ANNETTE AND SYLVIE

Being Volume One of

The Soul Enchanted

By

ROMAIN ROLLAND

Translated from the French by

BEN RAY REDMAN

NEW YORK

HENRY HOLT AND COMPANY

1925

Annette and Sylvie is the prelude of a work in several volumes, that bears the title: The Soul Enchanted.

RIG-VEDA

CONTENTS

PART ONE CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII

PART TWO CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV CHAPTER XVI CHAPTER XVII

FOREWORD

Upon the threshold of a new journey which, without being as long as that of "Jean-Christophe," will include more than one stage, I would remind my readers of the friendly prayer which I addressed to them at a turning-point in the story of my musician. At the commencement of Revolt, I admonished them to consider each volume as one chapter of a moving work, whose thought unrolled only as rapidly as the life represented. Citing the old adage, La fin loue la vie, et le soir le jour, I added: When we shall have made an end, you may judge the worth of our effort.

Of course, I understand that each volume has its own character, that it must be judged separately as a work of art; but it would be premature to judge the general thought from a single volume. When I write a novel, I choose a human being with whom I feel certain affinities,—or, rather, it is he who chooses me. Once this person has been selected, I leave him perfectly free, I beware of mingling my personality with his. It is a weighty burden, a personality that one has borne for more than half a century. The divine boon of art is to deliver us from this burden, by giving us other souls to quaff, other lives to assume—(our Indian friends would say, "other of our lives"; for all is in each . . .).

So, when I have once adopted Jean-Christophe, or Colas, or Annette Rivière, I am no more than the secretary of their thoughts. I listen to them, I see them act, I see through their eyes. In the measure that they come to know their own hearts and men, I learn with them; when they make mistakes, I stumble; when they recover themselves, I pick myself up, and we set off again upon the road. I do not say that this road is the best. But this road is ours. Whether or not Christophe, Colas and Annette are right, Christophe, Colas and Annette are life is not the least of justifications.

Seek here neither thesis nor theory. Behold in this work merely the inner history of a life that is sincere, long, fertile in joys and sorrows, not exempt from contradictions, abounding in errors, yet always struggling to attain, in default of inaccessible Truth, that harmony of spirit which is our supreme truth.

R.R.

August, 1922.

ANNETTE AND SYLVIE

PART ONE

She was seated beside the window, with her back turned to the light, so that the rays of the setting sun fell upon the firm column of her neck. She had just come indoors. For the first time in months, Annette had spent the day in the open, tramping and finding intoxication in the spring sunlight. Tipsy sunlight, like pure wine, diluted by no shadow of leafless trees, and brightened by the cool air of the winter that had flown. Her head was humming, her veins pulsing, and her eyes were drenched in torrents of light. Red and gold beneath her closed eyelids. Gold and red in her body. Immobile, bemused, upon her chair, for an instant she lost consciousness. . . .

A pool, in the midst of woods, with a patch of sunlight like an eye. Around about, a circle of trees, their trunks befurred with moss. She must bathe her body; she finds herself undressed. The icy hand of the water rubs her feet and knees. Voluptuous torpor. In the pool of red and gold she contemplates her nudity. . . . A feeling of shame, obscure and indefinable, as though other spying eyes were watching her. To escape them she advances further into the water, which rises to her chin. The sinuous water becomes a living embrace; and slippery creepers twine themselves about her legs. She seeks to free herself, she sinks into the slime. Above, the patch of sunlight sleeps upon the pool. Angrily she thrusts her foot against the bottom and rises to the surface. The water now is gray, dull, and muddied; but still the sunlight on its gleaming surface. . . . Annette grasps a willow branch that overhangs the pool, to lift herself free from the watery contamination. The leafy limb covers her naked back and shoulders like a wing. The shadow of night falls, and the air is chill Upon her neck. . . .

She emerges from her trance; only a few moments have flown since she sank into it. The sun is disappearing behind the hills of Saint-Cloud. The cool of evening has come.

Sobered, Annette rises, shivering a little; and, wrinkling her brows in irritation at the lapse she has allowed herself, she goes to sit down before the fire, within the depths of her room. It is a pleasant wood fire, designed to distract the eye and to furnish company rather than to give warmth; for from the garden, through the open window, with the damp breeze of an early spring evening, there enters the melodious chattering of homing birds settling down to sleep. Annette dreams; but this time her eyes are open. She has recovered a foothold in her accustomed world. She is in her own house: she is Annette Rivière. And, as she leans towards the flame that reddens her youthful face, teasing with her foot the black cat that stretches out its gold-barred belly, she once more becomes conscious of her sorrow, that for an instant had been forgotten; she recalls the image (escaped from her heart) of the person she has lost. In deep mourning, with the trace of grief's passage not yet effaced from her brow or from the corners of her mouth, with her lower lids still slightly swollen from recent tears; but healthy, fresh, and bathed in sap like youthful nature itself, this vigorous young girl who is not beautiful but well made—with heavy chestnut hair, lightly tanned neck, starry eyes and flower-like cheeks—seeking to enfold anew her wandering glance and round shoulders in the dispersed veils of her melancholy—this girl, sitting thus, seems like a young widow watching the departure of the beloved shade.

Widow, indeed, Annette was in her heart; but he whose shade her fingers sought to detain was her father.

Six months had passed already since she had lost him. Towards the end of autumn, Raoul Rivière, still young (he was not quite fifty), had been carried off in two days by an attack of uremia. Although for several years he had been obliged to show some consideration for the health he had abused, he had not expected so brusque a lowering of the curtain. He was a Parisian architect, an old student of the Villa Romaine, handsome, congenitally cunning and possessed of inordinate desires, lionized in drawing-rooms and honored by the official world; and all his life long he had known how to collect commissions, honors and windfalls without ever appearing to seek them. His was a typically Parisian face, popularized by photographs, magazine sketches and caricatures,—with bulging forehead, swelling at the temples, head lowered like a charging bull; round, protuberant eyes with an audacious glance; white bushy hair cut in a brush, and a little tuft of hair below his laughing, voracious mouth; the whole expression being marked by wit, insolence, charm, and effrontery. In the Parisian world of arts and pleasures, he was known by everyone. And yet none knew him. He was a man of dual nature, who knew admirably how to adapt himself to society for the sake of exploiting it; but he also knew how to conduct his hidden life as a thing apart. He was a man of strong passions and powerful vices who managed to cultivate them all, while taking care to reveal nothing that might scare away his clients; he had his secret museum (fas ac nefas), but only the rarest initiates were allowed a glimpse of it; he cared not a hang for public taste and morality, but at the same time he conformed to them in his outward life and in his official works. There was none who knew him, neither among his friends nor among his enemies. . . . His enemies? He had none. Rivals at the most, who had smarted that he might forge ahead. But they bore him no malice: having got the better of them, he was such an adept at the art of wheedling that they almost smiled and begged his pardon, like those timid persons on whose feet one treads. Hard and cunning as he was, he had accomplished the feat of remaining on good terms with the competitors he supplanted, and with the women he abandoned.