Romain ROLLAND (1866–1944). 66 letters, from Vézelay (and Pa - Lot 399

Lot n° 399
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Romain ROLLAND (1866–1944). 66 letters, from Vézelay (and Pa - Lot 399
Romain ROLLAND (1866–1944). 66 letters, from Vézelay (and Paris), 1941–1944, to André Sabatier; approximately 150 pages, mostly in-8 format, with envelopes. A very fine and interesting collection of literary and friendly correspondence from the years of the Occupation to his publisher André Sabatier (1903–1973), literary director at Albin Michel. It was in June 1941 that Rolland met Sabatier (the first letter in the collection, dated June 10, is addressed to Albin Michel; Rolland expresses his pleasure at meeting Sabatier, requests an advance, and announces the death of his friend Jacques Mesnil). During the Occupation, Rolland took refuge in his home in Vézelay (Yonne), where he endeavored to continue his immense literary work, the publication of which he entrusted to Sabatier. We can offer here only a brief glimpse of this very rich correspondence. December 2, 1941. He mentions his *Souvenirs sur Rilke*, published by Maurice Betz, and his *Compagnons de route*: “It is a collection that was put together, somewhat hastily, from articles I had already written. It is far from encompassing all my ‘traveling companions,’ nor even […] the closest and most beloved ones. I had planned, later on, if I had the time, to include them in a second volume of Essays. (But I always have too many tasks on my plate)”... He complains about Corréa’s unauthorized publication, without his consent, of his text on Jean-Jacques Rousseau. Finally, on a project involving letters from soldiers of the 1914–1918 war: “One would find in them more pain and rebellion against this disastrous ‘civil war’ in Europe than heroic resignation”… – December 24. On the delay in the publication of *Voyage intérieur*, and the work of revising the “two large volumes of the new Beethoven: *La Cathédrale interrompue*, on the late quartets and the Ninth Symphony.” 1942. The focus is primarily on the preparation of his *Michelangelo*, in the “Masters of the Middle Ages and the Renaissance” series: selection of illustrations, presentation of notes, appendices, and tables, proofs, etc. –Regarding soldiers’ letters: the letters received by the author of *Au-dessus de la mêlée* were from “‘European’ minds […] resolute opponents of the war,” and the book could only be published “when the reign of freedom returns”… (January 21). Reading and commentary on Lionello Venturi’s *Modern Painters* (February 14). Press service for *The Inner Journey*; he reflects on the circumstances of Stefan Zweig’s death: “I have lost the best of my German friends” (March 2). Merejkowski’s “enlightened” book on Dante […] “of extraordinary interest in terms of art and thought” (March 15). Writing his *Memoirs and Recollections*; upon rereading Péguy’s letters, he decides to undertake a study on Péguy (March 19). On Paul Claudel: “We were old friends at the Lycée Louis-le-Grand. Then we lost touch for a lifetime. Four years ago, we were reunited in deep friendship. My next volume on Beethoven is dedicated to him—in memory of the concerts of our youth, where we fought the philistines together!” (March 26). Progress on the Péguy study, which will comprise two volumes; one must “have read all of Péguy in its entirety. Yet there is almost nothing in his work that is unimportant. And he possesses a unique sincerity. Each work is a piece of a Confession. Therefore, nothing must be left out. I have tried” (October 14). 1943. Proofreading the layout of *Michelangelo* (June 20). On his health, in response to articles: “I am no worse off than usual” (October 25). On his book on Péguy, for which he is finishing “dictating the manuscript”: he has followed Péguy, “from beginning to end, through his writings, letting him speak as much as possible: so that it is not just another thesis, opposed to other theses, but Péguy himself who shatters all theses and sends all factions packing!” (October 8). He entrusted the manuscript of the Péguy book to Charles Vildrac; he will send the concluding pages that “deal with Péguy’s creative process, his interrupted literary projects, the role he might have played after the war, and the moral (if not social and political) influence he can and must exert” (November 15). Final corrections to *Michelangelo* (November 17), and submission of the index (December 21). On Stendhal and *The Charterhouse of Parma*: “I have a particular fondness for this book—one I believe is unique to musical souls, for it is entirely imbued with an inner music: this was Stendhal’s secret, one that non-musical intellectuals will never fathom” (December 30). 1944. On Pascal’s *Pensées*, which led him to “enter the laboratory of the mind, at the center of the
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