Time Regained

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

  The idea of death took up permanent residence within me in the way that love sometimes does. Not that I loved death, I abhorred it. But after a preliminary stage in which, no doubt, I thought about it from time to time as one does about a woman with whom one is not yet in love, its image adhered now to the most profound layer of my mind, so completely that I could not give my attention to anything without that thing first traversing the idea of death, and even if no object occupied my attention and I remained in a state of complete repose, the idea of death still kept me company as faithfully as the idea of my self. And, on that day on which I had become a half-dead man, I do not think that it was the accidents characterising this condition—my inability to walk downstairs, to remember a name, to get up from a chair—that had, even by an unconscious train of thought, given rise to this idea of death, this conviction that I was already almost dead; it seems to me rather that the idea had come simultaneously with the symptoms, that inevitably the mind, great mirror that it is, reflected a new reality. Yet still I did not see how from my present ailments one could pass, without warning of what was to come, to total death. Then, however, I thought of other people, of the countless people who die every day without the gap between their illness and their death seeming to us extraordinary. I thought also that it was only because I saw them from within—rather than because I saw them in the deceptive colours of hope—that certain of my ailments, taken singly, did not seem to me to be fatal although I believed that I would soon die, just as those who are most convinced that their hour has come are, nevertheless, easily persuaded that if they are unable to pronounce certain words, this is nothing so serious as aphasia or a stroke, but a symptom merely of a local fatigue of the tongue, or a nervous condition comparable to a stutter, or the lassitude which follows indigestion.

  No doubt my books too, like my fleshly being, would in the end one day die. But death is a thing that we must resign ourselves to. We accept the thought that in ten years we ourselves, in a hundred years our books, will have ceased to exist. Eternal duration is promised no more to men’s works than to men.

  In my awareness of the approach of death I resembled a dying soldier, and like him too, before I died, I had something to write. But my task was longer than his, my words had to reach more than a single person. My task was long. By day, the most I could hope for was to try to sleep. If I worked, it would be only at night. But I should need many nights, a hundred perhaps, or even a thousand. And I should live in the anxiety of not knowing whether the master of my destiny might not prove less indulgent than the Sultan Shahriyar, whether in the morning, when I broke off my story, he would consent to a further reprieve and permit me to resume my narrative the following evening. Not that I had the slightest pretension to be writing a new version, in any way, of the Arabian Nights, or of that other book written by night, Saint-Simon’s Memoirs, or of any of those books which I had loved with a child’s simplicity and to which I had been as superstitiously attached as later to my loves, so that I could not imagine without horror any work which should be unlike them. But—as Elstir had found with Chardin—you can make a new version of what you love only by first renouncing it. So my book, though it might be as long as the Arabian Nights, would be entirely different. True, when you are in love with some particular book, you would like yourself to write something that closely resembles it, but this love of the moment must be sacrificed, you must think not of your own taste but of a truth which far from asking you what your preferences are forbids you to pay attention to them. And only if you faithfully follow this truth will you sometimes find that you have stumbled again upon what you renounced, find that, by forgetting these works themselves, you have written the Arabian Nights or the Memoirs of Saint-Simon of another age. But for me was there still time? Was it not too late?

  And I had to ask myself not only: “Is there still time?” but also: “Am I well enough?” Ill health, which by compelling me, like a severe director of conscience, to die to the world, had rendered me good service (for “except a corn of wheat fall into the ground and die, it abideth alone: but if it die, it bringeth forth much fruit”), and which, after idleness had preserved me from the dangers of facility, was perhaps going to protect me from idleness, that same ill health had consumed my strength and as I had first noticed long ago, particularly when I had ceased to love Albertine, the strength of my memory. But was not the re-creation by the memory of impressions which had then to be deepened, illumined, transformed into equivalents of understanding, was not this process one of the conditions, almost the very essence of the work of art as I had just now in the library conceived it? Ah! if only I now possessed the strength which had still been intact on that evening brought back to my mind by the sight of François le Champí! Was not that the evening when my mother had abdicated her authority, the evening from which dated, together with the slow death of my grandmother, the decline of my health and my will? All these things had been decided in that moment when, no longer able to bear the prospect of waiting till morning to place my lips upon my mother’s face, I had made up my mind, jumped out of bed and gone in my night-shirt to post myself at the window through which the moonlight entered my room until I should hear the sounds of M. Swann’s departure. My parents had gone with him to the door, I had heard the garden gate open, give a peal of its bell, and close …

  While I was asking myself these questions, it occurred to me suddenly that, if I still had the strength to accomplish my work, this afternoon—like certain days long ago at Combray which had influenced me—which in its brief compass had given me both the idea of my work and the fear of being unable to bring it to fruition, would certainly impress upon it that form of which as a child I had had a presentiment in the church at Combray but which ordinarily, throughout our lives, is invisible to us: the form of Time.

  Many errors, it is true, there are, as the reader will have seen that various episodes in this story had proved to me, by which our senses falsify for us the real nature of the world. Some of these, however, it would be possible for me to avoid by the efforts which I should make to give a more exact transcription of things. In the case of sounds, for instance, I should be able to refrain from altering their place of origin, from detaching them from their cause, beside which our intelligence only succeeds in locating them after they have reached our ears—though to make the rain sing softly in the middle of one’s room or, contrarily, to make the quiet boiling of one’s tisane sound like a deluge in the courtyard outside should not really be more misleading than what is so often done by painters when they paint a sail or the peak of a mountain in such a way that, according to the laws of perspective, the intensity of the colours and the illusion of our first glance, they appear to us either very near or very far away, through an error which the reasoning mind subsequently corrects by, sometimes, a very large displacement. Other errors, though of a more serious kind, I might continue to commit, placing features, for instance, as we all do, upon the face of a woman seen in the street, when instead of nose, cheeks and chin there ought to be merely an empty space with nothing more upon it than a flickering reflexion of our desires. But at least, even if I had not the leisure to prepare—and here was a much more important matter—the hundred different masks which ought properly to be attached to a single face, if only because of the different eyes which look at it and the different meanings which they read into its features, not to mention, for the same eyes, the different emotions of hope and fear or on the contrary love and habit which for thirty years can conceal the changes brought about by age, and even if I did not attempt—though my love-affair with Albertine was sufficient proof to me that any other kind of representation must be artificial and untruthful—to represent some of my characters as existing not outside but within ourselves, where their slightest action can bring fatal disturbances in its train, and to vary also the light of the moral sky which illumines them in accordance with the variations in pressure in our own sensibility (for an object which was so small beneath the c
lear sky of our certainty can be suddenly magnified many times over on the appearance of a tiny cloud of danger)—if, in my attempt to transcribe a universe which had to be totally redrawn, I could not convey these changes and many others, the needfulness of which, if one is to depict reality, has been made manifest in the course of my narrative, at least I should not fail to portray man, in this universe, as endowed with the length not of his body but of his years and as obliged—a task more and more enormous and in the end too great for his strength—to drag them with him wherever he goes.

  Moreover, that we occupy a place, always growing, in Time is something everybody is conscious of, and this universality could only make me rejoice, it being the truth, the truth suspected by each of us, that I had to seek to elucidate. Not only does everybody feel that we occupy a place in Time, but the simplest of us measures this place approximately, as he would measure the one we occupy in space. People with no special perspicacity, seeing two men whom they do not know, both perhaps with black moustaches or both clean-shaven, will say that of the two one is about twenty and the other about forty years old, for the face of a young man cannot possibly be confused with that of a man of middle age, which in the eyes even of the most ignorant beholder is veiled by a sort of mist of seriousness. Of course, this evaluation of age that we make is often inaccurate, but the mere fact that we think ourselves able to make it indicates that we conceive of age as an entity which is measurable. And the second of the two men with black moustaches has, in effect, had twenty years added to his stature.

  This notion of Time embodied, of years past but not separated from us, it was now my intention to emphasise as strongly as possible in my work. And at this very moment, in the house of the Prince de Guermantes, as though to strengthen me in my resolve, the noise of my parents’ footsteps as they accompanied M. Swann to the door and the peal—resilient, ferruginous, interminable, fresh and shrill—of the bell on the garden gate which informed me that at last he had gone and that Mamma would presently come upstairs, these sounds rang again in my ears, yes, unmistakably I heard these very sounds, situated though they were in a remote past. And as I cast my mind over all the events which were ranged in an unbroken series between the moment of my childhood when I had first heard its sound and the Guermantes party, I was terrified to think that it was indeed this same bell which rang within me and that nothing that I could do would alter its jangling notes. On the contrary, having forgotten the exact manner in which they faded away and wanting to re-learn this, to hear them properly again, I was obliged to block my ears to the conversations which were proceeding between the masked figures all round me, for in order to get nearer to the sound of the bell and to hear it better it was into my own depths that I had to re-descend. And this could only be because its peal had always been there, inside me, and not this sound only but also, between that distant moment and the present one, unrolled in all its vast length, the whole of that past which I was not aware that I carried about within me. When the bell of the garden gate had pealed, I already existed and from that moment onwards, for me still to be able to hear that peal, there must have been no break in continuity, no single second at which I had ceased or rested from existing, from thinking, from being conscious of myself, since that moment from long ago still adhered to me and I could still find it again, could retrace my steps to it, merely by descending to a greater depth within myself. And it is because they contain thus within themselves the hours of the past that human bodies have the power to hurt so terribly those who love them, because they contain the memories of so many joys and desires already effaced for them, but still cruel for the lover who contemplates and prolongs in the dimension of Time the beloved body of which he is jealous, so jealous that he may even wish for its destruction. For after death Time withdraws from the body, and the memories, so indifferent, grown so pale, are effaced in her who no longer exists, as they soon will be in the lover whom for a while they continue to torment but in whom before long they will perish, once the desire that owed its inspiration to a living body is no longer there to sustain them. Profound Albertine, whom I saw sleeping and who was dead.

  In this vast dimension which I had not known myself to possess, the date on which I had heard the noise of the garden bell at Combray—that far-distant noise which nevertheless was within me—was a point from which I might start to make measurements. And I felt, as I say, a sensation of weariness and almost of terror at the thought that all this length of Time had not only, without interruption, been lived, experienced, secreted by me, that it was my life, was in fact me, but also that I was compelled so long as I was alive to keep it attached to me, that it supported me and that, perched on its giddy summit, I could not myself make a movement without displacing it. A feeling of vertigo seized me as I looked down beneath me, yet within me, as though from a height, which was my own height, of many leagues, at the long series of the years.

  I understood now why it was that the Duc de Guermantes, who to my surprise, when I had seen him sitting on a chair, had seemed to me so little aged although he had so many more years beneath him than I had, had presently, when he rose to his feet and tried to stand firm upon them, swayed backwards and forwards upon legs as tottery as those of some old archbishop with nothing solid about his person but his metal crucifix, to whose support there rushes a mob of sturdy young seminarists, and had advanced with difficulty, trembling like a leaf, upon the almost unmanageable summit of his eighty-three years, as though men spend their lives perched upon living stilts which never cease to grow until sometimes they become taller than church steeples, making it in the end both difficult and perilous for them to walk and raising them to an eminence from which suddenly they fall. And I was terrified by the thought that the stilts beneath my own feet might already have reached that height; it seemed to me that quite soon now I might be too weak to maintain my hold upon a past which already went down so far. So, if I were given long enough to accomplish my work, I should not fail, even if the effect were to make them resemble monsters, to describe men as occupying so considerable a place, compared with the restricted place which is reserved for them in space, a place on the contrary prolonged past measure, for simultaneously, like giants plunged into the years, they touch the distant epochs through which they have lived, between which so many days have come to range themselves—in Time.

  NOTES · SYNOPSIS

  Notes

  1 Proust’s manuscript adds at this point: “Cruelty on the death of her father (copy from the note-book where it is described).”

  2 Legrandin has earlier been described in almost identical terms (see Vol. V, The Fugitive, pp. 904, 905).

  3 Another chronological inconsistency. Bergotte’s death was reported long before the marriage of Gilberte and Saint-Loup.

  4 From Victor Hugo’s Les Contemplations.

  5 Quotation from Baudelaire’s Le Balcon.

  6 “Le moi est haïssable” (Pascal).