Epic literature; French fiction -- Translations into Finnish; Musicians -- Fiction; Psychological fiction
The only thing that could have saved him would have been to find a true
friendship,--Rosa's perhaps: he could have taken refuge in that. But the
rupture was complete between the two families. They no longer met. Only
once had Christophe seen Rosa. She was just coming out from Mass. He had
hesitated to bow to her: and when she saw him she had made a movement
towards him: but when he had tried to go to her through the stream of the
devout walking down the steps, she had turned her eyes away: and when he
approached her she bowed coldly and passed on. In the girl's heart he felt
intense, icy contempt. And he did not feel that she still loved him and
would have liked to tell him so: but she had come to think of her love as a
fault and foolishness: she thought Christophe bad and corrupt, and further
from her than ever. So they were lost to each other forever. And perhaps
it was as well for both of them. In spite of her goodness, she was not
near enough to life to be able to understand him. In spite of his need of
affection and respect he would have stifled in a commonplace and confined
existence, without joy, without sorrow, without air. They would both have
suffered. The unfortunate occurrence which cut them apart was, when all was
told, perhaps, fortunate as often happens--as always happens--to those who
are strong and endure.
But at the moment it was a great sorrow and a great misfortune for them.
Especially for Christophe. Such virtuous intolerance, such narrowness of
soul, which sometimes seems to deprive those who have the most of them of
all intelligence, and those who are most good of kindness, irritated him,
hurt him, and flung him back in protest into a freer life.
During his loafing with Ada in the beer gardens of the neighborhood he had
made acquaintance with several good fellows--Bohemians, whose carelessness
and freedom of manners had not been altogether distasteful to him. One
of them, Friedemann, a musician like himself, an organist, a man of
thirty, was not without intelligence, and was good at his work, but he was
incurably lazy and rather than make the slightest effort to be more than
mediocre, he would have died of hunger, though not, perhaps, of thirst.
He comforted himself in his indolence by speaking ill of those who lived
energetically, God knows why; and his sallies, rather heavy for the most
part, generally made people laugh. Having more liberty than his companions,
he was not afraid,--though timidly, and with winks and nods and suggestive
remarks,--to sneer at those who held positions: he was even capable of not
having ready-made opinions about music, and of having a sly fling at the
forged reputations of the great men of the day. He had no mercy upon women
either: when he was making his jokes he loved to repeat the old saying of
some misogynist monk about them, and Christophe enjoyed its bitterness just
then more than anybody:
_"Femina mors animae."_
Public-domain text, read in full here on John Shaqi.
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