In Search of Lost Time, Volume II

by Marcel Proust

  However, on the day of this first visit to Elstir, the time was still distant at which I was to become conscious of this difference in value, and there was no question of danger, but simply—a premonitory sign of that pernicious self-esteem—the question of my not appearing to attach to the pleasure which I so ardently desired more importance than to the work which the painter had still to finish. It was finished at last. And, once we were out of doors, I discovered that—so long were the days still at this season—it was not so late as I had supposed. We strolled down to the front. What stratagems I employed to keep Elstir standing at the spot where I thought that the girls might still come past! Pointing to the cliffs that towered beside us, I kept on asking him to tell me about them, so as to make him forget the time and stay there a little longer. I felt that we had a better chance of waylaying the little band if we moved towards the end of the beach.

  “I should like to look at those cliffs with you from a little nearer,” I said to him, having noticed that one of the girls was in the habit of going in that direction. “And as we go, do tell me about Carquethuit. I should so like to see Carquethuit,” I went on, without thinking that the novel character which manifested itself with such force in Elstir’s Carquethuit Harbour might belong perhaps rather to the painter’s vision than to any special quality in the place itself. “Since I’ve seen your picture, I think that is where I should most like to go, there and to the Pointe du Raz, but of course that would be quite a journey from here.”

  “Yes, and besides, even if it weren’t nearer, I should advise you perhaps all the same to visit Carquethuit,” he replied. “The Pointe du Raz is magnificent, but after all it’s simply another of those high cliffs of Normandy or Brittany which you know already. Carquethuit is quite different, with those rocks on a low shore. I know nothing in France like it, it reminds me rather of certain aspects of Florida. It’s very curious, and moreover extremely wild. It’s between Clitourps and Nehomme; you know how desolate those parts are; the sweep of the coast-line is exquisite. Here, the coast-line is pretty ordinary, but along there I can’t tell you what grace it has, what softness.”

  Dusk was falling; it was time to be turning homewards. I was accompanying Elstir back to his villa when suddenly, as it were Mephistopheles springing up before Faust, there appeared at the end of the avenue—like a simple objectification, unreal and diabolical, of the temperament diametrically opposed to my own, of the semi-barbarous and cruel vitality of which I, in my weakness, my excess of tortured sensibility and intellectuality, was so destitute—a few spots of the essence impossible to mistake for anything else, a few spores of the zoophytic band of girls, who looked as though they had not seen me but were unquestionably engaged in passing a sarcastic judgment on me. Feeling that a meeting between them and us was now inevitable, and that Elstir would be certain to call me, I turned my back like a bather preparing to meet the shock of a wave; I stopped dead and, leaving my illustrious companion to pursue his way, remained where I was, stooping, as if I had suddenly become engrossed in it, towards the window of the antique shop which we happened to be passing at that moment. I was not sorry to give the appearance of being able to think of something other than these girls, and I was already dimly aware that when Elstir did call me up to introduce me to them I should wear that sort of inquiring expression which betrays not surprise but the wish to look surprised—such bad actors are we all, or such good mind-readers our fellow-men—that I should even go so far as to point a finger to my breast, as who should ask “Are you calling me?” and then run to join him, my head lowered in compliance and docility and my face coldly masking my annoyance at being torn from the study of old pottery in order to be introduced to people whom I had no wish to know. Meanwhile I contemplated the window and waited for the moment when my name, shouted by Elstir, would come to strike me like an expected and innocuous bullet. The certainty of being introduced to these girls had had the effect of making me not only feign indifference to them, but actually feel it. Henceforth inevitable, the pleasure of knowing them began at once to contract, to shrink, appeared smaller to me than the pleasure of talking to Saint-Loup, of dining with my grandmother, of making excursions in the vicinity which I would regret being probably forced to abandon in consequence of my relations with people who could scarcely be much interested in old buildings. Moreover, what diminished the pleasure which I was about to feel was not merely the imminence but the incoherence of its realisation. Laws as precise as those of hydrostatics maintain the relative position of the images which we form in a fixed order, which the proximity of the event at once upsets. Elstir was about to call me. This was not at all the way in which I had so often, on the beach, in my bedroom, imagined myself making the acquaintance of these girls. What was about to happen was a different event, for which I was not prepared. I recognised in it neither my desire nor its object; I regretted almost that I had come out with Elstir. But, above all, the shrinking of the pleasure that I had previously expected to feel was due to the certainty that nothing now could take it from me. And it recovered, as though by some latent elasticity in itself, its full extent when it ceased to be subjected to the pressure of that certainty, at the moment when, having decided to turn my head, I saw Elstir, standing a few feet away with the girls, bidding them good-bye. The face of the girl who stood nearest to him, round and plump and glittering with the light in her eyes, reminded me of a cake on the top of which a place has been kept for a morsel of blue sky. Her eyes, even when fixed on an object, gave the impression of mobility, as on days of high wind the air, though invisible, lets us perceive the speed with which it is coursing between us and the sky. For a moment her eyes met mine, like those travelling skies on stormy days which approach a slower cloud, touch it, overtake it, pass it. But they do not know one another, and are soon driven far apart. So, now, our looks were for a moment confronted, each ignorant of what the celestial continent that lay before it held by way of promises or threats for the future. Only at the moment when her gaze was directly coincident with mine, without slackening its pace it clouded over slightly. So on a clear night the wind-swept moon passes behind a cloud and veils its brightness for a moment, but soon reappears. But already Elstir had left the girls without having summoned me. They disappeared down a side-street; he came towards me. My whole plan was wrecked.

  I have said that Albertine had not seemed to me that day to be the same as on previous days, and that each time I saw her she was to appear different. But I felt at that moment that certain modifications in the appearance, the importance, the stature of a person may also be due to the variability of certain states of consciousness interposed between that person and ourselves. One of those that play the most considerable part in this respect is belief (that evening my belief, then the vanishing of my belief, that I was about to know Albertine had, with a few seconds’ interval only, rendered her almost insignificant, then infinitely precious, in my eyes; some years later, the belief, then the disappearance of the belief, that Albertine was faithful to me, brought about similar changes).

  Of course, long ago at Combray, I had seen how, according to the time of day, according to whether I was entering one or the other of the two dominant moods that governed my sensibility in turn, my grief at not being with my mother would lessen or grow, as imperceptible all afternoon as is the moon’s light when the sun is shining, and then, when night had come, reigning alone in my anxious heart in place of recent memories now obliterated. But on that day at Balbec, when I saw that Elstir was leaving the girls without having called me, I learned for the first time that the variations in the importance which a pleasure or a sorrow has in our eyes may depend not merely on this alternation of two moods, but on the displacement of invisible beliefs, such, for example, as make death seem to us of no account because they bathe it in a glow of unreality, and thus enable us to attach importance to our attending a musical evening which would lose much of its charm if, on the announcement that we were sentenced to be guillotined, the belief
that had bathed the evening in its warm glow suddenly evaporated. It is true that something in me was aware of this role that beliefs play: namely, my will; but its knowledge is vain if one’s intelligence and one’s sensibility continue in ignorance; these last are sincere when they believe that we are anxious to forsake a mistress to whom our will alone knows that we are still attached. This is because they are clouded by the belief that we shall see her again at any moment. But let this belief be shattered, let them suddenly become aware that this mistress has gone from us for ever, and our intelligence and sensibility, having lost their focus, run mad, the most infinitesimal pleasure becomes infinitely great.

  Variation of a belief, annulment also of love, which, pre-existent and mobile, comes to rest on the image of a woman simply because that woman will be almost impossible of attainment. Thenceforward we think not so much of the woman, whom we have difficulty in picturing to ourselves, as of the means of getting to know her. A whole series of agonies develops and is sufficient to fix our love definitely upon her who is its almost unknown object. Our love becomes immense, and we never dream how small a place in it the real woman occupies. And if suddenly, as at the moment when I had seen Elstir stop to talk to the girls, we cease to be uneasy, to suffer anguish, since it is this anguish that is the whole of our love, it seems to us as though our love had abruptly vanished at the moment when at length we grasp the prey to whose value we had not given enough thought before. What did I know of Albertine? One or two glimpses of a profile against the sea, less beautiful, assuredly, than those of Veronese’s women whom I ought, had I been guided by purely aesthetic reasons, to have preferred to her. By what other reasons could I be guided, since, my anxiety having subsided, I could recapture only those mute profiles, possessing nothing else? Since my first sight of Albertine I had thought about her endlessly, I had carried on with what I called by her name an interminable inner dialogue in which I made her question and answer, think and act, and in the infinite series of imaginary Albertines who followed one after the other in my fancy hour by hour, the real Albertine, glimpsed on the beach, figured only at the head, just as the actress who “creates” a role, the star, appears, out of a long series of performances, in the few first alone. That Albertine was scarcely more than a silhouette, all that had been superimposed upon her being of my own invention, to such an extent when we love does the contribution that we ourselves make outweigh—even in terms of quantity alone—those that come to us from the beloved object. And this is true of loves that have been realised in actuality. There are loves that can not only develop but survive on very little—and this even among those that have achieved their carnal fulfilment. An old drawing-master who had taught my grandmother had been presented by some obscure mistress with a daughter. The mother died shortly after the birth of the child, and the drawing-master was so broken-hearted that he did not long survive her. In the last months of his life my grandmother and some of the Combray ladies, who had never liked to make any allusion in his presence to the woman with whom in any case he had not officially lived and had had comparatively sparse relations, took it into their heads to ensure the little girl’s future by clubbing together to provide her with an annuity. It was my grandmother who suggested this; several of her friends jibbed; after all, was the child really such a very interesting case? Was she even the child of her reputed father? With women like that, one could never be sure. Finally, everything was settled. The child came to thank the ladies. She was plain, and so absurdly like the old drawing-master as to remove every shadow of doubt. Since her hair was the only nice thing about her, one of the ladies said to her father, who had brought her: “What pretty hair she has.” And thinking that now, the guilty woman being dead and the old man only half alive, a discreet allusion to that past of which they had always pretended to know nothing could do no harm, my grandmother added: “It must run in the family. Did her mother have pretty hair like that?” “I don’t know,” was the old man’s quaint answer, “I never saw her except with a hat on.”

  Before rejoining Elstir, I caught sight of myself in a glass. To add to the disaster of my not having been introduced to the girls, I noticed that my tie was all crooked, and my hat left long wisps of hair showing, which did not become me; but it was a piece of luck, all the same, that they should have seen me, even thus attired, in Elstir’s company, and so could not forget me; also that I should have put on that morning, at my grandmother’s suggestion, my smart waistcoat, when I might so easily have been wearing one that was simply hideous, and that I was carrying my best stick. For while an event for which we are longing never happens quite in the way we have been expecting, failing the advantages on which we supposed that we might count, others present themselves for which we never hoped, and make up for our disappointment; and we have been so dreading the worst that in the end we are inclined to feel that, taking one thing with another, chance has, on the whole, been rather kind to us.

  “I did so much want to know them,” I said as I rejoined Elstir. “Then why did you stand a mile away?” These were his actual words, uttered not because they expressed what was really in his mind, since, if his desire had been to gratify mine, he could quite easily have called me, but perhaps because he had heard phrases of this sort, in familiar use among vulgar people when they are caught in the wrong, and because even great men are in certain respects much the same as vulgar people, and take their everyday excuses from the same common stock just as they get their daily bread from the same baker; or it may be that such remarks (which ought, one might almost say, to be read backwards, since their literal meaning is the opposite of the truth) are the instantaneous effect, the negative exposure of a reflex action. “They were in a hurry.” It struck me that of course they must have stopped him from summoning a person who did not greatly attract them; otherwise he would not have failed to do so, after all the questions that I had put to him about them, and the interest which he must have seen that I took in them.

  “We were speaking just now of Carquethuit,” he said to me as we walked towards his villa. “I’ve done a little sketch in which you can see the curve of the beach much better. The painting is not too bad, but it’s different. If you will allow me, as a souvenir of our friendship, I’d like to give you the sketch,” he went on, for the people who refuse us the objects of our desire are always ready to offer us something else.

  “I should very much like, if you have such a thing, a photograph of the little portrait of Miss Sacripant. By the way, that’s not a real name, surely?”

  “It’s the name of a character the sitter played in a stupid little musical comedy.”

  “But, I assure you, Monsieur, that I’ve never set eyes on her; you look as though you thought that I knew her.”

  Elstir was silent. “It couldn’t be Mme Swann before she was married?” I hazarded, in one of those sudden fortuitous stumblings upon the truth, which are rare enough in all conscience, and yet suffice, after the event, to give a certain cumulative support to the theory of presentiments, provided that one takes care to forget all the wrong guesses that would invalidate it.

  Elstir did not reply. The portrait was indeed that of Odette de Crécy. She had preferred not to keep it for many reasons, some of them only too obvious. But there were others less apparent. The portrait dated from before the point at which Odette, disciplining her features, had made of her face and figure that creation the broad outlines of which her hairdressers, her dressmakers, she herself—in her way of holding herself, of speaking, of smiling, of moving her hands and eyes, of thinking—were to respect throughout the years to come. It required the vitiated taste of a surfeited lover to make Swann prefer to all the countless photographs of the “definitive” Odette who was his charming wife the little photograph which he kept in his room and in which, beneath a straw hat trimmed with pansies, one saw a thin young woman, fairly plain, with bunched-out hair and drawn features.

  But in any case, even if the portrait had been, not anterior, like Swann’s favour
ite photograph, to the systematisation of Odette’s features into a new type, majestic and charming, but subsequent to it, Elstir’s vision would have sufficed to discompose that type. Artistic genius acts in a similar way to those extremely high temperatures which have the power to split up combinations of atoms which they proceed to combine afresh in a diametrically opposite order, corresponding to another type. All that artificial harmony which a woman has succeeded in imposing upon her features, the maintenance of which she oversees in her mirror every day before going out, relying on the angle of her hat, the smoothness of her hair, the vivacity of her expression, to ensure its continuity, that harmony the keen eye of the great painter instantly destroys, substituting for it a rearrangement of the woman’s features such as will satisfy a certain pictorial ideal of femininity which he carries in his head. Similarly it often happens that, after a certain age, the eye of a great scientist will find everywhere the elements necessary to establish those relations which alone are of interest to him. Like those craftsmen, those players who, instead of making a fuss and asking for what they cannot have, content themselves with whatever comes to hand, the artist might say of anything, no matter what, that it will serve his purpose. Thus a cousin of the Princesse de Luxembourg, a beauty of the most queenly type, having taken a fancy to a form of art which was new at that time, had asked the leading painter of the naturalist school to do her portrait. At once the artist’s eye found what he had been seeking everywhere. And on his canvas there appeared, in place of the proud lady, a street-girl, and behind her a vast, sloping, purple background which reminded one of the Place Pigalle. But even without going so far as that, not only will the portrait of a woman by a great artist not seek in the least to give satisfaction to various demands on the woman’s part—such as, for instance, when she begins to age, make her have herself photographed in dresses that are almost those of a little girl which bring out her still youthful figure and make her appear like the sister or even the daughter of her own daughter, who, if need be, is tricked out for the occasion as a “perfect fright” beside her. It will, on the contrary, emphasise those very blemishes which she seeks to hide, and which (as for instance a sickly, almost greenish complexion) are all the more tempting to him since they show “character,” though they are enough to destroy the illusions of the ordinary beholder who sees crumble into dust the ideal of which the woman so proudly sustained the figment, and which set her, in her unique, irreducible form, so far outside, so far above the rest of humanity. Fallen now, situated outside her own type in which she sat unassailably enthroned, she is now just an ordinary woman, in the legend of whose superiority we have lost all faith. We are so accustomed to incorporating in this type not only the beauty of an Odette but her personality, her identity, that standing before the portrait which has thus stripped her of it we are inclined to protest not simply “How plain he has made her!” but “Why, it isn’t the least bit like her!” We find it hard to believe that it can be she. We do not recognise her. And yet there is a person there on the canvas whom we are quite conscious of having seen before. But that person is not Odette; the face of the person, her body, her general appearance seem familiar. They recall to us not this particular woman who never held herself like that, whose natural pose never formed any such strange and teasing arabesque, but other women, all the women whom Elstir has ever painted, women whom invariably, however they may differ from one another, he has chosen to plant thus, in full face, with an arched foot thrust out from under the skirt, a large round hat in one hand, symmetrically corresponding, at the level of the knee which it covers, to that other disc, higher up in the picture, the face. And furthermore, not only does a portrait by the hand of genius dislocate a woman’s type, as it has been defined by her coquetry and her selfish conception of beauty, but if it is also old, it is not content with ageing the original in the same way as a photograph ages its sitter, by showing her dressed in the fashions of long ago. In a portrait, it is not only the manner the woman then had of dressing that dates her, it is also the manner the artist had of painting. And this, Elstir’s earliest manner, was the most devastating of birth certificates for Odette because it not only established her, as did her photographs of the same period, as the younger sister of various well-known courtesans, but made her portrait contemporary with the countless portraits that Manet or Whistler had painted of all those vanished models, models who already belonged to oblivion or to history.