his family, and suddenly their faces changed; they did crazy things. He was reading quietly, and he felt that an invisible being was all round him. He tried to fly, but felt himself bound. He tried to cry out, but he was gagged. A loathsome grip was about his neck. He awoke, suffocating, and with his teeth chattering; and he went on trembling long after he was awake; he could not be rid of his agony.

The roam in which he slept was a hole without door or windows; an old curtain hung up by a curtain-rod over the entrance was all that separated it from the room of his father and mother. The thick air stifled him. His brother, who slept in the same bed, used to kick him. His head burned, and he was a prey to a sort of hallucination in which all the little troubles of the day reappeared infinitely magnified. In this state of nervous tension, bordering on delirium, the least shock was an agony to him. The creaking of a plank terrified him. His father's breathing took on fantastic proportions. It seemed to be no longer a human breathing, and the monstrous sound was horrible to him; it seemed to him that there must be a beast sleeping there. The night crushed him; it would never end; it must always be so; he was lying there for months and months. He gasped for breath; he half raised himself on his bed, sat up, dried his sweating face with his shirt-sleeve. Sometimes he nudged his brother Rodolphe to wake him up; but Rodolphe moaned, drew away from him the rest of the bedclothes, and went on sleeping.

So he stayed in feverish agony until a pale beam of light appeared on the floor below the curtain. This timorous paleness of the distant dawn suddenly brought him peace. He felt the light gliding into the room, when it was still impossible to distinguish it from darkness. Then his fever would die down, his blood would grow calm, like a flooded river returning to its bed; an even warmth would flow through all his body, and his eyes, burning from sleeplessness, would close in spite of himself.

In the evening it was terrible to him to see the approach of the hour of sleep. He vowed that he would not give way to it, to watch the whole night through, fearing his nightmares, But in the end weariness always overcame him, and it was always when he was least on his guard that the monsters returned.

Fearful night! So sweet to most children, so terrible to some!... He was afraid to sleep. He was afraid of not sleeping. Waking or sleeping, he was surrounded by monstrous shapes, the phantoms of his own brain, the larvae floating in the half-day and twilight of childhood, as in the dark chiaroscuro of sickness.

But these fancied terrors were soon to be blotted out in the great Fear—that which is in the hearts of all men; that Fear which Wisdom does in vain preen itself on forgetting or denying—Death.

* * * * *

One day when he was rummaging in a cupboard, he came upon several things that he did not know—a child's frock and a striped bonnet. He took them in triumph to his mother, who, instead of smiling at him, looked vexed, and bade him, take them back to the place where he had found them. When he hesitated to obey, and asked her why, she snatched them from him without reply, and put them on a shelf where he could not reach them. Roused to curiosity, he plied her with questions. At last she told him that there had been a little brother who had died before Jean-Christophe came into the world. He was taken aback—he had never heard tell of him. He was silent for a moment, and then tried to find out more. His mother seemed to be lost in thought; but she told him that the little brother was called Jean-Christophe like himself, but was more sensible. He put more questions to her, but she would not reply readily. She told him only that his brother was in Heaven, and was praying for them all. Jean-Christophe could get no more out of her; she bade him be quiet, and to let her go on with her work. She seemed to be absorbed in her sewing; she looked anxious, and did not raise her eyes. But after some time she looked at him where he was in the corner, whither he had retired to sulk, began to smile, and told him to go and play outside.

These scraps of conversation profoundly agitated Jean-Christophe. There had been a child, a little boy, belonging to his mother, like himself, bearing the same name, almost exactly the same, and he was dead! Dead! He did not exactly know what that was, but it was something terrible. And they never talked of this other Jean-Christophe; he was quite forgotten. It would be the same with him if he were to die? This thought was with him still in the evening at table with his family, when he saw them all laughing and talking of trifles. So, then, it was possible that they would be gay after he was dead! Oh! he never would have believed that his mother could be selfish enough to laugh after the death of her little boy! He hated them all. He wanted to weep for himself, for his own death, in advance. At the same time he wanted to ask a whole heap of questions, but he dared not; he remembered the voice in which his mother had bid him be quiet. At last he could contain himself no longer, and one night when he had gone to bed, and Louisa came to kiss him, he asked:

"Mother, did he sleep in my bed?"

The poor woman trembled, and, trying to take on an indifferent tone of voice, she asked:

"Who?"

"The little boy who is dead," said Jean-Christophe in a whisper.

His mother clutched him with her hands.

"Be quiet—quiet," she said.

Her voice trembled. Jean-Christophe, whose head was leaning against her bosom, heard her heart beating. There was a moment of silence, then she said:

"You must never talk of that, my dear.... Go to sleep.... No, it was not his bed."

She kissed him. He thought he felt her cheek wet against his. He wished he could have been sure of it. He was a little comforted. There was grief in her then! Then he doubted it again the next moment, when he heard her in the next room talking in a quiet, ordinary voice. Which was true—that or what had just been? He turned about for long in his bed without finding any answer. He wanted his mother to suffer; not that he also did not suffer in the knowledge that she was sad, but it would have done him so much good, in spite of everything! He would have felt himself less alone. He slept, and next day thought no more of it.

Some weeks afterwards one of the urchins with whom he played in the street did not come at the usual time. One of them said that he was ill, and they got used to not seeing him in their games. It was explained, it was quite simple. One evening Jean-Christophe had gone to bed; it was early, and from the recess in which his bed was, he saw the light in the room. There was a knock at the door. A neighbor had come to have a chat. He listened absently, telling himself stories as usual. The words of their talk did not reach him. Suddenly he heard the neighbor say: "He is dead." His blood stopped, for he had understood who was dead. He listened and held his breath. His parents cried out. Melchior's booming voice said:

"Jean-Christophe, do you hear? Poor Fritz is dead."

Jean-Christophe made an effort, and replied quietly:

"Yes, papa."

His bosom was drawn tight as in a vise.

Melchior went on:

"'Yes, papa.' Is that all you say? You are not grieved by it."

Louisa, who understood the child, said:

"'Ssh! Let him sleep!"

And they talked in whispers. But Jean-Christophe, pricking his ears, gathered all the details of illness—typhoid fever, cold baths, delirium, the parents' grief. He could not breathe, a lump in his throat choked him. He shuddered. All these horrible things took shape in his mind. Above all, he gleaned that the disease was contagious—that is, that he also might die in the same way—and terror froze him, for he remembered that he had shaken hands with Fritz the last time he had seen him, and that very day had gone past the house. But he made no sound, so as to avoid having to talk, and when his father, after the neighbor had gone, asked him: "Jean-Christophe, are you asleep?" he did not reply. He heard Melchior saying to Louisa:

"The boy has no heart."

Louisa did not reply, but a moment later she came and gently raised the curtain and looked at the little bed. Jean-Christophe only just had time to close his eyes and imitate the regular breathing which his brothers made when they were asleep. Louisa went away on tip-toe. And yet how he wanted to keep her! How he wanted to tell her that he was afraid, and to ask her to save him, or at least to comfort him! But he was afraid of their laughing at him, and treating him as a coward; and besides, he knew only too well that nothing that they might say would be any good. And for hours he lay there in agony, thinking that he felt the disease creeping over him, and pains in his head, a stricture of the heart, and thinking in terror: "It is the end. I am ill. I am going to die. I am going to die!"... Once he sat up in his bed and called to his mother in a low voice; but they were asleep, and he dared not wake them.

From that time on his childhood was poisoned by the idea of death. His nerves delivered him up to all sorts of little baseless sicknesses, to depression, to sudden transports, and fits of choking. His imagination ran riot with these troubles, and thought it saw in all of them the murderous beast which was to rob him of his life. How many times he suffered agonies, with his mother sitting only a few yards away from him, and she guessing nothing! For in his cowardice he was brave enough to conceal all his terror in a strange jumble of feeling—pride in not turning to others, shame of being afraid, and the scrupulousness of a tenderness which forbade him to trouble his mother. But he never ceased to think: "This time I am ill. I am seriously ill. It is diphtheria...." He had chanced on the word "diphtheria."... "Dear God! not this time!..."

He had religious ideas: he loved to believe what his mother had told, him, that after death the soul ascended to the Lord, and if it were pious entered into the garden of paradise. But the idea of this journey rather frightened than attracted him. He was not at all envious of the children whom God, as a recompense, according to his mother, took in their sleep and called to Him without having made them suffer. He trembled, as he went to sleep, for fear that God should indulge this whimsy at his expense. It must be terrible to be taken suddenly from the warmth of one's bed and dragged through the void into the presence of God. He imagined God as an enormous sun, with a voice of thunder. How it must hurt! It must barn the eyes, ears—all one's soul! Then, God could punish—you never know.... And besides, that did not prevent all the other horrors which he did not know very well, though he could guess them from what he had heard—your body in a box, all alone at the bottom of a hole, lost in the crowd of those revolting cemeteries to which he was taken to pray.... God! God! How sad! how sad!...

And yet it was not exactly joyous to live, and be hungry, and see your father drunk, and to be beaten, to suffer in so many ways from the wickedness of other children, from the insulting pity of grown-up persons, and to be understood by no one, not even by your mother. Everybody humiliates you, no one loves you. You are alone—alone, and matter so little! Yes; but it was just this that made him want to live. He felt in himself a surging power of wrath. A strange thing, that power! It could do nothing yet; it was as though it were afar off and gagged, swaddled, paralyzed; he had no idea what it wanted, what, later on, it would be. But it was in him; he was sure of it; he felt it stirring and crying out. To-morrow—to-morrow, what a voyage he would take! He had a savage desire to live, to punish the wicked, to do great things. "Oh! but how I will live when I am ..." he pondered a little—"when I am eighteen!" Sometimes he put it at twenty-one; that was the extreme limit. He thought that was enough for the domination of the world. He thought of the heroes dearest to him—of Napoleon, and of that other more remote hero, whom he preferred, Alexander the Great. Surely he would be like them if only he lived for another twelve—ten years. He never thought of pitying those who died at thirty. They were old; they had lived their lives; it was their fault if they hat failed. But to die now ... despair! Too terrible to pass while yet a little child, and forever to be in the minds of men a little boy whom everybody thinks he has the right to scold! He wept with rage at the thought, as though he were already dead.

This agony of death tortured his childish years—corrected only by disgust with all life and the sadness of his own.

* * * * *

It was in the midst of these gloomy shadows, in the stifling night that every moment seemed to intensify about him, that there began to shine, like a star lost in the dark abysm of space, the light which was to illuminate his life: divine music....

His grandfather gave the children an old piano, which one of his clients, anxious to be rid of it, had asked him to take. His patient ingenuity had almost put it in order. The present had not been very well received. Louisa thought her room already too small, without filling it up any more; and Melchior said that Jean Michel had not ruined himself over it: just firewood. Only Jean-Christophe was glad of it without exactly knowing why. It seemed to him a magic box, full of marvelous stories, just like the ones in the fairy-book—a volume of the "Thousand and One Nights"—which his grandfather read to him sometimes to their mutual delight. He had heard his father try the piano on the day of its arrival, and draw from it a little rain of arpeggios like the drops that a puff of wind shakes from the wet branches of a tree after a shower. He clapped his hands, and cried "Encore!" but Melchior scornfully closed the piano, saying that it was worthless. Jean-Christophe did not insist, but after that he was always hovering about the instrument. As soon as no one was near he would raise the lid, and softly press down a key, just as if he were moving with his finger the living shell of some great insect; he wanted to push out the creature that was locked up in it. Sometimes in his haste he would strike too hard, and then his mother would cry out, "Will you not be quiet? Don't go touching everything!" or else he would pinch himself cruelly in closing the piano, and make piteous faces as he sucked his bruised fingers....

Now his greatest joy is when his mother is gone out for a day's service, or to pay some visit in the town. He listens as she goes down the stairs, and into the street, and away. He is alone. He opens the piano, and brings up a chair, and perches on it. His shoulders just about reach the keyboard; it is enough for what he wants. Why does he wait until he is alone? No one would prevent his playing so long as he did not make too much noise. But he is ashamed before the others, and dare not. And then they talk and move about: that spoils his pleasure. It is so much more beautiful when he is alone! Jean-Christophe holds his breath so that the silence may be even greater, and also because he is a little excited, as though he were going to let off a gun. His heart beats as he lays his finger on the key; sometimes he lifts his finger after he has the key half pressed down, and lays it on another. Does he know what will come out of it, more than what will come out of the other? Suddenly a sound issues from it; there are deep sounds and high sounds, some tinkling, some roaring. The child listens to them one by one as they die away and finally cease to be; they hover in the air like bells heard far off, coming near in the wind, and then going away again; then when you listen you hear in the distance other voices, different, joining in and droning like flying insects; they seem to call to you, to draw you away farther—farther and farther into the mysterious regions, where they dive down and are lost.... They are gone!... No; still they murmur.... A little beating of wings.... How strange it all is! They are like spirits. How is it that they are so obedient? how is it that they are held captive in this old box? But best of all is when you lay two fingers on two keys at once. Then you never know exactly what will happen. Sometimes the two spirits are hostile; they are angry with each other, and fight; and hate each other, and buzz testily. Then voices are raised; they cry out, angrily, now sorrowfully. Jean-Christophe adores that; it is as though there were monsters chained up, biting at their fetters, beating against the bars of their prison; they are like to break them, and burst out like the monsters in the fairy-book—the genii imprisoned in the Arab bottles under the seal of Solomon. Others flatter you; they try to cajole you, but you feel that they only want to bite, that they are hot and fevered. Jean-Christophe does not know what they want, but they lure him and disturb him; they make him almost blush. And sometimes there are notes that love each other; sounds embrace, as people do with their arms when they kiss: they are gracious and sweet. These are the good spirits; their faces are smiling, and there are no lines in them; they love little Jean-Christophe, and little Jean-Christophe loves them. Tears come to his eyes as he hears them, and he is never weary of calling them up. They are his friends, his dear, tender friends....

So the child journeys through the forest of sounds, and round him he is conscious of thousands of forces lying in wait for him, and calling to him to caress or devour him....

One day Melchior came upon him thus. He made him jump with fear at the sound of his great voice. Jean-Christophe, thinking he was doing wrong, quickly put his hands up to his ears to ward off the blows he feared. But Melchior did not scold him, strange to say; he was in a good temper, and laughed.

"You like that, boy?" he asked, patting his head kindly. "Would you like me to teach you to play it?"

Would he like!... Delighted, he murmured: "Yes." The two of them sat down at the piano, Jean-Christophe perched this time on a pile of big books, and very attentively he took his first lesson. He learned first of all that the buzzing spirits have strange names, like Chinese names, of one syllable, or even of one letter. He was astonished; he imagined them to be different from that: beautiful, caressing names, like the princesses in the fairy stories. He did not like the familiarity with which his father talked of them. Again, when Melchior evoked them they were not the same; they seemed to become indifferent as they rolled out from under his fingers. But Jean-Christophe was glad to learn about the relationships between them, their hierarchy, the scales, which were like a King commanding an army, or like a band of negroes marching in single file. He was surprised to see that each soldier, or each negro, could become a monarch in his turn, or the head of a similar band, and that it was possible to summon whole battalions from one end to the other of the keyboard. It amused him to hold the thread which made them march. But it was a small thing compared with what he had seen at first; his enchanted forest was lost. However, he set himself to learn, for it was not tiresome, and he was surprised at his father's patience. Melchior did not weary of it either; he made him begin the same thing over again ten times. Jean-Christophe did not understand why he should take so much trouble; his father loved him, then? That was good! The boy worked away; his heart was filled with gratitude.

He would have been less docile had he known what thoughts were springing into being in his father's head.

* * * * *

From that day on Melchior took him to the house of a neighbor, where three times a week there was chamber music. Melchior played first violin, Jean Michel the violoncello. The other two were a bank-clerk and the old watchmaker of the Schillerstrasse. Every now and then the chemist joined them with his flute. They began at five, and went on till nine. Between each piece they drank beer. Neighbors used to come in and out, and listen without a word, leaning against the wall, and nodding their heads, and beating time with their feet, and filling the room with clouds of tobacco-smoke. Page followed page, piece followed piece, but the patience of the musicians was never exhausted. They did not speak; they were all attention; their brows were knit, and from time to time they grunted with pleasure, but for the rest they were perfectly incapable not only of expressing, but even of feeling, the beauty of what they played. They played neither very accurately nor in good time, but they never went off the rails, and followed faithfully the marked changes of tone. They had that musical facility which is easily satisfied, that mediocre perfection which, is so plentiful in the race which is said to be the most musical in the world. They had also that great appetite which does not stickle for the quality of its food, so only there be quantity—that healthy appetite to which all music is good, and the more substantial the better—it sees no difference between Brahms and Beethoven, or between the works of the same master, between an empty concerto and a moving sonata, because they are fashioned of the same stuff.

Jean-Christophe sat apart in a corner, which was his own, behind the piano. No one could disturb him there, for to reach it he had to go on all fours. It was half dark there, and the boy had just room to lie on the floor if he huddled up. The smoke of the tobacco filled his eyes and throat: dust, too; there were large flakes of it like sheepskin, but he did not mind that, and listened gravely, squatting there Turkish fashion, and widening the holes in the cloth of the piano with his dirty little fingers. He did not like everything that they played; but nothing that they played bored him, and he never tried to formulate his opinions, for he thought himself too small to know anything. Only some music sent him to sleep, some woke him up; it was never disagreeable to him. Without his knowing it, it was nearly always good music that excited him. Sure of not being seen, he made faces, he wrinkled his nose, ground his teeth, or stuck out his tongue; his eyes flashed with anger or drooped languidly; he moved his arms and legs with a defiant and valiant air; he wanted to march, to lunge out, to pulverize the world. He fidgeted so much that in the end a head would peer over the piano, and say: "Hullo, boy, are you mad? Leave the piano.... Take your hand away, or I'll pull your ears!" And that made him crestfallen and angry. Why did they want to spoil his pleasure? He was not doing any harm. Must he always be tormented! His father chimed in. They chid him for making a noise, and said that he did not like music. And in the end he believed it. These honest citizens grinding out concertos would have been astonished if they had been told that the only person in the company who really felt the music was the little boy.

If they wanted him to keep quiet, why did they play airs which make you march? In those pages were rearing horses, swords, war-cries, the pride of triumph; and they wanted him, like them, to do no more than wag his head and beat time with his feet! They had only to play placid dreams or some of those chattering pages which talk so much and say nothing. There are plenty of them, for example, like that piece of Goldmark's, of which the old watchmaker had just said with a delighted smile: "It is pretty. There is no harshness in it. All the corners are rounded off...." The boy was very quiet then. He became drowsy. He did not know what they were playing hardly heard it; but he was happy; his limbs were numbed, and he was dreaming.

His dreams were not a consecutive story; they had neither head nor tail. It was rarely that he saw a definite picture; his mother making a cake, and with a knife removing the paste that clung to her fingers; a water-rat that he had seen the night before swimming in the river; a whip that he wanted to make with a willow wand.... Heaven knows why these things should have cropped up in his memory at such a time! But most often he saw nothing at all, and yet he felt things innumerable and infinite. It was as though there were a number of very important things not to be spoken of, or not worth speaking of, because they were so well known, and because they had always been so. Some of them were sad, terribly sad; but there was nothing painful in them, as there is in the things that belong to real life; they were not ugly and debasing, like the blows that Jean-Christophe had from his father, or like the things that were in his head when, sick at heart with shame, he thought of some humiliation; they filled the mind with a melancholy calm. And some were bright and shining, shedding torrents of joy. And Jean-Christophe thought: "Yes, it is thus—thus that I will do by-and-by." He did not know exactly what thus was, nor why he said it, but he felt that he had to say it, and that it was clear as day. He heard the sound of a sea, and he was quite near to it, kept from it only by a wall of dunes. Jean-Christophe had no idea what sea it was, or what it wanted with him, but he was conscious that it would rise above the barrier of dunes. And then!... Then all would be well, and he would be quite happy. Nothing to do but to hear it, then, quite near, to sink to sleep to the sound of its great voice, soothing away all his little griefs and humiliations. They were sad still, but no longer shameful nor injurious; everything seemed natural and almost sweet.

Very often it was mediocre music that produced this intoxication in him. The writers of it were poor devils, with no thought in their heads but the gaining of money, or the hiding away of the emptiness of their lives by tagging notes together according to accepted formulae—or to be original, in defiance of formulae. But in the notes of music, even when handled by an idiot, there is such a power of life that they can let loose storms in a simple soul. Perhaps even the dreams suggested by the idiots are more mysterious and more free than those breathed by an imperious thought which drags you along by force; for aimless movement and empty chatter do not disturb the mind in its own pondering....

So, forgotten and forgetting, the child stayed in his corner behind the piano, until suddenly he felt ants climbing up his legs. And he remembered then that he was a little boy wife dirty nails, and that he was rubbing his nose against a white-washed wall, and holding his feet in his hands.

On the day when Melchior, stealing on tiptoe, had surprised the boy at the keyboard that was too high for him, he had stayed to watch him for a moment, and suddenly there had flashed upon him: "A little prodigy!... Why had he not thought of it?... What luck for the family!..." No doubt he had thought that the boy would be a little peasant like his mother. "It would cost nothing to try. What a great thing it would be! He would take him all over Germany, perhaps abroad. It would be a jolly life, and noble to boot." Melchior never failed to look for the nobility hidden in all he did, for it was not often that he failed to find it, after some reflection.

Strong in this assurance, immediately after supper, as soon as he had taken his last mouthful, he dumped the child once more in front of the piano, and made him go through the day's lesson until his eyes closed in weariness. Then three times the next day. Then the day after that. Then every day. Jean-Christophe soon tired of it; then he was sick to death of it; finally he could stand it no more, and tried to revolt against it. There was no point in what he was made to do: nothing but learning to run as fast as possible over the keys, by loosening the thumb, or exercising the fourth finger, which would cling awkwardly to the two next to it. It got on his nerves; there was nothing beautiful in it. There was an end of the magic sounds, and fascinating monsters, and the universe of dreams felt in one moment.... Nothing but scales and exercises—dry, monotonous, dull—duller than the conversation at meal-time, which was always the same—always about the dishes, and always the same dishes. At first the child listened absently to what his father said. When he was severely reprimanded he went on with a bad grace. He paid no attention to abuse; he met it with bad temper. The last straw was when one evening he heard Melchior unfold his plans in the next room. So it was in order to put him on show like a trick animal that he was so badgered and forced every day to move bits of ivory! He was not even given time to go and see his beloved river. What was it made them so set against him? He was angry, hurt in his pride, robbed of his liberty. He decided that he would play no more, or as badly as possible, and would discourage his father. It would be hard, but at all costs he must keep his independence.

The very next lesson he began to put his plan into execution. He set himself conscientiously to hit the notes awry, or to bungle every touch. Melchior cried out, then roared, and blows began to rain. He had a heavy ruler. At every false note he struck the boy's fingers, and at the same time shouted in his ears, so that he was like to deafen him. Jean-Christophe's face twitched tinder the pain of it; he bit his lips to keep himself from crying, and stoically went on hitting the notes all wrong, bobbing his head down whenever he felt a blow coming. But his system was not good, and it was not long before he began to see that it was so. Melchior was as obstinate as his son, and he swore that even if they were to stay there two days and two nights he would not let him off a single note until it had been properly played. Then Jean-Christophe tried too deliberately to play wrongly, and Melchior began to suspect the trick, as he saw that the boy's hand fell heavily to one side at every note with obvious intent. The blows became more frequent; Jean-Christophe was no longer conscious of his fingers. He wept pitifully and silently, sniffing, and swallowing down his sobs and tears. He understood that he had nothing to gain by going on like that, and that he would have to resort to desperate measures. He stopped, and, trembling at the thought of the storm which was about to let loose, he said valiantly:

"Papa, I won't play any more."

Melchior choked.

"What! What!..." he cried.

He took and almost broke the boy's arm with shaking it. Jean-Christophe, trembling more and more, and raising his elbow to ward off the blows, said again:

"I won't play any more. First, because I don't like being beaten. And then...."

He could not finish. A terrific blow knocked the wind out of him, and Melchior roared:

"Ah! you don't like being beaten? You don't like it?..."

Blows rained. Jean-Christophe bawled through his sobs:

"And then ... I don't like music!... I don't like music!..."

He slipped down from his chair. Melchior roughly put him back, and knocked his knuckles against the keyboard. He cried:

"You shall play!"

And Jean-Christophe shouted:

"No! No! I won't play!"

Melchior had to surrender. He thrashed the boy, thrust him from the room, and said that he should have nothing to eat all day, or the whole month, until he had played all his exercises without a mistake. He kicked him out and slammed the door after him,

Jean-Christophe found himself on the stairs, the dark and dirty stairs, worm-eaten. A draught came through a broken pane in the skylight, and the walls were dripping. Jean-Christophe sat on one of the greasy steps; his heart was beating wildly with anger and emotion. In a low voice he cursed his father:

"Beast! That's what you are! A beast ... a gross creature ... a brute! Yes, a brute!... and I hate you, I hate you!... Oh, I wish you were dead! I wish you were dead!"

His bosom swelled. He looked desperately at the sticky staircase and the spider's web swinging in the wind above the broken pane. He felt alone, lost in his misery. He looked at the gap in the banisters.... What if he were to throw himself down?... or out of the window?... Yes, what if he were to kill himself to punish them? How remorseful they would be! He heard the noise of his fall from the stairs. The door upstairs opened suddenly. Agonized voices cried: "He has fallen!—He has fallen!" Footsteps clattered downstairs. His father and mother threw themselves weeping upon his body. His mother sobbed: "It is your fault! You have killed him!" His father waved his arms, threw himself on his knees, beat his head against the banisters, and cried: "What a wretch am I! What a wretch am I!" The sight of all this softened his misery. He was on the point of taking pity on their grief; but then he thought that it was well for them, Had he enjoyed his revenge....

When his story was ended, he found himself once more at the top of the stairs in the dark; he looked down once more, and his desire to throw himself down was gone. He even, shuddered a little, and moved away from the edge, thinking that he might fall. Then he felt that he was a prisoner, like a poor bird in a cage—a prisoner forever, with nothing to do but to break his head and hurt himself. He wept, wept, and he robbed his eyes with his dirty little hands, so that in a moment he was filthy. As he wept he never left off looking at the things about him, and he found some distraction in that. He stopped moaning for a moment to look at the spider which, had just begun to move. Then he began with less conviction. He listened to the sound of his own weeping, and went on, mechanically with his sobbing, without much knowing why he did so. Soon he got up; he was attracted by the window. He sat on the window-sill, retiring into the background, and watched the spider furtively. It interested while it revolted him.

Below the Rhine flowed, washing the walls of the house. In the staircase window it was like being suspended over the river in a moving sky. Jean-Christophe never limped down the stairs without taking a long look at it, but he had never yet seen it as it was to-day. Grief sharpens the senses; it is as though everything were more sharply graven on the vision after tears have washed away the dim traces of memory. The river was like a living thing to the child—a creature inexplicable, but how much more powerful than all the creatures that he knew! Jean-Christophe leaned forward to see it better; he pressed his mouth and flattened his nose against the pane. Where was it going? What did it want? It looked free, and sure of its road.... Nothing could stop it. At all hours of the day or night, rain or sun, whether there were joy or sorrow in the house, it went on going by, and it was as though nothing mattered to it, as though it never knew sorrow, and rejoiced in its strength. What joy to be like it, to run through the fields, and by willow-branches, and over little shining pebbles and crisping sand, and to care for nothing, to be cramped by nothing, to be free!...

The boy looked and listened greedily; it was as though he were borne along by the river, moving by with it.... When he closed his eyes he saw color—blue, green, yellow, red, and great chasing shadows and sunbeams.... What he sees takes shape. Now it is a large plain, reeds, corn waving under a breeze scented with new grass and mint. Flowers on every side—cornflowers, poppies, violets. How lovely it is! How sweet the air! How good it is to lie down in the thick, soft grass!... Jean-Christophe feels glad and a little bewildered, as he does when on feast-days his father pours into his glass a little Rhine wine.... The river goes by.... The country is changed.... Now there are trees leaning over the water; their delicate leaves, like little hands, dip, move, and turn about in the water. A village among the trees is mirrored in the river. There are cypress-trees, and the crosses of the cemetery showing above the white wall washed by the stream. Then there are rocks, a mountain gorge, vines on the slopes, a little pine-wood, and ruined castles.... And once more the plain, corn, birds, and the sun....

The great green mass of the river goes by smoothly, like a single thought; there are no waves, almost no ripples—smooth, oily patches. Jean-Christophe does not see it; he has closed his eyes to hear it better. The ceaseless roaring fills him, makes him giddy; he is exalted by this eternal, masterful dream which goes no man knows whither. Over the turmoil of its depths rush waters, in swift rhythm, eagerly, ardently. And from the rhythm ascends music, like a vine climbing a trellis—arpeggios from silver keys, sorrowful violins, velvety and smooth-sounding flutes.... The country has disappeared. The river has disappeared. There floats by only a strange, soft, and twilight atmosphere. Jean-Christophe's heart flutters with emotion. What does he see now? Oh! Charming faces!... A little girl with brown tresses calls to him, slowly, softly, and mockingly.... A pale boy's face looks at him with melancholy blue eyes.... Others smile; other eyes look at him—curious and provoking eyes, and their glances make him blush—eyes affectionate and mournful, like the eyes of a dog—eyes imperious, eyes suffering.... And the pale face of a woman, with black hair, and lips close pressed, and eyes so large that they obscure her other features, and they gaze upon Jean-Christophe with an ardor that hurts him.... And, dearest of all, that face which smiles upon him with clear gray eyes and lips a little open, showing gleaming white teeth.... Ah! how kind and tender is that smile! All his heart is tenderness from it! How good it is to love! Again! Smile upon me again! Do not go!... Alas! it is gone!... But it leaves in his heart sweetness ineffable. Evil, sorrow, are no more; nothing is left.... Nothing, only an airy dream, like serene music, floating down a sunbeam, like the gossamers on fine summer days.... What has happened? What are these visions that fill the child with sadness and sweet sorrow? Never had he seen them before, and yet he knew them and recognized them. Whence come they? From what obscure abysm of creation? Are they what has been ... or what will be?...

Now all is done, every haunting form is gone. Once more through a misty veil, as though he were soaring high above it, the river in flood appears, covering the fields, and rolling by, majestic, slow, almost still. And far, far away, like a steely light upon the horizon, a watery plain, a line of trembling waves—the sea. The river runs down to it. The sea seems to run up to the river. She fires him. He desires her. He must lose himself in her.... The music hovers; lovely dance rhythms swing out madly; all the world is rocked in their triumphant whirligig.... The soul, set free, cleaves space, like swallows' flight, like swallows drunk with the air, skimming across the sky with shrill cries.... Joy! Joy! There is nothing, nothing!... Oh, infinite happiness!...

Hours passed; it was evening; the staircase was in darkness. Drops of rain made rings upon the river's gown, and the current bore them dancing away. Sometimes the branch of a tree or pieces of black bark passed noiselessly and disappeared. The murderous spider had withdrawn to her darkest corner. And little Jean-Christophe was still leaning forward on the window-sill. His face was pale and dirty; happiness shone in him. He was asleep.



III

E la faccia del sol nascere ombrata. Purgatorio, xxx.

He had to surrender. In spite of an obstinate and heroic resistance, blows triumphed over his ill-will. Every morning for three hours, and for three hours every evening, Jean-Christophe was set before the instrument of torture. All on edge with attention and weariness, with large tears rolling down his cheeks and nose, he moved his little red hands over the black and white keys—his hands were often stiff with cold—under the threatening ruler, which descended at every false note, and the harangues of his master, which were more odious to him than the blows. He thought that he hated music. And yet he applied himself to it with a zest which fear of Melchior did not altogether explain. Certain words of his grandfather had made an impression on him. The old man, seeing his grandson weeping, had told him, with that gravity which he always maintained for the boy, that it was worth while suffering a little for the most beautiful and noble art given to men for their consolation and glory. And Jean-Christophe, who was grateful to his grandfather for talking to him like a man, had been secretly touched by these simple words, which sorted well with his childish stoicism and growing pride. But, more than by argument, he was bound and enslaved by the memory of certain musical emotions, bound and enslaved to the detested art, against which he tried in vain to rebel.

There was in the town, as usual in Germany, a theater, where opera, opera-comique, operetta, drama, comedy, and vaudeville are presented—every sort of play of every style and fashion. There were performances three times a week from six to nine in the evening. Old Jean Michel never missed one, and was equally interested in everything. Once he took his grandson with him. Several days beforehand he told him at length what the piece was about. Jean-Christophe did not understand it, but he did gather that there would be terrible things in it, and while he was consumed with the desire to see them he was much afraid, though he dared not confess it. He knew that there was to be a storm, and he was fearful of being struck by lightning. He knew that there was to be a battle, and he was not at all sure that he would not be killed. On the night before, in bed, he went through real agony, and on the day of the performance he almost wished that his grandfather might be prevented from coming for him. But when the hour was near, and his grandfather did not come, he began to worry, and every other minute looked out of the window. At last the old man appeared, and they set out together. His heart leaped in his bosom; his tongue was dry, and he could not speak.

They arrived at the mysterious building which was so often talked about at home. At the door Jean Michel met some acquaintances, and the boy, who was holding his hand tight because he was afraid of being lost, could not understand how they could talk and laugh quietly at such a moment.

Jean Michel took his usual place in the first row behind the orchestra. He leaned on the balustrade, and began a long conversation with the contra-bass. He was at home there; there he was listened to because of his authority as a musician, and he made the most of it; it might almost be said that he abused it. Jean-Christophe could hear nothing. He was overwhelmed by his expectation of the play, by the appearance of the theater, which seemed magnificent to him, by the splendor of the audience, who frightened him terribly. He dared not turn his head, for he thought that all eyes were fixed on him. He hugged his little cap between his knees, and he stared at the magic curtain with round eyes.

At last three blows were struck. His grandfather blew his nose, and drew the libretto from his pocket. He always followed it scrupulously, so much so that sometimes he neglected what was happening on the stage. The orchestra began to play. With the opening chords Jean-Christophe felt more at ease. He was at home in this world of sound, and from that moment, however extravagant the play might be, it seemed natural to him.

The curtain was raised, to reveal pasteboard trees and creatures who were not much more real. The boy looked at it all, gaping with admiration, but he was not surprised. The piece set in a fantastic East, of which he could have had no idea. The poem was a web of ineptitudes, in which no human quality was perceptible. Jean-Christophe hardly grasped it at all; he made extraordinary mistakes, took one character for another, and pulled at his grandfather's sleeve to ask him absurd questions, which showed that he had understood nothing. He was not bored: passionately interested, on the contrary. Bound the idiotic libretto he built a romance of his own invention, which had no sort of relation to the one that was represented on the stage. Every moment some incident upset his romance, and he had to repair it, but that did not worry him. He had made his choice of the people who moved upon the stage, making all sorts of different sounds, and breathlessly he followed the fate of those upon whom he had fastened his sympathy. He was especially concerned with a fair lady, of uncertain age, who had long, brilliantly fair hair, eyes of an unnatural size, and bare feet. The monstrous improbabilities of the setting did not shock him. His keen, childish eyes did not perceive the grotesque ugliness of the actors, large and fleshy, and the deformed chorus of all sizes in two lines, nor the pointlessness of their gestures, nor their faces bloated by their shrieks, nor the full wigs, nor the high heels of the tenor, nor the make-up of his lady-love, whose face was streaked with variegated penciling. He was in the condition of a lover, whose passion blinds him to the actual aspect of the beloved object. The marvelous power of illusion, natural to children, stopped all unpleasant sensations on the way, and transformed them.

The music especially worked wonders. It bathed the whole scene in a misty atmosphere, in which everything became beautiful, noble, and desirable. It bred in the soul a desperate need of love, and at the same time showed phantoms of love on all sides, to fill the void that itself had created. Little Jean-Christophe was overwhelmed by his emotion. There were words, gestures, musical phrases which disturbed him; he dared not then raise his eyes; he knew not whether it were well or ill; he blushed and grew pale by turns; sometimes there came drops of sweat upon his brow, and he was fearful lest all the people there should see his distress. When the catastrophe came about which inevitably breaks upon lovers in the fourth act of an opera so as to provide the tenor and the prima donna with an opportunity for showing off their shrillest screams, the child thought he must choke; his throat hurt him as though he had caught cold; he clutched at his neck with his hands, and could not swallow his saliva; tears welled up in him; his hands and feet were frozen. Fortunately, his grandfather was not much less moved. He enjoyed the theater with a childish simplicity. During the dramatic passages he coughed carelessly to hide his distress, but Jean-Christophe saw it, and it delighted him. It was horribly hot; Jean-Christophe was dropping with sleep, and he was very uncomfortable. But he thought only: "Is there much longer? It cannot be finished!" Then suddenly it was finished, without his knowing why. The curtain fell; the audience rose; the enchantment was broken.

They went home through the night, the two children—the old man and the little boy. What a fine night! What a serene moonlight! They said nothing; they were turning over their memories. At last the old man said:

"Did you like it, boy?"

Jean-Christophe could not reply; he was still fearful from emotion, and he would not speak, so as not to break the spell; he had to make an effort to whisper, with a sigh:

"Oh yes."

The old man smiled. After a time he went on:

"It's a fine thing—a musician's trade! To create things like that, such marvelous spectacles—is there anything more glorious? It is to be God on earth!"

The boy's mind leaped to that. What! a man had made all that! That had not occurred to him. It had seemed that it must have made itself, must be the work of Nature. A man, a musician, such as he would be some day! Oh, to be that for one day, only one day! And then afterwards ... afterwards, whatever you like! Die, if necessary! He asked:

"What man made that, grandfather?"

The old man told him of Francois Marie Hassler, a young German artist who lived at Berlin. He had known him once. Jean-Christophe listened, all ears. Suddenly he said:

"And you, grandfather?"

The old man trembled.

"What?" he asked.

"Did you do things like that—you too?"

"Certainly," said the old man a little crossly.

He was silent, and after they had walked a little he sighed heavily. It was one of the sorrows of his life. He had always longed to write for the theater, and inspiration had always betrayed him. He had in his desk one or two acts written, but he had so little illusion as to their worth that he had never dared to submit them to an outside judgment.

They said no more until they reached home. Neither slept. The old man was troubled. He took his Bible for consolation. In bed Jean-Christophe turned over and over the events of the evening; he recollected the smallest details, and the girl with the bare feet reappeared before him. As he dozed off a musical phrase rang in his ears as distinctly as if the orchestra were there. All his body leaped; he sat up on his pillow, his head buzzing with music, and he thought: "Some day I also shall write. Oh, can I ever do it?"

From that moment he had only one desire, to go to the theater again, and he set himself to work more keenly, because they made a visit to the theater his reward. He thought of nothing but that; half the week he thought of the last performance, and the other half he thought of the next. He was fearful of being ill on a theater day, and this fear made him often, find in himself the symptoms of three or four illnesses. When the day came he did not eat; he fidgeted like a soul in agony; he looked at the clock fifty times, and thought that the evening would never come; finally, unable to contain himself, he would go out an hour before the office opened, for fear of not being able to procure a seat, and, as he was the first in the empty theater, he used to grow uneasy. His grandfather had told him that once or twice the audience had not been large enough, and so the players had preferred not to perform, and to give back the money. He watched the arrivals and counted them, thinking: "Twenty-three, twenty-four, twenty-five.... Oh, it is not enough ... there will never be enough!" 'And when he saw some important person enter the circle or the stalls, his heart was lighter, and he said to himself: "They will never dare to send him away. Surely they will play for him." But he was not convinced; he would not be reassured until the musicians took their places. And even then he would be afraid that the curtain would rise, and they would announce, as they had done one evening, a change of programme. With lynx eyes he watched the stand of the contra-bass to see if the title written on his music was that of the piece announced. And when he had seen it there, two minutes later he would look again to make quite sure that he had not been wrong. The conductor was not there. He must be ill. There was a stirring behind the curtain, and a sound of voices and hurried footsteps. Was there an accident, some untoward misfortune? Silence again. The conductor was at his post. Everything seemed ready at last.... They did not begin! What was happening? He boiled over with impatience. Then the bell rang. His heart thumped away. The orchestra began the overture, and for a few hours Jean-Christophe would swim in happiness, troubled only by the idea that it must soon come to an end.

* * * * *

Some time after that a musical event brought even more excitement into Jean-Christophe's thoughts. Francois Marie Hassler, the author of the first opera which had so bowled him over, was to visit the town. He was to conduct a concert consisting of his compositions. The town was excited. The young musician was the subject of violent discussion in Germany, and for a fortnight he was the only topic of conversation. It was a different matter when he arrived. The friends of Melchior and old Jean Michel continually came for news, and they went away with the most extravagant notions of the musician's habits and eccentricities. The child followed these narratives with eager attention. The idea that the great man was there in the town, breathing the same air as himself, treading the same stones, threw him into a state of dumb exaltation. He lived only in the hope of seeing him.

Hassler was staying at the Palace as the guest of the Grand Duke. He hardly went out, except to the theater for rehearsals, to which Jean-Christophe was not admitted, and as he was very lazy, he went to and fro in the Prince's carriage. Therefore, Jean-Christophe did not have many opportunities of seeing him, and he only succeeded once in catching sight of him as he drove in the carriage. He saw his fur coat, and wasted hours in waiting in the street, thrusting and jostling his way to right and left, and before and behind, to win and keep his place in front of the loungers. He consoled himself with spending half his days watching the windows of the Palace which had been pointed out as those of the master. Most often he only saw the shutters, for Hassler got up late, and the windows were closed almost all morning. This habit had made well-informed persons say that Hassler could not bear the light of day, and lived in eternal night.

At length Jean-Christophe was able to approach his hero. It was the day of the concert. All the town was there. The Grand Duke and his Court occupied the great royal box, surmounted with a crown supported by two chubby cherubim. The theater was in gala array. The stage was decorated with branches of oak and flowering laurel. All the musicians of any account made it a point of honor to take their places in the orchestra. Melchior was at his post, and Jean Michel was conducting the chorus.

When Hassler appeared there was loud applause from every part of the house, and the ladies rose to see him better. Jean-Christophe devoured him with his eyes. Hassler had a young, sensitive face, though it was already rather puffy and tired-looking; his temples were bald, and his hair was thin on the crown of his head; for the rest, fair, curly hair. His blue eyes looked vague. He had a little fair mustache and an expressive mouth, which was rarely still, but twitched with a thousand imperceptible movements. He was tall, and held himself badly—not from awkwardness, but from weariness or boredom. He conducted capriciously and lithely, with his whole awkward body swaying, like his music, with gestures, now caressing, now sharp and jerky. It was easy to see that he was very nervous, and his music was the exact reflection of himself. The quivering and jerky life of it broke through the usual apathy of the orchestra. Jean-Christophe breathed heavily; in spite of his fear of drawing attention to himself, he could not stand still in his place; he fidgeted, got up, and the music gave him such violent and unexpected shocks that he had to move his head, arms, and legs, to the great discomfort of his neighbors, who warded off his kicks as best they could. The whole audience was enthusiastic, fascinated by the success, rather than by the compositions. At the end there was a storm of applause and cries, in which the trumpets in the orchestra joined, German fashion, with their triumphant blare in salute of the conqueror, Jean-Christophe trembled with pride, as though these honors were for himself. He enjoyed seeing Hassler's face light up with childish pleasure. The ladies threw flowers, the men waved their hats, and the audience rushed for the platform. Every one wanted to shake the master's hand. Jean-Christophe saw one enthusiast raise the master's hand to his lips, another steal a handkerchief that Hassler had left on the corner of his desk. He wanted to reach the platform also, although he did not know why, for if at that moment he had found himself near Hassler, he would have fled at once in terror and emotion. But he butted with all his force, like a ram, among the skirts and legs that divided him from Hassler. He was too small; he could not break through.

Fortunately, when the concert was over, his grandfather came and took him to join in a party to serenade Hassler. It was night, and torches were lighted. All the musicians of the orchestra were there. They talked only of the marvelous compositions they had heard. They arrived outside the Palace, and took up their places without a sound under the master's windows. They took on an air of secrecy, although everybody, including Hassler, knew what was to come. In the silence of the night they began to play certain famous fragments of Hassler's compositions. He appeared at the window with the Prince, and they roared in their honor. Both bowed. A servant came from the Prince to invite the musicians to enter the Palace. They passed through great rooms, with frescoes representing naked men with helmets; they were of a reddish color, and were making gestures of defiance. The sky was covered with great clouds like sponges. There were also men and women of marble clad in waist-cloths made of iron. The guests walked on carpets so thick that their tread was inaudible, and they came at length to a room which was as light as day, and there were tables laden with drinks and good things.

The Grand Duke was there, but Jean-Christophe did not see him; he had eyes only for Hassler. Hassler came towards them; he thanked them. He picked his words carefully, stopped awkwardly in the middle of a sentence, and extricated himself with a quip which made everybody laugh. They began to eat. Hassler took four or five musicians aside. He singled out Jean-Christophe's grandfather, and addressed very flattering words to him: he recollected that Jean Michel had been one of the first to perform his works, and he said that he had often heard tell of his excellence from a friend of his who had been a pupil of the old man's. Jean-Christophe's grandfather expressed his gratitude profusely; he replied with such extraordinary eulogy that, in spite of his adoration of Hassler, the boy was ashamed. But to Hassler they seemed to be pleasant and in the rational order. Finally, the old man, who had lost himself in his rigmarole, took Jean-Christophe by the hand, and presented him to Hassler. Hassler smiled at Jean-Christophe, and carelessly patted his head, and when he learned that the boy liked his music, and had not slept for several nights in anticipation of seeing him, he took him in his arms and plied him with questions. Jean-Christophe, struck, dumb and blushing with pleasure, dared not look at him. Hassler took him by the chin and lifted his face up. Jean-Christophe ventured to look. Hassler's eyes were kind and smiling; he began to smile too. Then he felt so happy, so wonderfully happy in the great man's arms, that he burst into tears. Hassler was touched by this simple affection, and was more kind than ever. He kissed the boy and talked to him tenderly. At the same time he said funny things and tickled him to make him laugh; and Jean-Christophe could not help laughing through his tears. Soon he became at ease, and answered Hassler readily, and of his own accord he began to whisper in his ear all his small ambitions, as though he and Hassler were old friends; he told him how he wanted to be a musician like Hassler, and, like Hassler, to make beautiful things, and to be a great man. He, was always ashamed, talked confidently; he did not know what he was saying; he was in a sort of ecstasy, Hassler smiled at his prattling and said:

"When you are a man, and have become a good musician, you shall come and see me in Berlin. I shall make something of you."

Jean-Christophe was too delighted to reply.

Hassler teased him.

"You don't want to?"

Jean-Christophe nodded his head violently five or six times, meaning "Yes."

"It is a bargain, then?"

Jean-Christophe nodded again.

"Kiss me, then."

Jean-Christophe threw his arms round Hassler's neck and hugged him with all his strength.

"Oh, you are wetting me! Let go! Your nose wants wiping!"

Hassler laughed, and wiped the boy's nose himself, a little self-consciously, though he was quite jolly. He put him down, then took him by the hand and led him to a table, where he filled his pockets with cake, and left him, saying:

"Good-bye! Remember your promise."

Jean-Christophe swam in happiness. The rest of the world had ceased to exist for him. He could remember nothing of what had happened earlier in the evening; he followed lovingly Hassler's every expression and gesture. One thing that he said struck him. Hassler was holding a glass in his hand; he was talking, and his face suddenly hardened, and he said:

"The joy of such a day must not make us forget our enemies. We must never forget our enemies. It is not their fault that we are not crushed out of existence. It will not be our fault if that does not happen to them. That is why the toast I propose is that there are people whose health ... we will not drink!"

Everybody applauded and laughed at this original toast. Hassler had laughed with the others and his good-humored expression had returned. But Jean-Christophe was put off by it. Although he did not permit himself to criticise any action of his hero, it hurt him that he had thought ugly things, when on such a night there ought to be nothing but brilliant thoughts and fancies. But he did not examine what he felt, and the impression that it made was soon driven out by his great joy and the drop of champagne which he drank out of his grandfather's glass.

On the way back the old man never stopped talking; he was delighted with the praise that Hassler had given him; he cried out that Hassler was a genius such as had not been known for a century. Jean-Christophe said nothing, locking up in his heart his intoxication of love. He had kissed him. He had held him in his arms! How good he was! How great!

"Ah," he thought in bed, as he kissed his pillow passionately, "I would die for him—die for him!"

The brilliant meteor which had flashed across the sky of the little town that night had a decisive influence on Jean-Christophe's mind. All his childhood Hassler was the model on which his eyes were fixed, and to follow his example the little man of six decided that he also would write music. To tell the truth, he had been doing so for long enough without knowing it, and he had not waited to be conscious of composing before he composed.

Everything is music for the born musician. Everything that throbs, or moves, or stirs, or palpitates—sunlit summer days, nights when the wind howls, flickering light, the twinkling of the stars, storms, the song of birds, the buzzing of insects, the murmuring of trees, voices, loved or loathed, familiar fireside sounds, a creaking door, blood moving in the veins in the silence of the night—everything that is is music; all that is needed is that it should be heard. All the music of creation found its echo in Jean-Christophe. Everything that he saw, everything that he felt, was translated into music without his being conscious of it. He was like a buzzing hive of bees. But no one noticed it, himself least of all.

Like all children, he hummed perpetually at every hour of the day. Whatever he was doing—whether he were walking in the street, hopping on one foot, or lying on the floor at his grandfather's, with his head in his hands, absorbed in the pictures of a book, or sitting in his little chair in the darkest corner of the kitchen, dreaming aimlessly in the twilight—always the monotonous murmuring of his little trumpet was to be heard, played with lips closed and cheeks blown out. His mother seldom paid any heed to it, but, once in a while, she would protest.

When he was tired of this state of half-sleep he would have to move and make a noise. Then he made music, singing it at the top of his voice. He had made tunes for every occasion. He had a tune for splashing in his wash-basin in the morning, like a little duck. He had a tune for sitting on the piano-stool in front of the detested instrument, and another for getting off it, and this was a more brilliant affair than the other. He had one for his mother putting the soup on the table; he used to go before her then blowing a blare of trumpets. He played triumphal marches by which to go solemnly from the dining-room to the bedroom. Sometimes he would organize little processions with his two small brothers; all then would file out gravely, one after another, and each had a tune to march to. But, as was right and proper, Jean-Christophe kept the best for himself. Every one of his tunes was strictly appropriated to its special occasion, and Jean-Christophe never by any chance confused them. Anybody else would have made mistakes, but he knew the shades of difference between them exactly.

One day at his grandfather's house he was going round the room clicking his heels, head up and chest out; he went round and round and round, so that it was a wonder he did not turn sick, and played one of his compositions. The old man, who was shaving, stopped in the middle of it, and, with his face covered with lather, came to look at him, and said:

"What are you singing, boy?"

Jean-Christophe said he did not know.

"Sing it again!" said Jean Michel.

Jean-Christophe tried; he could not remember the tune. Proud of having attracted his grandfather's attention, he tried to make him admire his voice, and sang after his own fashion an air from some opera, but that was not what the old man wanted. Jean Michel said nothing, and seemed not to notice him any more. But he left the door of his room ajar while the boy was playing alone in the next room.

A few days later Jean-Christophe, with the chairs arranged about him, was playing a comedy in music, which he had made up of scraps that he remembered from the theater, and he was making steps and bows, as he had seen them done in a minuet, and addressing himself to the portrait of Beethoven which hung above the table. As he turned with a pirouette he saw his grandfather watching him through the half-open door. He thought the old man was laughing at him; he was abashed, and stopped dead; he ran to the window, and pressed his face against the panes, pretending that he had been watching something of the greatest interest. But the old man said nothing; he came to him and kissed him, and Jean-Christophe saw that he was pleased. His vanity made the most of these signs; he was clever enough to see that he had been appreciated; but he did not know exactly which his grandfather had admired most—his talent as a dramatic author, or as a musician, or as a singer, or as a dancer. He inclined, to the latter, for he prided himself on this.

A week later, when he had forgotten the whole affair, his grandfather said mysteriously that he had something to show him. He opened his desk, took out a music-book, and put it on the rack of the piano, and told the boy to play. Jean-Christophe was very much interested, and deciphered it fairly well. The notes were written by hand in the old man's large handwriting, and he had taken especial pains with it. The headings were adorned with scrolls and flourishes. After some moments the old man, who was sitting beside Jean-Christophe turning the pages for him, asked him what the music was. Jean-Christophe had been too much absorbed in his playing to notice what he had played, and said that he did not know it.

"Listen!... You don't know it?"

Yes; he thought he knew it, but he did not know where he had heard it. The old man laughed.

"Think."

Jean-Christophe shook his head.

"I don't know."

A light was fast dawning in his mind; it seemed to him that the air.... But, no! He dared not.... He would not recognize it.

"I don't know, grandfather."

He blushed.

"What, you little fool, don't you see that it is your own?"

He was sure of it, but to hear it said made his heart thump.

"Oh! grandfather!..."

Beaming, the old man showed him the book.

"See: Aria. It is what you were singing on Tuesday when you were lying on the floor. March. That is what I asked you to sing again last week, and you could not remember it. Minuet. That is what you were dancing by the armchair. Look!"

On the cover was written in wonderful Gothic letters:

"The Pleasures of Childhood: Aria, Minuetto, Valse, and Marcia, Op. 1, by Jean-Christophe Krafft."

Jean-Christophe was dazzled by it. To see his name, and that fine title, and that large book—his work!... He went on murmuring:

"Oh! grandfather! grandfather!..."

The old man drew him to him. Jean-Christophe threw himself on his knees, and hid his head in Jean Michel's bosom. He was covered with blushes from his happiness. The old man was even happier, and went on, in a voice which he tried to make indifferent, for he felt that he was on the point of breaking down:

"Of course, I added the accompaniment and the harmony to fit the song. And then"—he coughed—"and then, I added a trio to the minuet, because ... because it is usual ... and then.... I think it is not at all bad."

He played it. Jean-Christophe was very proud of collaborating with his grandfather.

"But, grandfather, you must put your name to it too."

"It is not worth while. It is not worth while others besides yourself knowing it. Only"—here his voice trembled—"only, later on, when I am no more, it will remind you of your old grandfather ... eh? You won't forget him?"

The poor old man did not say that he had been unable to resist the quite innocent pleasure of introducing one of his own unfortunate airs into his grandson's work, which he felt was destined to survive him; but his desire to share in this imaginary glory was very humble and very touching, since it was enough for him anonymously to transmit to posterity a scrap of his own thought, so as not altogether to perish. Jean-Christophe was touched by it, and covered his face with kisses, and the old man, growing more and more tender, kissed his hair.

"You will remember me? Later on, when you are a good musician, a great artist, who will bring honor to his family, to his art, and to his country, when you are famous, you will remember that it was your old grandfather who first perceived it, and foretold what you would be?"

There were tears in his eyes as he listened to his own words. He was reluctant to let such signs of weakness be seen. He had an attack of coughing, became moody, and sent the boy away hugging the precious manuscript.

Jean-Christophe went home bewildered by his happiness. The stones danced about him. The reception he had from his family sobered him a little. When he blurted out the splendor of his musical exploit they cried out upon him. His mother laughed at him. Melchior declared that the old man was mad, and that he would do better to take care of himself than to set about turning the boy's head. As for Jean-Christophe, he would oblige by putting such follies from his mind, and sitting down illico at the piano and playing exercises for four hours. He must first learn to play properly; and as for composing, there was plenty of time for that later on when he had nothing better to do.

Melchior was not, as these words of wisdom might indicate, trying to keep the boy from the dangerous exaltation of a too early pride. On the contrary, he proved immediately that this was not so. But never having himself had any idea to express in music, and never having had the least need to express an idea, he had come, as a virtuoso, to consider composing a secondary matter, which was only given value by the art of the executant. He was not insensible of the tremendous enthusiasm roused by great composers like Hassler. For such ovations he had the respect which he always paid to success—mingled, perhaps, with a little secret jealousy—for it seemed to him that such applause was stolen from him. But he knew by experience that the successes of the great virtuosi are no less remarkable, and are more personal in character, and therefore more fruitful of agreeable and flattering consequences. He affected to pay profound homage to the genius of the master musicians; but he took a great delight in telling absurd anecdotes of them, presenting their intelligence and morals in a lamentable light. He placed the virtuoso at the top of the artistic ladder, for, he said, it is well known that the tongue is the noblest member of the body, and what would thought be without words? What would music be without the executant? But whatever may have been the reason for the scolding that he gave Jean-Christophe, it was not without its uses in restoring some common sense to the boy, who was almost beside himself with his grandfather's praises. It was not quite enough. Jean-Christophe, of course, decided that his grandfather was much cleverer than his father, and though he sat down at the piano without sulking, he did so not so much for the sake of obedience as to be able to dream in peace, as he always did while his fingers ran, mechanically over the keyboard. While he played his interminable exercises he heard a proud voice inside himself saying over and over again: "I am a composer—a great composer."

From that day on, since he was a composer, he set himself to composing. Before he had even learned to write, he continued to cipher crotchets and quavers on scraps of paper, which he tore from the household account-books. But in the effort to find out what he was thinking, and to set it down in black and white, he arrived at thinking nothing, except when he wanted to think something. But he did not for that give up making musical phrases, and as he was a born musician he made them somehow, even if they meant nothing at all. Then he would take them in triumph to his grandfather, who wept with joy over them—he wept easily now that he was growing old—and vowed that they were wonderful.