Christophe was getting heartily sick of the vulgar tittle-tattle. He began to wonder if it were going on forever.—But it was all over in a fortnight. The newspapers gave up talking about him. However, he had become known. When his name was mentioned, people said, not:

"The author of David or Gargantua," but:

"Oh yes! The Grand Journal man!…"

He was famous.

Olivier knew it by the number of letters that came for Christophe, and even for himself, in his reflected glory: offers from librettists, proposals from concert-agents, declarations of friendship from men who had formerly been his enemies, invitations from women. His opinion was asked, for newspaper inquiries, about anything and everything: the depopulation of France, idealist art, women's corsets, the nude on the stage,—and did he believe that Germany was decadent, or that music had reached its end, etc., etc. They used to laugh at them all. But, though he laughed, lo and behold! Christophe, that Huron, steadily accepted the invitations to dinner! Olivier could not believe his eyes.

"You?" he said.

"I! Certainly," replied Christophe jeeringly. "You thought you were the only man who could go and see the beautiful ladies? Not at all, my boy! It's my turn now. I want to amuse myself!"

"You? Amuse yourself? My dear old man!"

The truth was that Christophe had for so long lived shut up in his own room that he felt a sudden longing to get away from it. Besides, he took a naïve delight in tasting his new fame. He was terribly bored at parties, and thought the people idiotic. But when he came home he used to take a malicious pleasure in telling Olivier how much he had enjoyed himself. He would go to people's houses once, but never again: he would invent the wildest excuses, with a frightful want of tact, to get out of their renewed invitations. Olivier would be scandalized, and Christophe would shout with laughter. He did not go to their houses to spread his fame, but to replenish his store of life, his collection of expressions and tones of voice—all the material of form, and sound, and color, with which an artist has periodically to enrich his palette. A musician does not feed only on music. An inflection of the human voice, the rhythm of a gesture, the harmony of a smile, contain more suggestion of music for him that another man's symphony. But it must be said that the music of faces and human souls is as stale and lacking in variety in polite society as the music of polite musicians. Each has a manner and becomes set in it. The smile of a pretty woman is as stereotyped in its studied grace as a Parisian melody. The men are even more insipid than the women. Under the debilitating influence of society, their energy is blunted, their original characters rot away and finally disappear with a frightful rapidity. Christophe was struck by the number of dead and dying men he met among the artists: there was one young musician, full of life and genius, whom success had dulled, stupefied, and wiped out of existence: he thought of nothing but swallowing down the flattery in which he was smothered, enjoying himself, and sleeping. What he would be like twenty years later was shown in another corner of the room, in the person of an old pomaded maestro, who was rich, famous, a member of all the Academies, at the very height of his career, and, though apparently he had nothing to fear and no more wires to pull, groveled before everything and everybody, and was fearful of opinion, power, and the Press, dared not say what he thought, and thought nothing at all—a man who had ceased to exist, showing himself off, an ass saddled with the relics of his own past life.

Behind all these artists and men of intellect who had been great, or might have been great, there was certain to be some woman preying upon them. They were all dangerous, both the fools and those who were by no means fools: both those who loved and those who loved themselves: the best of them were the worst: for they were all the more certain to snuff out the artist with their immoderate affection, which made them in all good faith try to domesticate genius, turn it to their own uses, drag it down, prune it, pare it down, scent it, until they had brought it into line with their sensibility, their petty vanity, their mediocrity, and the mediocrity of the world they lived in.

Although Christophe only passed through that section of society, he saw enough of it to feel its danger. More than one woman, of course, tried to take possession of him for her circle, to press him into her service: and, of course, Christophe nibbled at the hook baited with friendly words and alluring smiles. But for his sturdy common sense and the disquieting spectacle of the transformations already effected in the men about them by these modern Circes, he would not have escaped uncontaminated. But he had no mind to swell the herd of these lovely goose-girls. The danger would have been greater for him if there had not been so many of them angling for him. Now that everybody, men and women, were properly convinced that they had a genius in their midst, as usual, they set to work to stifle him. Such people, when they see a flower, have only one idea: to put it in a pot,—a bird: to put it in a cage,— a free man: to turn him into a smooth lackey.

Christophe was shaken for a moment, pulled himself together, and sent them all packing.

Fate is ironical. Those who do not care slip through the meshes of the net: but those who are suspicious, those who are prudent, and forewarned, are never suffered to escape. It was not Christophe who was caught in the net of Paris, but Olivier.

He had benefited by his friend's success: Christophe's fame had given him a reflected glory. He was better known now, for having been mentioned in a few papers as the man who had discovered Christophe, than for anything he had written during the last six years. He was included in many of the invitations that came for Christophe: and he went with him, meaning carefully and discreetly to look after him. No doubt he was too much absorbed in doing so to look after himself. Love passed by and caught him.

She was a little fair girl, charmingly slender, with soft hair waving in little ripples about her pure narrow forehead: she had fine eyebrows and rather heavy eyelids, eyes of a periwinkle blue, a delicately carved nose with sensitive nostrils; her temples were slightly hollowed: she had a capricious chin, and a mobile, witty, and rather sensual mouth, turning up at the corners, and the Parmigianninesque smile of a pure faun. She had a long, delicate throat, a pretty waist, a slender, elegant figure, and a happy, pensive expression in her girlish face, in every line of which there was the disturbing poetic mystery of the waking spring,—Frühlingserwachen. Her name was Jacqueline Langeais.

She was not twenty. She came of a rich Catholic family, of great distinction and broad-mindedness. Her father was a clever engineer, a man of some invention, clear-headed and open to new ideas, who had made a fortune, thanks to his own hard work, his political connections, and his marriage. He had married both for love and money—(the proper marriage for love for such people)—a pretty woman, very Parisian, who was bred in the world of finance. The money had stayed: but love had gone. However, he had managed to preserve a few sparks of it, for it had been very ardent on both sides: but they did not stickle for any exaggerated notion of fidelity. They went their ways and had their pleasures: and they got on very well together, as friends, selfishly, unscrupulously, warily.

Their daughter was a bond between them, though she was the object of an unspoken rivalry between them: for they both loved her jealously. They both saw themselves in her with their pet faults idealized by the grace of childhood: and each strove cunningly to steal her from the other. And the child had in due course become conscious of it, with the artful candor of such little creatures, who are only too ready to believe that the universe gravitates round themselves: and she turned it to good account. She had them perpetually outbidding each other for her affection. She never had a whim but she was sure that one of them would indulge it if the other refused: and the other would be so vexed at being outdone that she would at once be offered an even greater indulgence than the first. She had been dreadfully spoiled: and it was very fortunate for her that there was no evil in her nature,—outside the egoism common to almost all children, though in children who are too rich and too much pampered it assumes various morbid shapes, due to the absence of difficulties and the want of any goal to aim at.

Though they adored her, neither M. nor Madame Langeais ever thought of sacrificing their own personal convenience to her. They used to leave the child alone, for the greater part of the day, to gratify her thousand and one fancies. She had plenty of time for dreaming, and she wasted none of it. She was precocious and quick to grasp at incautious remarks let fall in her presence—(for her parents were never very guarded in what they said),—and when she was six years old she used to tell her dolls love-stories, the characters in which were husband, wife, and lover. It goes without saying that she saw no harm in it. Directly she began to perceive a shade of feeling underlying the words it was all over for the dolls: she kept her stories to herself. There was in her a strain of innocent sensuality, which rang out in the distance like the sound of invisible bells, over there, over there, on the other side of the horizon. She did not know what it was. Sometimes it would come wafted on the wind: it came she did not know from whence, and wrapped her round and made the blood mount to her cheeks, and she would lose her breath in the fear and pleasure of it. She could not understand it. And then it would disappear as strangely as it had come. There was never another sound. Hardly more than a faint buzzing, an imperceptible resonance, fainter and fainter, in the blue air. Only she knew that it was yonder, on the other side of the mountain, and thither she must go, go as soon as possible: for there lay happiness. Ah! If only she could reach it!…

In the meanwhile, until she should reach that land of happiness, she wove strange dreams of what she would find there. For the chief occupation of the child's mind was guessing at its nature. She had a friend of her own age, Simone Adam, with whom she used often to discuss these great subjects. Each brought to bear on them the light of her twelve years' experience, conversations overheard and stolen reading. On tip-toe, clinging to the crannies in the stones, the two little girls strained to peer over the old wall which hid the future from them. But it was all in vain, and it was idle for them to pretend that they could see through the chinks: they could see nothing at all. They were both a mixture of innocence, poetic salaciousness, and Parisian irony. They used to say the most outrageous things without knowing it, and they were always making mountains out of molehills. Jacqueline, who was always prying, without anybody to find fault with her, used to burrow in all her father's books. Fortunately, she was protected from coming to any harm by her very innocence and her own young, healthy instincts: an unduly described scene or a coarse word disgusted her at once: she would drop the book at once, and she passed through the most infamous company, like a frightened cat through puddles of dirty water,—without so much as a splash.

As a rule, novels did not attract her: they were too precise, too dry. But books of poetry used to make her heart flutter with emotion and hope of finding the key to the riddle,—love-poems, of course. They coincided to a certain extent with her childish outlook on things. The poets did not see things as they were, they imagined them through the prism of desire or regret: they seemed, like herself, to be peering through the chinks of the old wall. But they knew much more, they knew all the things which she was longing to know, and clothed them with sweet, mysterious words, which she had to unravel with infinite care to find … to find … Ah! She could find nothing, but she was always sure that she was on the very brink of finding it….

Their curiosity was indomitable. They would thrill as they whispered verses of Alfred de Musset and Sully Prudhomme, into which they read abyss on abyss of perversity: they used to copy them out, and ask each other about the hidden meanings of passages, which generally contained none. These little women of thirteen, who knew nothing of love, used, in their innocent effrontery, to discuss, half in jest, half in earnest, love and the sweets of love: and, in school, under the fatherly eye of the master—a very polite and mild old gentleman—verses like the following, which he confiscated one day, when they made him gasp:

  "Let, oh! let me clasp you in my arms,
   And in your kisses drink insensate love
   Drop by drop in one long draught…."

They attended lectures at a fashionable and very prosperous school, the teachers of which were Masters of Art of the University. There they found material for their sentimental aspirations. Almost all the girls were in love with their masters. If they were young and not too ugly, that was quite enough for them to make havoc of their pupils' hearts—who would work like angels to please their sultan. And they would weep when he gave them bad marks in their examinations: though they did not care when anybody else did the same. If he praised them, they would blush and go pale by turns, and gaze at him coquettishly in gratitude. And if he called them aside to give them advice or pay them a compliment, they were in Paradise. There was no need for him to be an eagle to win their favor. When the gymnastic instructor took Jacqueline in his arms to lift her up to the trapeze, she would be in ecstasies. And what furious emulation there was between them! How coaxingly and with what humility they would make eyes at the master to attract his attention from a presumptuous rival! At lectures, when he opened his lips to speak, pens and pencils would be hastily produced to take down what he said. They made no attempt to understand: the chief thing was not to lose a syllable. And while they went on writing and writing without ceasing, with stealthy glances to take in their idol's play of expression and gestures, Jacqueline and Simone would whisper to each other:

"Do you think he would look nice in a tie with blue spots?"

Then they had a chromo-lithographic ideal, based on romantic and fashionable books of verses, and poetic fashion-plates,—they fell in love with actors, virtuosi, authors, dead and alive—Mounet-Sully, Samain, Debussy,—they would exchange glances with young men at concerts, or in a drawing-room, or in the street, and at once begin to weave fanciful and passionate love-affairs,—they could not help always wanting to fall in love, to have their lives filled with a love-affair, to find some excuse for being in love. Jacqueline and Simone used to confide everything to each other: proof positive that they did not feel anything much: it was the best sort of preventive to keep them from ever having any deep feeling. On the other hand, it became a sort of chronic illness with them: they were the first to laugh at it, but they used lovingly to cultivate it. They excited each other. Simone was more romantic and more cautious, and used to invent wilder stories. But Jacqueline, being more sincere and more ardent, came nearer to realizing them. She was twenty times on the brink of the most hopeless folly.—However, she did not commit herself, as is the way with young people. There are times when these poor little crazy creatures—(such as we have all been)—are within an ace, some of suicide, others of flinging themselves into the arms of the first man who comes along. Only, thank God, almost all of them stop short at that. Jacqueline wrote countless rough drafts of passionate letters to men whom she hardly knew by sight: but she never sent any of them, except one enthusiastic letter, unsigned, to an ugly, vulgar, selfish critic, who was as cold-hearted as he was narrow-minded. She fell in love with him over a few lines in which she had discovered a rare wealth of sensibility. She was fired also by a great actor, who lived near her: whenever she passed his door she used to say to herself:

"Shall I go in?" And once she made so bold as to go up to the door of his flat. When she found herself there, she turned and fled. What could she have talked to him about? She had nothing, nothing at all to say to him. She did not love him. And she knew it. In the greater part of her folly she was deceiving herself. And for the rest it was the old, old, delicious, stupid need of being in love. As Jacqueline was naturally intelligent, she knew that quite well, and it kept her from making a fool of herself. A fool who knows his folly is worth two who don't.

She went out a good deal. There were many young men who felt her charm, and more than one of them was in love with her. She did not care what harm she did. A pretty girl makes a cruel game of love. It seems to her quite natural that she should be loved, and never considers that she owes anything to those who love her: she is apt to believe that her lover is happy enough in loving her. It must be said, by way of excuse, that she has no idea of what love is, although she thinks of nothing else all day long. One is inclined to think that a young girl in society, brought up in the hot-house atmosphere of a great town, would be more precocious than a country girl: but the opposite is the case. Her reading and conversation have made her obsessed by love, so obsessed that in her idle life it often borders on mania: and sometimes it happens that she has read the play beforehand, and knows it word for word by heart. But she never feels it. In love, as in art, it is useless to read what others have said: we can but say what we feel: and those who make haste to speak before they have anything to say are as likely as not to say nothing.

Jacqueline, like most young people, lived in an atmosphere clouded by the dust of the feelings of others, which, while it kept her in a perpetual fever, with her hands burning, and her throat dry, and her eyes sore, prevented her seeing anything. She thought she knew everything. It was not that she lacked the wish to know. She read and listened. She had picked up a deal of information, here and there, in scraps, from conversation and books. She even tried to read what was written in herself. She was much better than the world in which she lived, for she was more sincere.

There was one woman who had a good influence—only too brief—over her. This was a sister of her father's, a woman of between forty and fifty, who had never married. Tall, with regular features, though sad and lacking in beauty, Marthe Langeais was always dressed in black: she had a sort of stiff distinction of feature and movement: she spoke very little, and she had a deep voice, almost like a man's. But for the clear light in her intelligent gray eyes and the kind smile on her sad lips she would have passed unnoticed.

She only appeared at the Langeais' on certain days, when they were alone. Langeais had a great respect for her, though she bored him. Madame Langeais made no attempt to disguise from her husband how little pleasure his sister's visits gave her. However, they faced their duty, and had her to dinner once a week, and they did not let it appear too glaringly that they regarded it as a duty. Langeais used to talk about himself, which she always found interesting. Madame Langeais would think of something else, and, as a matter of habit, smile affably when she was spoken to. The dinner always went off very well, and she was invariably polite. Sometimes, even, she would be effusively affectionate when her tactful sister-in-law went away earlier than she had hoped: and Madame Langeais's charming smile would be most radiant when she had any particularly pleasant memories to think of. Marthe saw through it all: very little escaped her eyes: and she saw many things in her brother's house which shocked and distressed her. But she never let it appear: what was the good? She loved her brother, and had been proud of his cleverness and success, like the rest of the family, who had not thought the triumph of the eldest son too dear a price to pay for their poverty. She, at least, had preserved her independence of opinion. She was as clever as he was, and of a finer moral fiber, more virile—(as the women of France so often are; they are much superior to the men),—and she knew him through and through: and when he asked her advice she used to give it frankly. But for a long time he had not asked it of her! He found it more prudent not to know, or—(for he knew the truth as much as she did),—to shut his eyes. She was proud, and drew aside. Nobody ever troubled to look into her inward life, and it suited the others to ignore her. She lived alone, went out very little, and had only a few not very intimate friends. It would have been very easy to her to turn her brother's influence and her own talents to account: but she did not do so. She had written a few articles for the leading reviews in Paris, historical and literary portraits, which had attracted some attention by their sober, just, and striking style. But she had gone no farther. She might have formed interesting friendships with certain distinguished men and women, who had shown a desire to know her, whom also she would, perhaps, have been glad to know. She did not respond to their advances. Though she had a reserved seat for a theater when the program contained music that she loved, she did not go: and though she had the opportunity of traveling to a place where she knew that she would find much pleasure, she preferred to stay at home. Her nature was a curious compound of stoicism and neurasthenia, which, however, in no wise impaired the integrity of her ideas. Her life was impaired, but not her mind. An old sorrow, known only to herself, had left its mark on her heart. And even more profound, even less suspected—unknown to herself, was the secret illness which had begun to prey upon her. However, the Langeais saw only the clear expression of her eyes, which sometimes made them feel embarrassed.

Jacqueline used to take hardly any notice of her aunt in the days when she was careless and gay—which was her usual condition when she was a child. But when she reached the age at which there occurs a mysterious change and growth in body and soul, which bring agony, disgust, terror, and fearful moments of depression in their train, and moments of absurd, horrible dizziness, which, happily, do not last, though they make their victim feel at the point of death,—the child, sinking and not daring to cry for help, found only her Aunt Marthe standing by her side and holding out her hand. Ah! the others were so far away! Her father and mother were as strangers to her, with their selfish affection, too satisfied with themselves to think of the small troubles of a doll of fourteen! But her aunt guessed them, and comforted her. She did not say anything. She only smiled: across the table she exchanged a kindly glance with Jacqueline, who felt that her aunt understood her, and she took refuge by her side. Marthe stroked Jacqueline's head and kissed her, and spoke no word.