In Jean Christophe, Romain Rolland had delivered his message to this fated hour. To make the confession a live thing, he had to give something more, himself. The time had come for him to do what Jean Christophe had done for Olivier's son. He must guard the sacred flame; he must fulfil what his hero had prophetically foreshadowed. The way in which Rolland fulfilled this obligation has become for us all an imperishable example of spiritual heroism, which moves us even more strongly than we were moved by his written words. We saw his life and personality taking the form of an actually living conviction. We saw how, with the whole power of his name, and with all the energy of his artistic temperament, he took his stand against multitudinous adversaries in his own land and in other countries, his gaze fixed upon the heaven of his faith.
Rolland had never failed to recognize that in a time of widespread illusion it would be difficult to hold fast to his convictions, however self-evident they might seem. But, as he wrote to a French friend in September, 1914, "We do not choose our own duties. Duty forces itself upon us. Mine is, with the aid of those who share my ideas, to save from the deluge the last vestiges of the European spirit.... Mankind demands of us that those who love their fellows should take a firm stand, and should even fight, if needs must, against those they love."
For five years we have watched the heroism of this fight, pursuing its own course amid the warring of the nations. We have watched the miracle of one man's keeping his senses amid the frenzied millions, of one man's remaining free amid the universal slavery of public opinion. We have watched love at war with hate, the European at war with the patriots, conscience at war with the world. Throughout this long and bloody night, when we were often ready to perish from despair at the meaninglessness of nature, the one thing which has consoled us and sustained us has been the recognition that the mighty forces which were able to crush towns and annihilate empires, were powerless against an isolated individual possessed of the will and the courage to be free. Those who deemed themselves the victors over millions, were to find that there was one thing which they could not master, a free conscience.
Vain, therefore, was their triumph, when they buried the crucified thought of Europe. True faith works miracles. Jean Christophe had burst the bonds of death, had risen again in the living form of his own creator.
CHAPTER II
FOREARMED
WE do not detract from the moral services of Romain Rolland, but we may perhaps excuse to some extent his opponents, when we insist that Rolland had excelled all contemporary imaginative writers in the profundity of his preparatory studies of war and its problems. If to-day, in retrospect, we contemplate his writings, we marvel to note how, from the very first and throughout a long period of years, they combined to build up, as it were, a colossal pyramid, culminating in the point upon which the lightnings of war were to be discharged. For twenty years, the author's thought, his whole creative activity, had been unintermittently concentrated upon the contradictions between spirit and force, between freedom and the fatherland, between victory and defeat. Through a hundred variations he had pursued the same fundamental theme, treating it dramatically, epically, and in manifold other ways. There is hardly a problem relevant to this question which is not touched upon by Christophe and Olivier, by Aërt and by the Girondists, in their discussions. Intellectually regarded, Rolland's writings are a maneuvering ground for all the incentives to war. He thus had his conclusions already drawn when others were beginning an attempt to come to terms with events. As historian, he had described the perpetual recurrence of war's typical accompaniments, had discussed the psychology of mass suggestion, and had shown the effects of wartime mentality upon the individual. As moralist and as citizen of the world, he had long ere this formulated his creed. We may say, in fact, that Rolland's mind had been in a sense immunized against the illusions of the crowd and against infection by prevalent falsehoods.
Not by chance does an artist decide which problems he will consider. The dramatist does not make a "lucky selection" of his theme. The musician does not "discover" a beautiful melody, but already has it within him. It is not the artist who creates the problems, but the problems which create the artist; just as it is not the prophet who makes his prophecy, but the foresight which creates the prophet. The artist's choice is always pre-ordained. The man who has foreseen the essential problem of a whole civilization, of a disastrous epoch, must of necessity, in the decisive hour, play a leading part. He only who had contemplated the coming European war as an abyss towards which the mad hunt of recent decades, making light of every warning, had been speeding, only such a one could command his soul, could refrain from joining the bacchanalian rout, could listen unmoved to the throbbing of the war drums. Who but such a man could stand upright in the greatest storm of illusion the world has ever known?
Thus it came to pass that not merely during the first hour of the war was Rolland in opposition to other writers and artists of the day. This opposition dated from the very inception of his career, and hence for twenty years he had been a solitary. The reason why the contrast between his outlook and that of his generation had not hitherto been conspicuous, the reason why the cleavage was not disclosed until the actual outbreak of war, lies in this, that Rolland's divergence was a matter not so much of mood as of character. Before the apocalyptic year, almost all persons of artistic temperament had recognized quite as definitely as Rolland had recognized that a fratricidal struggle between Europeans would be a crime, would disgrace civilization. With few exceptions, they were pacifists. It would be more correct to say that with few exceptions they believed themselves to be pacifists. For pacifism does not simply mean, to be a friend to peace, but to be a worker in the cause of peace, an εἱρηνοποιὁς, as the New Testament has it. Pacifism signifies the activity of an effective will to peace, not merely the love of an easy life and a preference for repose. It signifies struggle; and like every struggle it demands, in the hour of danger, self-sacrifice and heroism. Now these "pacifists" we have just been considering had merely a sentimental fondness for peace; they were friendly towards peace, just as they were friendly towards ideas of social equality, towards philanthropy, towards the abolition of capital punishment. Such faith as they possessed was a faith devoid of passion. They wore their opinions as they wore their clothing, and when the time of trial came they were ready to exchange their pacifist ethic for the ethic of the war-makers, were ready to don a national uniform in matters of opinion. At bottom, they knew the right just as well as Rolland, but they had not the courage of their opinions. Goethe's saying to Eckermann applies to them with deadly force. "All the evils of modern literature are due to lack of character in individual investigators and writers."
Thus Rolland did not stand alone in his knowledge, which was shared by many intellectuals and statesmen. But in his case, all his knowledge was tinged with religious fervor; his beliefs were a living faith; his thoughts were actions. He was unique among imaginative writers for the splendid vigor with which he remained true to his ideals when all others were deserting the standard; for the way in which he defended the European spirit against the raging armies of the sometime European intellectuals now turned patriots. Fighting as he had fought from youth upwards on behalf of the invisible against the world of reality, he displayed, as a foil to the heroism of the trenches, a higher heroism still. While the soldiers were manifesting the heroism of blood, Rolland manifested the heroism of the spirit, and showed the glorious spectacle of one who was able, amid the intoxication of the war-maddened masses, to maintain the sobriety and freedom of an unclouded mind.