"Yes, master."
"Well. Don't. You have nothing to say."
His horror of the submissive temper of mind, of men born to obey, his need of absorbing other ideas than his own, attracted him to circles whose ideas were diametrically opposed to his own. He had friends among men to whom his art, his idealistic faith, his moral conceptions, were a dead letter: they had absolutely different ways of envisaging life, love, marriage, the family, every social relationship:—but they were good fellows, though they seemed to belong to another stage of moral evolution: the anguish and the scruples that had consumed a part of Christophe's life were incomprehensible to them. No doubt that was all the better for them! Christophe had no desire to make them understand. He did not ask others to confirm his ideas by thinking as he did: he was sure of his own thoughts. He asked them to let him know their thoughts, and to love their souls. He asked always to know and to love more, to see and to learn how to see. He had reached the point not only of admitting in others tendencies of mind that he had once combated, but also of rejoicing in them, for they seemed to him to contribute to the fecundity of the universe. He loved Georges the more because he did not take life tragically, as he did. Humanity would be too poor and too gray in color if it were to be uniformly clad in the moral seriousness, and the heroic restraint with which Christophe was armed. Humanity needed joy, carelessness, irreverent audacity in face of its idols, all its idols, even the most holy. Long live "the Gallic salt which revives the world"! Skepticism and faith are no less necessary. Skepticism, riddling the faith of yesterday, prepares the way for the faith of to-morrow…. How clear everything becomes to the man who stands away from life, and, as in a fine picture, sees the contrasting colors merge into a magical harmony, where, when they were closely seen, they clashed.
Christophe's eyes had been opened to the infinite variety of the material, as of the moral, world. It had been one of his greatest conquests since his first visit to Italy. In Paris he especially sought the company of painters and sculptors; it seemed to him that the best of the French genius was in them. The triumphant audacity with which they pursued and captured movement, vibrant color, and tore away the veils that cover life, made his heart leap with delight. The inexhaustible riches that he who has eyes to see can find in a drop of light, a second of life! Against such sovereign delights of the mind what matters the vain tumult of dispute and war?… But dispute and war also are a part of the marvelous spectacle. We must embrace everything, and, valiantly, joyously, fling into the crucible of our burning hearts both the forces of denial and the forces of affirmation, enemies and friends, the whole metal of life. The end of it all is the statue which takes shape in us, the divine fruit of our minds; and all is good that helps to make it more beautiful even at the cost of the sacrifice of ourselves. What does the creator matter? Only that which is created is real…. You cannot hurt us, ye enemies who seek to reach us with your hostility. We are beyond the reach of your attacks…. You are rending the empty cloak. I have been gone this many a day.
His music had found a more serene form. No longer did it show the storms of spring, which gathered, burst, and disappeared in the old days, but, instead, the white clouds of summer, mountains of snow and gold, great birds of light, slowly soaring, and filling the sky…. Creation. Ripening crops in the calm August sunlight….
At first a vague, mighty torpor, the obscure joy of the full grape, the swollen ear of corn, the pregnant woman brooding over her ripe fruit. A buzzing like the sound of an organ; the hive all alive with the hum of the bees…. Such somber, golden music, like an autumn honeycomb, slowly gives forth the rhythm which shall mark its path: the round of the planets is made plain: it begins to spin….
Then the will appears. It leaps onto the back of the whinnying dream as it passes, and grips it with its knees. The mind recognizes the laws of the rhythm which guides it: it tames the disordered forces and fixes the path they shall take, the goal towards which they shall move. The symphony of reason and instinct is organized. The darkness grows bright. On the long ribbon of the winding road, at intervals, there are brilliant fires, which in their turn shall be in the work of creation the nucleus of little planetary worlds linked up in the girdle of their solar system….
The main lines of the picture are henceforth fixed. Now it looms through the uncertain light of dawn. Everything is becoming definite: the harmony of the colors, the outline of the figures. To bring the work to its close all the resources of his being are brought into requisition. The scent-box of memory is opened and exhales its perfumes. The mind unchains the senses: it lets them wax delirious and is silent: but, crouching there, it watches them and chooses its prey….
All is ready: the team of workmen carries out, with the materials snatched from the senses, the work planned by the mind. A great architect must have good journeymen who know their trade and will not spare themselves.—The cathedral is finished.
"And God looked down on his work. And He saw that it was not yet good."