The Modern Library In Search of Lost Time, Complete and Unabridged : 6-Book Bundle (147 page)

After the concert I went round to congratulate him, and recognised him without difficulty, not from the face I remembered, since there is always a certain discrepancy, a certain displacement in the memory, but because his appearance accorded with the impression he had made on me in Paris and which I had forgotten. He was doing his military service near Balbec, and he too had immediately recognised me. We had nothing in common save a few mental images, and the memory of the things we had said to one another during the short visit he had paid to me, and which were of little moment. But it would seem that faces are fairly individual, and moreover that the memory is a pretty faithful organ, since we had remembered each other and our meeting.

Santois was presently joined by his colleagues, the other players, for each of whom, as an aeroplane adds wings to an aviator, his instrument was as it were the beak and the throat of a melodious song-bird; a twittering troupe that had gathered for the summer season at this resort and would shortly, with the first frosts, take off elsewhere. I left Santois with his friends, but when I got back to the hotel I regretted not having asked him who the mountaineering paralytic was who had scaled the heights of the organ so many times, and also whether Santois, his father, had ever told him how my uncle had come to have the portrait of Mme Swann by Elstir. I resolved not to forget to ask him these two questions if I saw him again.

Synopsis

MADAME SWANN AT HOME

A new Swann: Odette’s husband. A new Cottard: Professor Cottard.

Norpois; the “governmental mind”; an ambassador’s conversation. “ ‘Although’ is always an unrecognised ‘because” ’. Norpois advises my father to let me follow a literary career.

My first experience of Berma. My high expectations of her—as of Balbee and Venice. A great disappointment. Françoise and Michelangelo. The auditorium and the stage.

Norpois dines at our house. His notions about literature; financial investments; Berma; Françoise’s spiced beef; King Theodosius’ visit to Paris; Balbec church; Mme Swann; Odette and the Comte de Paris; Bergotte; my prose poem; Gilberte. Gestures which we believe have gone unnoticed. Why M. de Norpois would not speak to Mme Swann about me.

How I came to say of Berma: “What a great artist!”. The laws of Time. Effect produced by Norpois on my parents, on Françoise; the latter’s views on Parisian restaurants.

New Year’s Day visits. I propose to Gilberte that we should rebuild our friendship on a new basis; but that same evening I realise that New Year’s Day is not the first day of a new world. Berma and love. Gabriel’s palaces. I can no longer recall Gilberte’s face. She returns to the Champs-Elysées. “They can’t stand you!” I write to Swann. Reawakening, thanks to involuntary memory, in the little pavilion in the Champs-Elysées, of the impressions experienced in Uncle Adolphe’s sanctum at Combray. Amorous wrestle with Gilberte. I fall ill. Cottard’s diagnoses.

A letter from Gilberte. Love’s miracles, happy and unhappy. Change of attitude towards me of Gilberte’s parents, unwillingly brought about by Bloch and Cottard. The Swann apartment; the concierge; the windows. Gilberte’s writing-paper. The Henri II staircase. The chocolate cake. Mme Swann’s praise of Françoise: “your old nurse”. The heart of the Sanctuary: Swann’s library; his wife’s bedroom. Odette’s “at home”. The “famous Albertine,” niece of Mme Bontemps. The evolution of society. Swann’s “amusing sociological experiments”. Swann’s old jealousy and new love.

Outings with the Swanns. Lunch with them. Odette plays Vinteuil’s sonata to me. A work of genius creates its own posterity. What the little phrase now means to Swann. “Me nigger; you old cow!”. Consistent charm of Mme Swann’s heterogeneous drawing-room. Princess Mathilde. Gilberte’s unexpected behaviour.

Lunch at the Swanns’ with Bergotte. The gentle white-haired bard and the man with the snail-shell nose and black goatee. A writer’s voice and his style. Bergotte and his imitators. Unforeseeable beauty of the sentences of a great writer. Reflecting power of genius. Vices of the man and morality of the writer. Bergotte and Berma. “A powerful idea communicates some of its power to the man who contradicts it”. A remark of Swann’s, prelude to the theme of
The Captive
. Gilberte’s characteristics inherited from both parents. Swann’s confidence in his daughter. Are my pleasures those of the intelligence?. Why Swann, according to Bergotte, needs a good doctor. Combray society and the social world. My parents’ change of mind about Bergotte and Gilberte; a problem of etiquette.

Revelations about love; Bloch takes me to a second-rate house of assignation. “Rachel when from the Lord”. Aunt Léonie’s furniture in the brothel. Amatory initiation at Combray on Aunt Léonie’s sofa. Work projects constantly postponed. Impossibility of happiness in love. My last visit to Gilberte. I decide not to see her again. Unjust fury with the Swanns’ butler. Waiting for a letter. I renounce Gilberte for ever; but the hope of a reconciliation is superimposed on my resolve. Intermittency, law of the human soul.

Odette’s “winter-garden”: splendour of the chrysanthemums and poverty of the conversation: Mme Cottard; Mme Bontemps; effrontery of her niece Albertine; the Prince d’Agrigente; Mme Verdurin. Painful New Year’s Day. “suicide of that self which loved Gilberte”. Clumsy interventions. Letters to Gilberte: “one speaks for oneself alone”. Odette’s drawing-room: retreat of the Far East and invasion of the eighteenth century. New hair-styles and silhouettes.

A sudden impulse interrupts the cure of detachment; Aunt Léonie’s Chinese vase. Two walkers in the Elysian twilight. Impossibility of happiness. The opposing forces of memory and imagination. Because of Gilberte, I decline an invitation to a dinner-party where I would have met Albertine. Cruel memories. Gilberte’s strange laugh, evoked in a dream. Fewer visits to Mme Swann. Exchange of tender letters and progress of indifference. Approach of spring: Mme Swann’s ermine and the guelder-roses in her drawing-room; nostalgia for Combray. Odette and the “Down-and-outs Club”. An intermediate social class.

PLACE-NAMES · THE PLACE

Departure for Balbec. Subjectiveness of love. Contradictory effects of habit. Railway stations. Françoise’s simple and infallible taste. Alcoholic euphoria. Mme de Sévigné and Dostoievsky. Sunrise from the train; the milk-girl. Balbec church. “The tyranny of the Particular”. Place-names on the way to Balbec-Plage.

Arrival at Balbec-Plage. The manager of the Grand Hotel. My room at the top of the hotel. Attention and habit. My grandmother’s kindness. The sea in the morning. Balbec tourists. Balbec and Rivebelle. Mme de Villeparisis. M. and Mlle de Stermaria. An actress and three friends. The weekly Cambremer garden-party. Resemblances. Poetic visions of Mlle de Stermaria. The general manager. Françoise’s Grand Hotel connections. Meeting of Mme de Villeparisis and my grandmother. The “sordid moment” at the end of meals. The Princesse de Luxembourg. Mme de Villeparisis, M. de Norpois and my father. The bourgeoisie and the Faubourg Saint-Germain.

Different seas. Drives with Mme de Villeparisis. The ivy-covered church. Mme de Villeparisis’s conversation. Norman girls. The handsome fishergirl. The three trees of Hudimesnil. The fat Duchesse de La Rochefoucauld. My grandmother and I: intimations of death.

Robert de Saint-Loup. My friendship with him, but real happiness requires solitude. Saint-Loup as a work of art: the “nobleman”. A Jewish colony. Variety of human failings and similarity of virtues. Bloch’s bad manners. Bloch and his father. The stereoscope.

M. de Charlus’s strange behaviour. Mme de Villeparisis is a Guermantes. I recognise him as the man in the grounds of Tansonville. Further weird behaviour. Mme de Sévigné, La Fontaine and Racine. Charlus comes to my room.

Dinner at the Blochs’ with Saint-Loup. To know “without knowing”. Bloch’s sisters. The elegance of “Uncle Solomon”. Nissim Bernard; his lies. Bloch and Mme Swann in the train. Françoise’s view of Bloch and Saint-Loup. Saint-Loup and his mistress. My grandmother’s inexplicable behaviour.

The blossoming girls. “Oh, the poor old boy …”. The dark-haired cyclist: Albertine. The name Simonet. Rest before dinner: different aspects of the sea. Dinners at Rivebelle. The astral tables. Euphoria induced by alcohol and music. Meeting with Elstir. A new aspect of Albertine.

Elstir’s studio; his seascapes; the painter’s “metaphors”. Elstir explains to me the beauty of Balbec church. Albertine passes by. The portrait of
Miss Sacripant
. “My beautiful Gabrielle!”. Age and the artist. Elstir and the little band. Nullity of love. Miss Sacripant was Mme Swann and M. Biche Elstir!. One must discover wisdom for oneself. My grandmother and Saint-Loup. Saint-Loup and Bloch. Still lifes. Afternoon party at Elstir’s. Yet another Albertine: a well-brought-up girl. Albertine on the esplanade: once more a member of the little band. Octave, the gigolo. Albertine’s antipathy for Bloch. Saint-Loup engaged to a Mlle d’Ambresac?. Albertine’s intelligence and taste. Andrée. Gisèle.

Days with the girls. Françoise’s bad temper. Balbec through Elstir’s eyes. Fortuny. A sketch of the Creuniers. The mobile beauty of youth. Friendship: and abdication of oneself. Twittering of the girls. Letter from Sophocles to Racine. A love divided among several girls. Albertine is to spend a night at the Grand Hotel. The rejected kiss. The attraction of Albertine. The multiple utilisation of a single action. Straying in the budding grove. The different Albertines.

End of the season. Departure.

I
N
S
EARCH OF

L
OST
T
IME

VOLUME III

THE GUERMANTES WAY

M
ARCEL
P
ROUST

T
RANSLATED BY
C.K. S
COTT
M
ONCRIEFF AND
T
ERENCE
K
ILMARTIN
R
EVISED BY
D.J. E
NRIGHT

THE MODERN LIBRARY

NEW YORK

1993 Modern Library Edition

Copyright © 1993 by Random House, Inc.
Copyright © 1981 by Chatto & Windus and Random House, Inc.

All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Random House, Inc., New York.

This edition was originally published in Great Britain by Chatto & Windus, London, in 1992.

This translation is a revised edition of the 1981 translation of
The Guermantes Way
by C. K. Scott Moncrieff and Terence Kilmartin, published in the United States by Random House, Inc., and in Great Britain by Chatto & Windus. Revisions by D. J. Enright.

The Guermantes Way
first appeared in The Modern Library in 1933.

Jacket portrait courtesy of The Bettmann Archive.

Library of Congress Cataloging-in-Publication Data

Proust, Marcel, 1871-1922.
                                             [Côté de Guermantes. English]
                                             The Guermantes way/Marcel Proust; translated by C. K. Scott
                   Moncrieff and Terence Kilmartin; revised by D. J. Enright.
                                                               p.                   cm.—(In search of lost time;)
                                             Includes bibliographical references.
                                             I. Title.                            II. Series: Proust, Marcel, 1871-1922.                   A la recherche du
temps perdu.                   English;         
                                             PQ2631.R63C7413                   1993                                      92-33975
                                             843'.912—dc20

eISBN: 978-0-679-64180-3

v3.0r1jc

Title Page

Dedication

Addenda

Synopsis

Notes

À
L
EON
D
AUDET

l’auteur

du
Voyage de Shakespeare

du
Partage de l’Enfant

de
L’Astre Noir

de
Fantômes et Vivants

du
Monde des Images

de tant de chefs-d’œuvre

À l’incomparable ami
,

en témoignage de reconnaissance

et d’admiration

M. P.

T
HE
G
UERMANTES
W
AY

PART ONE

T
he twittering of the birds at daybreak sounded insipid to Françoise. Every word uttered by the maids upstairs made her jump; disturbed by all their running about, she kept asking herself what they could be doing. In other words, we had moved. True, the servants had made no less commotion in the attics of our old home; but she knew them, she had made of their comings and goings something friendly and familiar. Now she listened to the very silence with painful attentiveness. And as our new neighbourhood appeared to be as quiet as the boulevard on to which we had hitherto looked had been noisy, the song (distinct even at a distance, when it was still quite faint, like an orchestral motif) of a passer-by brought tears to the eyes of the exiled Françoise. Hence, if I had been tempted to scoff at her when, in her misery at having to leave a house in which one was “so well respected on all sides,” she had packed her trunks weeping, in accordance with the rites of Combray, and declaring superior to all possible houses that which had been ours, on the other hand, finding it as hard to assimilate the new as I found it easy to abandon the old, I felt myself drawn towards our old servant when I saw that moving into a building where she had not received from the concierge, who did not yet know us, the marks of respect necessary to her spiritual well-being, had brought her positively to the verge of prostration. She alone could understand what I was feeling; certainly her young footman was not the person to do so; for him, who was as unlike the Combray type as it was possible to conceive, moving house, going to live in another neighbourhood, was like taking a holiday in which the novelty of one’s surroundings gave one the same sense of refreshment as if one had actually travelled; he felt he was in the country; and a cold in the head afforded him, as though he had been sitting in a draughty railway carriage, the delicious sensation of having seen something of the world; at each fresh sneeze he rejoiced that he had found so “posh” a situation, having always longed to work for people who travelled a lot. And so, without giving him a thought, I went straight to Françoise, who, in return for my having laughed at her tears over a departure which had left me cold, now showed an icy indifference to my sorrow, because she shared it. The alleged “sensitivity” of neurotic people is matched by their egotism; they cannot abide the flaunting by others of the sufferings to which they pay an ever-increasing attention in themselves. Françoise, who would not allow the least of her own ailments to pass unnoticed, if I were in pain would turn her head away so that I should not have the satisfaction of seeing my sufferings pitied, or so much as observed. It was the same as soon as I tried to speak to her about our new house. Moreover, having been obliged, a day or two later, to return to the house we had just left, to retrieve some clothes which had been overlooked in our removal, while I, as a result of it, still had a “temperature,” and like a boa constrictor that has just swallowed an ox felt myself painfully distended by the sight of a long sideboard which my eyes had still to digest, Françoise, with true feminine inconstancy, came back saying that she had really thought she would stifle on our old boulevard, that she had found it quite a day’s journey to get there, that never had she seen such stairs, that she would not go back to live there for a king’s ransom, not if you were to offer her millions—gratuitous hypotheses—and that
everything
(everything, that is to say, to do with the kitchen and “usual offices”) was much better fitted up in our new home. Which, it is high time now that the reader should be told—and told also that we had moved into it because my grandmother, not having been at all well (though we took care to keep this reason from her), was in need of better air—was a flat forming part of the Hôtel de Guermantes.

At the age when Names, offering us an image of the unknowable which we have poured into their mould, while at the same moment connoting for us also a real place, force us accordingly to identify one with the other to such a point that we set out to seek in a city for a soul which it cannot enshrine but which we have no longer the power to expel from its name, it is not only to towns and rivers that they give an individuality, as do allegorical paintings, it is not only the physical universe which they speckle with differences, people with marvels, it is the social universe also; and so every historic house, in town or country, has its lady or its fairy, as every forest has its genie, every stream its deity. Sometimes, hidden in the heart of its name, the fairy is transformed to suit the life of our imagination, by which she lives; thus it was that the atmosphere in which Mme de Guermantes existed in me, after having been for years no more than the reflexion of a magic lantern slide and of a stained-glass window, began to lose its colours when quite other dreams impregnated it with the bubbling coolness of swift-flowing streams.

However, the fairy languishes if we come in contact with the real person to whom her name corresponds, for the name then begins to reflect that person, who contains nothing of the fairy; the fairy may revive if we absent ourselves from the person, but if we remain in the person’s presence the fairy ultimately dies and with her the name, as happened to the family of Lusignan which was fated to become extinct on the day when the fairy Mélusine should disappear. Then the Name, beneath the successive retouchings of which we may end by finding the original handsome portrait of a strange woman whom we have never met, becomes no more than the mere identity card photograph to which we refer in order to decide whether we know, whether or not we ought to bow to a person who passes us in the street. But should a sensation from a bygone year—like those recording instruments which preserve the sound and the manner of the various artists who have sung or played into them—enable our memory to make us hear that name with the particular ring with which it then sounded in our ears, we feel at once, though the name itself has apparently not changed, the distance that separates the dreams which at different times its same syllables have meant to us. For a moment, from the clear echo of its warbling in some distant spring-time, we can extract, as from the little tubes used in painting, the exact, forgotten, mysterious, fresh tint of the days which we had believed ourselves to be recalling, when, like a bad painter, we were giving to the whole of our past, spread out on the same canvas, the conventional and undifferentiated tones of voluntary memory. Whereas, on the contrary, each of the moments that composed it employed, for an original creation, in a unique harmony, the colours of that time which are now lost to us and which, for example, still suddenly enrapture me if by some chance the name “Guermantes,” resuming for a moment after all these years the sound, so different from its sound today, which it had for me on the day of Mlle Percepied’s marriage, brings back to me that mauve—so soft and smooth but almost too bright, too new—with which the billowy scarf of the young Duchess glowed, and, like two inaccessible, ever-flowering periwinkles, her eyes, sunlit with an azure smile. And the name Guermantes of those days is also like one of those little balloons which have been filled with oxygen or some other gas; when I come to prick it, to extract its contents from it, I breathe the air of the Combray of that year, of that day, mingled with a fragrance of hawthorn blossom blown by the wind from the corner of the square, harbinger of rain, which now sent the sun packing, now let it spread itself over the red woollen carpet of the sacristy, clothing it in a bright geranium pink and in that, so to speak, Wagnerian sweetness and solemnity in joy that give such nobility to a festive occasion. But even apart from rare moments such as these, in which suddenly we feel the original entity quiver and resume its form, carve itself out of syllables now dead, if in the dizzy whirl of daily life, in which they serve only the most practical purpose, names have lost all their colour, like a prismatic top that spins too quickly and seems only grey, when, on the other hand, we reflect upon the past in our day-dreams and seek, in order to recapture it, to slacken, to suspend the perpetual motion by which we are borne along, gradually we see once more appear, side by side but entirely distinct from one another, the tints which in the course of our existence have been successively presented to us by a single name.

What shape was projected in my mind’s eye by this name Guermantes when my wet-nurse—knowing no more, probably, than I know today in whose honour it had been composed—sang me to sleep with that old ditty,
Gloire à la Marquise de Guermantes
, or when, some years later, the veteran Maréchal de Guermantes, making my nurserymaid’s bosom swell with pride, stopped in the Champs-Elysées to remark: “A fine child, that!” and gave me a chocolate drop from his pocket bonbonnière, I cannot, of course, now say. Those years of my earliest childhood are no longer a part of myself; they are external to me; I can learn nothing of them save—as we learn things that happened before we were born—from the accounts given me by other people. But more recently I find in the period of that name’s occupation of me seven or eight different figures. The earliest were the most beautiful: gradually my day-dream, forced by reality to abandon a position that was no longer tenable, established itself anew in one slightly less advanced until it was obliged to retire still further. And, together with Mme de Guermantes, her dwelling was simultaneously transformed; itself also the offspring of that name, fertilised from year to year by some word or other that came to my ears and modified my reveries, that dwelling of hers mirrored them in its very stones, which had become reflectors, like the surface of a cloud or of a lake. A two-dimensional castle, no more indeed than a strip of orange light, from the summit of which the lord and his lady disposed of the lives and deaths of their vassals, had given place—right at the end of that “Guermantes way” along which, on so many summer afternoons, I followed with my parents the course of the Vivonne—to that land of bubbling streams where the Duchess taught me to fish for trout and to know the names of the flowers whose red and purple clusters adorned the walls of the neighbouring gardens; then it had been the ancient heritage, the poetic domain from which the proud race of Guermantes, like a mellow, crenellated tower that traverses the ages, had risen already over France, at a time when the sky was still empty at those points where later were to rise Notre-Dame of Paris and Notre-Dame of Chartres; a time when on the summit of the hill of Laon the nave of its cathedral had not yet been poised like the Ark of the Deluge on the summit of Mount Ararat, crowded with Patriarchs and Judges anxiously leaning from its windows to see whether the wrath of God has yet subsided, carrying with it specimens of the plants that will multiply on the earth, brimming over with animals which have even climbed out through the towers, between which oxen grazing calmly on the roof look down over the plains of Champagne; when the traveller who left Beauvais at the close of day did not yet see, following him and turning with his road, the black, ribbed wings of the cathedral spread out against the golden screen of the western sky. It was, this “Guermantes,” like the setting of a novel, an imaginary landscape which I could with difficulty picture to myself and longed all the more to discover, set in the midst of real lands and roads which all of a sudden would become alive with heraldic details, within a few miles of a railway station; I recalled the names of the places round it as if they had been situated at the foot of Parnassus or of Helicon, and they seemed precious to me as the physical conditions—in the realm of topographical science—required for the production of an unaccountable phenomenon. I saw again the escutcheons blazoned beneath the windows of Combray church; their quarters filled, century after century, with all the fiefs which, by marriage or conquest, this illustrious house had appropriated to itself from all the corners of Germany, Italy and France; vast territories in the North, powerful cities in the South, assembled there to group themselves in Guermantes, and, losing their material quality, to inscribe allegorically their sinople keep or castle triple-towered argent upon its azure field. I had heard of the famous tapestries of Guermantes, and could see them, mediaeval and blue, a trifle coarse, stand out like floating clouds against the legendary, amaranthine name at the edge of the ancient forest in which Childebert so often went hunting; and it seemed to me that, as effectively as by travelling to see them, I might penetrate the secrets of the mysterious reaches of these lands, these vistas of the centuries, simply by coming in contact for a moment in Paris with Mme de Guermantes, the princess paramount of the place and lady of the lake, as if her face and her speech must possess the local charm of forest groves and streams, and the same time-honoured characteristics as the old customs recorded in her archives. But then I had met Saint-Loup; he had told me that the castle had borne the name of Guermantes only since the seventeenth century, when his family had acquired it. They had lived, until then, in the neighbourhood, but their title did not come from those parts. The village of Guermantes had received its name from the manor round which it had been built, and so that it should not destroy the manorial view, a servitude that was still in force had traced the line of its streets and limited the height of its houses. As for the tapestries, they were by Boucher, bought in the nineteenth century by a Guermantes with a taste for the arts, and hung, interspersed with a number of mediocre sporting pictures which he himself had painted, in a hideous drawing-room upholstered in “adrianople” and plush. By these revelations, Saint-Loup had introduced into the castle elements foreign to the name of Guermantes which made it impossible for me to continue to extract solely from the resonance of the syllables the stone and mortar of its walls. Then in the depths of this name the castle mirrored in its lake had faded, and what now became apparent to me, surrounding Mme de Guermantes as her dwelling, had been her house in Paris, the Hôtel de Guermantes, limpid like its name, for no material and opaque element intervened to interrupt and occlude its transparency. As the word church signifies not only the temple but also the assembly of the faithful, this Hôtel de Guermantes comprised all those who shared the life of the Duchess, but these intimates on whom I had never set eyes were for me only famous and poetic names, and, knowing exclusively persons who themselves too were only names, served to enhance and protect the mystery of the Duchess by extending all round her a vast halo which at the most declined in brilliance as its circumference increased.