His Masterpiece, Émile Zola [essential reading txt] 📗

“Quite so,” replied the thin one. “I looked at them and took off my hat. It was clear, eh?”

“Astonishing! You really astonish me, my dear friend.”

Claude, however, only heard the low beating of his heart, and only beheld the Dead Child up there in the air, near the ceiling. He did not take his eyes off it, a prey to a fascination which held him there, quite independent of his will. The crowd turned round him, people’s feet trod on his own, he was pushed and carried away; and, like some inert object, he abandoned himself, waved about, and ultimately found himself again on the same spot as before without having once lowered his head, quite ignorant of what was occurring below, all his life being concentrated up yonder beside his work, his little Jacques, swollen in death. Two big tears which stood motionless between his eyelids prevented him from seeing clearly. And it seemed to him as if he would never have time to see enough.

Then Sandoz, in his deep compassion, pretended he did not perceive his old friend; it was as if he wished to leave him there, beside the tomb of his wrecked life. Their comrades once more went past in a band. Fagerolles and Jory darted on ahead, and, Mahoudeau having asked Sandoz where Claude’s picture was hung, the novelist told a lie, drew him aside and took him off. All of them went away.

In the evening Christine only managed to draw curt words from Claude; everything was going on all right, said he; the public showed no ill-humour; the picture had a good effect, though it was hung perhaps rather high up. However, despite this semblance of cold tranquillity, he seemed so strange that she became frightened.

After dinner, as she returned from carrying the dirty plates into the kitchen, she no longer found him near the table. He had opened a window which overlooked some waste ground, and he stood there, leaning out to such a degree that she could scarcely see him. At this she sprang forward, terrified, and pulled him violently by his jacket.

“Claude! Claude! what are you doing?”

He turned round, with his face as white as a sheet and his eyes haggard.

“I’m looking,” he said.

But she closed the window with trembling hands, and after that significant incident such anguish clung to her that she no longer slept at nighttime.

Claude set to work again on the very next day, and months elapsed, indeed the whole summer went by, in heavy quietude. He had found a job, some little paintings of flowers for England, the proceeds of which sufficed for their daily bread. All his available time was again devoted to his large canvas, and he no longer went into the same fits of anger over it, but seemed to resign himself to that eternal task, evincing obstinate, hopeless industry. However, his eyes retained their crazy expression⁠—one could see the death of light, as it were, in them, when they gazed upon the failure of his existence.

About this period Sandoz also experienced great grief. His mother died, his whole life was upset⁠—that life of three together, so homely in its character, and shared merely by a few friends. He began to hate the pavilion of the Rue Nollet, and, moreover, success suddenly declared itself with respect to his books, which hitherto had sold but moderately well. So, prompted by the advent of comparative wealth, he rented in the Rue de Londres a spacious flat, the arrangements of which occupied him and his wife for several months. Sandoz’s grief had drawn him closer to Claude again, both being disgusted with everything. After the terrible blow of the Salon, the novelist had felt very anxious about his old chum, divining that something had irreparably snapped within him, that there was some wound by which life ebbed away unseen. Then, however, finding Claude so cold and quiet, he ended by growing somewhat reassured.

Sandoz often walked up to the Rue Tourlaque, and whenever he found only Christine at home, he questioned her, realising that she also lived in apprehension of a calamity of which she never spoke. Her face bore a look of worry, and now and again she started nervously, like a mother who watches over her child and trembles at the slightest sound, with the fear that death may be entering the chamber.

One July morning Sandoz asked her: “Well, are you pleased? Claude’s quiet, he works a deal.”

She gave the large picture her usual glance, a side glance full of terror and hatred.

“Yes, yes, he works,” she said. “He wants to finish everything else before taking up the woman again.” And without confessing the fear that harassed her, she added in a lower tone: “But his eyes⁠—have you noticed his eyes? They always have the same wild expression. I know very well that he lies, despite his pretence of taking things so easily. Pray, come and see him, and take him out with you, so as to change the current of his thoughts. He only has you left; help me, do help me!”

After that Sandoz diligently devised motives for various walks, arriving at Claude’s early in the morning, and carrying him away from his work perforce. It was almost always necessary to drag him from his steps, on which he habitually sat, even when he was not painting. A feeling of weariness stopped him, a kind of torpor benumbed him for long minutes, during which he did not give a single stroke with the brush. In those moments of mute contemplation, his gaze reverted with pious fervour to the woman’s figure which he no longer touched: it was like a hesitating desire combined with sacred awe, a passion which he refused to satisfy, as he felt certain that it would cost him his life. When he set to work again at the other figures and the background of the picture, he well