In Search of Lost Time, Volume 5: The Captive, the Fugitive

by Marcel Proust

  The affection of this sort which Albertine’s pseudofiancé had manifested for me that day had yet another excuse, being more complex than a simple by-product of his love for Albertine. It was only a short time since he had known himself to be, confessed himself to be, been anxious to be proclaimed an intellectual. For the first time, values other than sporting or hedonistic existed for him. The fact that I enjoyed the esteem of Elstir and Bergotte, that Albertine had perhaps told him of the way I talked about writers, which had led her to imagine that I might myself be able to write, meant that all of a sudden I had become to him (to the new man whom he at last realised himself to be) an interesting person whose friendship he would have liked to cultivate, to whom he would have liked to confide his plans, whom he might perhaps have asked for an introduction to Elstir. So that he was in fact sincere when he asked if he might call on me, expressing a regard for me to which intellectual reasons as well as a reflexion of Albertine imparted a certain veracity. No doubt it was not for that that he was so anxious to come and see me and would have dropped everything in order to do so. But of this last reason, which did little more than raise to a sort of impassioned paroxysm the two other reasons, he was perhaps unaware himself, and the other two existed really, as might really have existed in Albertine, when she had been anxious to go to Mme Verdurin’s on the afternoon of the rehearsal, the perfectly respectable pleasure that she would feel in meeting again friends of her childhood who in her eyes were no more depraved than she was in theirs, in talking to them, in showing them, by the mere fact of her presence at the Verdurins’, that the poor little girl whom they had known was now invited to a noted salon, the pleasure also that she might perhaps have felt in listening to Vinteuil’s music. If all this was true, the blush that had risen to Albertine’s cheeks when I had mentioned Mlle Vinteuil was due to the fact that I had done so in the context of that afternoon party which she had tried to keep secret from me because of the marriage proposal of which I was not to know. Albertine’s refusal to swear to me that she would have felt no pleasure in meeting Mlle Vinteuil again at that party had at the moment intensified my torment, strengthened my suspicions, but proved to me in retrospect that she had wanted to be sincere, even over an innocent matter, perhaps simply because it was an innocent matter. There nevertheless remained what Andrée had told me about her relations with Albertine. Perhaps, however, even without going so far as to believe that Andrée had invented them solely that I should not be happy, or able to feel superior to her, I could still suppose that she had slightly exaggerated her account of what she used to do with Albertine, and that Albertine, by a mental reservation, also minimised slightly what she had done with Andrée, making use Jesuitically of certain definitions which I had stupidly formulated on the subject, judging that her relations with Andrée did not fall into the category of what she was obliged to confess to me and that she could deny them without lying. But why should I believe that it was she rather than Andrée who was lying? Truth and life are very difficult to fathom, and I retained of them, without really having got to know them, an impression in which sadness was perhaps actually eclipsed by exhaustion.

  Chapter Three

  SOJOURN IN VENICE

  My mother had taken me to spend a few weeks in Venice, and—as beauty may exist in the most precious as well as in the humblest things—I received there impressions analogous to those which I had felt so often in the past at Combray, but transposed into a wholly different and far richer key. When, at ten o’clock in the morning, my shutters were thrown open, I saw blazing there, instead of the gleaming black marble into which the slates of Saint-Hilaire used to turn, the golden angel on the campanile of St Mark’s. Glittering in a sunlight which made it almost impossible to keep one’s eyes upon it, this angel promised me, with its outstretched arms, for the moment when I appeared on the Piazzetta half an hour later, a joy more certain than any that it could ever in the past have been bidden to announce to men of good will. I could see nothing else so long as I remained in bed, but as the whole world is merely a vast sundial, a single sunlit segment of which enables us to tell what time it is, on the very first morning I was reminded of the shops in the Place de l’Eglise at Combray, which, on Sunday mornings, were always on the point of shutting when I arrived for mass, while the straw in the marketplace smelt strongly in the already hot sunlight. But on the second morning, what I saw on awakening, what made me get out of bed (because they had taken the place in my memory and in my desire of the recollections of Combray), were the impressions of my first morning stroll in Venice, in Venice where everyday life was no less real than in Combray, where as in Combray on Sunday mornings one had the pleasure of stepping down into a festive street, but where that street was entirely paved with sapphire-blue water, cooled by warm breezes and of a colour so durable that my tired eyes might rest their gaze upon it in search of relaxation without fear of its blenching. Like the good folk of the Rue de l’Oiseau at Combray, so also in this strange town, the inhabitants actually emerged from houses lined up side by side along the main street, but the role played there by houses of casting a patch of shade at their feet was entrusted in Venice to palaces of porphyry and jasper, above the arched doors of which the head of a bearded god (breaking the alignment, like the knocker on a door at Combray) had the effect of darkening with its shadow, not the brownness of the earth, but the splendid blueness of the water. On the Piazza, the shadow that would have been produced at Combray by the awning over the draper’s shop and the barber’s pole was a carpet of little blue flowers strewn at its feet upon the desert of sun-scorched flagstones by the relief of a Renaissance façade, which is not to say that, when the sun beat down, one was not obliged, in Venice as at Combray, to pull down the blinds, even beside the canal, but they hung between the quatrefoils and foliage of Gothic windows. Of this sort was the window in our hotel behind the balusters of which my mother sat waiting for me, gazing at the canal with a patience which she would not have displayed in the old days at Combray, at a time when, cherishing hopes for my future which had never been realised, she was unwilling to let me see how much she loved me. Nowadays she was well aware that an apparent coldness on her part would alter nothing, and the affection she lavished upon me was like those forbidden foods which are no longer withheld from invalids when it is certain that they are past recovery. True, the humble details which gave an individuality to the window of my aunt Leonie’s bedroom seen from the Rue de l’Oiseau, the impression of asymmetry caused by its unequal distance from the windows on either side of it, the exceptional height of its wooden ledge, the angled bar which served to open the shutters, the two curtains of glossy blue satin tied back with loops—the equivalent of all these things existed in this hotel in Venice where I could hear also those words, so distinctive and so eloquent, which enable us to recognise from a distance the dwelling to which we are going home to lunch, and afterwards remain in our memory as testimony that, for a certain period of time, that dwelling was ours; but the task of uttering them had, in Venice, devolved not, as at Combray and most other places, upon the simplest, not to say the ugliest things, but upon the ogive, still half Arab, of a façade which is reproduced in all the architectural museums and all the illustrated art books as one of the supreme achievements of the domestic architecture of the Middle Ages; from a long way away and when I had barely passed San Giorgio Maggiore, I caught sight of this ogival window which had already seen me, and the thrust of its pointed arches added to its smile of welcome the distinction of a loftier, scarcely comprehensible gaze. And because, behind its multi-coloured marble balusters, Mamma was sitting reading while she waited for me to return, her face shrouded in a tulle veil as heartrending in its whiteness as her hair to me who sensed that, hiding her tears, she had pinned it to her straw hat not so much with the idea of appearing “dressed” in the eyes of the hotel staff as in order to appear to me to be less in mourning, less sad, almost consoled for the death of my grandmother; because, not having recognised me at first,
as soon as I called to her from the gondola, she sent out to me, from the bottom of her heart, a love which stopped only where there was no longer any corporeal matter to sustain it, on the surface of her impassioned gaze which she brought as close to me as possible, which she tried to thrust forward to the advanced post of her lips, in a smile which seemed to be kissing me, within the frame and beneath the canopy of the more discreet smile of the arched window lit up by the midday sun—because of this, that window has assumed in my memory the precious quality of things that have had, simultaneously with us, side by side with us, their share in a certain hour that struck, the same for us and for them; and however full of admirable tracery its mullions may be, that illustrious window retains in my eyes the intimate aspect of a man of genius with whom we have spent a month in some holiday resort, where he has acquired a friendly regard for us; and if, ever since then, whenever I see a cast of that window in a museum, I am obliged to hold back my tears, it is simply because it says to me the thing that touches me more than anything else in the world: “I remember your mother so well.”

  And as I went indoors to join my mother who by now had left the window, on leaving the heat of the open air I had the same sensation of coolness that I experienced long ago at Combray when I went upstairs to my room; but in Venice it was a breeze from the sea that kept the air cool, and no longer on a little wooden staircase with narrow steps, but on the noble surfaces of marble steps continually splashed by shafts of blue-green sunlight, which, to the valuable instruction in the art of Chardin acquired long ago, added a lesson in that of Veronese. And since, in Venice, it is works of art, things of priceless beauty, that are entrusted with the task of giving us our impressions of everyday life, it is to falsify the character of that city, on the grounds that the Venice of certain painters is coldly aesthetic in its most celebrated parts (let us make an exception of the superb studies of Maxime Dethomas), to represent only its poverty-stricken aspects, in the districts where nothing of its splendour is to be seen, and, in order to make Venice more intimate and more genuine, to give it a resemblance to Aubervilliers. It has been the mistake of some very great artists, from a quite natural reaction against the artificial Venice of bad painters, to concentrate exclusively on the Venice of the more humble campi, the little deserted rii, which they found more real.

  It was this Venice that I used often to explore in the afternoon, when I did not go out with my mother. The fact was that it was easier to find there women of the people, match-sellers, pearl-stringers, glass or lace makers, young seamstresses in black shawls with long fringes, whom there was nothing to prevent me from loving, because I had to a large extent forgotten Albertine, and who seemed to me more desirable than others, because I still remembered her a little. Who, in any case, could have told me precisely, in this passionate quest of mine for Venetian women, how much there was of themselves, how much of Albertine, how much of my old, long-cherished desire to visit Venice? Our slightest desire, though unique as a chord, nevertheless includes the fundamental notes on which the whole of our life is built. And sometimes, if we were to eliminate one of them, even one that we do not hear, that we are not aware of, one that has no connexion with the object of our quest, we would nevertheless see our whole desire for that object disappear. There were many things that I made no attempt to identify in the excitement I felt as I went in search of Venetian women.

  My gondola followed the course of the small canals; like the mysterious hand of a genie leading me through the maze of this oriental city, they seemed, as I advanced, to be cutting a path for me through the heart of a crowded quarter which they bisected, barely parting, with a slender furrow arbitrarily traced, the tall houses with their tiny Moorish windows; and as though the magic guide had been holding a candle in his hand and were lighting the way for me, they kept casting ahead of them a ray of sunlight for which they cleared a route. One felt that between the mean dwellings which the canal had just parted, and which otherwise would have formed a compact whole, no open space had been reserved; so that a campanile or a garden trellis vertically overhung the rio, as in a flooded city. But, for both churches and gardens, thanks to the same transposition as in the Grand Canal, the sea so readily served as means of communication, as substitute for street or alley, that on either side of the canaletto the belfries rose from the water in this poor and populous district like those of humble and much-frequented parish churches bearing the stamp of their necessity, of their use by crowds of simple folk, the gardens traversed by the canal cutting trailed their startled leaves and fruit in the water, and on the ledges of the houses whose crudely cut stone was still rough as though it had only just been sawn, urchins surprised by the gondola sat back trying to keep their balance and allowing their legs to dangle vertically, like sailors seated upon a swing-bridge the two halves of which have been swung apart, allowing the sea to pass between them. Now and again would appear a handsomer building that happened to be there like a surprise in a box which one has just opened, a little ivory temple with its Corinthian columns and an allegorical statue on its pediment, somewhat out of place among the ordinary surroundings in the midst of which, for all that we tried to make space for it, the peristyle with which the canal had provided it retained the look of a landing-stage for market gardeners. I had the impression, which my desire strengthened further, of not being outside, but of entering more and more into the depths of something secret, because each time I found something new which came to place itself on one side of me or the other, a small monument or an unexpected campo, keeping the surprised expression of beautiful things which one sees for the first time and of which one doesn’t yet perfectly understand the intended purpose or the utility.

  I returned on foot through narrow lanes; I accosted plebeian girls as Albertine perhaps had done, and I should have liked to have her with me. Yet these could not be the same girls; at the time when Albertine had been in Venice, they would have been children still. But, after having been unfaithful in the past, in a basic sense and out of cowardice, to each of the desires that I had conceived as unique—since I had sought an analogous object and not the same one, which I despaired of finding again—now I systematically sought women whom Albertine had not known, just as I no longer sought those that I had desired in the past. True, it often happened to me to recall, with an extraordinary violence of desire, some wench of Méséglise or Paris, or the milk-girl I had seen early in the morning at the foot of a hill during my first journey to Balbec. But alas! I remembered them as they were then, that is to say as they certainly would not be now. So that if in the past I had been led to qualify my impression of the uniqueness of a desire by seeking, in place of a convent-girl I had lost sight of, a similar convent-girl, now, in order to recapture the girls who had troubled my adolescence or that of Albertine, I had to consent to a further departure from the principle of the individuality of desire: what I must look for was not those who were sixteen then, but those who were sixteen today, for now, in the absence of that which was most distinctive in the person and which eluded me, what I loved was youth. I knew that the youth of those I had known existed no longer except in my impassioned recollection, and that it was not them, however anxious I might be to make contact with them when my memory recalled them to me, that I must cull if I really wished to harvest the youth and the blossom of the year.

  The sun was still high in the sky when I went to meet my mother on the Piazzetta. We would call for a gondola. “How your poor grandmother would have loved this simple grandeur!” Mamma would say to me, pointing to the Doges’ Palace which stood contemplating the sea with the thoughtful expression that had been bequeathed to it by its architect and that it faithfully retained in its mute attendance on its vanished lords. “She would even have loved those soft pink tints, because they are unmawkish. How she would have loved the whole of Venice, and what informality, worthy of nature itself, she would have found in all these beauties, this plethora of objects that seem to need no formal arrangement but present thems
elves just as they are—the Doges’ Palace with its cubic shape, the columns which you say are those of Herod’s palace, slap in the middle of the Piazzetta, and, even less deliberately placed, put there as though for want of anywhere better, the pillars from Acre, and those horses on the balcony of St Mark’s! Your grandmother would have had as much pleasure seeing the sun setting over the Doges’ Palace as over a mountain.” And there was indeed an element of truth in what my mother said, for, as the gondola brought us back along the Grand Canal, we watched the double line of palaces between which we passed reflect the light and angle of the sun upon their pink flanks, and alter with them, seeming not so much private habitations and historic buildings as a chain of marble cliffs at the foot of which one goes out in the evening in a boat to watch the sunset. Seen thus, the buildings arranged along either bank of the canal made one think of objects of nature, but of a nature which seemed to have created its works with a human imagination. But at the same time (because of the always urban character of the impressions which Venice gives almost in the open sea, on those waters whose ebb and flow makes itself felt twice daily, and which alternately cover at high tide and uncover at low tide the splendid outside stairs of the palaces), as we should have done in Paris on the boulevards, in the Champs-Elysées, in the Bois, in any wide and fashionable avenue, we passed the most elegant women in the hazy evening light, almost all foreigners, who, languidly reclining against the cushions of their floating carriages, followed one another in procession, stopped in front of a palace where they had a friend to call on, sent to inquire whether she was at home, and while, as they waited for the answer, they prepared to leave a card just in case, as they would have done at the door of the Hotel de Guermantes, turned to their guidebooks to find out the period and the style of the palace, being shaken the while, as though upon the crest of a blue wave, by the wash of the glittering, swirling water, which took alarm on finding itself pent between the dancing gondola and the resounding marble. And thus any outing, even when it was only to pay calls or to leave visiting-cards, was threefold and unique in this Venice where the simplest social coming and going assumed at the same time the form and the charm of a visit to a museum and a trip on the sea.