But the critic did not understand Novalis' words:
("He is cleaned out," he thought.)
Christophe did not try to make him understand.
When his visitors were ready to go he walked with them a little, so as to do the honors of his mountain. But he did not go far. Looking down at a field, the musical critic called to mind the scenery of a Parisian theater: and the painter criticised the colors, mercilessly remarking on the awkwardness of their combination, and declaring that to him they had a Swiss flavor, sour, like rhubarb, musty and dull, à la Hodler; further, he displayed an indifference to Nature which was not altogether affectation. He pretended to ignore Nature.
"Nature! What on earth is Nature? I don't know. Light, color, very well!
But I don't care a hang for Nature!"
Christophe shook hands with them and let them go. That sort of thing had no effect on him now. They were on the other side of the ravine. That was well. He said to nobody in particular:
"If you wish to come up to me, you must take the same road."
The creative fire which had been burning for months had died down. But its comfortable warmth was still in Christophe's heart. He knew that the fire would flare up again: if not in himself, then around him. Wherever it might be, he would love it just the same: it would always be the same fire. On that September evening he could feel it burning throughout all Nature.
* * * * *
He climbed up to the house. There had been a storm. The sun had come out again. The fields were steaming. The ripe fruit was falling from the apple-trees into the wet grass. Spiders' webs, hanging from the branches of the trees, still glittering with the rain, were like the ancient wheels of Mycenaean chariots. At the edge of the dripping forest the green woodpecker was trilling his jerky laughter; and myriads of little wasps, dancing in the sunbeams, filled the vault of the woods with their deep, long-drawn organ note.