I saw Gilberte coming across the room towards me. For me the marriage of Saint-Loup and the thoughts which filled my mind at that date—and which were still there, unchanged, this very morning—might have belonged to yesterday, so that I was astonished to see at her side a girl of about sixteen, whose tall figure was a measure of that distance which I had been reluctant to see. Time, colourless and inapprehensible Time, so that I was almost able to see it and touch it, had materialised itself in this girl, moulding her into a masterpiece, while correspondingly, on me, alas! it had merely done its work. And now Mlle de Saint-Loup was standing in front of me. She had deep-set piercing eyes, and a charming nose thrust slightly forward in the form of a beak and curved, perhaps not in the least like that of Swann but like Saint-Loup’s. The soul of that particular Guermantes had fluttered away, but his charming head, as of a bird in flight, with its piercing eyes, had settled momentarily upon the shoulders of Mlle de Saint-Loup and the sight of it there aroused a train of memories and dreams in those who had known her father. I was struck too by the way in which her nose, imitating in this the model of her mother’s nose and her grandmother’s, was cut off by just that absolutely horizontal line at its base, that same brilliant if slightly tardy stroke of design—a feature so individual that with its help, even without seeing anything else of a head, one could have recognised it out of thousands—and it seemed to me wonderful that at the critical moment nature should have returned, like a great and original sculptor, to give to the granddaughter, as she had given to her mother and her grandmother, that significant and decisive touch of the chisel. I thought her very beautiful: still rich in hopes, full of laughter, formed from those very years which I myself had lost, she was like my own youth.
The idea of Time was of value to me for yet another reason: it was a spur, it told me that it was time to begin if I wished to attain to what I had sometimes perceived in the course of my life, in brief lightning-flashes, on the Guermantes way and in my drives in the carriage of Mme de Villeparisis, at those moments of perception which had made me think that life was worth living. How much more worth living did it appear to me now, now that I seemed to see that this life that we live in half-darkness can be illumined, this life that at every moment we distort can be restored to its true pristine shape, that a life, in short, can be realised within the confines of a book! How happy would he be, I thought, the man who had the power to write such a book! What a task awaited him! To give some idea of this task one would have to borrow comparisons from the loftiest and the most varied arts; for this writer—who, moreover, must bring out the opposed facets of each of his characters in order to show its volume—would have to prepare his book with meticulous care, perpetually regrouping his forces like a general conducting an offensive, and he would have also to endure his book like a form of fatigue, to accept it like a discipline, build it up like a church, follow it like a medical regime, vanquish it like an obstacle, win it like a friendship, cosset it like a little child, create it like a new world without neglecting those mysteries whose explanation is to be found probably only in worlds other than our own and the presentiment of which is the thing that moves us most deeply in life and in art. In long books of this kind there are parts which there has been time only to sketch, parts which, because of the very amplitude of the architect’s plan, will no doubt never be completed. How many great cathedrals remain unfinished! The writer feeds his book, he strengthens the parts of it which are weak, he protects it, but afterwards it is the book that grows, that designates its author’s tomb and defends it against the world’s clamour and for a while against oblivion. But to return to my own case, I thought more modestly of my book and it would be inaccurate even to say that I thought of those who would read it as “my” readers. For it seemed to me that they would not be “my” readers but the readers of their own selves, my book being merely a sort of magnifying glass like those which the optician at Combray used to offer his customers—it would be my book, but with its help I would furnish them with the means of reading what lay inside themselves. So that I should not ask them to praise me or to censure me, but simply to tell me whether “it really is like that,” I should ask them whether the words that they read within themselves are the same as those which I have written (though a discrepancy in this respect need not always be the consequence of an error on my part, since the explanation could also be that the reader had eyes for which my book was not a suitable instrument). And—for at every moment the metaphor uppermost in my mind changed as I began to represent to myself more clearly and in a more material shape the task upon which I was about to embark—I thought that at my big deal table, under the eyes of Françoise, who like all unpretentious people who live at close quarters with us would have a certain insight into the nature of my labours (and I had sufficiently forgotten Albertine to have forgiven Françoise anything that she might have done to injure her), I should work beside her and in a way almost as she worked herself (or at least as she had worked in the past, for now, with the onset of old age, she had almost lost her sight) and, pinning here and there an extra page, I should construct my book, I dare not say ambitiously like a cathedral, but quite simply like a dress. Whenever I had not all my “paperies” near me, as Françoise called them, and just the one that I needed was missing, Françoise would understand how this upset me, she who always said that she could not sew if she had not the right size of thread and the proper buttons. And then through sharing my life with me had she not acquired a sort of instinctive comprehension of literary work, more accurate than that possessed by many intelligent people, not to mention fools? Already years ago, when I had written my article for Le Figaro, while our old butler, with that sort of commiseration which always slightly exaggerates the laboriousness of an occupation which the sympathiser does not practise himself and does not even clearly visualise—or even of a habit which he does not have himself, like the people who say to you: “How tiring you must find it to sneeze like that!”—expressed his quite sincere pity for writers in the words: “That’s a head-splitting job you’ve got there,” Françoise on the contrary both divined my happiness and respected my toil. The only thing that annoyed her was my speaking about the article to Bloch before it appeared, for she was afraid that he might forestall me. “You’re too trustful,” she would say, “all those people are nothing but copiators.” And it was true that, whenever I had outlined to Bloch something that I had written and that he admired, he would provide a retrospective alibi for himself by saying: “Why, isn’t that curious, I have written something very similar myself, I must read it to you one day,” from which I inferred that he intended to sit down and write it that very evening.
These “paperies,” as Françoise called the pages of my writing, it was my habit to stick together with paste, and sometimes in this process they became torn. But Françoise then would be able to come to my help, by consolidating them just as she stitched patches on to the worn parts of her dresses or as, on the kitchen window, while waiting for the glazier as I was waiting for the printer, she used to paste a piece of newspaper where a pane of glass had been broken. And she would say to me, pointing to my note-books as though they were worm-eaten wood or a piece of stuff which the moth had got into: “Look, it’s all eaten away, isn’t that dreadful! There’s nothing left of this bit of page, it’s been torn to ribbons,” and examining it with a tailor’s eye she would go on: “I don’t think I shall be able to mend this one, it’s finished and done for. A pity, perhaps it has your best ideas. You know what they say at Combray: there isn’t a furrier who knows as much about furs as the moth, they always get into the best ones.”
And yet in a book individual characters, whether human or of some other kind, are made up of numerous impressions derived from many girls, many churches, many sonatas, and combined to form a single sonata, a single church, a single girl, so that I should be making my book in the same way that Françoise made that boeuf à la mode which M. de Norpois had found so delicious, just becaus
e she had enriched its jelly with so many carefully chosen pieces of meat.
Thus it was that I envisaged the task before me, a task which would not end until I had achieved what I had so ardently desired in my walks on the Guermantes way and thought to be impossible, just as I had thought it impossible, as I came home at the end of those walks, that I should ever get used to going to bed without kissing my mother or, later, to the idea that Albertine loved women, though in the end I had grown to live with this idea without even being aware of its presence; for neither our greatest fears nor our greatest hopes are beyond the limits of our strength—we are able in the end both to dominate the first and to achieve the second.
Yes, upon this task the idea of Time which I had formed today told me that it was time to set to work. It was high time. But—and this was the reason for the anxiety which had gripped me as soon as I entered the drawing-room, when the theatrical disguises of the faces around me had first given me the notion of Lost Time—was there still time and was I still in a fit condition to undertake the task? For one thing, a necessary condition of my work as I had conceived it just now in the library was a profound study of impressions which had first to be recreated through the memory. But my memory was old and tired. The mind has landscapes which it is allowed to contemplate only for a certain space of time. In my life I had been like a painter climbing a road high above a lake, a view of which is denied to him by a curtain of rocks and trees. Suddenly through a gap in the curtain he sees the lake, its whole expanse is before him, he takes up his brushes. But already the night is at hand, the night which will put an end to his painting and which no dawn will follow. How could I not be anxious, seeing that nothing was yet begun and that though on the ground of age I could still hope that I had some years to live, my hour might on the other hand strike almost at once? For the fundamental fact was that I had a body, and this meant that I was perpetually threatened by a double danger, internal and external, though to speak thus was merely a matter of linguistic convenience, the truth being that the internal danger—the risk, for instance, of a cerebral haemorrhage—is also external, since it is the body that it threatens. Indeed it is the possession of a body that is the great danger to the mind, to our human and thinking life, which it is surely less correct to describe as a miraculous entelechy of animal and physical life than as an imperfect essay—as rudimentary in this sphere as the communal existence of protozoa attached to their polyparies or as the body of the whale—in the organisation of the spiritual life. The body immures the mind within a fortress; presently on all sides the fortress is besieged and in the end, inevitably, the mind has to surrender.
But—to accept provisionally the distinction which I have just made between the two sorts of danger that threaten the mind, and to begin with that which is in the fullest sense external—I recalled that it had often happened to me in the course of my life, in moments of intellectual excitement which coincided with a complete suspension of physical activity, as for example on those evenings when, half drunk, I had left the restaurant at Rivebelle in a carriage to go to some neighbouring casino, to feel very clearly within me the present object of my thought and at the same time to realise how much at the mercy of chance this intellectual activity was: how fortuitous it was that this particular thought had not entered my mind before, and how easily, through an accident to the carriage which was hurtling through the darkness, it might, along with my body, be annihilated. At the time this did not worry me. My high spirits knew neither forethought nor anxiety. The possibility that this joy might end in a second and turn into nothingness mattered to me scarcely at all. How different was my attitude now! The happiness which I was feeling was the product not of a purely subjective tension of the nerves which isolated me from the past, but on the contrary of an enlargement of my mind, within which the past was re-forming and actualising itself, giving me—but alas! only momentarily—something whose value was eternal. This I should have liked to bequeath to those who might have been enriched by my treasure. Admittedly, what I had experienced in the library and what I was seeking to protect was pleasure still, but no longer pleasure of an egotistical kind, or if there was egotism in it (for all the fruitful altruisms of nature develop in an egotistical manner and any human altruism which is without egotism is sterile, like that of the writer who interrupts his work to receive a friend in distress or to accept some public function or to write propaganda articles) it was an egotism which could be put to work for the benefit of other people. No longer was I indifferent to my fate as I had been on those drives back from Rivebelle; I felt myself enhanced by this work which I bore within me as by something fragile and precious which had been entrusted to me and which I should have liked to deliver intact into the hands of those for whom it was intended, hands which were not my own. And this feeling that I was the bearer of a work made me think in a changed way of an accident in which I might meet with death, as of something much more greatly to be feared and at the same time, to the extent to which this work of mine seemed to me necessary and durable, absurd because in contradiction with my desire, with the flight of my thought, yet none the less possible for that, since accidents, being produced by material causes, can perfectly well take place at the very moment when wishes of a quite different order, which they destroy without being aware of their existence, render them most bitterly regrettable (at a trivial level of existence such accidents happen every day: at the very moment, for instance, when you are trying your hardest not to make a noise because of a friend who is asleep, a carafe placed too near the edge of his table falls to the ground and awakens him). I knew that my brain was like a basin of rock rich in minerals, in which lay vast and varied ores of great price. But should I have time to exploit them? For two reasons I was the only person who could do this: with my death would disappear the one and only engineer who possessed the skill to extract these minerals and—more than that—the whole stratum itself. Yet presently, when I left this party to go home, it only needed a chance collision between the cab which I should take and another car for my body to be destroyed, thus forcing my mind, from which life instantly would ebb away, to abandon for ever and ever the new ideas which at this moment, not yet having had time to place them within the safety of a book, it anxiously embraced with the fragile protection of its own pulpy and quivering substance.
But by a strange coincidence, this rational fear of danger was taking shape in my mind at a moment when I had finally become indifferent to the idea of death. In the past the fear of being no longer myself was something that had terrified me, and this had made me dread the end of each new love that I had experienced (for Gilberte, for Albertine), because I could not bear the idea that the “I” who loved them would one day cease to exist, since this in itself would be a kind of death. But by dint of repetition this fear had gradually been transformed into a calm confidence. So that if in those early days, as we have seen, the idea of death had cast a shadow over my loves, for a long time now the remembrance of love had helped me not to fear death. For I realised that dying was not something new, but that on the contrary since my childhood I had already died many times. To take a comparatively recent period, had I not clung to Albertine more tenaciously than to my own life? Could I at the time when I loved her conceive my personality without the continued existence within it of my love for her? Yet now I no longer loved her, I was no longer the person who loved her but a different person who did not love her, and it was when I had become a new person that I had ceased to love her. And yet I did not suffer from having become this new person, from no longer loving Albertine, and surely the prospect of one day no longer having a body could not from any point of view seem to me as sad as had then seemed to me that of one day no longer loving Albertine, that prospect which now was a fact and one which left me quite unmoved. These successive deaths, so feared by the self which they were destined to annihilate, so painless, so unimportant once they were accomplished and the self that feared them was no longer there to feel them, had taug
ht me by now that it would be the merest folly to be frightened of death. Yet it was precisely when the thought of death had become a matter of indifference to me that I was beginning once more to fear death, under another form, it is true, as a threat not to myself but to my book, since for my book’s incubation this life that so many dangers threatened was for a while at least indispensable. Victor Hugo says:
Grass must grow and children must die.
To me it seems more correct to say that the cruel law of art is that people die and we ourselves die after exhausting every form of suffering, so that over our heads may grow the grass not of oblivion but of eternal life, the vigorous and luxuriant growth of a true work of art, and so that thither, gaily and without a thought for those who are sleeping beneath them, future generations may come to enjoy their déjeuner sur l’herbe.
So much for the dangers from without; there were others, as I have said, that threatened me from within. Supposing that I were preserved from all accidents of an external kind, might I not nevertheless be robbed of the fruits of this good fortune by some accident occurring within myself, some internal catastrophe assailing me before the necessary months had passed and I had had time to write my book? When presently I made my way home through the Champs-Elysées, who was to say that I might not be struck down by that malady which had struck my grandmother one afternoon when she had gone there with me for a walk which, though of this she had no suspicion, was destined to be her last—so ignorant are we, as ignorant as the hand of a clock when it arrives at the point upon its dial where a spring will be released within the mechanism which will cause the hour to strike. And indeed perhaps the fear that I might already have traversed almost the whole of that last minute which precedes the first stroke of the hour, that minute during which the stroke is already preparing itself, perhaps the fear of the stroke that might already be moving into action within my brain was itself a sort of obscure awareness of something that was soon to happen, a sort of reflexion in the conscious mind of the precarious state of the brain whose arteries are about to give way, a phenomenon no more impossible than that sudden acceptance of death that comes to wounded men who, though the doctor and their own desire to live try to deceive them, say, realising the truth: “I am going to die, I am ready,” and write their farewells to their wives.
The Modern Library In Search of Lost Time, Complete and Unabridged : 6-Book Bundle Page 396
