But in any case, even if the portrait had been, not anterior, like Swann’s favourite photograph, to the systematisation of Odette’s features into a new type, majestic and charming, but subsequent to it, Elstir’s vision would have sufficed to discompose that type. Artistic genius acts in a similar way to those extremely high temperatures which have the power to split up combinations of atoms which they proceed to combine afresh in a diametrically opposite order, corresponding to another type. All that artificial harmony which a woman has succeeded in imposing upon her features, the maintenance of which she oversees in her mirror every day before going out, relying on the angle of her hat, the smoothness of her hair, the vivacity of her expression, to ensure its continuity, that harmony the keen eye of the great painter instantly destroys, substituting for it a rearrangement of the woman’s features such as will satisfy a certain pictorial ideal of femininity which he carries in his head. Similarly it often happens that, after a certain age, the eye of a great scientist will find everywhere the elements necessary to establish those relations which alone are of interest to him. Like those craftsmen, those players who, instead of making a fuss and asking for what they cannot have, content themselves with whatever comes to hand, the artist might say of anything, no matter what, that it will serve his purpose. Thus a cousin of the Princesse de Luxembourg, a beauty of the most queenly type, having taken a fancy to a form of art which was new at that time, had asked the leading painter of the naturalist school to do her portrait. At once the artist’s eye found what he had been seeking everywhere. And on his canvas there appeared, in place of the proud lady, a street-girl, and behind her a vast, sloping, purple background which reminded one of the Place Pigalle. But even without going so far as that, not only will the portrait of a woman by a great artist not seek in the least to give satisfaction to various demands on the woman’s part—such as, for instance, when she begins to age, make her have herself photographed in dresses that are almost those of a little girl which bring out her still youthful figure and make her appear like the sister or even the daughter of her own daughter, who, if need be, is tricked out for the occasion as a “perfect fright” beside her. It will, on the contrary, emphasise those very blemishes which she seeks to hide, and which (as for instance a sickly, almost greenish complexion) are all the more tempting to him since they show “character,” though they are enough to destroy the illusions of the ordinary beholder who sees crumble into dust the ideal of which the woman so proudly sustained the figment, and which set her, in her unique, irreducible form, so far outside, so far above the rest of humanity. Fallen now, situated outside her own type in which she sat unassailably enthroned, she is now just an ordinary woman, in the legend of whose superiority we have lost all faith. We are so accustomed to incorporating in this type not only the beauty of an Odette but her personality, her identity, that standing before the portrait which has thus stripped her of it we are inclined to protest not simply “How plain he has made her!” but “Why, it isn’t the least bit like her!” We find it hard to believe that it can be she. We do not recognise her. And yet there is a person there on the canvas whom we are quite conscious of having seen before. But that person is not Odette; the face of the person, her body, her general appearance seem familiar. They recall to us not this particular woman who never held herself like that, whose natural pose never formed any such strange and teasing arabesque, but other women, all the women whom Elstir has ever painted, women whom invariably, however they may differ from one another, he has chosen to plant thus, in full face, with an arched foot thrust out from under the skirt, a large round hat in one hand, symmetrically corresponding, at the level of the knee which it covers, to that other disc, higher up in the picture, the face. And furthermore, not only does a portrait by the hand of genius dislocate a woman’s type, as it has been defined by her coquetry and her selfish conception of beauty, but if it is also old, it is not content with ageing the original in the same way as a photograph ages its sitter, by showing 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 her, it is also the manner the artist had of painting. And this, Elstir’s earliest manner, was the most devastating 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 well-known 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, silently ruminated over by Elstir’s side 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 first discovery caused me to make a second, more disturbing still, concerning 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 recluse, this philosopher with his marvellous flow of conversation, who towered over everyone and everything, was the ridiculous, depraved painter who had at one time been adopted by the Verdurins? I asked him if he had known them, and 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 already somewhat remote and he had no suspicion of the extraordinary disillusionment he was causing me. But, looking up, he read it on 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 distinction of heart and mind 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 it was, perhaps, from the point of view of pure creativity, his one fault that he was a master in that sense of the word, for an artist, if he is to be absolutely true to the life of the spirit, must be alone, and not squander his ego, 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, instead of the words that might have avenged the injury to his pride, those that could 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 a life, the memory of which is so unpleasant to him that he would gladly expunge it. 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 people, the sons and grandsons of distinguished men, whose masters have instilled into them nobility of mind and moral refinement from their schooldays. They may perhaps have nothing to retract from their past lives; they could 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 do not receive wisdom, we must discover it for ourselves, after a journey through the wilderness which no one else can make for us, 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, have not been shaped by a paterfamilias or a schoolmaster, they have sprung from very different beginnings, having been influenced by 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 were at an earlier stage may not be recognisable and cannot, certainly, be pleasing to contemplate in later life. But we must not repudiate it, for it is a proof 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 one is a painter—extracted something that transcends them.”
Meanwhile we had reached his door. I was disappointed at not having met the g
irls. But after all there was now the possibility of meeting them again later on; they had ceased merely to be silhouetted against a horizon where 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, urgent, fed ever on fresh anxieties, which was aroused in me by their inaccessibility, their flight from me, possibly for ever. I could now set my desire for them 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 coincidences 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 like one of those visitors who wait before letting us know that they are in the room until everyone else has 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 meantime 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, then, it is we ourselves who are so exhausted that it seems as though our weary mind will no longer have the strength 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 is of little interest save on days when the dust of realities is mingled with magic sand, when some trivial incident becomes a springboard for romance. Then a whole promontory of the inaccessible world emerges from the twilight of dream and enters our life, our life in which, like the sleeper awakened, we actually see the people of whom we had dreamed with such ardent longing that we had come to believe that we should never see them except in our dreams.
The assuagement brought about by 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 were taken up with preparations for Saint-Loup’s departure. My grandmother was anxious to offer my friend some token of her gratitude for all the kindnesses that he had shown 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 the hotel 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 overwhelmed 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 punished, and my grandmother was far more touched to see all the efforts he made (without success) to contain 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 show his gratitude properly, begged me to make his excuses to her again, next day, leaning from the window of the little local train which was to take him back to his regiment. The distance was, as a matter of fact, nothing. He had thought of going by road, as he had frequently done that summer, when he was to return the same evening and was not encumbered with baggage. But this time he would in any case have had to put all his heavy luggage in the train. And he found it simpler to take the train himself too, following the advice of the manager who, on being consulted, replied that “Carriage or train, it was more or less equivocal.” He meant it to be understood that they were equivalent (in fact, very much what Françoise would have expressed as “coming to the same as makes no difference”). “Very well,” Saint-Loup had decided, “I shall take the ‘little crawler.’ ” I should have taken it too, had I not been tired, and gone with my friend to Doncières; failing this I kept on promising, all the time we waited in Balbec station—the time, that is to say, which the driver of the little train spent waiting for unpunctual friends, without whom he refused to start, and also in seeking some refreshment for himself—to go over there and see him several times a week. As Bloch had also come to the station—much to Saint-Loup’s disgust—the latter, seeing that our companion could hear him begging me to come to luncheon, to dinner, to stay altogether at Doncières, finally turned to him and, in the most forbidding tone, intended to counteract the forced civility of the invitation and to prevent Bloch from taking it seriously: “If you ever happen to be passing through Doncières any afternoon when I’m off duty, you might ask for me at the barracks; but I hardly ever am off duty.” Perhaps, also, Robert was afraid that I might not come alone, and, thinking that I was more intimate with Bloch than I made out, was providing me in this way with a travelling companion, one who would urge me on.
I was afraid that this tone, this manner of inviting a person while advising him not to come, might have wounded Bloch, and felt that Saint-Loup would have done better to say nothing. But I was mistaken, for after the train had gone, while we were walking back together as far as the crossroads where we had to separate, one road going to the hotel, the other to the Blochs’ villa, he never stopped asking me on what day we should go to Doncières, for after “all the civility that Saint-Loup had shown” him, it would be “too rude” on his part not to accept his invitation. I was glad that he had not noticed, or was so little displeased as to wish to let it be thought that he had not noticed, in what a less than pressing, indeed barely polite, tone the invitation had been issued. At the same time I should have liked Bloch, for his own sake, to refrain from making a fool of himself by going over at once to Doncières. But I dared not offer a piece of advice which could only have offended him by hinting that Saint-Loup had been less pressing than he himself was impressed. He was a great deal too ready to respond, and even if all his faults of this nature were atoned for by remarkable qualities which others, with more reserve than he, would never have possessed, he carried tactlessness to a pitch that was almost maddening. According to him, the week must not pass without our going to Doncières (he said “our” for I think that he counted to some extent on my presence there as an excuse for his own). All the way home, opposite the gymnasium in its grove of trees, opposite the tennis courts, the mayor’s office, the shellfish stall, he stopped me, imploring me to fix a day, and, as I did not, left me in anger, saying: “As your lordship pleases. For my part, I am obliged to go since he has invited me.”
Saint-Loup was still so afraid of not having thanked my grandmother properly that he charged me once again to express his gratitude to her a day or two later in a letter I received from him from the town in which he was quartered, a town which seemed, on the envelope where the post-mark had stamped its name, to be hastening to me across country, to tell me that within its walls, in the Louis XVI cavalry barracks, he was thinking of me. The paper was embossed with the arms of Marsantes, in which I could make out a lion surmounting a coronet closed by the cap of a peer of France.
“After a journey which,” he wrote, “passed pleasantly enough, with a book I bought at the station, by Arvède Barine13 (a Russian author, I fancy; it seemed to me remarkably well
written for a foreigner, but you shall give me your critical opinion, since you are bound to know all about it, you who are a fount of knowledge and have read everything), here I am again in the thick of this debased existence, where, alas, I feel a sad exile, not having here what I left behind at Balbec; this life in which I can find no affectionate memory, no intellectual attraction; an environment which you would no doubt despise yet which has a certain charm. Everything seems to have changed since I left it, for in the interval one of the most important periods in my life, that from which our friendship dates, has begun. I hope that it may never come to an end. I have spoken of our friendship, of you, to one person only, to the friend I told you of, who has just paid me a surprise visit here. She would very much like to know you, and I feel that you would get on well together, for she too is extremely literary. Otherwise, to go over in my mind all our talks, to relive those hours which I never shall forget, I have shut myself off from my comrades, excellent fellows, but altogether incapable of understanding that sort of thing. This remembrance of the moments I spent with you I should almost have preferred, on my first day here, to conjure up for my own solitary enjoyment, without writing to you. But I was afraid lest, with your subtle mind and ultra-sensitive heart, you might needlessly torment yourself if you did not hear from me, if, that is to say, you still condescend to occupy your thoughts with this blunt trooper whom you will have a hard task to polish and refine and make a little more subtle and worthier of your company.”
On the whole this letter, in its affectionate spirit, was not at all unlike those which, when I did not yet know Saint-Loup, I had imagined that he would write to me, in those day-dreams from which the coldness of his first greeting had shaken me by bringing me face to face with an icy reality which was not, however, to last. Once I had received this letter, every time the post was brought in, at lunch-time, I could tell at once when it was from him that a letter came, for it had always that second face which a person assumes when he is absent, in the features of which (the characters of the handwriting) there is no reason why we should not suppose that we can detect an individual soul just as much as in the line of a nose or the inflexions of a voice.
The Modern Library In Search of Lost Time, Complete and Unabridged : 6-Book Bundle Page 111