“Neither. I am for the oppressed.”
Christophe hated the tyranny of the oppressors no less. But he was dragged into the wake of force in the track of the army of the working-classes in revolt.
He was hardly aware that it was so. He would tell his companions in the restaurant that he was not with them.
“As long as you are only out for material interests,” he would say, “you don’t interest me. The day when you march out for a belief then I shall be with you. Otherwise, what have I to do with the conflict between one man’s belly and another’s? I am an artist; it is my duty to defend art; I have no right to enroll myself in the service of a party. I am perfectly aware that recently certain ambitious writers, impelled by a desire for an unwholesome popularity, have set a bad example. It seems to me that they have not rendered any great service to the cause which they defended in that way: but they have certainly betrayed art. It is our, the artists’, business to save the light of the intellect. We have no right to obscure it with your blind struggles. Who shall hold the light aloft if we let it fall? You will be glad enough to find it still intact after the battle. There must always be workers busy keeping up the fire in the engine, while there is fighting on the deck of the ship. To understand everything is to hate nothing. The artist is the compass which, through the raging of the storm, points steadily to the north.”
They regarded him as a maker of phrases, and said that, if he were talking of compasses, it was very clear that he had lost his: and they gave themselves the pleasure of indulging in a little friendly contempt at his expense. In their eyes an artist was a shirker who contrived to work as little and as agreeably as possible.
He replied that he worked as hard as they did, harder even, and that he was not nearly so afraid of work. Nothing disgusted him so much as sabotage, the deliberate bungling of work, and skulking raised to the level of a principle.
“All these wretched people,” he would say, “afraid for their own skins! … Good Lord! I’ve never stopped working since I was eight. You people don’t love your work; at heart you’re just common men. … If only you were capable of destroying the Old World! But you can’t do it. You don’t even want to. No, you don’t even want to. It is all very well for you to go about shrieking menace and pretending you’re going to exterminate the human race. You have only one thought: to get the upper hand and lie snugly in the warm beds of the middle-classes. Except for a few hundred poor devils, navvies, who are always ready to break their bones or other people’s bones for no particular reason—just for fun—or for the pain, the age-old pain with which they are simply bursting, the whole lot of you think of nothing but deserting the camp and going over to the ranks of the middle-classes on the first opportunity. You become Socialists, journalists, lecturers, men of letters, deputies, Ministers. … Bah! Bah! Don’t you go howling about so-and-so! You’re no better. You say he is a traitor? … Good. Whose turn next? You’ll all come to it. There is not one of you who can resist the bait. How could you? There is not one of you who believes in the immortality of the soul. You are just so many bellies, I tell you. Empty bellies thinking of nothing but being filled.”
Thereupon they would all lose their tempers and all talk at once. And in the heat of the argument it would often happen that Christophe, whirled away by his passion, would become more revolutionary than the others. In vain did he fight against it: his intellectual pride, his complacent conception of a purely esthetic world, made for the joy of the spirit, would sink deep into the ground at the sight of injustice. Esthetic, a world in which eight men out of ten live in nakedness and want, in physical and moral wretchedness? Oh! come!
