Jean-Christophe in Paris: The Market-Place, Antoinette, the House. Romain RollandЧитать онлайн книгу.
the Woman, par excellence. The German waxed indignant. Sylvain Kohn asked him slyly what he thought Woman was like. Christophe felt that they were pulling his leg and laying a trap for him: but he fell straight into it in the violent expression of his convictions. He began to explain his ideas on love to these bantering Parisians. He could not find his words, floundered about after them, and finally fished up from the phrases he remembered such impossible words, such enormities, that he had all his hearers rocking with laughter, while all the time he was perfectly and admirably serious, never bothered about them, and was touchingly impervious to their ridicule: for he could not help seeing that they were making fun of him. At last he tied himself up in a sentence, could not extricate himself, brought his fist down on the table, and was silent.
They tried to bring him back into the discussion: he scowled and did not flinch, but sat with his elbows on the table, ashamed and irritated. He did not open his lips again, except to eat and drink, until the dinner was over. He drank enormously, unlike the Frenchmen, who only sipped their wine. His neighbor wickedly encouraged him, and went on filling his glass, which he emptied absently. But, although he was not used to these excesses, especially after the weeks of privation through which he had passed, he took his liquor well, and did not cut so ridiculous a figure as the others hoped. He sat there lost in thought: they paid no attention to him: they thought he was made drowsy by the wine. He was exhausted by the effort of following the conversation in French, and tired of hearing about nothing but literature—actors, authors, publishers, the chatter of the coulisses and literary life: everything seemed to be reduced to that. Amid all these new faces and the buzz of words he could not fix a single face, nor a single thought. His short-sighted eyes, dim and dreamy, wandered slowly round the table, and they rested on one man after another without seeming to see them. And yet he saw them better than any one, though he himself was not conscious of it. He did not, like these Jews and Frenchmen, peck at the things he saw and dissect them, tear them to rags, and leave them in tiny, tiny pieces. Slowly, like a sponge, he sucked up the essence of men and women, and bore away their image in his soul. He seemed to have seen nothing and to remember nothing. It was only long afterwards—hours, often days—when he was alone, gazing in upon himself, that he saw that he had borne away a whole impression.
But for the moment he seemed to be just a German boor, stuffing himself with food, concerned only with not missing a mouthful. And he heard nothing clearly, except when he heard the others calling each other by name, and then, with a silly drunken insistency, he wondered why so many Frenchmen have foreign names: Flemish, German, Jewish, Levantine, Anglo- or Spanish-American.
He did not notice when they got up from the table. He went on sitting alone: and he dreamed of the Rhenish hills, the great woods, the tilled fields, the meadows by the waterside, his old mother. Most of the others had gone. At last he thought of going, and got up, too, without looking at anybody, and went and took down his hat and cloak, which were hanging by the door. When he had put them on he was turning away without saying good-night, when through a half-open door he saw an object which fascinated him: a piano. He had not touched a musical instrument for weeks. He went in and lovingly touched the keys, sat down just as he was, with his hat on his head and his cloak on his shoulders, and began to play. He had altogether forgotten where he was. He did not notice that two men crept into the room to listen to him. One was Sylvain Kohn, a passionate lover of music—God knows why! for he knew nothing at all about it, and he liked bad music just as well as good. The other was the musical critic, Théophile Goujart. He—it simplifies matters so much—neither understood nor loved music: but that did not keep him from talking about it. On the contrary: nobody is so free in mind as the man who knows nothing of what he is talking about: for to such a man it does not matter whether he says one thing more than another.
Théophile Goujart was tall, strong, and muscular: he had a black beard, thick curls on his forehead, which was lined with deep inexpressive wrinkles, short arms, short legs, a big chest: a type of woodman or porter of the Auvergne. He had common manners and an arrogant way of speaking. He had gone into music through politics, at that time the only road to success in France. He had attached himself to the fortunes of a Minister to whom he had discovered that he was distantly related—a son "of the bastard of his apothecary." Ministers are not eternal, and when it seemed that the day of his Minister was over Théophile Goujart deserted the ship, taking with him all that he could lay his hands on, notably several orders: for he loved glory. Tired of politics, in which for some time past he had received various snubs, both on his own account and on that of his patron, he looked out for a shelter from the storm, a restful position in which he could annoy others without being himself annoyed. Everything pointed to criticism. Just at that moment there fell vacant the post of musical critic to one of the great Parisian papers. The previous holder of the post, a young and talented composer, had been dismissed because he insisted on saying what he thought of the authors and their work. Goujart had never taken any interest in music, and knew nothing at all about it: he was chosen without a moment's hesitation. They had had enough of competent critics: with Goujart there was at least nothing to fear: he did not attach an absurd importance to his opinions: he was always at the editor's orders, and ready to comply with a slashing article or enthusiastic approbation. That he was no musician was a secondary consideration. Everybody in France knows a little about music. Goujart quickly acquired the requisite knowledge. His method was quite simple: it consisted in sitting at every concert next to some good musician, a composer if possible, and getting him to say what he thought of the works performed. At the end of a few months of this apprenticeship, he knew his job: the fledgling could fly. He did not, it is true, soar like an eagle: and God knows what howlers Goujart committed with the greatest show of authority in his paper! He listened and read haphazard, stirred the mixture up well in his sluggish brains, and arrogantly laid down the law for others; he wrote in a pretentious style, interlarded with puns, and plastered over with an aggressive pedantry: he had the mind of a schoolmaster. Sometimes, every now and then, he drew down on himself cruel replies: then he shammed dead, and took good care not to answer them. He was a mixture of cunning and thick-headedness, insolent or groveling as circumstances demanded. He cringed to the masters who had an official position or an established fame (he had no other means of judging merit in music). He scorned everybody else, and exploited writers who were starving. He was no fool.
In spite of his reputation and the authority he had acquired, he knew in his heart of hearts that he knew nothing about music: and he recognized that Christophe knew a great deal about it. Nothing would have induced him to say so: but it was borne in upon him. And now he heard Christophe play: and he made great efforts to understand him, looking absorbed, profound, without a thought in his head: he could not see a yard ahead of him through the fog of sound, and he wagged his head solemnly as one who knew and adjusted the outward and visible signs of his approval to the fluttering of the eyelids of Sylvain Kohn, who found it hard to stand still.
At last Christophe, emerging to consciousness from the fumes of wine and music, became dimly aware of the pantomime going on behind his back: he turned and saw the two amateurs of music. They rushed at him and violently shook hands with him—Sylvain Kohn gurgling that he had played like a god, Goujart declaring solemnly that he had the left hand of Rubinstein and the right hand of Paderewski (or it might be the other way round). Both agreed that such talent ought not to be hid under a bushel, and they pledged themselves to reveal it. And, incidentally, they were both resolved to extract from it as much honor and profit as possible.
From that day on Sylvain Kohn took to inviting Christophe to his rooms, and put at his disposal his excellent piano, which he never used himself. Christophe, who was bursting with suppressed music, did not need to be urged, and accepted: and for a time he made good use of the invitation.
At first all went well. Christophe was only too happy to play: and Sylvain Kohn was tactful enough to leave him to play in peace. He enjoyed it thoroughly himself. By one of those queer phenomena which must be in everybody's observation, the man, who was no musician, no artist, cold-hearted and devoid of all poetic feeling and real kindness, was enslaved sensually by Christophe's music, which he did not understand, though he found in it a strongly voluptuous pleasure. Unfortunately, he could not hold his tongue. He had to talk, loudly, while Christophe was playing. He had to underline the music with affected exclamations, like a concert snob, or else he passed ridiculous comment on it. Then Christophe would thump the piano, and