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Title: Romain Rolland: The Man and His Work

Author: Stefan Zweig

Translator: Cedar Paul

Eden Paul

Release date: January 8, 2011 [eBook #34888]

Language: English

Credits: Produced by Chuck Greif, University of Michigan Libraries
and the Online Distributed Proofreading Team at
http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK ROMAIN ROLLAND: THE MAN AND HIS WORK ***

ROMAIN ROLLAND

Romain Rolland after a drawing by Granié (1909)

ROMAIN ROLLAND
THE MAN AND HIS WORK

BY
STEFAN ZWEIG

TRANSLATED FROM THE ORIGINAL MANUSCRIPT
BY
EDEN and CEDAR PAUL

NEW YORK
THOMAS SELTZER
1921

Dedication

Not merely do I describe the work of a great European. Above all do I pay tribute to a personality, that of one who for me and for many others has loomed as the most impressive moral phenomenon of our age. Modelled upon his own biographies of classical figures, endeavouring to portray the greatness of an artist while never losing sight of the man or forgetting his influence upon the world of moral endeavour, conceived in this spirit, my book is likewise inspired with a sense of personal gratitude, in that, amid these days forlorn, it has been vouchsafed to me to know the miracle of so radiant an existence.

IN COMMEMORATION

of this uniqueness, I dedicate the book to those few who, in the hour of fiery trial, remained faithful to

ROMAIN ROLLAND

AND TO OUR BELOVED HOME OF

EUROPE

Dedication		PAGE
PART ONE: BIOGRAPHICAL
I.	Introductory	1
II.	Early Childhood	3
III.	School Days	8
IV.	The Normal School	12
V.	A Message From Afar	18
VI.	Rome	23
VII.	The Consecration	29
VIII.	Years of Apprenticeship	32
IX.	Years of Struggle	37
X.	A Decade of Seclusion	43
XI.	A Portrait	45
XII.	Renown	48
XIII.	Rolland As the Embodiment of the European Spirit	52
PART TWO: EARLY WORK AS A DRAMATIST
I.	The Work and the Epoch	57
II.	The Will To Greatness	63
III.	The Creative Cycles	67
IV.	The Unknown Dramatic Cycle	71
V.	The Tragedies of Faith. Saint Louis, Aërt, 1895-1898	76
VI.	Saint Louis. 1894	80
VII.	Aërt, 1898	83
VIII.	Attempt To Regenerate the French Stage	86
IX.	An Appeal to the People	90
X.	The Program	94
XI.	The Creative Artist	98
XII.	The Drama of the Revolution, 1898-1902	100
XIII.	The Fourteenth of July, 1902	103
XIV.	Danton, 1900	106
XV.	The Triumph of Reason, 1899	110
XVI.	The Wolves, 1898	113
XVII.	The Call Lost in the Void	117
XVIII.	A Day Will Come, 1902	119
XIX.	The Playwright	123
PART THREE: THE HEROIC BIOGRAPHIES
I.	De Profundis	133
II.	The Heroes of Suffering	137
III.	Beethoven	140
IV.	Michelangelo	144
V.	Tolstoi	147
VI.	The Unwritten Biographies	150
PART FOUR: JEAN CHRISTOPHE
I.	Sanctus Christophorus	157
II.	Resurrection	160
III.	The Origin of the Work	162
IV.	The Work without a Formula	166
V.	Key to the Characters	172
VI.	A Heroic Symphony	177
VII.	The Enigma of Creative Work	181
VIII.	Jean Christophe	188
IX.	Olivier	195
X.	Grazia	200
XI.	Jean Christophe and his Fellow Men	203
XII.	Jean Christophe and the Nations	207
XIII.	The Picture of France	211
XIV.	The Picture of Germany	217
XV.	The Picture of Italy	221
XVI.	The Jews	224
XVII.	The Generations	229
XVIII.	Departure	235
PART FIVE: INTERMEZZO SCHERZO (COLAS BREUGNON)
I.	Taken Unawares	241
II.	The Burgundian Brother	244
III.	Gauloiseries	249
IV.	A Frustrate Message	252
PART SIX: THE CONSCIENCE OF EUROPE
I.	The Warden of the Inheritance	257
II.	Forearmed	260
III.	The Place of Refuge	264
IV.	The Service of Man	268
V.	The Tribunal of the Spirit	271
VI.	The Controversy with Gerhardt Hauptmann	277
VII.	The Correspondence with Verhaeren	281
VIII.	The European Conscience	285
IX.	The Manifestoes	289
X.	Above the Battle	293
XI.	The Campaign against Hatred	297
XII.	Opponents	304
XIII.	Friends	311
XIV.	The Letters	317
XV.	The Counselor	320
XVI.	The Solitary	324
XVII.	The Diary	327
XVIII.	The Forerunners and Empedocles	329
XIX.	Liluli	335
XX.	Clerambault	339
XXI.	The Last Appeal	348
XXII.	Declaration of the Independence of the Mind	351
XXIII.	Envoy	355
Bibliography		357
Index		371

LIST OF ILLUSTRATIONS

[Click on any image to view it enlarged. (note from the etext producer.)]

Romain Rolland after a drawing by Granié (1909)	Frontispiece
FACING PAGE
Romain Rolland at the Normal School	12
Leo Tolstoi's Letter	20
Rolland's Transcript of Francesco Provenzale's Aria from Lo Schiavo di sua Moglie	34
Rolland's Transcript of a Melody by Paul Dupin, L'Oncle Gottfried	35
Romain Rolland at the Time of Writing Beethoven	142
Romain Rolland at the Time of Writing Jean Christophe	162
Romain Rolland at the Time of Writing Above the Battle	294
Rolland's Mother	324
Original Manuscript of The Declaration of the Independence of the Mind	352

PART ONE
BIOGRAPHICAL

The surge of the Heart's energies would not break in a mist of foam, nor be subtilized into Spirit, did not the rock of Fate, from the beginning of days, stand ever silent in the way.

Hölderlin.

ROMAIN ROLLAND

CHAPTER I

INTRODUCTORY

THE first fifty years of Romain Rolland's life were passed in inconspicuous and almost solitary labors. Thenceforward, his name was to become a storm center of European discussion. Until shortly before the apocalyptic year, hardly an artist of our days worked in such complete retirement, or received so little recognition.

Since that year, no artist has been the subject of so much controversy. His fundamental ideas were not destined to make themselves generally known until there was a world in arms bent upon destroying them.

Envious fate works ever thus, interweaving the lives of the great with tragical threads. She tries her powers to the uttermost upon the strong, sending events to run counter to their plans, permeating their lives with strange allegories, imposing obstacles in their path—that they may be guided more unmistakably in the right course. Fate plays with them, plays a game with a sublime issue, for all experience is precious. Think of the greatest among our contemporaries; think of Wagner, Nietzsche, Dostoievsky, Tolstoi, Strindberg; in the case of each of them, destiny has superadded to the creations of the artist's mind, the drama of personal experience.

Notably do these considerations apply to the life of Romain Rolland. The significance of his life's work becomes plain only when it is contemplated as a whole. It was slowly produced, for it had to encounter great dangers; it was a gradual revelation, tardily consummated. The foundations of this splendid structure were deeply dug in the firm ground of knowledge, and were laid upon the hidden masonry of years spent in isolation. Thus tempered by the ordeal of a furnace seven times heated, his work has the essential imprint of humanity. Precisely owing to the strength of its foundations, to the solidity of its moral energy, was Rolland's thought able to stand unshaken throughout the war storms that have been ravaging Europe. While other monuments to which we had looked up with veneration, cracking and crumbling, have been leveled with the quaking earth, the monument he had builded stands firm "above the battle," above the medley of opinions, a pillar of strength towards which all free spirits can turn for consolation amid the tumult of the world.

CHAPTER II

EARLY CHILDHOOD

ROMAIN ROLLAND was born on January 29, 1866, a year of strife, the year when Sadowa was fought. His native town was Clamecy, where another imaginative writer, Claude Tillier, author of Mon Oncle Benjamin, was likewise born. An ancient city, within the confines of old-time Burgundy, Clamecy is a quiet place, where life is easy and uneventful. The Rollands belong to a highly respected middle-class family. His father, who was a lawyer, was one of the notables of the town. His mother, a pious and serious-minded woman, devoted all her energies to the upbringing of her two children; Romain, a delicate boy, and his sister Madeleine, younger than he. As far as the environment of daily life was concerned, the atmosphere was calm and untroubled; but in the blood of the parents existed contrasts deriving from earlier days of French history, contrasts not yet fully reconciled. On the father's side, Rolland's ancestors were champions of the Convention, ardent partisans of the Revolution, and some of them sealed their faith with their blood. From his mother's family he inherited the Jansenist spirit, the investigator's temperament of Port-Royal. He was thus endowed by both parents with tendencies to fervent faith, but tendencies to faith in contradictory ideals. In France this cleavage between love for religion and passion for freedom, between faith and revolution, dates from centuries back. Its seeds were destined to blossom in the artist.

His first years of childhood were passed in the shadow of the defeat of 1870. In Antoinette, Rolland sketches the tranquil life of just such a provincial town as Clamecy. His home was an old house on the bank of a canal. Not from this narrow world were to spring the first delights of the boy who, despite his physical frailty, was so passionately sensitive to enjoyment. A mighty impulse from afar, from the unfathomable past, came to stir his pulses. Early did he discover music, the language of languages, the first great message of the soul. His mother taught him the piano. From its tones he learned to build for himself the infinite world of feeling, thus transcending the limits imposed by nationality. For while the pupil eagerly assimilated the easily understood music of French classical composers, German music at the same time enthralled his youthful soul. He has given an admirable description of the way in which this revelation came to him: "We had a number of old German music books. German? Did I know the meaning of the word? In our part of the world I believe no one had ever seen a German ... I turned the leaves of the old books, spelling out the notes on the piano, ... and these runnels, these streamlets of melody, which watered my heart, sank into the thirsty ground as the rain soaks into the earth. The bliss and the pain, the desires and the dreams, of Mozart and Beethoven, have become flesh of my flesh and bone of my bone. I am them, and they are me.... How much do I owe them. When I was ill as a child, and death seemed near, a melody of Mozart would watch over my pillow like a lover.... Later, in crises of doubt and depression, the music of Beethoven would revive in me the sparks of eternal life.... Whenever my spirit is weary, whenever I am sick at heart, I turn to my piano and bathe in music."

Thus early did the child enter into communion with the wordless speech of humanity; thus early had the all-embracing sympathy of the life of feeling enabled him to pass beyond the narrows of town and of province, of nation and of era. Music was his first prayer to the elemental forces of life; a prayer daily repeated in countless forms; so that now, half a century later, a week and even a day rarely elapses without his holding converse with Beethoven. The other saint of his childhood's days, Shakespeare, likewise belonged to a foreign land. With his first loves, all unaware, the lad had already overstridden the confines of nationality. Amid the dusty lumber in a loft he discovered an edition of Shakespeare, which his grandfather (a student in Paris when Victor Hugo was a young man and Shakespeare mania was rife) had bought and forgotten. His childish interest was first awakened by a volume of faded engravings entitled Galerie des femmes de Shakespeare. His fancy was thrilled by the charming faces, by the magical names Perdita, Imogen, and Miranda. But soon, reading the plays, he became immersed in the maze of happenings and personalities. He would remain in the loft hour after hour, disturbed by nothing beyond the occasional trampling of the horses in the stable below or by the rattling of a chain on a passing barge. Forgetting everything and forgotten by all he sat in a great armchair with the beloved book, which like that of Prospero made all the spirits of the universe his servants. He was encircled by a throng of unseen auditors, by imaginary figures which formed a rampart between himself and the world of realities.

As ever happens, we see a great life opening with great dreams. His first enthusiasms were most powerfully aroused by Shakespeare and Beethoven. The youth inherited from the child, the man from the youth, this passionate admiration for greatness. One who has hearkened to such a call, cannot easily confine his energies within a narrow circle. The school in the petty provincial town had nothing more to teach this aspiring boy. The parents could not bring themselves to send their darling alone to the metropolis, so with heroic self-denial they decided to sacrifice their own peaceful existence. The father resigned his lucrative and independent position as notary, which made him a leading figure in Clamecy society, in order to become one of the numberless employees of a Parisian bank. The familiar home, the patriarchal life, were thrown aside that the Rollands might watch over their boy's schooling and upgrowing in the great city. The whole family looked to Romain's interest, thus teaching him early what others do not usually learn until full manhood—responsibility.

CHAPTER III

SCHOOL DAYS

THE boy was still too young to feel the magic of Paris. To his dreamy nature, the clamorous and brutal materialism of the city seemed strange and almost hostile. Far on into life he was to retain from these hours a hidden dread, a hidden shrinking from the fatuity and soullessness of great towns, an inexplicable feeling that there was a lack of truth and genuineness in the life of the capital. His parents sent him to the Lyceum of Louis the Great, a celebrated high school in the heart of Paris. Many of the ablest and most distinguished sons of France, have been among the boys who, humming like a swarm of bees, emerge daily at noon from the great hive of knowledge. He was introduced to the items of French classical education, that he might become "un bon perroquet Cornélien." His vital experiences, however, lay outside the domain of this logical poesy or poetical logic; his enthusiasms drew him, as heretofore, towards a poesy that was really alive, and towards music. Nevertheless, it was at school that he found his first companion.

By the caprice of chance, for this friend likewise fame was to come only after twenty years of silence. Romain Rolland and his intimate Paul Claudel (author of Annonce faite à Marie), the two greatest imaginative writers in contemporary France, who crossed the threshold of school together, were almost simultaneously, twenty years later, to secure a European reputation. During the last quarter of a century, the two have followed very different paths in faith and spirit, have cultivated widely divergent ideals. Claudel's steps have been directed towards the mystic cathedral of the Catholic past; Rolland has moved through France and beyond, towards the ideal of a free Europe. At that time, however, in their daily walks to and from school, they enjoyed endless conversations, exchanging thoughts upon the books they had read, and mutually inflaming one another's youthful ardors. The bright particular star of their heaven was Richard Wagner, who at that date was casting a marvelous spell over the mind of French youth. In Rolland's case it was not simply Wagner the artist who exercised this influence, but Wagner the universal poietic personality.

School days passed quickly and somewhat joylessly. Too sudden had been the transition from the romanticist home to the harshly realist Paris. To the sensitive lad, the city could only show its teeth, display its indifference, manifest the fierceness of its rhythm. These qualities, this Maelstrom aspect, aroused in his mind something approaching to alarm. He yearned for sympathy, cordiality, soaring aspirations; now as before, art was his savior, "glorious art, in so many gray hours." His chief joys were the rare afternoons spent at popular Sunday concerts, when the pulse of music came to thrill his heart—how charmingly is not this described in Antoinette! Nor had Shakespeare lost power in any degree, now that his figures, seen on the stage, were able to arouse mingled dread and ecstasy. The boy gave his whole soul to the dramatist. "He took possession of me like a conqueror; I threw myself to him like a flower. At the same time, the spirit of music flowed over me as water floods a plain; Beethoven and Berlioz even more than Wagner. I had to pay for these joys. I was, as it were, intoxicated for a year or two, much as the earth becomes supersaturated in time of flood. In the entrance examination to the Normal School I failed twice, thanks to my preoccupation with Shakespeare and with music." Subsequently, he discovered a third master, a liberator of his faith. This was Spinoza, whose acquaintance he made during an evening spent alone at school, and whose gentle intellectual light was henceforward to illumine Rolland's soul throughout life. The greatest of mankind have ever been his examples and companions.

When the time came for him to leave school, a conflict arose between inclination and duty. Rolland's most ardent wish was to become an artist after the manner of Wagner, to be at once musician and poet, to write heroic musical dramas. Already there were floating through his mind certain musical conceptions which, as a national contrast to those of Wagner, were to deal with the French cycle of legends. One of these, that of St. Louis, he was in later years indeed to transfigure, not in music, but in winged words. His parents, however, considered such wishes premature. They demanded more practical endeavors, and recommended the Polytechnic School. Ultimately a happy compromise was found between duty and inclination. A decision was made in favor of the study of the mental and moral sciences. In 1886, at a third trial, Rolland brilliantly passed the entrance examination to the Normal School. This institution, with its peculiar characteristics and the special historic form of its social life, was to stamp a decisive imprint upon his thought and his destiny.