They did without him: and his absence left no very great gap in the Mannheims' evenings. But in spite of herself Judith was really annoyed with Christophe. It seemed natural enough not to bother about him when he was there: and she could allow him to show his displeasure at being neglected: but that his displeasure should go so far as to break off their relationship altogether seemed to her to show a stupid pride and a heart more egoistic than in love.--Judith could not tolerate her own faults in others.

She followed the more attentively everything that Christophe did and wrote.

Without seeming to do so, she would lead her brother to the subject of Christophe: she would make him tell her of his intercourse with him: and she would punctuate the narrative with clever ironic comment, which never let any ridiculous feature escape, and gradually destroyed Franz's enthusiasm without his knowing it.

At first all went well with the Review. Christophe had not yet perceived the mediocrity of his colleagues: and, since he was one of them, they hailed him as a genius. Mannheim, who had discovered him, went everywhere repeating that Christophe was an admirable critic, though he had never read anything he had written, that he had mistaken his vocation, and that he, Mannheim, had revealed it to him. They advertised his articles in mysterious terms which roused curiosity: and his first effort was in fact like a stone falling into a duck-pond in the atony of the little town. It was called: _Too much music_.

"Too much music, too much drinking, too much eating," wrote Christophe.

"Eating, drinking, hearing, without hunger, thirst, or need, from sheer habitual gormandizing. Living like Strasburg geese. These people are sick from a diseased appet.i.te. It matters little what you give them: _Tristram_ or the _Trompeter von Sakkingen_, Beethoven or Mascagni, a fugue or a two-step, Adam, Bach, Puccini, Mozart, or Marschner: they do not know what they are eating: the great thing is to eat. They find no pleasure in it.

Look at them at a concert. Talk of German gaiety! These people do not know what gaiety means: they are always gay! Their gaiety, like their sorrow, drops like rain: their joy is dust: there is neither life nor force in it.

They would stay for hours smilingly and vaguely drinking in sounds, sounds, sounds. They think of nothing: they feel nothing: they are sponges. True joy, or true sorrow--strength--is not drawn out over hours like beer from a cask. They take you by the throat and have you down: after they are gone there is no desire left in a man to drink in anything: he is full!...

"Too much music! You are slaying each other and it. If you choose to murder each other that is your affair: I can't help it. But where music is concerned,--hands off! I will not suffer you to debase the loveliness of the world by heaping up in the same basket things holy and things shameful, by giving, as you do at present, the prelude to _Parsifal_ between a fantasia on the _Daughter of the Regiment_ and a saxophone quartette, or an adagio of Beethoven between a cakewalk and the rubbish of Leoncavallo. You boast of being a musical people. You pretend to love music. What sort of music do you love? Good or bad? You applaud both equally. Well, then, choose! What exactly do you want? You do not know yourselves. You do not want to know: you are too fearful of taking sides and compromising yourselves.... To the devil with your prudence!--You are above party, do you say?--Above? You mean below...."

And he quoted the lines of old Gottfried Keller, the rude citizen of Zurich--one of the German writers who was most dear to him by reason of his vigorous loyalty and his keen savor of the soil:

"_Wer uber den Parlein sich wahnt mit stolzen Mienen Der steht zumeist vielmehr betrachtlich unter ihnen._"

("He who proudly preens himself on being above parties is rather immeasurably beneath them.")

"Have courage and be true," he went on. "Have courage and be ugly. If you like bad music, then say so frankly. Show yourselves, see yourselves as you are. Kid your souls of the loathsome burden of all your compromise and equivocation. Wash it in pure water. How long is it since you have seen.

yourselves in a mirror? I will show you yourselves. Composers, _virtuosi_, conductors, singers, and you, dear public. You shall for once know yourselves.... Be what you like: but, for any sake, be true! Be true even though art and artists--and I myself--have to suffer for it! If art and truth cannot live together, then let art disappear. Truth is life. Lies are death."

Naturally, this youthful, wild outburst, which was all of a piece, and in very bad taste, produced an outcry. And yet, as everybody was attacked and n.o.body in particular, its pertinency was not recognized. Every one is, or believes himself to be, or says that he is the best friend of truth: there was therefore no danger of the conclusions of the article being attacked.

Only people were shocked by its general tone: everybody agreed that it was hardly proper, especially from an artist in a semi-official position.

A few musicians began to be uneasy and protested bitterly: they saw that Christophe would not stop at that. Others thought themselves more clever and congratulated Christophe on his courage: they were no less uneasy about his next articles.

Both tactics produced the same result. Christophe had plunged: nothing could stop him: and as he had promised, everybody was pa.s.sed in survey, composers and interpreters alike.

The first victims were the _Kapellmeisters_. Christophe did not confine himself to general remarks on the art of conducting an orchestra. He mentioned his colleagues of his own town and the neighboring towns by name: or if he did not name them his allusions were so transparent that n.o.body could be mistaken. Everybody recognized the apathetic conductor of the Court, Alois von Werner, a cautious old man, laden with honors, who was afraid of everything, dodged everything, was too timid to make a remark to his musicians and meekly followed whatever they chose to do,--who never risked anything on his programme that had not been consecrated by twenty years of success, or, at least, guaranteed by the official stamp of some academic dignity. Christophe ironically applauded his boldness: he congratulated him on having discovered Gade, Dvorak, or Tschaikowsky: he waxed enthusiastic over his unfailing correctness, his metronomic equality, the always _fein-nuanciert_ (finely shaded) playing of his orchestra: he proposed to orchestrate the _ecole de la Velocite_ of Czerny for his next concert, and implored him not to try himself so much, not to give rein to his pa.s.sions, to look after his precious health.--Or he cried out indignantly upon the way in which he had conducted the _Eroica_ of Beethoven:

"A cannon! A cannon! Mow me down these people!... But have you then no idea of the conflict, the fight between human stupidity and human ferocity,--and the strength which tramples them underfoot with a glad shout of laughter?--How could you know it? It is you against whom it fights! You expend all the heroism that is in you in listening or in playing the _Eroica_ of Beethoven without a yawn--(for it bores you.... Confess that it bores you to death!)--or in risking a draught as you stand with bare head and bowed back to let some Serene Highness pa.s.s."

He could not be sarcastic enough about the pontiffs of the Conservatories who interpreted the great men of the past as "cla.s.sics."

"Cla.s.sical! That word expresses everything. Free pa.s.sion, arranged and expurgated for the use of schools! Life, that vast plain swept by the winds,--inclosed within the four walls of a school playground! The fierce, proud beat of a heart in anguish, reduced to the tic-tacs of a four-tune pendulum, which goes its jolly way, hobbling and imperturbably leaning on the crutch of time!... To enjoy the Ocean you need to put it in a bowl with goldfish. You only understand life when you have killed it."

If he was not kind to the "bird-stuffers" as he called them, he was even less kind to the ringmen of the orchestra, the ill.u.s.trious _Kapellmeisters_ who toured the country to show off their flourishes and their dainty hands, those who exercised their virtuosity at the expense of the masters, tried hard to make the most familiar works unrecognizable, and turned somersaults through the hoop of the _Symphony in C minor_. He made them appear as old coquettes, _prima donnas_ of the orchestra, gipsies, and rope-dancers.

The _virtuosi_ naturally provided him with splendid material. He declared himself incompetent when he had to criticise their conjuring performances.

He said that such mechanical exercises belonged to the School of Arts and Crafts, and that not musical criticism but charts registering the duration, and number of the notes, and the energy expended, could decide the merit of such labors. Sometimes he would set at naught some famous piano _virtuoso_ who during a two hours' concert had surmounted the formidable difficulties, with a smile on his lips and his hair hanging down into his eyes--of executing a childish _andante_ of Mozart.--He did not ignore the pleasure of overcoming difficulties. He had tasted it himself: it was one of the joys of life to him. But only to see the most material aspect of it, and to reduce all the heroism of art to that, seemed to him grotesque and degrading. He could not forgive the "lions" or "panthers" of the piano.--But he was not very indulgent either towards the town pedants, famous in Germany, who, while they are rightly anxious not to alter the text of the masters, carefully suppress every flight of thought, and, like E. d'Albert and H. von Bulow, seem to be giving a lesson in diction when they are rendering a pa.s.sionate sonata.

The singers had their turn. Christophe was full to the brim of things to say about their barbarous heaviness and their provincial affectations. It was not only because of his recent misadventures with the enraged lady, but because of all the torture he had suffered during so many performances. It was difficult to know which had suffered most, ears or eyes. And Christophe had not enough standards of comparison to be able to have any idea of the ugliness of the setting, the hideous costumes, the screaming colors. He was only shocked by the vulgarity of the people, their gestures and att.i.tudes, their unnatural playing, the inability of the actors to take on other souls than their own, and by the stupefying indifference with which they pa.s.sed from one role to another, provided they were written more or less in the same register. Matrons of opulent flesh, hearty and buxom, appeared alternately as Ysolde and Carmen. Amfortas played Figaro.--But what most offended Christophe was the ugliness of the singing, especially in the cla.s.sical works in which the beauty of melody is essential. No one in Germany could sing the perfect music of the eighteenth century: no one would take the trouble. The clear, pure style of Gluck and Mozart which, like that of Goethe, seems to be bathed in the light of Italy--the style which begins to change and to become vibrant and dazzling with Weber--the style ridiculed by the ponderous caricatures of the author of _Crociato_--had been killed by the triumph of Wagner. The wild flight of the Valkyries with their strident cries had pa.s.sed over the Grecian sky.

The heavy clouds of Odin dimmed the light. No one now thought of singing music: they sang poems. Ugliness and carelessness of detail, even false notes were let pa.s.s under pretext that only the whole, only the thought behind it mattered....

"Thought! Let us talk of that. As if you understood it!... But whether or no you do understand it, I pray you respect the form that thought has chosen for itself. Above all, let music be and remain music!"

And the great concern of German artists with expression and profundity of thought was, according to Christophe, a good joke. Expression? Thought?

Yes, they introduced them into everything--everything impartially. They would have found thought in a skein of wool just as much--neither more nor less--as in a statue of Michael Angelo. They played anything, anybody's music with exactly the same energy. For most of them the great thing in music--so he declared--was the volume of sound, just a musical noise. The pleasure of singing so potent in Germany was in some sort a pleasure of vocal gymnastics. It was just a matter of being inflated with air and then letting it go vigorously, powerfully, for a long time together and rhythmically.--And by way of compliment he accorded a certain great singer a certificate of good health. He was not content with flaying the artists.

He strode over the footlights and trounced the public for coming, gaping, to such performances. The public was staggered and did not know whether it ought to laugh or be angry. They had every right to cry out upon his injustice: they had taken care not to be mixed up in any artistic conflict: they stood aside prudently from any burning question: and to avoid making any mistake they applauded everything! And now Christophe declared that it was a crime to applaud!... To applaud bad works?--That would have been enough! But Christophe went further: he stormed at them for applauding great works:

"Humbugs!" he said. "You would have us believe that you have as much enthusiasm as that?... Oh! Come! Spare yourselves the trouble! You only prove exactly the opposite of what you are trying to prove. Applaud if you like those works and pa.s.sages which in some measure deserve applause.

Applaud those loud final movements which are written, as Mozart said, 'for long ears.' Applaud as much as you like, then: your braying is antic.i.p.ated: it is part of the concert.--But after the _Missa Solemnis_ of Beethoven!...

Poor wretches!... It is the Last Judgment. You have just seen the maddening _Gloria_ pa.s.s like a storm over the ocean. You have seen the waterspout of an athletic and tremendous well, which stops, breaks, reaches up to the clouds clinging by its two hands above the abyss, then plunging once more into s.p.a.ce in full swing. The squall shrieks and whirls along. And when the hurricane is at its height there is a sudden modulation, a radiance of sound which cleaves the darkness of the sky and falls upon the livid sea like a patch of light. It is the end: the furious flight of the destroying angel stops short, its wings transfixed by these flashes of lightning.

Around you all is buzzing and quivering. The eye gazes fixedly forward in stupor. The heart beats, breathing stops, the limbs are paralyzed.... And hardly has the last note sounded than already you are gay and merry. You shout, you laugh, you criticise, you applaud.... But you have seen nothing, heard nothing, felt nothing, understood nothing, nothing, nothing, absolutely nothing! The sufferings of an artist are a show to you. You think the tears of agony of a Beethoven are finely painted. You would cry 'Encore' to the Crucifixion. A great soul struggles all its life long in sorrow to divert your idleness for an hour!..."

So, without knowing it, he confirmed Goethe's great words: but he had not yet attained his lofty serenity:

"The people make a sport of the sublime. If they could see it as it is, they would be unable to bear its aspect."

If he had only stopped at that!--But, whirled along by his enthusiasm, he swept past the public and plunged like a cannon ball into the sanctuary, the tabernacle, the inviolable refuge of mediocrity: Criticism. He bombarded his colleagues. One of them had taken upon himself to attack the most gifted of living composers, the most advanced representative of the new school, Ha.s.sler, the writer of programme symphonies, extravagant in truth, but full of genius. Christophe who--as perhaps will be remembered--had been presented to him when he was a child, had always had a secret tenderness for him in his grat.i.tude for the enthusiasm and emotion that he had had then. To see a stupid critic, whose ignorance he knew, instructing a man of that caliber, calling him to order, and reminding him of set principles, infuriated him:

"Order! Order!" he cried. "You do not know any order but that of the police. Genius is not to be dragged along the beaten track. It creates order, and makes its will a law."

After this arrogant declaration he took the unlucky critic, considered all the idiocies he had written for some time past, and administered correction.

All the critics felt the affront. Up to that time they had stood aside from the conflict. They did not care to risk a rebuff: they knew Christophe, they knew his efficiency, and they knew also that he was not long-suffering. Certain of them had discreetly expressed their regret that so gifted a composer should dabble in a profession not his own. Whatever might be their opinion (when they had one), and however hurt they might be by Christophe, they respected in him their own privilege of being able to criticise everything without being criticised themselves. But when they saw Christophe rudely break the tacit convention which bound them, they saw in him an enemy of public order. With one consent it seemed revolting to them that a very young man should take upon himself to show scant respect for the national glories: and they began a furious campaign against him. They did not write long articles or consecutive arguments--(they were unwilling to venture upon such ground with an adversary better armed than themselves: although a journalist has the special faculty of being able to discuss without taking his adversary's arguments into consideration, and even without having read them)--but long experience had taught them that, as the reader of a paper always agrees with it, even to appear to argue was to weaken its credit with him: it was necessary to affirm, or better still, to deny--(negation is twice as powerful as affirmation: it is a direct consequence of the law of gravity: it is much easier to drop a stone than to throw it up).--They adopted, therefore, a system of little notes, perfidious, ironic, injurious, which were repeated day by day, in an easily accessible position, with unwearying a.s.siduity. They held the insolent Christophe up to ridicule, though they never mentioned him by name, but always transparently alluded to him. They twisted his words to make them look absurd: they told anecdotes about him, true for the most part, though the rest were a tissue of lies, nicely calculated to set him at loggerheads with the whole town, and, worse still, with the Court: even his physical appearance, his features, his manner of dressing, were attacked and caricatured in a way that by dint of repet.i.tion came to be like him.

It would have mattered little to Christophe's friends if their Review had not also come in for blows in the battle. In truth, it served rather as an advertis.e.m.e.nt: there was no desire to commit the Review to the quarrel: rather the attempt was made to cut Christophe off from it: there was astonishment that it should so compromise its good name, and they were given to understand that if they did not take care steps would be taken, however unpleasant it might be, to make the whole editorial staff responsible. There were signs of attack, gentle enough, upon Adolf Mai and Mannheim, which stirred up the wasps' nest. Mannheim only laughed at it: he thought that it would infuriate his father, his uncles, cousins, and his innumerable family, who took upon themselves to watch everything he did and to be scandalized by it. But Adolf Mai took it very seriously and blamed Christophe for compromising the Review. Christophe sent him packing. The others who had not been attacked found it rather amusing that Mai, who was apt to pontificate over them, should be their scapegoat. Waldhaus was secretly delighted: he said that there was never a fight without a few heads being broken. Naturally he took good care that it should not be his own: he thought he was sheltered from onslaught by the position of his family; and his relatives: and he saw no harm in the Jews, his allies, being mauled a little. Ehrenfeld and Goldenring, who were so far untouched, would not have been worried by attack: they could reply. But what did touch them on the raw was that Christophe should go on persistently putting them in the wrong with their friends, and especially their women friends. They had laughed loudly at the first articles and thought them good fun: they admired Christophe's vigorous window-smashing: they thought they had only to give the word to check his combativeness, or at least to turn his attack from men and women whom they might mention.--But no. Christophe would listen to nothing: he paid no heed to any remark and went on like a madman.

If they let him go on there would be no living in the place. Already their young women friends, furious and in tears, had come and made scenes at the offices of the Review. They brought all their diplomacy to bear on Christophe to persuade him at least to moderate certain of his criticisms: Christophe changed nothing. They lost their tempers: Christophe lost his, but he changed nothing. Waldhaus was amused by the unhappiness of his friends, which in no wise touched him, and took Christophe's part to annoy them. Perhaps also he was more capable than they of appreciating Christophe's extravagance, who with head down hurled himself upon everything without keeping any line of retreat, or preparing any refuge for the future. As for Mannheim he was royally amused by the farce: it seemed to him a good joke to have introduced this madman among these correct people, and he rocked with laughter both at the blows which Christophe dealt and at those which he received. Although under his sister's influence he was beginning to think that Christophe was decidedly a little cracked, he only liked him the more for it--(it was necessary for him to find those who were in sympathy with him a little absurd).--And so he joined Waldhaus in supporting Christophe against the others.

As he was not wanting in practical sense, in spite of all his efforts to pretend to the contrary, he thought very justly that it would be to his friend's advantage to ally himself with the cause of the most advanced musical party in the country.

As in most German towns, there was in the town a _Wagner-Verein_, which represented new ideas against the conservative element.--In truth, there was no great risk in defending Wagner when his fame was acknowledged everywhere and his works included in the repertory of every Opera House in Germany. And yet his victory was rather won by force than by universal accord, and at heart the majority were obstinately conservative, especially in the small towns such as this which have been rather left outside the great modern movements and are rather proud of their ancient fame. More than anywhere else there reigned the distrust, so innate in the German people, of anything new, the sort of laziness in feeling anything true or powerful which has not been pondered and digested by several generations.

It was apparent in the reluctance with which--if not the works of Wagner which are beyond discussion--every new work inspired by the Wagnerian spirit was accepted. And so the _Wagner-Vereine_ would have had a useful task to fulfil if they had set themselves to defend all the young and original forces in art. Sometimes they did so, and Bruckner or Hugo Wolf found in some of them their best allies. But too often the egoism of the master weighed upon his disciples: and just as Bayreuth serves only monstrously to glorify one man, the _offshoots_ of Bayreuth were little churches in which Ma.s.s was eternally sung in honor of the one G.o.d. At the most the faithful disciples were admitted to the side chapels, the disciples who applied the hallowed doctrines to the letter, and, prostrate in the dust, adored the only Divinity with His many faces: music, poetry, drama, and metaphysics.

The _Wagner-Verein_ of the town was in exactly this case.--However, they went through the form of activity: they were always trying to enroll young men of talent who looked as though they might be useful to it: and they had long had their eyes on Christophe. They had discreetly made advances to him, of which Christophe had not taken any notice, because he felt no need of being a.s.sociated with anybody: he could not understand the necessity which drove his compatriots always to be banding themselves together in groups, being unable to do anything alone: neither to sing, nor to walk, nor to drink. He was averse to all _Vereinswesen_. But on the whole he was more kindly disposed to the _Wagner-Verein_ than to any other _Verein_: at least they did provide an excuse for fine concerts: and although he did not share all the Wagnerian ideas on art, he was much nearer them than to those of any other group in music. He could he thought find common ground with a party which was as unjust as himself towards Brahms and the "Brahmins." So he let himself be put up for it. Mannheim introduced him: he knew everybody. Without being a musician he was a member of the _Wagner-Verein_.--The managing committee had followed the campaign which Christophe was conducting in the Review. His slaughter in the opposing camp had seemed to them to give signs of a strong grip which it would be as well to have in their service. Christophe had also let fly certain disrespectful remarks about the sacred fetish: but they had preferred to close their eyes to that: and perhaps his attacks, not yet very offensive, had not been without their influence, unconsciously, in making them so eager to enroll Christophe before he had time to deliver himself manfully. They came and very amiably asked his permission to play some of his compositions at one of the approaching concerts of the a.s.sociation. Christophe was flattered, and accepted: he went to the _Wagner-Verein_, and, urged by Mannheim, he was made a member.

At that time there were at the head of the _Wagner-Verein_ two men, of whom one enjoyed a certain notoriety as a writer, and the other as a conductor.

Both had a Mohammedan belief in Wagner. The first, Josias Kling, had compiled a Wagner Dictionary--_Wagner Lexikon_--which made it possible in a moment to know the master's thoughts _de omni re scibili_: it had been his life's work. He was capable of reciting whole chapters of it at table, as the French provincials used to troll the songs of the Maid. He used also to publish in the _Bayreuther Blatter_ articles on Wagner and the Aryan Spirit. Of course, Wagner was to him the type of the pure Aryan, of whom the German race had remained the last inviolable refuge against the corrupting influences of Latin Semitism, especially the French. He declared that the impure French spirit was finally destroyed, though he did not desist from attacking it bitterly day by day as though the eternal enemy were still a menace. He would only acknowledge one great man in France: the Count of Gobineau. Kling was a little man, very little, and he used to blush like a girl.--The other pillar of the _Wagner-Verein_, Erich Lauber, had been manager of a chemical works until four years before: then he had given up everything to become a conductor. He had succeeded by force of will, and because he was very rich. He was a Bayreuth fanatic: it was said that he had gone there on foot, from Munich, wearing pilgrim's sandals. It was a strange thing that a man who had read much, traveled much, practised divers professions, and in everything displayed an energetic personality, should have become in music a sheep of Panurge: all his originality was expended in his being a little more stupid than the others. He was not sure enough of himself in music to trust to his own personal feelings, and so he slavishly followed the interpretations of Wagner given by the _Kapellmeisters_, and the licensees of Bayreuth. He desired to reproduce even to the smallest detail the setting and the variegated costumes which delighted the puerile and barbarous taste of the little Court of Wahnfried.

He was like the fanatical admirer of Michael Angelo who used to reproduce in his copies even the cracks in the wall of the moldy patches which had themselves been hallowed by their appearance in the hallowed pictures.

Christophe was not likely to approve greatly of the two men. But they were men of the world, pleasant, and both well-read: and Lauber's conversation was always interesting on any other subject than music. He was a bit of a crank: and Christophe did not dislike cranks: they were a change from the horrible ba.n.a.lity of reasonable people. He did not yet know that there is nothing more devastating than an irrational man, and that originality is even more rare among those who are called "originals" than among the rest.

For these "originals" are simply maniacs whose thoughts are reduced to clockwork.

Josias Kling and Lauber, being desirous of winning Christophe's support, were at first very keenly interested in him. Kling wrote a eulogistic article about him and Lauber followed all his directions when he conducted his compositions at one of the concerts of the Society. Christophe was touched by it all. Unfortunately all their attentions were spoiled by the stupidity of those who paid them. He had not the facility of pretending about people because they admired him. He was exacting. He demanded that no one should admire him for the opposite of what he was: and he was always p.r.o.ne to regard as enemies those who were his friends, by mistake. And so he was not at all pleased with Kling for seeing in him a disciple of Wagner, and trying to see connections between pa.s.sages of his _Lieder_ and pa.s.sages of the _Tetralogy_, which had nothing in common but certain notes of the scale. And he had no pleasure in hearing one of his works sandwiched--together with a worthless imitation by a Wagnerian student--between two enormous blocks of Wagnerian drama.

It was not long before he was stifled in the little chapel. It was just another Conservatoire, as narrow as the old Conservatoires, and more intolerant because it was the latest comer in art. Christophe began to lose his illusions about the absolute value of a form of art or of thought.

Hitherto he had always believed that great ideas bear their own light within themselves. Now he saw that ideas may change, but that men remain the same: and, in fine, nothing counted but men: ideas were what they were.

If they were born mediocre and servile, even genius became mediocre in its pa.s.sage through their souls, and the shout of freedom of the hero breaking his bonds became the act of slavery of succeeding generations.--Christophe could mot refrain from expressing his feelings. He let no opportunity slip of jeering at fetishism in art. He declared that there was no need of idols, or cla.s.sics of any sort, and that he only had the right to call himself the heir of the spirit of Wagner who was capable of trampling Wagner underfoot and so walking on and keeping himself in close communion with life. Kling's stupidity made Christophe aggressive. He set out all the faults and absurdities he could see in Wagner. The Wagnerians at once credited him with a grotesque jealousy of their G.o.d. Christophe for his part had no doubt that these same people who exalted Wagner since he was dead would have been the first to strangle him in his life: and he did them an injustice. The Klings and the Laubers also had had their hour of illumination: they had been advanced twenty years ago: and then like most people they had stopped short at that. Man has so little force that he is out of breath after the first ascent: very few are long-winded enough to go on.

Christophe's att.i.tude quickly alienated him from his new friends. Their sympathy was a bargain: he had to side with them if they were to side with him: and it was quite evident that Christophe would not yield an inch: he would not join them. They lost their enthusiasm for him. The eulogies which he refused to accord to the G.o.ds and demi-G.o.ds who were approved by the cult, were withheld from him. They showed less eagerness to welcome his compositions: and some of the members began to protest against his name being too often on the programmes. They laughed at him behind his back, and criticism went on: Kling and Lauber by not protesting seemed to take part in it. They would have avoided a breach with Christophe if possible: first because the minds of the Germans of the Rhine like mixed solutions, solutions which are not solutions, and have the privilege of prolonging indefinitely an ambiguous situation: and secondly, because they hoped in spite of everything to be able to make use of him, by wearing him down, if not by persuasion.

Christophe gave them no time for it. Whenever he thought he felt that at heart any man disliked him, but would not admit it and tried to cover it up so as to remain on good terms with him, he would never rest until he had succeeded in proving to him that he was his enemy. One evening at the _Wagner-Verein_ when he had come up against a wall of hypocritical hostility, he could bear it no longer and sent in his resignation to Lauber without wasting words. Lauber could not understand it: and Mannheim hastened to Christophe to try and pacify him. At his first words Christophe burst out:

"No, no, no,--no! Don't talk to me about these people. I will not see them again.... I cannot. I cannot.... I am disgusted, horribly, with men: I can hardly bear to look at one."

Mannheim laughed heartily. He was thinking much less of smoothing Christophe down than of having the fun of it.