In Search of Lost Time [volumes 1 to 7]. Marcel Proust

as a photograph ages its sitter, by shewing 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 it, there is also the manner the artist had of painting. And this, Elstir’s earliest manner, was the most damaging 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 time-honoured 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.

      It was along this train of thought, meditated in silence by the side of Elstir as I accompanied him to his door, that I was being led by the discovery that I had just made of the identity of his model, when this original discovery caused me to make a second, more disturbing still, involving the identity of the artist. He had painted the portrait of Odette de Crécy. Could it possibly be that this man of genius, this sage, this eremite, this philosopher with his marvellous flow of conversation, who towered over everyone and everything, was the foolish, corrupt little painter who had at one time been ‘taken up’ by the Verdurins? I asked him if he had known them, whether by any chance it was he that they used to call M. Biche. He answered me in the affirmative, with no trace of embarrassment, as if my question referred to a period in his life that was ended and already somewhat remote, with no suspicion of what a cherished illusion his words were shattering in me, until looking up he read my disappointment upon my face. His own assumed an expression of annoyance. And, as we were now almost at the gate of his house, a man of less outstanding eminence, in heart and brain, might simply have said ‘good-bye’ to me, a trifle dryly, and taken care to avoid seeing me again. This however was not Elstir’s way with me; like the master that he was—and this was, perhaps, from the point of view of sheer creative genius, his one fault, that he was a master in that sense of the word, for an artist if he is to live the true life of the spirit in its full extent, must be alone and not bestow himself with profusion, even upon disciples—from every circumstance, whether involving himself or other people, he sought to extract, for the better edification of the young, the element of truth that it contained. He chose therefore, rather than say anything that might have avenged the injury to his pride, to say what he thought would prove instructive to me. “There is no man,” he began, “however wise, who has not at some period of his youth said things, or lived in a way the consciousness of which is so unpleasant to him in later life that he would gladly, if he could, expunge it from his memory. And yet he ought not entirely to regret it, because he cannot be certain that he has indeed become a wise man—so far as it is possible for any of us to be wise—unless he has passed through all the fatuous or unwholesome incarnations by which that ultimate stage must be preceded. I know that there are young fellows, the sons and grandsons of famous men, whose masters have instilled into them nobility of mind and moral refinement in their schooldays. They have, perhaps, when they look back upon their past lives, nothing to retract; they can, if they choose, publish a signed account of everything they have ever said or done; but they are poor creatures, feeble descendants of doctrinaires, and their wisdom is negative and sterile. We are not provided with wisdom, we must discover it for ourselves, after a journey through the wilderness which no one else can take for us, an effort which no one can spare us, for our wisdom is the point of view from which we come at last to regard the world. The lives that you admire, the attitudes that seem noble to you are not the result of training at home, by a father, or by masters at school, they have sprung from beginnings of a very different order, by reaction from the influence of everything evil or commonplace that prevailed round about them. They represent a struggle and a victory. I can see that the picture of what we once were, in early youth, may not be recognisable and cannot, certainly, be pleasing to contemplate in later life. But we must not deny the truth of it, for it is evidence that we have really lived, that it is in accordance with the laws of life and of the mind that we have, from the common elements of life, of the life of studios, of artistic groups—assuming that one is a painter—extracted something that goes beyond them.” Meanwhile we had reached his door. I was disappointed at not having met the girls. But after all there was now the possibility of meeting them again later on; they had ceased to do no more than pass beyond a horizon on which I had been ready to suppose that I should never see them reappear. Around them no longer swirled that sort of great eddy which had separated me from them, which had been merely the expression of the perpetually active desire, mobile, compelling, fed ever on fresh anxieties, which was aroused in me by their inaccessibility, their flight from me, possibly for ever. My desire for them, I could now set it at rest, hold it in reserve, among all those other desires the realisation of which, as soon as I knew it to be possible, I would cheerfully postpone. I took leave of Elstir; I was alone once again. Then all of a sudden, despite my recent disappointment, I saw in my mind’s eye all that chain of coincidence which I had not supposed could possibly come about, that Elstir should be a friend of those very girls, that they who only that morning had been to me merely figures in a picture with the sea for background had seen me, had seen me walking in friendly intimacy with a great painter, who was now informed of my secret longing and would no doubt do what he could to assuage it. All this had been a source of pleasure to me, but that pleasure had remained hidden; it was one of those visitors who wait before letting us know that they are in the room until all the rest have gone and we are by ourselves. Then only do we catch sight of them, and can say to them, “I am at your service,” and listen to what they have to tell us. Sometimes between the moment at which these pleasures have entered our consciousness and the moment at which we are free to entertain them, so many hours have passed, we have in the interval seen so many people that we are afraid lest they should have grown tired of waiting. But they are patient, they do not grow tired, and as soon as the crowd has gone we find them there ready for us. Sometimes it is then we who are so exhausted that it seems as though our weary mind will not have the strength left to seize and retain those memories, those impressions for which our frail self is the one habitable place, the sole means of realisation. And we should regret that failure, for existence to us is hardly interesting save on the days on which the dust of realities is shot with magic sand, on which some trivial incident of life becomes a spring of romance. Then a whole promontory of the inaccessible world rises clear in the light of our dream, and enters into our life, our life in which, like the sleeper awakened, we actually see the people of whom we have been so ardently dreaming that we came to believe that we should never behold them save in our dreams.

      The sense of comfort that I drew from the probability of my now being able to meet the little band whenever I chose was all the more precious to me because I should not have been able to keep watch for them during the next few days, which would be taken up with preparations for Saint-Loup’s departure. My grandmother was anxious to offer my friend some proof of her gratitude for all the kindnesses that he had shewn to her and myself. I told her that he was a great admirer of Proudhon, and this put it into her head to send for a collection of autograph letters by that philosopher which she had once bought; Saint-Loup came to her room to look at them on the day of their arrival, which was also his last day at Balbec. He read them eagerly, fingering each page with reverence, trying to get the sentences by heart; and then, rising from the table, was beginning to apologise to my grandmother for having stayed so long, when he heard her say: “No, no; take them with you; they are for you to keep; that was why I sent for them, to give them to you.”

      He was overpowered by a joy which he could no more control than we can a physical condition that arises without the intervention of our will. He blushed scarlet as a child who has just been whipped, and my grandmother was a great deal more touched to see all the efforts that he was making (without success) to control the joy that convulsed him than she would have been to hear any words of thanks that he could have uttered. But he, fearing that he had failed to shew his gratitude properly, begged me to make his excuses to her again, next day, leaning from the window of the little train of the local railway company which was to take him back to his regiment. The distance was, as a matter of fact, nothing. He had thought of going, as he had frequently done that summer, when he was to return the same evening and was not encumbered with luggage, by road. But this time he would have had, anyhow, to put all his heavy luggage in the train. And he found it simpler to take the train himself also, following the advice of the manager who, on being consulted, replied that “Carriage or train, it was more or less equivocal.” He meant us to understand that they were equivalent (in fact, very much what Françoise