# The Joyous Comrade

Extracted from Windsor magazine, vol. 8, 1898, pp. 108–114. Accompanying illustrations by H. G. Burgess may be omitted.
THE JOYOUS COMRADE
By Israel Zangwill
Illustrated by H. G. Burgess
"WELL, what are you gaping at? Why the devil don't you say something?" And all the impatience of the rapt artist at being interrupted by anything but praise was in the outburst.
"Holy Moses!" I gasped. "Give a man a chance to get his breath. I fall through a dark ante-chamber over a bicycle, stumble round a screen, and—smack! a glare of Oriental sunlight from a gigantic canvas, the vibration and glow of a group of joyous figures, reeking with life and sweat! You the Idealist, the seeker after Nature's beautiful moods and Art's beautiful patterns!"
"Beautiful moods!" he echoed angrily. "And why isn't this a beautiful mood? And what more beautiful pattern than this—look! this line, this sweep, this group here, this clinging of the children round this mass—all in a glow—balanced by this mass of cool shadow. The meaning doesn't interfere with the pattern, you chump!"
"Oh, so there is a meaning! You've become an anecdotal painter."
"Adjectives be hanged! I can't talk theory in the precious daylight. If you can't see——!"
"I can see that you are painting something you haven't seen. You haven't been in the East, have you?"
"If I had, I haven't got time to jaw about it now. Come and have an absinthe at the Café Victor, in memory of old Paris days—Sixth Avenue—any of the boys will tell you. Let me see, daylight till six—half-past six. Au 'voir, au 'voir."
As I went down the steep, dark stairs, "Same old Dan," I thought. "Who would imagine I was a stranger in New York looking up an old fellow-struggler on his native heath? If I didn't know better, I might fancy his tremendous success had given him the same opinion of himself that America has of him. But no, nothing will change him; the same furious devotion to his canvas once he has quietly planned his picture, the same obstinate conviction that he is seeing something in the only right way. And yet something has changed him. Why has his brush suddenly gone East? Why this new kind of composition crowded with figures—ancient Jews, too? Has he been taken with piety, and is he going henceforward ostentatiously to proclaim his race? And who is the cheerful central figure with the fine, open face? I don't recollect any such scene in Jewish history, or anything so joyous. Perhaps it's a study of modern Jerusalem Jews, to show their life is not all Wailing Wall and Jeremiah. Or perhaps it's only decorative. America is great on decoration just now. No; he said the picture had a meaning. Well, I shall know all about it to-night. Anyhow, it's a beautiful thing."
"Same old Dan!" I thought even more decisively as, when I opened the door of the little café, a burly black-bearded figure with audacious eyes came at me with a grip and a slap and a roar of welcome, and dragged me to the quiet corner behind the billiard tables.
"I've just been opalising your absinthe for you," he laughed, as we sat down. "But what's the matter? You look kind o' scared."
"It's your Inferno of a city. As I turned the corner of Sixth Avenue, an elevated train came shrieking and rumbling, and a swirl of wind swept screeching round and round, enveloping me in a whirlpool of smoke and steam, until, dazed and choked in what seemed the scalding effervescence of a collision, I had given up all hope of ever learning what your confounded picture meant."
"Aha!" He took a complacent sip. "It stayed with you, did it?" And the light of triumph, flushing for an instant his rugged features, showed when it waned how pale and drawn they were by the feverish tension of his long day's work.
"Yes, it did, old fellow," I said affectionately. "The joy and the glow of it, and yet also some strange antique simplicity and restfulness you have got into it, I know not how, have been with me all day, comforting me in the midst of the tearing, grinding life of this closing nineteenth century after Christ."
A curious smile flitted across Dan's face. He tilted his chair back and rested his head against the wall.
[Illustration: "'There's nothing that takes me so much out of the nineteenth century after Christ,' he said dreamily, 'as this little French café.'"]
"There's nothing that takes me so much out of the nineteenth century after Christ," he said dreamily, "as this little French café. It wafts me back to me early student days, that lie somewhere amid the enchanted mists of the youth of the world; to the zestful toil of the studios, to the careless trips in quaint, grey Holland or flaming, devil-may-care Spain. Ah! what scenes shift and shuffle in the twinkle of the gas-jet in this opalescent liquid; the hot shimmer of the arena at the Seville bull-fight, with its swirl of colour and movement; the torchlight procession of pilgrims round the church at Lourdes, with the one black nun praying by herself in a shadowy corner; the lovely valley of the Tauba, where the tinkle of the sheep-bells mingles with the Lutheran hymn, blown to the four winds from the old church tower; wines that were red, sunshine that was warm; mandolines!" His voice died away as in exquisite reverie.
"And the East?" I said slily.
A good-natured smile dissipated his delicious dream.
"Ah, yes," he said. "My East was the Tyrol."
"The Tyrol? How do you mean?"
"I see you won't let me out of that story."
"Oh, there's a story, is there?"
"Oh, well, perhaps not what you literary chaps would call a story. No love-making in it, you know."
"Then it can wait. Tell me about your picture."
"But that's mixed up with the story."
"Didn't I say you had become an anecdotal artist?"
"It's no laughing matter," he said gravely. "You remember when we parted at Munich, a year ago last spring, you to go on to Vienna and I to go back to America. Well, I had a sudden fancy to take one last European trip all by myself, and started south through the Tyrol, with a pack on my back. The third day out I fell and bruised my thigh severely, and could not make my little mountain town till moonlight. And I tell you I was mighty glad when I limped across the bridge over the rushing river and dropped on the hotel sofa. Next morning I was stiff as a poker, but I struggled up the four rickety flights to the local physician, and being assured I only wanted rest, I resolved to take it with book and pipe and mug in a shady beer-garden on the river. I had been reading for about an hour when five or six Tyrolese, old men and young, in their grey and green costumes and their little hats, trooped in and occupied the large table near the inn-door. Presently I was startled by the sound of the zither; they began to sing songs; the pretty daughter of the house came and joined in the singing. I put down my book.
"The old lady who served me with my Maass of beer, seeing my interest, came over and chatted about her guests. Oh, no, they were not villagers; they came from four hours away. The slim one was a school-teacher, and the dicker was a tenor, and sang in the chorus of the Passion-Spiel; the good-looking young man was to be the St. John. Passion play! I pricked up my ears. When? Where? In their own village, three days hence; only given once every ten years—for hundreds and hundreds of years. Could strangers see it? What should strangers want to see it for? But could they see it? Gewiss. This was indeed a stroke of luck. I had always rather wanted to see the Passion play, but the thought of the fashionable Ober-Ammergau made me sick. Would I like to be vorgestellt? Rather! It was not ten minutes after this introduction before I had settled to stay with St. John, and clouds of good American tobacco were rising from six Tyrolese pipes, and many an 'Auf ihr Wohl' was busying the pretty Kellnerin. They trotted out all their repertory of quaint local songs for my benefit. It sounded bully, I tell you, out there with the sunlight, and the green leaves, and the rush of the river; and in this aroma of beer and brotherhood I blessed my damaged thigh. Three days hence! Just time for it to heal. A providential world, after all.
"And it was indeed with a buoyant step and a gay heart that I set out over the hills at sunrise on that memorable morning. The play was to begin at ten, and I should just be in time. What a walk! Imagine it! Clear coolness of dawn, fresh green, sparkling dew, the road winding up and down, round hills, up cliffs, along valleys, through woods, where the green branches swayed in the morning wind and dappled the grass fantastically with dancing sunlight. And as fresh as the morning, was, I felt, the artistic sensation awaiting me. I swung round the last hill-shoulder; saw the quaint gables of the first house peeping through the trees, and the church spire rising beyond, then groups of Tyrolese converging from all the roads; dipped down the valley, past the quiet lake, up the hills beyond; found myself caught in a stream of peasants, and, presto! was sucked from the radiant day into the deep gloom of the barn-like theatre.
"I don't know how it is done in Ober-Ammergau, but this Tyrolese thing was a strange jumble of art and naïveté, of talent and stupidity. There was a full-fledged stage and footlights, and the scenery, someone said, was painted by a man from Munich. But the players were badly made up; the costumes, if correct, were ill-fitting; the stage was badly lighted, and the flats didn't 'jine.' Some of the actors had gleams of artistic perception. St. Mark was beautiful to look on, Caiaphas had a sense of elocution, the Virgin was tender and sweet, and Judas rose powerfully to his great twenty minutes' soliloquy. But the bulk of the players, though all were earnest and fervent, were clumsy or self-conscious. The crowds were stiff and awkward, painfully symmetrical, like school children at drill. A chorus of ten or twelve ushered in each episode with song, and a man further explained it in bald narrative. The acts of the play proper were interrupted by tableaux vivants of Old Testament scenes, from Adam and Eve onwards. There was much, you see, that was puerile, even ridiculous; and every now and then someone would open the door of the dusky auditorium, and a shaft of sunshine would fly in from the outside world to remind me further how unreal was all this gloomy make-believe. Nay, during the entr'acte I went out, like everybody else, and lunched off sausages and beer.
"And yet, beneath all this critical consciousness, beneath even the artistic consciousness that could not resist jotting down a face or a scene in my sketch-book, something curious was happening in the depths of my being. The play exercised from the very first a strange magnetic effect on me; despite all the primitive humours of the players, the simple, sublime tragedy that disengaged itself from their uncouth but earnest goings-on began to move and even oppress my soul. Christ had been to me merely a theme for artists; my studies and travels had familiarised me with every possible conception of the Man of Sorrows. I had seen myriads of Madonnas nursing Him, miles of Magdalens bewailing Him. Yet the sorrows I had never felt. Perhaps it was my Jewish training, perhaps it was that none of the Christians I lived with had ever believed in Him. At any rate, here for the first time the Christ-story came home to me as a real, living fact—something that had actually happened. I saw this simple Son of the people—made more simple by my knowledge that His representative was a baker—moving amid the ancient peasant and fisher life of Galilee; I saw Him draw men and women, saints and sinners, by the magic of His love, the simple sweetness of His inner sunshine; I saw the sunshine change to lightning as He drove the money-changers from the Temple; I watched the clouds deepen as the tragedy drew on; I saw Him bid farewell to His mother; I heard suppressed sobs all around me. Then the heavens were overcast, and it seemed as if earth held its breath waiting for the supreme moment. They dragged Him before Pilate; they clothed Him in scarlet robe, and plaited His crown of thorns, and spat on Him; they gave Him vinegar to drink mixed with gall; and He so divinely sweet and forgiving through all. A horrible oppression hung over the world. I felt choking; my ribs pressed inwards, my heart seemed contracted. He was dying for the sins of the world, He summed up the whole world's woe and pitifulness—the two ideas throbbed and fused in my troubled soul. And I, a Jew, had hitherto ignored Him. What would they say, these simple peasants sobbing all around, if they knew that I was of that hated race? Then something broke in me, and I sobbed too—sobbed with bitter tears that soon turned sweet in strange relief and glad sympathy with my rough brothers and sisters." He paused a moment, and sipped silently at his absinthe. I did not break the silence. I was moved and interested, though what all this had to do with his glowing, joyous picture I could only dimly surmise. He went on—
[Illustration: "'St. John came in.'"]
"When it was all over, and I went out into the open air, I did not see the sunlight. I carried the dusk of the theatre with me, and the gloom of Golgotha brooded over the sunny afternoon. I heard the nails driven in; I saw the blood spurting from the wounds—there was realism in the thing, I tell you. The peasants, accustomed to the painful story, had quickly recovered their gaiety, and were pouring boisterously down the hill-side like a glad, turbulent mountain stream, unloosed from the dead hand of frost. But I was still ice-bound and fog-wrapped. Outside the Gasthaus where I went to dine gay groups assembled, an organ played, some strolling Italian girls danced gracefully, and my artistic self was aware of a warmth and a rush. But the inmost Me was neck-deep in gloom, with which the terribly pounded steak they gave me, fraudulently overlaid with two showy fried eggs, seemed only in keeping. St. John came in, and Christ and the schoolmaster—who had conducted the choir—and the thick tenor and some supers, and I congratulated them one and all with a gloomy sense' of dishonesty. When, as evening fell, I walked home with St. John, I was gloomily glad to find the valley shrouded in mist and a starless heaven sagging over a blank earth. It seemed an endless uphill drag to my lodging, and though my bedroom was unexpectedly dainty, and a dear old woman-St. John's mother—metaphorically tucked me in, I slept ill that night. Formless dreams tortured me with impalpable tragedies and apprehensions of horror. In the morning—after a cold sponging—the oppression lifted a little from my spirit, though the weather still seemed rather grey. St. John had already gone off to his field-work, his mother told me. She was so lovely, and the room in which I ate breakfast so neat and demure with its whitewashed walls—pure and stainless like country snow—that I managed to swallow everything but the coffee. O that coffee! I had to nibble at a bit of chocolate I carried to get the taste of it out of my mouth. I tried hard not to let the blues get the upper hand again. I filled my pipe and pulled out my sketch-book. My notes of yesterday seemed so faint, and the morning growing so dark, that I could scarcely see them. I thought I would go and sit on the little bench outside. As I was sauntering through the doorway, my head bending broodingly over the sketch-book—like this—I caught sight out of the corner of my eye of a little white matchstand fixed up on the wall. Mechanically I put out my left hand to take a light for my pipe. A queer, cold wetness in my fingers and a little splash woke me to the sense of some odd mistake, and in another instant I realised with horror that I had dipped my fingers into holy water and splashed it over that neat, demure, spotless, whitewashed wall."
I could not help smiling. "Ah, I know; one of those porcelain things with, a crucified Saviour over a little font. Fancy taking heaven for brimstone!"
"It didn't seem the least bit funny at the time. I just felt awful. What would the dear old woman say to this profanation? Why the dickens did people have whitewashed walls on which sacrilegious stains were luridly visible? I looked up and down the hall like Moses when he slew that Egyptian, trembling lest the old woman should come in. How could I make her understand I was so ignorant of Christian custom as to mistake a font for a matchbox? And if I said I was a Jew, good heavens! she might think I had done it of fell design. What a wound to the gentle old creature who had been so sweet to me! I could not stay in sight of that accusing streak, I must walk off my uneasiness. I threw open the outer door; then I stood still, paralysed. Monstrous evil-looking grey mists were clumped at the very threshold. Sinister formless vapours blotted out the mountain; everywhere vague, drifting hulks of malarious mist. I sought to pierce them, to find the landscape, the cheerful village, the warm human life nesting under God's heaven, but saw only—way below—as through a tunnel cut betwixt mist and mountain, a dead, inverted world of houses and trees in a chill, grey lake. I shuddered. An indefinable apprehension-possessed me, something like the vague discomfort of my dreams; then, almost instantly, it crystallised into the blood-curdling suggestion: What if this were divine chastisement? what if all the outer and inner dreariness that had so steadily enveloped me since I had witnessed the tragedy were punishment for my disbelief? what if this water were really holy, and my sacrilege had brought some grisly Nemesis?"
[Illustration: "'I realised with horror that I had dipped my fingers into holy water.'"]
"You believed that!"
"Not really, of course. But you, as an artist, must understand how one dallies with an idea, plays with a mood, works oneself up imaginatively into a dramatic situation. I let it grow upon me till, like a man alone in the dark, afraid of the ghosts he doesn't believe in, I grew horribly nervous."
"I daresay you hadn't wholly recovered from your fall, and your nerves were unstrung by the blood and the nails, and that steak had disagreed with you, and you had had a bad night, and you were morbidly uneasy about annoying the old woman, and all those chunks of mist got into your spirits. You are a child of the sun!"
"Of course I knew all that, down in the cellars of my being, but upstairs, all the same, I had this sense of guilt and expiation, this anxious doubt that perhaps all that great, gloomy, mediæval business of saints and nuns, and bones, and relics, and miracles, and icons, and calvaries, and cells, and celibacy, and horsehair shirts, and blood, and dirt, and tears, was true after all! What if the world of beauty I had been content to live in was a Satanic show, and the real thing was that dead, topsy-turvy world down there in the cold, grey lake under the reeking mists? I sneaked back into the house to see if the streak hadn't dried yet; but no! it loomed in tell-tale ghastliness, a sort of writing on the wall announcing the wrath and visitation of heaven. I went outside again and smoked miserably on the little bench. Gradually I began to feel warmer, the mists seemed clearing. I rose and stretched myself with an ache of luxurious languor. Encouraged, I stole within again to peep at the streak. It was dry—a virgin wall, innocently white, met my delighted gaze. I opened the window; the draggling vapours were still rising, rising, the bleakness was merging in a mild warmth. I refilled my pipe and plunged down the yet grey hill. I strode past the old saw-mill, skirted the swampy border of the lake, came out on the firm green, when bing! zim! br-r-r! a heavenly bolt of sunshine smashed through the raw mists, scattering them like a bomb to the horizon's rim; then with sovereign calm the sun came out full, flooding hill and dale with luminous joy; the lake shimmered and flashed into radiant life and gave back a great white cloud-island on a stretch of glorious blue, and all that golden warmth stole into my veins like wine. A little goat came skipping along with tinkling bell, a horse at grass threw up its heels in ecstasy, an ox lowed, a dog barked. Tears of exquisite emotion came into my eyes; the beautiful soft warm light that lay all over the happy valley seemed to get into them and melt something. How unlike those tears of yesterday, wrung out of me as by some serpent coiled round my ribs! Now my ribs seemed expanding—to hold my heart—and all the divine joy of existence thrilled me to a religious rapture. And with the lifting of the mists all that ghastly mediæval nightmare was lifted from my soul; in that sacred moment all the lurid tragedy of the crucified Christ vanished, and only Christ was left, the simple fellowship with man, and beast, and nature, the love of life, the love of love, the love of God. And in that yearning ecstasy my picture came to me—The Joyous Comrade. Christ—not the tortured God, but the joyous comrade, the friend of all simple souls; the joyous comrade, with the children clinging to him, and peasants and fishers listening to his chat; not the theologian spinning barren subtleties, but the man of genius protesting against all forms and dogmas that would replace the direct vision and the living ecstasy; not the man of sorrows loving the blankness of underground cells and scourged backs and sexless skeletons, but the lover of warm life, and warm sunlight, and all that is fresh and simple and pure and beautiful."
"Every man makes his God in his own image," I thought, too touched to jar him by saying it aloud.
"And so—ever since—off and on—I have worked at this human picture of him—The Joyous Comrade—to restore the true Christ to the world."
"Which you hope to convert?"
"My business is with work, not with results. 'Whatsoever thy hand findeth to do, do with all thy might.' What can any single hand, even the mightiest, do in this great weltering world? Yet, without the hope and the dream, who would work at all? And so, not without hope, yet with no expectation of a miracle, I give the Jews a Christ they can now accept, the Christians a Christ they have forgotten. I rebuild for my beloved America a type of simple manhood, unfretted by the feverish lust for wealth or power, a simple lover of the quiet moment, a sweet human soul never dispossessed of itself, always at one with the essence of existence. Who knows but I may suggest the great question: What shall it profit a nation to gain the whole world and lose its own soul?"
His voice died away solemnly, and I heard only the click of the billiard-balls and the rumble and roar of New York.
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1926, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 97 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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