Christophe cut him short, and said angrily:
"I am not taken in. Now that I am old and have 'arrived,' you are using me to suppress the young men. When I was a young man you would have suppressed me in just the same way. You must play this boy's piece, or I shall withdraw my own."
The manager threw up his hands, and said:
"But don't you see that if we did what you want, it would look as if we were giving in to these newspaper attacks?"
"What do I care?" said Christophe.
"As you please! You will be their first victim."
They put the young musician's piece into rehearsal without interrupting the preparation of Christophe's. One was in three acts, the other in two: it was arranged to include them both in one program. Christophe went to see the young man, for he wanted to be the first to give him the news. The musician was loud in his promises of eternal gratitude.
Naturally Christophe could not make the manager not devote all his attention to his piece. The interpretation and the scenery of the other were rather scamped. Christophe knew nothing about it. He asked to be allowed to be present at a few rehearsals of the young man's opera: he thought it very mediocre, as he had been told: he ventured to give a little advice which was ill-received: he gave it up then, and did not interfere again. On the other hand, the manager had made the young man admit the necessity for a little cutting to have his piece produced in time. Though the sacrifice was easily consented to at first, it was not long before the author regretted it.
On the evening of the performance the beginner's piece had no success, and Christophe's caused a sensation. Some of the papers attacked Christophe: they spoke of a trick, a plot to suppress a great young French artist: they said that his work had been mutilated to please the German master, whom they represented to be basely jealous of the coming fame of all the new men. Christophe shrugged his shoulders and thought:
"He will reply."