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
"First, the house must be clean that the Queen is to enter. Bustle about,
then! Sweep the rooms. That is what you are there for, gentlemen!
"But as soon as She appears, out you go! Let not the serving-wench sit in
her lady's chair!_"
But, to be just to the critics of that time, it must be said that they
never did sit in their lady's chair. It was ordered that they should be
servants: and servants they were. But bad servants: they never took a broom
in their hands: the room was thick with dust. Instead of cleaning and
tidying, they folded their arms, and left the work to be done by the
master, the divinity of the day:--Universal Suffrage.
In fact, there had been for some time a wave of reaction passing through
the popular conscience. A few people had set out--feebly enough--on a
campaign of public health: but Christophe could see no sign of it among the
people with whom he lived. They gained no hearing, and were laughed at.
When every now and then some honest man did raise a protest against unclean
art, the authors replied haughtily that they were in the right, since the
public was satisfied. That was enough to silence every objection. The
public had spoken: that was the supreme law of art! It never occurred to
anybody to impeach the evidence of a debauched public in favor of those
who had debauched them, or that it was the artist's business to lead the
public, not the public the artist. A numerical religion--the number of the
audience, and the sum total of the receipts--dominated the artistic thought
of that commercialized democracy. Following the authors, the critics
docilely declared that the essential function of a work of art was to
please. Success is law: and when success endures, there is nothing to be
done but to bow to it. And so they devoted their energies to anticipating
the fluctuations of the Exchange of pleasure, in trying to find out what
the public thought of the various plays. The joke of it was that the public
was always trying frantically to find out what the critics thought. And so
there they were, looking at each, other: and in each other's eyes they saw
nothing but their own indecision.
Public-domain text, read in full here on John Shaqi.
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