CHAPTER XXII
DECLARATION OF THE INDEPENDENCE OF THE MIND
DESPITE all disillusionments, Romain Rolland, the indomitable, continued his addresses to the ultimate court of appeal, to the spirit of fellowship. On the day when peace was signed, June 26, 1919, he published in "L'Humanité" a manifesto composed by himself and subscribed by sympathizers of all nationalities. In a world falling to ruin, it was to be the cornerstone of the invisible temple, the refuge of the disillusioned. With masterly touch Rolland sums up the past, and displays it as a warning to the future. He issues a clarion call.
"Brain workers, comrades, scattered throughout the world, kept apart for five years by the armies, the censorship, and the mutual hatred of the warring nations, now that barriers are falling and frontiers are being reopened, we issue to you a call to reconstitute our brotherly union, and to make of it a new union more firmly founded and more strongly built than that which previously existed.
"The war has disordered our ranks. Most of the intellectuals placed their science, their art, their reason, at the service of the governments. We do not wish to formulate any accusations, to launch any reproaches. We know the weakness of the individual mind and the elemental strength of great collective currents. The latter, in a moment, swept the former away, for nothing had been prepared to help in the work of resistance. Let this experience, at least, be a lesson to us for the future!
"First of all, let us point out the disasters that have resulted from the almost complete abdication of intelligence throughout the world, and from its voluntary enslavement to the unchained forces. Thinkers, artists, have added an incalculable quantity of envenomed hate to the plague which devours the flesh and the spirit of Europe. In the arsenal of their knowledge, their memory, their imagination, they have sought reasons for hatred, reasons old and new, reasons historical, scientific, logical, and poetical. They have labored to destroy mutual understanding and mutual love among men. So doing, they have disfigured, defiled, debased, degraded, Thought, of which they were the representatives. They have made it an instrument of the passions; and (unwittingly, perchance) they have made it a tool of the selfish interests of a political or social clique, of a state, a country, or a class. Now, when, from the fierce conflict in which the nations have been at grips, the victors and the vanquished emerge equally stricken, impoverished, and at the bottom of their hearts (though they will not admit it) utterly ashamed of their access of mania—now, Thought, which has been entangled in their struggles, emerges, like them, fallen from her high estate.
"Arise! Let us free the mind from these compromises, from these unworthy alliances, from these veiled slaveries! Mind is no one's servitor. It is we who are the servitors of mind. We have no other master. We exist to bear its light, to defend its light, to rally round it all the strayed sheep of mankind. Our role, our duty, is to be a center of stability, to point out the pole star, amid the whirlwind of passions in the night. Among these passions of pride and mutual destruction, we make no choice; we reject them all. Truth only do we honor; truth that is free, frontierless, limitless; truth that knows naught of the prejudices of race or caste. Not that we lack interest in humanity. For humanity we work; but for humanity as a whole. We know nothing of peoples. We know the People, unique and universal; the People which suffers, which struggles, which falls and rises to its feet once more, and which continues to advance along the rough road drenched with its sweat and its blood; the People, all men, all alike our brothers. In order that they may, like ourselves, realize this brotherhood, we raise above their blind struggles the Ark of the Covenant—Mind, which is free, one and manifold, eternal."
Many hundreds of persons have signed this manifesto, for leading spirits in every land accept the message and make it their own. The invisible republic of the spirit, the universal fatherland, has been established among the races and among the nations. Its frontiers are open to all who wish to dwell therein; its only law is that of brotherhood; its only enemies are hatred and arrogance between nations. Whoever makes his home within this invisible realm becomes a citizen of the world. He is the heir, not of one people but of all peoples. Henceforward he is an indweller in all tongues and in all countries, in the universal past and the universal future.
CHAPTER XXIII
ENVOY
STRANGE has been the rhythm of this man's life, surging again and again in passionate waves against the time, sinking once more into the abyss of disappointment, but never failing to rise on the crest of faith renewed. Once again we see Romain Rolland as prototype of those who are magnificent in defeat. Not one of his ideals, not one of his wishes, not one of his dreams, has been realized. Might has triumphed over right, force over spirit, men over humanity.
Yet never has his struggle been grander, and never has his existence been more indispensable, than during recent years; for it is his apostolate alone which has saved the gospel of crucified Europe; and furthermore he has rescued for us another faith, that of the imaginative writer as the spiritual leader, the moral spokesman of his own nation and of all nations. This man of letters has preserved us from what would have been an imperishable shame, had there been no one in our days to testify against the lunacy of murder and hatred. To him we owe it that even during the fiercest storm in history the sacred fire of brotherhood was never extinguished. The world of the spirit has no concern with the deceptive force of numbers. In that realm, one individual can outweigh a multitude. For an idea never glows so brightly as in the mind of the solitary thinker; and in the darkest hour we were able to draw consolation from the signal example of this poet. One great man who remains human can for ever and for all men rescue our faith in humanity.
BIBLIOGRAPHY
WORKS BY ROMAIN ROLLAND
I
CRITICAL STUDIES
Les origines du théâtre lyrique moderne. (Histoire de l'opéra en Europe avant Lully et Scarlatti.) Fontemoing, Paris, 1895.
Cur ars picturae apud Italos XVI saeculi deciderit Fontemoing, Paris, 1895.
Millet. Duckworth, London, 1902 (has appeared in English translation only).
Vie de Beethoven. (Vie des hommes illustres.) Cahiers de la quinzaine, série IV, No. 10, Paris, 1903; Hachette, Paris, 1907; another edition with woodcuts by Perrichon, J. P. Laurens, P. A. Laurens, and Perrichon, published by Edouard Pelletan, Paris, 1909.
Le Théâtre du Peuple. Cahiers de la quinzaine, série V, No. 4, Paris, 1903; Hachette, Paris, 1908; enlarged edition, Hachette, Paris, 1913; Ollendorff, Paris, 1920.
Paris als Musikstadt. Marquardt, Berlin, 1905 (has appeared in German translation only).
La vie de Michel-Ange. (Vie des hommes illustres.) Cahiers de la quinzaine, série VII, No. 18; série VIII, No. 2, Paris, 1906; Hachette, Paris, 1907. Another edition in Les maîtres de l'art series, Librairie de l'art, ancien et moderne, Plon, Paris, 1905.
Musiciens d'autrefois, Hachette, Paris, 1908. 1. L'opéra avant l'opéra. 2. Le premier opèra joué à Paris: L'Orféo de Luigi Rossi. 3. Notes sur Lully. 4. Gluck. 5. Grétry. 6. Mozart.
Musiciens d'aujourd'hui, Hachette, Paris, 1908. 1. Berlioz. 2. Wagner: Siegfried; Tristan. 3. Saint-Saëns. 4. Vincent d'Indy. 5. Richard Strauss. 6. Hugo Wolf. 7. Don Lorenzo Perosi 8. Musique française et musique allemande. 9. Pelléas et Mélisande. 10. Le renouveau: esquisse du movement musical à Paris depuis 1870.
Paul Dupin. Mercure musical. S. J. M. 15/12, 1908.
Haendel. (Les maîtres de la musique.) Alcan, Paris, 1910.
Vie de Tolstoi. (Vie des hommes illustres.) Hachette, Paris, 1911.
L'humble vie héroique. Pensées choisies et précédées d'une introduction par Alphonse Séché. Sansot, Paris, 1912.
Empédocle d' Agrigente. Le Carmel, Geneva, 1917; La maison française d'art et edition, Paris, 1918.
Voyage musical aux pays du passe. With woodcuts by D. Glans. Edouard Joseph, Paris, 1919; Hachette, Paris, 1920.
Ecole des Hates Etudes Socials (1900-1910). Alcan, Paris, 1910.
II
POLITICAL STUDIES
Au-dessus de la mêlée. Ollendorff, Paris, 1915.
Les précurseurs. L'Humanité, Paris, 1919.
Aux peuples assassinés. Jeunesses Socialistes Romandes, La Chaux-de-Fonds, 1917; Ollendorff, Paris, 1920.
Aux peuples assassinés (under the title: Civilisation). Privately printed, Paris, 1918.
Aux peuples assassinés. As frontispiece a wood-engraving by Frans Masereel. Restricted circulation. Ollendorff, Paris, 1920.
III
NOVELS
Jean-Christophe. 15 parts 1904-1912. Cahiers de la quinzaine, Série V, Nos. 9 and 10; Série VI, No. 8; Série VIII, Nos. 4, 6, 9; Série IX, Nos. 13, 14, 15; Série X, Nos. 9, 10; Série XI, Nos. 7, 8; Série XIII, Nos. 5, 6; Série XIV, Nos. 2, 3; Paris, 1904 et seq.
Jean-Christophe. 10 vols. 1. L'aube. 2. Le matin. 3. L'adolescent 4 La révolte. (1904-1907.)
Jean-Christophe à Paris. 1. La foire sur la place. 2. Antoinette. 3. Dans la maison. (1908-1910.)
Jean-Christophe. La fin du voyage. 1. Les amies. 2. Le buisson ardent 3. La nouvelle journée. (1910-1912.) Ollendorff, Paris.
Colas Breugnon. Ollendorff, Paris, 1918.
Pierre et Luce. Le Sablier, Geneva, 1920; Ollendorff, Paris, 1920.
Clerambault. Ollendorff, Paris, 1920.
IV
PREFACES
Introduction to Une lettre inédite de Tolstoi, Cahiers de la quinzaine, Série III, No. 9, Paris, 1902.
Haendel et le Messie. (Preface to Le Messie de G. F. Haendel by Félix Raugel.) Dépôt de la Société coöpérative des compositeurs de musique, Paris, 1912.
Stendhal et la musique. (Preface to La vie de Haydn in the complete edition of Stendhal's works.) Champion, Paris, 1913.
Preface to Celles qui travaillent by Simone Bodève, Ollendorff, Paris, 1913.
Preface to Une voix de femme dans la mêlée by Marcelle Capy, Ollendorff, Paris, 1916.
Anthologie des poètes contre la guerre. Le Sablier, Genera, 1920.
V
DRAMAS
Saint Louis. (5 acts.) Revue de Paris, March-April, 1897.
Aërt. (3 acts.) Revue de l'art dramatique, Paris, 1898.
Les loups. (3 acts.) Georges Bellais, Paris, 1898.
Le triomphe de la raison. (3 acts.) Revue de l'art dramatique, Paris, 1899.
Danton. (3 acts.) Revue de l'art dramatique, Paris, 1900; Cahiers de la quinzaine, Série II, No. 6, 1901.
Le quatorze juillet. (3 acts.) Cahiers de la quinzaine, Série III, No. 11, Paris, 1902.
Le temps viendra. (3 acts.) Cahiers de la quinzaine, Série IV, No. 14, Paris, 1903; Ollendorff, Paris, 1920.
Les trois amoureuses. (3 acts.) Revue de l'art dramatique, Paris, 1904.
La Montespan. (3 acts.) Revue de l'art dramatique, Paris, 1904.
Théâtre de la Révolution. Les loups. Danton. Le quatorze juillet. Hachette, Paris, 1909 (now transferred to Ollendorff).
Les tragédies de la foi. Saint Louis. Aërt. Le triomphe de la raison. Hachette, Paris, 1909 (now transferred to Ollendorff).
Liluli (with woodcuts by Frans Masereel). Le Sablier, Geneva, 1919; Ollendorff, Paris, 1920.
TRANSLATIONS
English
Millet. Translated by Clementina Black. Duckworth, London, 1902.
Beethoven. Translated by F. Rothwell. Drane, London, 1907.
Beethoven. Translated by Constance Hull. With a brief analysis of the sonatas, symphonies, and the quartets, by A. Eaglefield Hull, and 24 musical illustrations and 4 plates and an introduction by Edward Carpenter. Kegan Paul, Trench, Trubner, London, 1917.
The Life of Michael Angelo. Translated by Frederic Lees. Heinemann, London, 1912.
Tolstoy. Translated by Bernard Miall. Fisher Unwin, London, 1911.
Some Musicians of former Days. Translated by Mary Blaiklock. Kegan Paul, Trench, Trubner, London, 1915.
Handel. Translated by A. Eaglefield Hull. Kegan Paul, Trench, Trubner, London, 1916.
Musicians of To-day. Translated by Mary Blaiklock. Kegan Paul, Trench, Trubner, London, 1915.
The People's Theater. Translated by Barrett H. Clark. Holt, New York, 1918; C. Allen & Unwin, London, 1919.
Go to the Ant. (Reflections on reading Auguste Sorel.) Translated by De Kay. Atlantic Monthly, May, 1919, New York.
Above the Battlefield. With an introduction by G. Lowes Dickinson, Bowes, Cambridge, 1914.
Above the Battlefield. With an introduction by Rev. Richards Roberts, M. A. Friends' Peace Committee, London, 1915.
Above the Battle. Translated by C. K. Ogden. G. Allen & Unwin, London, 1916.
The Idols. Translated by C. K. Ogden. With a letter by R. Rolland to Dr. van Eeden on the rights of small nations. Bowes, Cambridge, 1915.
The Forerunners. Translated by Eden & Cedar Paul. G. Allen & Unwin, London, 1920; Harcourt, Brace, U. S. A., 1920.
The Fourteenth of July and Danton: two plays of the French Revolution. Translated with a preface by Barrett H. Clarke. Holt, New York, 1918; G. Allen & Unwin, London, 1919.
Liluli. The Nation, London, Sept 20 to Nov. 29, 1919; Boni & Liveright, New York, 1920.
Jean Christophe. Translated by Gilbert Cannan. Heinemann, London, 1910-1913; Holt, New York, 1911-1913.
Colas Breugnon. Translated by K. Miller. Holt, New York, 1919.
Clerambault. Translated by K. Miller. Holt, New York. 1921.
German
Beethoven. Translated by L. Langnese-Hug. Rascher, Zurich, 1917.
Michelangelo. Translated by W. Herzog. Rütten & Loenig, Frankfort, 1918.
Michelangelo. Rascher, Zurich, 1919.
Tolstoi. Translated by W. Herzog. Rütten & Loenig, Frankfort, 1920.
Den hingeschlachteten Völkern, translated by Stefan Zweig. Rascher, Zurich, 1918.
Au-dessus de la mêlée. Rütten & Loening, Frankfort.
Les précurseurs. Rütten & Loeing, Frankfort, 1920.
Johann Christof. Translated by Otto & Erna Grautoff. Rütten & Loening, Frankfort, 1912-1918.
Meister Breugnon. Translated by Otto & Etna Grautoff. Rütten & Loening, Frankfort, 1919.
Clerambault. Translated by Stefan Zweig. Rütten & Loening, Frankfort, 1920.
Die Wölfe. Translated by W. Herzog. Müller, Munich, 1914.
Danton. Translated by Lucy von Jacobi and W. Herzog. Müller, Munich, 1919.
Die Zeit wird kommen. Translated by Stefan Zweig. "Die Zwölf Bücher," Tal, Vienna, 1920.
Spanish
Vie de Beethoven. Translated by J. R. Jimenez, à la Residentia de Estudiantes de Madrid, 1914.
Au-dessus de la mêlée. Delgado & Santonja, Madrid, 1916.
Jean-Christophe. Translated by Toro y Gomez. Ollendorff, Paris-Madrid, 1905-1910.
Colas Breugnon. Agence de Librairie, Madrid, 1919.
Italian
Au-dessus de la mêlée. Avanti, Milan, 1916.
Aux peuples assassinés. Translated by Monanni with drawings by Frans Masereel. Libreria Internationale, Zurich, 1917.
Jean-Christophe. Translated by Cesare Alessandri. Sonzogno, Milan, 1920.
Vie de Michel-Ange. Translated by Maria Venti Felice le Monnier, Florence. [In the press.]
Russian
Théâtre de la Révolution. Translated by Joseph Goldenberg, St. Petersburg. 1909.
Théâtre du Peuple. Translated by Joseph Goldenberg. St. Petersburg. 1909.
Empédocle d'Agrigente. [In the press.]
Jean-Christophe. Unauthorized translation in 4 vols. Vetcherni Zvon, Moscow, 1912.
Jean-Christophe. Authorized translation by M. Tchlenoff.
Danish
Vie de Beethoven. Branner, Copenhagen, 1915.
Tolstoi. Branner, Copenhagen, 1917.
Musiciens d'aujourd'hui. Denmark & Norway, 1917.
Au-dessus de la mêlée. Lios, Copenhagen, 1916.
Jean-Christophe. Hagerup, Copenhagen, 1916.
Colas Breugnon. Denmark & Norway; Norstedt, Stockholm, 1917.
Czech
Vie de Michel-Ange. Translated by M. Kalassova. Prague, 1912.
Danton. 1920.
Polish
Vie de Beethoven. Jacewski, Warsaw, 1913.
Jean-Christophe. Translated by Edwige Sienkiewicz. Vols.
I & II, Bibljoteka Sfinska, Warsaw, 1910; the remaining vols., Maski, Cracow, 1917-19—.
Swedish
Vie de Beethoven. Translated by Mrs. Akermann, Norstedt, Stockholm. 1915.
Vie de Michelange. Translated by Mrs. Akermann, Norstedt, Stockholm. 1916.
Vie de Tolstoi. Translated by Mrs. Akermann, Norstedt, Stockholm. 1916.
Händel. Translated by Mrs. Akermann, Norstedt, Stockholm. 1916.
Millet. Translated by Mrs. Akermann, Norstedt, Stockholm. 1916.
Musiciens d'aujourd'hui. Translated by Mrs. Akermann, Norstedt, Stockholm. 1917.
Musiciens d'autrefois. Translated by Mrs. Akermann, Norstedt, Stockholm. 1917.
Voyage musical au pays du passé. Translated by Mrs. Akermann, Norstedt, Stockholm. 1920.
Au-dessus de la mêleé. Translated by Mrs. Akermann, Norstedt, Stockholm. 1915.
Les précurseurs. Translated by Mrs. Akermann, Norstedt, Stockholm. 1920.
Théâtre de la Révolution. Translated by Mrs. Akermann, Bonnier, Stockholm. 1917.
Tragédies de la foi. Translated by Mrs. Akermann, Bonnier, Stockholm. 1917.
Le temps viendra. Translated by Mrs. Akermann, Norstedt, Stockholm.
Liluli. Translated by Mrs. Akermann, Bonnier, Stockholm. 1920.
Jean-Christophe. Translated by Mrs. Akermann, Bonnier, Stockholm. 1913-1917.
Colas Breugnon. Translated by Mrs. Akermann, Norstedt, Stockholm. 1919.
Clerambault In course of preparation. Bonnier, Stockholm.
Dutch
Vie de Beethoven, Simon, Amsterdam, 1913.
Jean-Christophe. Brusse, Rotterdam, 1915.
L'aube. Special edition, W. F. J. Tjeenk Willink, Zwolle, 1916.
Colas Breugnon. Meulenhoff, Amsterdam, 1919.
Japanese
Tolstoi Seichi Naruse, Tokyo, 1916. And many other unauthorized translations.
Greek
Beethoven. Translated by Niramos. 1920.
WORKS ON ROMAIN ROLLAND
French
Jean Bonnerot. Romain Rolland (Extraits de ses œuvres avec introduction biographique), Cahiers du Centre, Nevers, 1909.
Lucien Maury. Figures littéraires. Perrin, 1911.
J. H. Retinger. Histoire de la littérature française du romantisme à nos jours. B. Grasset, 1911.
Jules Bertaut. Les romanciers du nouveau siècle. Sansot, 1912.
Paul Seippel. Romain Rolland, l'homme et l'œuvre. Ollendorff, 1913.
Marc Elder. Romain Rolland. Paris, 1914
Robert Dreyfus. Maîtres contemporains. (Péguy, Claudel, Suarès, Romain Rolland.) Paris, 1914.
Daniel Halévy. Quelques nouveaux maîtres. Cahiers du Centre. Figuière, 1914.
G. Dwelshauvers. Romain Rolland. Vue caractéristique de l'homme et de l'œuvre. Ed. de la Belgique artistique et littéraire, Brussels, 1913 or 1914.
Paul Souday. Les drames philosophiques de Romain Rolland. Emile Paul, Paris, 1914.
Max Hochstätter. Essai sur l'œuvre de Romain Rolland. Fischbacher, Paris; Georg & Co., Geneva, 1914.
Henri Guilbeaux. Pour Romain Rolland. Jeheber, Geneva, 1915.
Massis. Romain Rolland contre la France. Floury, Paris, 1915.
P. H. Loyson. Etes-vous neutre devant le crime? Payot, Paris and Lausanne, 1916.
Renaitour et Loyson. Dans la mêlée. Ed. du Bonnet Rouge, 1916.
Isabelle Debran. M. Romain Rolland initiateur du défaitisme. (Introduction de Diodore.) Geneva, 1918.
Jacques Servance. Réponse à Mme. Isabelle Debran. Comité d'initiative en faveur d'une paix durable, Neuchâtel, 1916.
Charles Baudouin, Romain Rolland calomnié. Le Carmel, Geneva, 1918.
Daniel Halévy. Charles Péguy et les Cahiers de la Quinzaine. Payot, Paris, 1918 et seq.
Paul Colin. Romain Rolland, Bruxelles, 1920.
P. J. Jouve. Romain Rolland vivant, Ollendorff, 1920.
Other Languages
Otto Grautoff. Romain Rolland, Frankfurt, 1914.
Winifred Stephens. French Novelists of To-day. Second series. J. Lane, London and New York, 1915.
Albert L. Guerard. Five Masters of French Romance. Scribner, New York, 1916.
Dr. J. Ziegler. Romain Rolland in "Johann Christof," über Juden und Judentum. v. Dr. Ziegler, Rabbiner in Karlsbad. Vienna, 1918.
Agnes Darmesteter. Twentieth Century French Writers. London, 1919.
Blumenfeld. Etude sur Romain Rolland, en langue yiddisch. Cahiers de littérature et d'art. Paris, 1920.
Albert Schinz. French Literature of the War. Appleton, New York, 1920.
Pedro Cesare Dominici. De Lutecia, Arte y Critica. Ollendorff, Madrid.
Papini. Studii di Romain Rolland. Florence, 1916.
F. F. Curtis. Die literarischen Wegbereiter des neuen Frankreichs. Kiepenheuer, Potsdam, 1920.
Walter Küchler. Vier Vorträge über R. Rolland, Henri Barbusse, Fritz v. Unruh. Würzburg, 1919.
Music Connected With Romain Rolland's Writings
Paul Dupin. Jean-Christophe. (Trois pièces pour piano.)
1. L'oncle Gottfried (dialogue avec Christophe).
2. Méditation sur un passage du "Matin."
3. Berceuse de Louisa. Chant du Pélerin (piano et chant). Paroles de Paul Gerhardt Ed. Demets, Paris, 1907.
Paul Dupin. Jean-Christophe. (Suite pour quatuor à cordes.)
1. La mort de l'oncle Gottfried.
2. Bienvenue au petit Ed. Senart et Roudanez, Paris, 1908.
Paul Dupin. Pastorale, Sabine. 1. Dans le Jardinet. Piano et quatuor. Transcription pour piano et violon. Ed. Senart et Roudanez, Paris, 1908.
Albert Doyen. Le Triomphe de la Liberté. (Scène finale du Quatorze Juillet). Prix de la ville de Paris, 1913. (Soli, Orchestre et Choeurs.) Ed. A. Leduc, Paris.