Time Regained

by Marcel Proust; D. J. Enright; Joanna Kilmartin; Andreas Mayor; Terence Kilmartin

  Even in the case of the men who had changed very little—those, for instance, whose moustaches had merely turned white—one felt that the changes were not strictly speaking material. One might have been looking at these men through a vapour which imparted its own colour to them, or through a tinted optical glass which altered the appearance of their faces and above all, by making them slightly blurred, showed one that what it enabled us to see “life-size” was in reality a long way away, separated from us, it is true, by a distance other than spatial but from the depths of which, nevertheless, as from a further shore, we felt that they had as much difficulty in recognising us as we them. Only perhaps Mme de Forcheville, as though she had been injected with some liquid, some sort of paraffin with the property of inflating the skin but protecting it from change, might have been an old-fashioned cocotte “stuffed” for the benefit of posterity. Setting out from the idea that people have remained unchanged, one finds them old. But once one starts with the idea that they are old, meeting them again one does not think that they look too bad. In the case of Odette one could say much more than this; her appearance, once one knew her age and expected to see an old woman, seemed a defiance of the laws of chronology, more miraculous even than the defiance of the laws of nature by the conservation of radium. If I failed at first to recognise her, this was, uniquely, not because she had but because she had not changed. I had learnt in the last hour to take into account the new items that are added to people by Time and that had to be subtracted by me if I wanted to find my friends again as I had known them in the past, and I now rapidly made this calculation, adding to the former Odette the number of years which had passed over her; but the result at which I arrived was a person who could not, it seemed, be the one before me, precisely because she, the woman at the party, was so like the Odette of old days. In part, of course, this effect was achieved by rouge and dye. Beneath her flat golden hair—a little like the ruffled chignon of a big mechanical doll, above a face with a fixed expression of surprise which might also have belonged to a doll—on top of which rested a straw hat that was also flat, she might well have been “The Exhibition of 1878” (of which she would without a doubt, above all had she then been as old as she was today, have been the most fantastic marvel) coming forward on to the stage to speak her two lines in a New Year revue, but the Exhibition of 1878 played by an actress who was still young.

  Another figure from the same period, who had been a minister before the era of Boulangism and was now in the government again, passed beside us, wafting to the ladies a tremulous and remote smile, but with the air of being imprisoned in a thousand chains of the past, like a little phantom paraded up and down by an invisible hand or—diminished in stature and altered in substance—a reduced version of himself in pumice stone. This former Prime Minister, now so well received in the Faubourg Saint-Germain, had at one time been the object of criminal proceedings, and had been execrated both by society and by the people. But thanks to the renewal of the individuals who compose these two bodies and to the renewal, within the surviving individuals, of passions and even of memories, nobody now knew this and he was held in high honour. For the fact is that there is no humiliation so great that one should not accept it with unconcern, knowing that at the end of a few years our misdeeds will be no more than an invisible dust buried beneath the smiling and blooming peace of nature. The man whose reputation is momentarily under a cloud will soon find himself, thanks to the balancing mechanism of Time, caught and held between two new social levels which will have for him nothing but deference and admiration. But Time alone will achieve this result and at the moment of his downfall nothing can console him for the fact that the young dairy-maid across the street heard the crowd shout “Bribery and corruption!” at him and saw them shake their fists as he climbed into the Black Maria—for the dairy-maid does not see things in the perspective of Time and does not know that the men who receive the incense of praise from this morning’s newspapers were yesterday in disgrace and that the fallen politician, who at this moment feels the shadow of prison bars upon him and yet perhaps, as he thinks of the dairy-maid, cannot find within himself the humble words which might win her sympathy, will one day be extolled by the press and sought after by duchesses. And Time in the same way makes family quarrels recede into the distance. At the Princesse de Guermantes’s party, for instance, there was a couple, husband and wife, who were respectively nephew and niece of two men, now dead, who had once come to blows and—worse still—one of them, still further to humiliate the other, had sent him as seconds his concierge and his butler, indicating that in his judgment gentlemen would have been too good for him. But these stories slumbered in the pages of the newspapers of thirty years ago and nobody now remembered them. And thus the drawing-room of the Princesse de Guermantes—illuminated, oblivious, flowery—was like a peaceful cemetery. Time in this room had done more than decompose the living creatures of a former age, it had rendered possible, had created new associations.

  To return to the politician, in spite of his change of physical substance, just as profound as the transformation of the moral ideas which his name now connoted to the public, in spite (to say the same thing more simply) of the lapse of so many years since he had been Prime Minister, he was once again a member of the Cabinet, whose leader had given him a portfolio in the recent re-shuffle rather in the way that a theatrical producer gives a part to an old actress friend long since retired, whom he judges nevertheless to be, even now, better able to interpret a part with subtlety than any of her younger successors and whom he knows, also, to be in financial straits, and who in the event, at the age of nearly eighty, exhibits once more to the public almost the fullness of her talent, with that continued vitality which one is later astonished to have observed up to the very threshold of death.

  But if the politician was extraordinary, Mme de Forcheville was so miraculous that one could not even say that she had grown young again—it was more as though, with all her carmines and her russets, she had bloomed for a second time. Even more than the embodiment of the Universal Exhibition of 1878, she might have been the principal rarity and attraction of a flower show of today. And indeed, for me she seemed to say, not so much: “I am the Exhibition of 1878” as: “I am the Allée des Acacias of 1892.” That was where, it seemed, she still might have been. And just because she had not changed she seemed scarcely to be alive. She looked like a rose that has been sterilised. I greeted her and her eyes travelled for a while over my face, searching for my name as a schoolboy searches on the face of his examiner for the answer that he might more easily have found in his own head. Then I told her who I was and at once, as though the sound of my name had broken a spell and I had lost the look of an arbutus tree or a kangaroo which age no doubt had given me, she recognised me and started to talk to me in that strangely individual voice which people who had admired her acting in some little theatre were astonished, when they were invited to meet her at a luncheon party, to find again, throughout the whole conversation, for as long as they cared to listen, in each one of her remarks. It was a voice that had not changed, exaggeratedly warm, caressing, with a trace of an English accent. And yet, just as her eyes appeared to be looking at me from a distant shore, her voice was sad, almost suppliant, like the voice of the shades in the Odyssey. Odette would still have been able to act. I complimented her on her youthfulness. “How nice of you, my dear” she said, “thank you,” and, as it was difficult for her to express a sentiment, even the most sincere, in a manner that was not rendered artificial by her anxiety to be what she supposed was smart, she repeated several times: “Thank you so much, thank you so much.” I meanwhile, who had once walked miles to see her pass in the Bois, who the first time that I had visited her house had listened to the sound of her voice as it fell from her lips as though it were some priceless treasure, now found the minutes that I was obliged to pass in her company interminable simply because I did not know what on earth to say to her, and I withdrew, thinking to myself t
hat not only had Gilberte’s remark, “You take me for my mother” been true9 but that the likeness could only be flattering to the daughter.

  Gilberte, for that matter, was by no means the only guest at the party in whom family features had become apparent which hitherto had remained as invisible in their faces as the coiled and hidden parts of a seed which one day will burst out into growth in a manner that it is impossible to foresee. Thus, in this woman or that man, at about the age of fifty an enormous maternal hook had arrived to transform a nose which until then had been straight and pure. And the complexion of another woman, a banker’s daughter, from being as fresh as that of a milkmaid grew first russet and then coppery and finally assumed as it were a reflexion of the gold which her father had so lovingly handled. Some people had even in the end come to resemble the district in which they lived, bearing on their faces a sort of replica of the Rue de l’Arcade or the Avenue du Bois or the Rue de l’Elysée. But most commonly they reproduced the features of their parents.

  Alas, Mme de Forcheville’s second flowering was not to last for ever. Less than three years later I was to see her at an evening party given by Gilberte, not quite in her dotage but showing signs of senility and grown incapable of concealing beneath a mask of immobility what she was thinking, or rather (for thinking is too elevated a term) what she was passively experiencing, nodding her head, compressing her lips, shaking her shoulders in response to every impression that she felt, like a drunkard or a small child or those poets who, unaware of their surroundings and seized by inspiration, compose verses in the midst of a social occasion and frown and pout as they proceed to the dinner-table with an astonished lady on their arm. The impressions of Mme de Forcheville—except that single sentiment which was the cause of her presence at the party: her tender affection for her beloved daughter and her pride that she should be giving so brilliant a party, a pride which, in the mother, could not disguise the melancholy of being herself now nothing—these impressions were not joyful, their message was merely that she must not relax her defence against the snubs which were showered upon her, a defence, however, as timorous as that of a child. On all sides one heard people say: “I don’t know whether Mme de Forcheville recognises me, perhaps I ought to get someone to introduce me to her again.” “You may as well spare yourself the trouble,” a booming voice would reply, its owner not suspecting that Gilberte’s mother could hear every word—or perhaps not caring if she could. “It’s quite unnecessary. You wouldn’t find her at all amusing! She’s best left alone in her corner. She’s a bit gaga, you know.” Furtively Mme de Forcheville shot a glance from her eyes which had remained so beautiful at the authors of these offensive remarks, then swiftly withdrew it for fear of having been rude, but was distressed nevertheless by the insult, and though she smothered her feeble indignation one saw her head shake and her breast heave until presently another glance was shot at another guest who had expressed himself just as discourteously—yet nothing of all this seemed to surprise her very much, for having felt extremely unwell for several days, she had covertly suggested to her daughter that she should put off her party, but her daughter had refused. Mme de Forcheville did not love her any the less: the sight of all the duchesses entering the room, the admiration of all the guests for the large new house, flooded her heart with joy, and when finally the Marquise de Sabrán was announced, who was at that moment the lady at whom one arrived after laboriously ascending the topmost rungs of the social ladder, Mme de Forcheville felt that she had been a good and far-sighted mother and that her maternal task was accomplished. New guests arrived to titter at her and again she shot her glances and spoke to herself, if a mute language expressed only in gesture can be described as speech. Beautiful still, she had become—what she had never been in the past—infinitely pathetic; she who had been unfaithful to Swann and to everybody found now that the entire universe was unfaithful to her, and so weak had she become that, the roles being reversed, she no longer dared to defend herself even against men. And soon she would not defend herself even against death. But we have anticipated, and let us now go back three years, to the afternoon party which is being given by the Princesse de Guermantes.

  I had difficulty in recognising my friend Bloch, who was now in fact no longer Bloch since he had adopted, not merely as a pseudonym but as a name, the style of Jacques du Rozier, beneath which it would have needed my grandfather’s flair to detect the “sweet vale of Hebron” and those “chains of Israel” which my old schoolmate seemed definitively to have broken. Indeed an English chic had completely transformed his appearance and smoothed away, as with a plane, everything in it that was susceptible of such treatment. The once curly hair, now brushed flat, with a parting in the middle, glistened with brilliantine. His nose remained large and red, but seemed now to owe its tumescence to a sort of permanent cold which served also to explain the nasal intonation with which he languidly delivered his studied sentences, for just as he had found a way of doing his hair which suited his complexion, so he had found a voice which suited his pronunciation and which gave to his old nasal twang the air of a disdainful refusal to articulate that was in keeping with his inflamed nostrils. And thanks to the way in which he brushed his hair, to the suppression of his moustache, to the elegance of his whole figure—thanks, that is to say, to his determination—his Jewish nose was now scarcely more visible than is the deformity of a hunchbacked woman who skilfully arranges her appearance. But above all—and one saw this the moment one set eyes on him—the significance of his physiognomy had been altered by a formidable monocle. By introducing an element of machinery into Bloch’s face this monocle absolved it of all those difficult duties which a human face is normally called upon to discharge, such as being beautiful or expressing intelligence or kindliness or effort. The monocle’s mere presence even absolved an interlocutor, in the first place, from asking himself whether the face was pleasant to look at or not, just as, when a shop-assistant has told you that some object imported from England is “the last word in chic,” you no longer dare to ask yourself whether you really like it. In any case, behind the lens of this monocle Bloch was now installed in a position as lofty, as remote and as comfortable as if it had been the glass partition of a limousine and, so that his face should match the smooth hair and the monocle, his features never now expressed anything at all.

  Bloch asked me to introduce him to the Prince de Guermantes, and this operation raised for me not a shadow of those difficulties which I had come up against on the day when I went to an evening party at his house for the first time, difficulties which had then seemed to me a part of the natural order, whereas now I found it the simplest thing in the world to introduce to the Prince a guest whom he had invited himself and I should even have ventured, without warning, to bring to his party and introduce to him someone whom he had not invited. Was this because, since that distant era, I had become an intimate member, though for a long time now a forgotten one, of that fashionable world in which I had then been so new? Was it, on the contrary, because I did not really belong to that world, so that all the imaginary difficulties which beset people in society no longer existed for me once my shyness had vanished? Was it because, having gradually come to see what lay behind the first (and often the second and even the third) artificial appearance of others, I sensed behind the haughty disdain of the Prince a great human avidity to know people, to make the acquaintance even of those whom he affected to despise? Was it also because the Prince himself had changed, like so many men in whom the arrogance of their youth and of their middle years is tempered by the gentleness of old age—particularly as the new men and the unknown ideas whose progress they had once resisted are now familiar to them, at least by sight, and they see that they are accepted all round them in society—a change which takes place more effectually if old age is assisted in its task by some good quality or some vice in the individual which enlarges the circle of his acquaintance, or by the revolution wrought by a political conversion such as that of the P
rince to Dreyfusism?

  Bloch started to question me, as years ago, when I first began to go to parties, I had questioned others—a habit which I had not quite lost—about the people whom I had known in society in the old days and who were as remote, as unlike anybody else, as those inhabitants of the world of Combray whom I had often sought to “place” exactly. But Combray for me had a shape so distinctive, so impossible to confuse with anything else, that it might have been a piece of a jigsaw puzzle which I could never succeed in fitting into the map of France. “So the Prince de Guermantes can give me no idea either of Swann or of M. de Charlus?” asked Bloch, whose manner of speaking I had borrowed long ago and who now frequently imitated mine. “None at all.” “But what was so different about them?” “To know that, you would have had to hear them talk yourself. But that is impossible. Swann is dead and M. de Charlus is as good as dead. But the differences were enormous.” And seeing Bloch’s eyes shine at the thought of what these marvellous personages must have been, I wondered whether I was not exaggerating the pleasure which I had got from their company, since pleasure was something that I had never felt except when I was alone and the real differentiation of impressions takes place only in our imagination. Bloch seemed to guess what I was thinking. “Perhaps you make it out to be more wonderful than it really was,” he said; “our hostess today, for instance, the Princesse de Guermantes, I know she is no longer young, still it is not so many years since you were telling me about her incomparable charm, her marvellous beauty. Well, I grant you she has a certain splendour, and she certainly has those extraordinary eyes you used to talk about, but I can’t say I find her so fantastically beautiful. Of course, one sees that she is a real aristocrat, but still …” I was obliged to tell Bloch that the woman I had described to him was not the one he was talking about. The Princesse de Guermantes had died and the present wife of the Prince, who had been ruined by the collapse of Germany, was the former Mme Verdurin. “That can’t be right, I looked in this year’s Gotha,” Bloch naïvely confessed to me, “and I found the Prince de Guermantes, living at this address where we are now and married to someone of the utmost grandeur, let me try to remember, yes, married to Sidonie, Duchesse de Duras, née des Baux.” This was correct. Mme Verdurin, shortly after the death of her husband, had married the aged and impoverished Duc de Duras, who had made her a cousin of the Prince de Guermantes and had died after two years of marriage. He had served as a useful transition for Mme Verdurin, who now, by a third marriage, had become Princesse de Guermantes and occupied in the Faubourg Saint-Germain a lofty position which would have caused much astonishment at Combray, where the ladies of the Rue de l’Oiseau, Mme Goupil’s daughter and Mme Sazerat’s step-daughter, had during these last years, before she married for the third time, spoken with a sneer of “the Duchesse de Duras” as though this were a role which had been allotted to Mme Verdurin in a play. In fact, the Combray principle of caste requiring that she should die, as she had lived, as Mme Verdurin, her title, which was not deemed to confer upon her any new power in society, did not so much enhance as damage her reputation. For “to make tongues wag,” that phrase which in every sphere of life is applied to a woman who has a lover, could be used also in the Faubourg Saint-Germain of women who write books and in the respectable society of Combray of those who make marriages which, for better or for worse, are “unsuitable.” After the twice-widowed lady had married the Prince de Guermantes, the only possible comment was that he was a false Guermantes, an impostor. For me, in this purely nominal identity, in the fact that there was once again a Princesse de Guermantes and that she had absolutely nothing in common with the one who had cast her spell upon me, who now no longer existed and had been robbed of name and title like a defenceless woman of her jewels, there was something as profoundly sad as in seeing the material objects which the Princess Hedwige had once possessed—her country house and everything that had been hers—pass into the possession and enjoyment of another woman. The succession of a new individual to a name is melancholy, as is all succession, all usurpation of property; and yet for ever and ever, without interruption, there would come, sweeping on, a flood of new Princesses de Guermantes—or rather, centuries old, replaced from age to age by a series of different women, of different actresses playing the same part and then each in her turn sinking from sight beneath the unvarying and immemorial placidity of the name, one single Princesse de Guermantes, ignorant of death and indifferent to all that changes and wounds our mortal hearts.