Christophe noticed nothing. All things were the same to him. He paced up and down, up and down his room. Or he would walk outside. He could not keep still. His soul was torn in pieces by inward demons. They fell upon and rent each other. His suppressed passion never left off beating furiously against the walls of the house of its captivity. His disgust with passion was no less furiously in revolt: passion and disgust flew at each other’s throats, and, in their conflict, they lacerated his heart. And at the same time he was delivered up to the memory of Olivier, despair at his death, the hunger to create which nothing could satisfy, and pride rearing on the edge of the abyss of nothingness. He was a prey to all devils. He had no moment of respite. Or, if there came a seeming calm, if the rushing waves did fall back for a moment, it was only that he might find himself alone, and nothing in himself: thought, love, will, all had been done to death.
To create! That was the only loophole. To abandon the wreck of his life to the mercy of the waves! To save himself by swimming in the dreams of art! … To create! He tried. … He could not.
Christophe had never had any method of working. When he was strong and well he had always rather suffered from his superabundance than been disturbed at seeing it diminish: he followed his whim: he used to work first as the fancy took him, as circumstances chanced, with no fixed rule. As a matter of fact, he was always working everywhere: his brain was always busy. Often and often Olivier, who was less richly endowed and more reflective, had warned him:
“Take care. You are trusting too much to your force. It is a mountain torrent. Full today, perhaps dry tomorrow. An artist must coax his genius: he must not let it scatter itself at random. Turn your force into a channel. Train yourself in habits of mind and a healthy system of daily work, at fixed hours. They are as necessary to the artist as the practice of military movements and steps to a man who is to go into battle. When moments of crisis come—(and they always do come)—the bracing of steel prevents the soul from destruction. I know. It is just that that has saved me from death.”
But Christophe used to laugh and say:
“That’s all right for you, my boy! There’s no danger of my losing my taste for life. My appetite’s too good.”
Olivier would shrug his shoulders:
“Too much ends in too little. There are no worse invalids than the men who have always had too much health.”
And now Olivier’s words had come true. After the death of his friend the source of his inward life had not all at once dried up: but it had become strangely intermittent: it flowed in sudden gushes, then stopped, then disappeared under the earth. Christophe had paid no heed to it: what did it matter to him? His grief and his budding passion had absorbed his mind.—But after the storm had passed, when once more he turned to the fountain to drink, he could find no trace of it. All was barren. Not a trickle of water. His soul was dried up. In vain did he try to dig down into the sand, and force the water up from the subterranean wells, and create at all costs: the machine of his mind refused to obey. He could not invoke the aid of habit, the faithful ally, which, when we have lost every reason for living, alone, constant and firmly loyal, stays with us, and speaks no word, and makes no sign, but with eyes fixed, and silent lips, with its sure unwavering hand leads us by the hand through the dangerous chasm until the light of day and the joy of life return. Christophe was helpless: and his hand could find no guiding hand in the darkness. He could not find his way back to the light of day.
It was the supreme test. Then he felt that he was on the verge of madness. Sometimes he would wage an absurd and crazy battle with his own brain, maniacal obsessions, a nightmare of numbers: he would count the boards on the floor, the trees in the forest: figures and chords, the choice of which was beyond his reason. Sometimes he would lie in a state of prostration, like one dead.
Nobody worried about him. He lived apart in one wing of the house. He tidied his own room—or left it undone, every day. His meals were laid for him downstairs: he never saw a human face. His host, an old peasant, a taciturn, selfish creature, took no interest in him. Whether Christophe ate or did not eat was his affair. He hardly ever noticed whether Christophe came in at night. Once he was lost in the forest, buried up to his hips in the snow: he was very near never returning. He tried to wear himself out to keep himself from thinking. He could not succeed. Only now and then could he snatch a few hours of troubled sleep.
Only one living creature seemed to take any notice of his existence: this was an old St. Bernard, who used to come and lay his big head with its mournful eyes on Christophe’s knees when Christophe was sitting on the seat in front of the house. They would look long at each other. Christophe would not drive him away. Unlike the sick Goethe, the dog’s eyes had no uneasiness for him. Unlike him, he had no desire to cry:
“Go away! … Thou goblin, thou shalt not
