Marcel Proust, À la recherche du temps perdu (text established under the direction of Jean-Yves Tadié ©1987–1992): Book 7, Le temps retrouvé, pp 2217–2272
I was away for a couple of weeks over Easter and didn’t take my whopping great copy of À la recherche with me. On top of that, I’ve been reading fewer pages at a sitting because, well, eyes. So I’m slowing down as I approach the end. All the better to savour it (le goûter), I suppose.
At the end of last month’s report I wrote:
According to the IMDB, a movie has been made of this book – either it’s a monumentally tedious movie in which people buttonhole each other on street corners or something is about to change in the next pages.
Well, something changes. Once M De Charlus goes on his way, the narrator is left to wander the dark wartime Parisian streets alone and with a fierce thirst. He enters a seedy hotel, the only building that shows signs of life, and there he overhears a group of young men speak of beating a chained captive. So of course, suspecting that a crime is in progress, he joins them for a chat. His suspicions confirmed, he goes snooping and fairly improbably gets to witness some consensual S&M that, if I grasped the tone accurately, has a broadly comic shock effect. Assuming that I don’t need to worry about spoilers nearly a hundred years after the book was published, I’ll just say that we get to see the dark side of M De Charlus at a ludicrous extreme, and at the same time feel compassion for his misery.
Then, after a time slip, the narrator has what I’m guessing is his final encounter with M De Charlus, who is at an even further and more pathetic extreme, having had a stroke.
At the point I’ve reached this month, three more things have happened: avoiding a carriage in the street, the narrator has stepped on two paving stones of unequal height; he has pressed a starched cloth to his lips; and he has heard a spoon tapped against a plate. Each of these events has triggered a spontaneous, vivid recall of a moment from the past, and has flooded him with intense, joyful emotion. He has been experiencing an overwhelming sense of failure and gloom at his impending death; these three tiny events completely change his mood and restore his confidence. On his way to a social engagement, he pauses to reflect on this transformation, and I guess these pages contain the heart of his thinking about memory and creativity. These triggered memories, quite different in kind from those that are like flicking through the pages of a picture book (feuilleter un livre d’images), allow one to transcend time and make contact with eternity, if only, paradoxically, for a brief moment. It speaks volumes that I’m no longer impatient with Proust’s longwinded and repetitive expositions: I’m now following their twists and turns with avid concentration.
Such unbidden flashes of complete recall, he muses, are like the things one finds in ‘the internal book of unknown signs’ (livre intériieur de signes inconnus), and it is the work of a writer to decipher these signs. This is where today’s reading ended:
Seule l’impression, si chétive qu’en semble la matière, si insaisissable la trace, est un critérium de vérité, et à cause de cela mérite seule d’être appréhendée par l’esprit, car elle est seule capable, s’il sait en dégager cette vérité, de l’amener à une plus grande perfection et de lui donner une pure joie. L’impression est pour l’écrivain ce qu’est l’expérimentation pour le savant, avec cette différence que chez le savant le travail de l’intelligence précède et chez l’écrivain vient après. Ce que nous n’avons pas eu à déchiffrer, à éclaircir par notre effort personnel, ce qui était clair avant nous, n’est pas à nous. Ne vient de nous-même que ce que nous tirons de l’obscurité qui est en nous et que ne connaissent pas les autres.
Here’s my translation, leaning heavily on Stephen Hudson’s first translation:
Intuition alone, however insubstantial it seems, however hard to grasp, is a criterion of truth and so it alone deserves to be seized by the mind because it alone is capable, if the mind can extract its truth, of bringing it to greater perfection and of giving it unalloyed pleasure. Intuition is for the writer what experiment is for the learned, with the difference that in the case of the learned the work of the intelligence precedes and in the case of the writer it follows. That which we have not had to decipher, to clarify by our own personal effort, that which was made clear before our arrival, is not ours. We ourselves produce only what we extract from the darkness within us which is unknown to others.
Things like the Dreyfus affair or a world war are just excuses for writers to avoid this hard work of figuring out what is actually going on in their own minds.
I imagine whole PhDs have been written about that contention. I’m just going to note it as an interesting and provocative author statement about this massive novel. Or I should say, the beginning of a complex, labyrinthine author statement which I will be reading over the next couple of days.
“At the point I’ve reached this month, three more things have happened: avoiding a carriage in the street, the narrator has stepped on two paving stones of unequal height; he has pressed a starched cloth to his lips; and he has heard a spoon tapped against a plate. Each of these events has triggered a spontaneous, vivid recall of a moment from the past, and has flooded him with intense, joyful emotion. He has been experiencing an overwhelming sense of failure and gloom at his impending death; these three tiny events completely change his mood and restore his confidence.”
Yes, that’s Proust!
Indeed! But so is the social whirl and sexual obsession and long convoluted argument. I have no idea how all those elements relate to each other
Alas, I can’t help because I don’t remember!
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