Although it is rightly said that there can be no progress, no discovery in art, but only in the sciences, and that each artist starting afresh on an individual effort cannot be either helped or hindered therein by the efforts of any other, it must none the less be acknowledged that, in so far as art brings to light certain laws, once an industry has popularised them, the art that was first in the field loses retrospectively a little of its originality. Since Elstir began to paint, we have grown familiar with what are called “wonderful” photographs of scenery and towns. If we press for a definition of what their admirers mean by the epithet, we shall find that it is generally applied to some unusual image of a familiar object, an image different from those that we are accustomed to see, unusual and yet true to nature, and for that reason doubly striking because it surprises us, takes us out of our cocoon of habit, and at the same time brings us back to ourselves by recalling to us an earlier impression. For instance, one of these “magnificent” photographs will illustrate a law of perspective, will show us some cathedral which we are accustomed to see in the middle of a town, taken instead from a selected vantage point from which it will appear to be thirty times the height of the houses and to be thrusting out a spur from the bank of the river, from which it is actually at some distance. Now the effort made by Elstir to reproduce things not as he knew them to be but according to the optical illusions of which our first sight of them is composed, had led him precisely to bring out certain of these laws of perspective, which were thus all the more striking, since art had been the first to disclose them. A river, because of the windings of its course, a bay because of the apparent proximity to one another of the cliffs on either side of it, would seem to have hollowed out in the heart of the plain or of the mountains a lake absolutely landlocked on every side. In a picture of a view from Balbec painted upon a scorching day in summer an inlet of the sea, enclosed between walls of pink granite, appeared not to be the sea, which began further out. The continuity of the ocean was suggested only by the gulls which, wheeling over what seemed to be solid rock, were as a matter of fact sniffing the shifting tide. Other laws emerged vas, as, at the foot of immense cliffs, the moist vapour of from the same can the lilliputian grace of white sails on the blue mirror on whose surface they looked like sleeping butterflies, and certain contrasts between the depth of the shadows and the paleness of the light. This play of light and shade, which photography has also rendered commonplace, had interested Elstir so much that at one time he had delighted in painting what were almost mirages, in which a castle crowned with a tower appeared as a completely circular castle extended by a tower at its summit, and at its foot by an inverted tower, either because the exceptional purity of the atmosphere on a fine day gave the shadow reflected in the water the hardness and brightness of stone, or because the morning mists rendered the stone as vaporous as the shadow. And similarly, beyond the sea, behind a line of woods, another sea began, roseate with the light of the setting sun, which was in fact the sky. The light, fashioning as it were new solids, thrust back the hull of the boat on which it fell behind the other hull that was still in shadow, and arranged as it were the steps of a crystal staircase on what was in reality the flat surface, broken only by the play of light and shade, of the morning sea. A river running beneath the bridges of a town was caught from such an angle that it appeared entirely dislocated, now broadening into a lake, now narrowing into a rivulet, broken elsewhere by the interposition of a hill crowned with trees among which the townsman would repair at evening to breathe the cool air; and even the rhythm of this topsy-turvy town was assured only by the rigid vertical of the steeples which did not rise but rather, in accordance with the plumb-line of the pendulum of gravity beating time as in a triumphal march, seemed to hold suspended beneath them the blurred mass of houses that rose in terraces through the mist along the banks of the crushed, disjointed stream. And (since Elstir’s earliest works belonged to the time in which a painter would embellish his landscape by inserting a human figure), on the cliff’s edge or among the mountains, the path too, that half-human part of nature, underwent, like river or ocean, the eclipses of perspective. And whether a mountain ridge, or the spray of a waterfall, or the sea prevented the eye from following the continuity of the path, visible to the traveller but not to us, the little human figure in old-fashioned clothes, lost in those solitudes, seemed often to be stopped short on the edge of a precipice, the path which he had been following ending there, while, a thousand feet above him in those pine-forests, it was with a fond eye and a relieved heart that we saw reappear the threadlike whiteness of its sandy surface, grateful to the wayfarer’s feet, though the mountainside had concealed from us its intervening bends as it skirted the waterfall or the gulf.
The effort made by Elstir to strip himself, when face to face with reality, of every intellectual notion, was all the more admirable in that this man who made himself deliberately ignorant before sitting down to paint, forgot everything that he knew in his honesty of purpose (for what one knows does not belong to oneself), had in fact an exceptionally cultivated mind. When I confessed to him the disappointment I had felt on seeing the porch at Balbec:
“What!” he exclaimed, “you were disappointed by the porch! Why, it’s the finest illustrated Bible that the people have ever had. That Virgin and all the bas-reliefs telling the story of her life—it’s the most loving, the most inspired expression of that endless poem of adoration and praise in which the Middle Ages extolled the glory of the Madonna. If you only knew, side by side with the most scrupulous accuracy in rendering the sacred text, what exquisite trouvailles came to the old carver, what profound thoughts, what delicious poetry! The idea of that great sheet in which the angels carry the body of the Virgin, too sacred for them to venture to touch it with their hands” (I mentioned to him that this theme had been treated also at Saint-André-des-Champs; he had seen photographs of the porch there, and agreed, but pointed out that the eagerness of those little peasant figures, all scurrying together round the Virgin, was not at all the same thing as the gravity of those two great angels, almost Italian, so slender, so gentle); “and the angel who carries away the Virgin’s soul, to reunite it with her body; or in the meeting of the Virgin with Elizabeth, Elizabeth’s gesture when she touches the Virgin’s womb and marvels to feel that it is swollen; and the outstretched arm of the midwife who had refused, without touching, to believe in the Virgin Birth; and the loincloth thrown by the Virgin to St Thomas to give him proof of the Resurrection; that veil, too, which the Virgin tears from her own breast to cover the nakedness of her son, whose blood, the wine of the Eucharist, the Church collects from one side of him, while on the other the Synagogue, its kingdom at an end, has its eyes bandaged, holds a half-broken sceptre and lets fall, together with the crown that is slipping from its head, the tables of the old law. And the husband who, on the Day of Judgment, as he helps his young wife to rise from her grave, lays her hand against his own heart to reassure her, to prove to her that it is indeed beating, isn’t that also rather a stunning idea, really inspired? And the angel who is taking away the sun and the moon which are no longer needed since it is written that the Light of the Cross will be seven times brighter than the light of the firmament; and the one who is dipping his hand into Jesus’ bath, to see whether the water is warm enough; and the one emerging from the clouds to place the crown on the Virgin’s brow; and all the angels leaning from the vault of heaven, between the balusters of the New Jerusalem, and throwing up their arms in horror or joy at the sight of the torments of the wicked or the bliss of the elect! Because it’s all the circles of heaven, a whole gigantic poem full of theology and symbolism that you have there. It’s prodigious, it’s divine, it’s a thousand times better than anything you will see in Italy, where for that matter this very tympanum has been carefully copied by sculptors with far less genius. Because, you know, it’s all a question of genius. There never was a time when everybody had genius, that’s all nonsense, it would be more extraordinary
than the golden age. The chap who carved that façade, take my word for it, was every bit as good, had just as profound ideas, as the men you admire most at the present day. I could show you what I meant if we went there together. There are certain passages from the Office of the Assumption which have been conveyed with a subtlety that not even a Redon could equal.”
And yet, when my eager eyes had opened before the façade of Balbec church, it was not this vast celestial vision of which he spoke to me that I had seen, not this gigantic theological poem which I understood to have been inscribed there in stone. I spoke to him of those great statues of saints mounted on stilts which formed a sort of avenue on either side.
“It starts from the mists of antiquity to end in Jesus Christ,” he explained. “You see on one side his ancestors after the spirit, on the other the Kings of Judah, his ancestors after the flesh. All the ages are there. And if you looked more closely at what you took for stilts you would have been able to give names to the figures standing on them. Under the feet of Moses you would have recognised the golden calf, under Abraham’s the ram, and under Joseph’s the demon counselling Potiphar’s wife.”
I told him also that I had gone there expecting to find an almost Persian building, and that this had doubtless been one of the chief factors in my disappointment. “Not at all,” he assured me, “it’s perfectly true. Some parts of it are quite oriental. One of the capitals reproduces so exactly a Persian subject that you cannot simply explain it by the persistence of oriental traditions. The carver must have copied some casket brought from the East by navigators.” And indeed he was later to show me the photograph of a capital on which I saw dragons that were almost Chinese devouring one another, but at Balbec this little piece of sculpture had passed unnoticed by me in the general effect of the building which did not conform to the pattern traced in my mind by the words “an almost Persian church.”
The intellectual pleasures which I was enjoying in this studio did not in the least prevent me from being aware, although they enveloped us as it were in spite of ourselves, of the warm glazes, the sparkling penumbra of the room itself and, through the little window framed with honeysuckle, in the rustic avenue, the resilient dryness of the sun-parched earth, veiled only by the diaphanous gauze woven of distance and the shade of the trees. Perhaps the unconscious well-being induced by this summer day came like a tributary to swell the flood of joy that had surged in me at the sight of Elstir’s Carquethuit Harbour.
I had supposed Elstir to be a modest man, but I realised my mistake on seeing his face cloud with melancholy when, in a little speech of thanks, I uttered the word “fame.” Men who believe that their works will last—as was the case with Elstir—form the habit of placing them in a period when they themselves will have crumbled into dust. And thus, by obliging them to reflect on their own extinction, the idea of fame saddens them because it is inseparable from the idea of death. I changed the subject in the hope of dispelling the cloud of ambitious melancholy with which I had unwillingly shadowed Elstir’s brow. “Someone advised me once,” I said, thinking of the conversation we had had with Legrandin at Combray, as to which I was glad of an opportunity of learning Elstir’s views, “not to visit Brittany, because it would not be wholesome for a mind with a natural inclination towards day-dreams.” “Not at all,” he replied. “When a mind has a tendency towards day-dreams, it’s a mistake to shield it from them, to ration them. So long as you divert your mind from its day-dreams, it will not know them for what they are; you will be the victim of all sorts of appearances because you will not have grasped their true nature. If a little day-dreaming is dangerous, the cure for it is not to dream less but to dream more, to dream all the time. One must have a thorough understanding of one’s day-dreams if one is not to be troubled by them; there is a way of separating one’s dreams from one’s life which so often produces good results that I wonder whether one oughtn’t to try it just in case, simply as a preventative, as certain surgeons suggest that, to avoid the risk of appendicitis later on, we ought all to have our appendixes taken out when we’re children.”
Elstir and I had meanwhile been walking towards the end of the studio, and had reached the window that looked across the garden on to a narrow side-street that was almost a country lane. We had gone there to breathe the cooler air of the late afternoon. I supposed myself to be nowhere near the girls of the little band, and it was only by sacrificing for once the hope of seeing them that I had yielded to my grandmother’s entreaties and had gone to see Elstir. For we do not know the whereabouts of what we are seeking, and often we avoid for a long time the place to which, for quite different reasons, everyone has been asking us to go; but we never suspect that we shall there see the very person of whom we are thinking. I looked out vaguely over this rustic path which passed quite close to the studio but did not belong to Elstir. Suddenly there appeared on it, coming towards us at a rapid pace, the young cyclist of the little band, with her polocap pulled down over her dark hair towards her plump cheeks, her eyes gay and slightly challenging; and on that auspicious path, miraculously filled with the promise of delights, I saw her, beneath the trees, address to Elstir the smiling greeting of a friend, a rainbow that bridged for me the gulf between our terraqueous world and regions which I had hitherto regarded as inaccessible. She even came up to shake hands with the painter, though without stopping, and I saw that she had a tiny beauty spot on her chin. “Do you know that girl, Monsieur?” I asked Elstir, realising that he might introduce me to her, invite her to his house. And this peaceful studio with its rural horizon was at once filled with a surfeit of delight such as a child might feel in a house where he was already happily playing when he learned that, in addition, out of that bounteousness which enables lovely things and noble hosts to increase their gifts beyond all measure, a sumptuous meal was being prepared for him. Elstir told me that she was called Albertine Simonet, and gave me the names also of her friends, whom I described to him with sufficient accuracy for him to identify them almost without hesitation. I had made a mistake with regard to their social position, but not the mistake that I usually made at Balbec. I was always ready to take the sons of shopkeepers for princes when they appeared on horseback. This time I had placed in a shady milieu the daughters of middle-class people, extremely rich, belonging to the world of trade and industry. It was the class which, at first sight, interested me least, since it held for me none of the mystery either of the people or of a society such as that of the Guermantes. And no doubt if a preliminary glamour which they would never now lose had not been conferred on them, in my dazzled eyes, by the glaring vacuity of seaside life, I should perhaps not have succeeded in resisting and overcoming the idea that they were the daughters of prosperous merchants. I could not help marvelling at what a wonderful workshop the French middle class was for sculpture of the most varied kind. What unexpected types, what richness of invention in the character of the faces, what firmness, what freshness, what simplicity in the features! The shrewd old burghers from whom these Dianas and these nymphs had sprung seemed to me to have been the greatest of statuaries. Scarcely had I had time to register the social metamorphosis of the little band—for these discoveries of a mistake, these modifications of the notion one has of a person, have the instantaneousness of a chemical reaction—than the idea had already established itself behind the guttersnipe ways of these girls, whom I had taken for the mistresses of racing cyclists or prize-fighters, that they might easily be connected with the family of some lawyer or other whom we knew. I was barely conscious of who Albertine Simonet was. She had certainly no conception of what she was one day to mean to me. Even the name, Simonet, which I had already heard spoken on the beach, I should have spelt with a double “n” had I been asked to write it down, never dreaming of the importance which this family attached to there being only one. The further we descend the social scale the more we find that snobbery fastens on to mere trifles which are perhaps no more null than the distinctions observed by the aristocracy, b
ut, being more obscure, more peculiar to each individual, surprise us more. Possibly there had been Simonnets who had done badly in business, or worse still. The fact remains that the Simonets never failed, it appeared, to be annoyed if anyone doubled their “n.” They were as proud, perhaps, of being the only Simonets in the world with one “n” instead of two as the Montmorencys of being the premier barons of France. I asked Elstir whether these girls lived at Balbec; yes, he told me, some of them at any rate. The villa in which one of them lived was precisely at the far end of the beach, where the cliffs of Canapville began. Since this girl was a great friend of Albertine Simonet, this was one more reason for me to believe that it was indeed the latter whom I had met that day when I was with my grandmother. There were of course so many of those little streets running down to the beach, and all at the same angle, that I could not have specified exactly which of them it had been. One would like to remember a thing accurately, but at the time one’s vision is always clouded. And yet that Albertine and the girl whom I had seen going to her friend’s house were one and the same person was a practical certainty. In spite of this, whereas the countless images that have since been presented to me by the dark young golfer, however different they may be, are superimposed one upon the other (because I know that they all belong to her), and by retracing my memories I can, under cover of that identity and as if through an internal passageway, run through all those images in turn without losing my grasp of one and the same person; if, on the other hand, I wish to go back to the girl whom I passed that day when I was with my grandmother, I have to emerge into the open air. I am convinced that it is Albertine whom I find there, the same who used often to come to a halt in the midst of her friends during their walks against the backdrop of the sea; but all those more recent images remain separate from that earlier one because I am unable to confer on her retrospectively an identity which she did not have for me at the moment she caught my eye; whatever assurance I may derive from the law of probabilities, that girl with the plump cheeks who stared at me so boldly from the corner of the little street and from the beach, and by whom I believe that I might have been loved, I have never, in the strict sense of the words, seen again.
The Modern Library In Search of Lost Time, Complete and Unabridged : 6-Book Bundle Page 108