The Counterfeiters

by André Gide

  An inquisition of this kind seemed to me so much in the nature of an assault that it was with difficulty I refrained from protesting; but my curiosity carried the day.

  “Do you mean that you expect the child to make you any shameful revelations?”

  It was she who protested.

  “Oh, shameful? There’s no more shame in it than allowing oneself to be sounded. I need to know everything and particularly what is most carefully hidden. I must bring Boris to make a complete confession; until I can do that, I shall not be able to cure him.”

  “You suspect then that he has a confession to make? Are you quite sure—forgive me—that you won’t yourself suggest what you want him to confess?”

  “That is a preoccupation which must never leave me, and it is for that reason I work so slowly. I have seen clumsy magistrates who have unintentionally prompted a child to give evidence that was pure invention from beginning to end, and the child, under the pressure of the magistrate’s examination, tells lies in perfect good faith and makes people believe in entirely imaginary misdeeds. My part is to suggest nothing. Extraordinary patience is needed.”

  “It seems to me that in such cases the value of the method depends upon the value of the operator.”

  “I shouldn’t have dared say so. I assure you that after a little practice one gets extraordinarily clever at it; it’s a kind of divination—intuition, if you prefer. However, one sometimes goes off on a wrong track; the important thing is not to persist in it. Do you know how all our conversations begin? Boris starts by telling me what he has dreamt the night before.”

  “How do you know he doesn’t invent?”

  “And even if he did invent!… All the inventions of a diseased imagination reveal something.”

  She was silent for a moment or two, and then: “ ‘Invention,’ ‘diseased imagination’ … no, no, that’s not it. Words betray one’s meaning. Boris dreams aloud in my presence. Every morning he consents to remain during one hour in that state of semi-somnolence in which the images which present themselves to us escape from the control of our reason. They no longer group and associate themselves according to ordinary logic, but according to unforeseen affinities; above all, they answer to a mysterious inward compulsion—which is the very thing I want to discover; and the ramblings of this child are far more instructive than the most intelligent analysis of the most conscious of minds could be. Many things escape the reason, and a person who should attempt to understand life by merely using his reason would be like a man trying to take hold of a flame with the tongs. Nothing remains but a bit of charred wood, which immediately stops flaming.”

  She was again silent and began to turn over the pages of my book.

  “How very little you penetrate into the human soul!” she cried; then she laughed and added abruptly:

  “Oh, I don’t mean you in particular; when I say you, I mean novelists in general. Most of your characters seem to be built on piles; they have neither foundations nor sub-soil. I really think there’s more truth to be found in the poets; everything which is created by the intelligence alone is false. But now I am talking of what isn’t my business.… Do you know what puzzles me in Boris? I believe him to be exceedingly pure.”

  “Why should that puzzle you?”

  “Because I don’t know where to look for the source of the evil. Nine times out of ten a derangement like his has its origin in some sort of ugly secret.”

  “Such a one exists in every one of us, perhaps,” said I, “but it doesn’t make us all ill, thank Heaven!”

  At that Mme. Sophroniska rose; she had just seen Bronja pass by the window.

  “Look!” said she, pointing her out to me; “there is Boris’s real doctor. She is looking for me; I must leave you; but I shall see you again, shan’t I?”

  For that matter, I understand what Sophroniska reproaches the novel for not giving her; but in this case, certain reasons of art escape her—higher reasons, which make me think that a good novelist will never be made out of a good naturalist.

  I have introduced Laura to Mme. Sophroniska. They seem to take to each other, and I am glad of it. I have fewer scruples about keeping to myself when I know they are chatting together. I am sorry that Bernard has no companion of his own age; but at any rate the preparation for his examination keeps him occupied for several hours a day. I have been able to start work again on my novel.

  III : Edouard Explains His Theory of the Novel

  Notwithstanding first appearances, and though each of them did his best, Uncle Edouard and Bernard were only getting on together fairly well. Laura was not feeling satisfied, either. How should she be? Circumstances had forced her to assume a part for which she was not fitted; her respectability made her feel uncomfortable in it. Like those loving and docile creatures who make the most devoted wives, she had need of the proprieties to lean on, and felt herself without strength now that she was without the frame of her proper surroundings. Her situation as regards Edouard seemed to her more and more false every day. What she suffered from most and what she found unendurable, if she let her mind dwell on it, was the thought that she was living at the expense of this protector—or rather that she was giving him nothing in exchange—or more exactly, that Edouard asked nothing of her in exchange, while she herself felt ready to give him everything. “Benefits,” says Tacitus, through the mouth of Montaigne, “are only agreeable as long as one can repay them”; no doubt this is only true of noble souls, but without question Laura was one of these. She, who would have liked to give, was on the contrary continually receiving, and this irritated her against Edouard. Moreover when she went over the past in her mind, it seemed to her that Edouard had deluded her by awakening a love in her which she still felt strong within her and then by evading this love and leaving it without an object. Was not that the secret motive of her errors—of her marriage with Douviers, to which she had resigned herself, to which Edouard had led her—and then of her yielding so soon after to the solicitations of the springtime? For she must needs admit it to herself, in Vincent’s arms it was still Edouard that she sought. And as she could not understand her lover’s coldness, she accused herself of being responsible for it, and imagined that she might have vanquished him, had she had more beauty or more boldness; and as she could not succeed in hating him, it was herself she upbraided and depreciated, denying herself all value, and refusing to allow herself any reason for existing or the possession of any virtue.

  Let us add further that this camping-out style of life, necessitated by the arrangement of the rooms, though it might seem amusing to her companions, hurt her delicacy in many sensitive places. And she could see no issue to the situation, which yet was one it would be difficult to prolong.

  The only scrap of comfort and joy Laura was able to find in her present life, was by inventing for herself the duties of godmother or elder sister towards Bernard. The worship of a youth so charming touched her; the adoration he paid her prevented her from slipping down that slope of self-contempt and loathing which may lead even the most irresolute creature to the extremest resolutions. Bernard, every morning that he was not called off before daybreak by an expedition into the mountains (for he loved early rising), used to spend two good hours with her reading English. The examination he was going up for in October was a convenient excuse.

  It cannot be said that his secretarial duties took up much of his time. They were ill-defined. When Bernard undertook them he imagined himself already seated at a desk, writing from Edouard’s dictation, or copying out his manuscripts. Now Edouard never dictated, and his manuscripts, such as they were, remained at the bottom of his trunk; Bernard was free every hour of the day; but it only lay with Edouard to make more calls upon Bernard, who was most anxious to have his zeal made use of, so that Bernard was not particularly distressed by his want of occupation, or by the feeling that he was not earning his living—which, thanks to Edouard’s munificence, was a very comfortable one. He was quite determined not to let himself be em
barrassed by scruples. He believed, I dare not say in Providence, but at any rate in his star, and that a certain amount of happiness was due to him, as the air is to the lungs which breathe it; Edouard was its dispenser in the same way as the sacred orator, according to Bossuet, is the dispenser of divine wisdom. Moreover Bernard considered the present state of affairs as merely temporary, and was convinced that some day he would be able to acquit his debt, as soon as he could bring to the mint the uncoined riches whose abundance he felt in his heart. What vexed him more was that Edouard made no demand upon certain gifts which he felt within himself and which it seemed to him Edouard lacked. “He doesn’t know how to make use of me,” thought Bernard, who thereupon checked his self-conceit and wisely added: ‘Worse luck!”

  But then what was the reason of this uncomfortable feeling between Edouard and Bernard? Bernard seems to me to be one of those people who find their self-assurance in opposition. He could not endure that Edouard should have any ascendancy over him and, rather than yield to his influence, rebelled against it. Edouard, who never dreamed of coercing him, was alternately vexed and grieved to feel him so restive and so constantly on the alert to defend—or, at any rate, to protect—himself. He came to the pitch of doubting whether he had not committed an act of folly in taking away with him these two beings, whom he seemed only to have united in order that they should league together against him. Incapable of penetrating Laura’s secret sentiments, he took her reserve and her reticence for coldness. It would have made him exceedingly uncomfortable if he had been able to see more clearly; and Laura understood this; so that her unrequited love spent all its strength in keeping hidden and silent.

  Tea-time found them as a rule all assembled in the big sitting-room; it often happened that, at their invitation, Mme. Sophroniska joined them, generally on the days when Boris and Bronja were out walking. She left them very free in spite of their youthfulness; she had perfect confidence in Bronja and knew that she was very prudent, especially with Boris, who was always particularly amenable with her. The country was quite safe; for of course there was no question of their adventuring on to the mountains, or even of their climbing the rocks near the hotel. One day when the two children had obtained leave to go to the foot of the glacier, on condition they did not leave the road, Mme. Sophroniska, who had been invited to tea, was emboldened, with Bernard’s and Laura’s encouragement, to beg Edouard to tell them about his next novel—that is, if he had no objection.

  “None at all; but I can’t tell you its story.”

  And yet he seemed almost to lose his temper when Laura asked him (evidently a tactless question) what the book would be like?

  “Nothing!” he exclaimed; then, immediately and as if he had only been waiting for this provocation: “What is the use of doing over again what other people have done already, or what I myself have done already, or what other people might do?”

  Edouard had no sooner uttered these words than he felt how improper, how outrageous and how absurd they were; at any rate they seemed to him improper and absurd; or he was afraid that this was how they would strike Bernard.

  Edouard was very sensitive. As soon as he began talking of his work, and especially when other people made him talk of it, he seemed to lose his head.

  He had the most perfect contempt for the usual fatuity of authors; he snuffed out his own as well as he could; but he was not unwilling to seek a reinforcement of his modesty in other people’s consideration; if this consideration failed him, modesty immediately went by the board. He attached extreme importance to Bernard’s esteem. Was it with a view to conquering this that, when Bernard was with him, he set his Pegasus prancing? It was the worst way possible. Edouard knew it; he said so to himself over and over again; but in spite of all his resolutions, as soon as he was in Bernard’s company, he behaved quite differently from what he wished, and spoke in a manner which immediately appeared absurd to him (and which indeed was so). This might almost make one suppose that he loved Bernard?… No; I think not. But a little vanity is quite as effectual in making us pose as a great deal of love.

  “Is it because the novel, of all literary genres, is the freest, the most lawless,” held forth Edouard, “… is it for that very reason, for fear of that very liberty (the artists who are always sighing after liberty are often the most bewildered when they get it), that the novel has always clung to reality with such timidity? And I am not speaking only of the French novel. It is the same with the English novel; and the Russian novel, for all its throwing off of constraints, is a slave to resemblance. The only progress it looks to is to get still nearer to nature. The novel has never known that ‘formidable erosion of contours,’ as Nietzsche calls it; that deliberate avoidance of life, which gave style to the works of the Greek dramatists, for instance, or to the tragedies of the French XVIIth century. Is there anything more perfectly and deeply human than these works? But that’s just it—they are human only in their depths; they don’t pride themselves on appearing so—or, at any rate, on appearing real. They remain works of art.”

  Edouard had got up, and for fear of seeming to give a lecture, began to pour out the tea as he spoke; then he moved up and down, then squeezed a lemon into his cup, but, nevertheless, continued speaking:

  “Because Balzac was a genius, and because every genius seems to bring to his art a final and conclusive solution, it has been decreed that the proper function of the novel is to rival the état-civil.1 Balzac constructed his work; he never claimed to codify the novel; his article on Stendhal proves it. Rival the état-civil! As if there weren’t enough fools and boors in the world as it is! What have I to do with the état-civil? L’état c’est moi! I, the artist; civil or not, my work doesn’t pretend to rival anything.”

  Edouard, who was getting excited—a little factitiously, perhaps—sat down. He affected not to look at Bernard; but it was for him that he was speaking. If he had been alone with him, he would not have been able to say a word; he was grateful to the two women for setting him on.

  “Sometimes it seems to me there is nothing in all literature I admire so much as, for instance, the discussion between Mithridate and his two sons in Racine; it’s a scene in which the characters speak in a way we know perfectly well no father and no sons could ever have spoken in, and yet (I ought to say for that very reason) it’s a scene in which all fathers and all sons can see themselves. By localizing and specifying one restricts. It is true that there is no psychological truth unless it be particular; but on the other hand there is no art unless it be general. The whole problem lies just in that—how to express the general by the particular—how to make the particular express the general. May I light my pipe?”

  “Do, do,” said Sophroniska.

  “Well, I should like a novel which should be at the same time as true and as far from reality, as particular and at the same time as general, as human and as fictitious as Athalie, or Tartuffe or Cinna.”

  “And … the subject of this novel?”

  “It hasn’t got one,” answered Edouard brusquely, “and perhaps that’s the most astonishing thing about it. My novel hasn’t got a subject. Yes, I know, it sounds stupid. Let’s say, if you prefer it, it hasn’t got one subject … ‘a slice of life,’ the naturalist school said. The great defect of that school is that it always cuts its slice in the same direction; in time, lengthwise. Why not in breadth? Or in depth? As for me I should like not to cut at all. Please understand; I should like to put everything into my novel. I don’t want any cut of the scissors to limit its substance at one point rather than at another. For more than a year now that I have been working at it, nothing happens to me that I don’t put into it—everything I see, everything I know, everything that other people’s lives and my own teach me.… ”

  “And the whole thing stylized into art?” said Sophroniska, feigning the most lively attention, but no doubt a little ironically. Laura could not suppress a smile. Edouard shrugged his shoulders slightly and went on:

  “And even that
isn’t what I want to do. What I want is to represent reality on the one hand, and on the other that effort to stylize it into art of which I have just been speaking.”

  “My poor dear friend, you will make your readers die of boredom,” said Laura; as she could no longer hide her smile, she had made up her mind to laugh outright.

  “Not at all. In order to arrive at this effect—do you follow me?—I invent the character of a novelist, whom I make my central figure; and the subject of the book, if you must have one, is just that very struggle between what reality offers him and what he himself desires to make of it.”

  “Yes, yes; I’m beginning to see,” said Sophroniska politely, though Laura’s laugh was very near conquering her. “But you know it’s always dangerous to represent intellectuals in novels. The public is bored by them; one only manages to make them say absurdities and they give an air of abstraction to everything they touch.”

  “And then I see exactly what will happen,” cried Laura; “in this novelist of yours you won’t be able to help painting yourself.”

  She had lately adopted in talking to Edouard a jeering tone which astonished herself and upset Edouard all the more that he saw a reflection of it in Bernard’s mocking eyes. Edouard protested:

  “No, no. I shall take care to make him very disagreeable.”

  Laura was fairly started.

  “That’s just it; everybody will recognize you,” she said, bursting into such hearty laughter that the others were caught by its infection.

  “And is the plan of the book made up?” enquired Sophroniska, trying to regain her seriousness.

  “Of course not.”

  “What do you mean? Of course not!”

  “You ought to understand that it’s essentially out of the question for a book of this kind to have a plan. Everything would be falsified if anything were settled beforehand. I wait for reality to dictate to me.”