Jean-Christophe in Paris: The Market-Place, Antoinette, the HouseRolland, Romain
General
Jean-Christophe in Paris: The Market-Place, Antoinette, the House
Rolland, Romain
Epic literature; French fiction -- Translations into English; Musicians -- Fiction; Paris (France) -- Fiction; Psychological fiction
When she had recovered a little, she borrowed her brothers glasses to look
at Christophe: she saw him in profile at the conductor's stand, and she
recognized his expression of forceful concentration. He was wearing a
shabby old coat which fitted him very badly.--Antoinette sat in silent
agony through the vagaries of that lamentable concert when Christophe
joined issue with the unconcealed hostility of his audience, who were
at the time ill-disposed towards German artists, and actively bored
by his music. And when he appeared, after a symphony which had seemed
unconscionably long, to play some piano music, he was received with
cat-calls which left no room for doubt as to their displeasure at having to
put up with him again. However, he began to play in the face of the bored
resignation of his audience: but the uncomplimentary remarks exchanged in a
loud voice by two men in the gallery went on, to the great delight of the
rest of the audience. Then he broke off: and in a childish fit of temper
he played _Malbrouck s'en va t'en guerre_ with one finger, got up from the
piano, faced the audience, and said:
"That is all you are fit for."
The audience were for a moment so taken aback that they did not quite take
in what the musician meant. Then there was an outburst of angry protests.
Followed a terrible uproar. They hissed and shouted:
"Apologize! Make him apologize!"
They were all red in the face with anger, and they blew out their
fury--tried to persuade themselves that they were really enraged: as
perhaps they were, but the chief thing was that they were delighted to
have a chance of making a row, and letting themselves go: they were like
schoolboys after a few hours in school.
Antoinette could not move: she was petrified: she sat still tugging at
one of her gloves. Ever since the last bars of the symphony she had had a
growing presentiment of what would happen: she felt the blind hostility
of the audience, felt it growing: she read Christophe's thoughts, and she
was sure he would not go through to the end without an explosion: she sat
waiting for the explosion while agony grew in her: she stretched every
nerve to try to prevent it; and when at last it came, it was so exactly
what she had foreseen that she was overwhelmed by it, as by some fatal
catastrophe against which there was nothing to be done. And as she gazed
at Christophe, who was staring insolently at the howling audience, their
eyes met. Christophe's eyes recognized her, greeted her, for the space of
perhaps a second: but he was in such a state of excitement that his mind
did not recognize her (he had not thought of her for long enough). He
disappeared while the audience yelled and hissed.
Public-domain text, read in full here on John Shaqi.
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