The Modern Library In Search of Lost Time, Complete and Unabridged : 6-Book Bundle (132 page)

Before rejoining Elstir, I caught sight of myself in a glass. To add to the disaster of my not having been introduced to the girls, I noticed that my tie was all crooked, and my hat left long wisps of hair showing, which did not become me; but it was a piece of luck, all the same, that they should have seen me, even thus attired, in Elstir’s company, and so could not forget me; also that I should have put on that morning, at my grandmother’s suggestion, my smart waistcoat, when I might so easily have been wearing one that was simply hideous, and that I was carrying my best stick. For while an event for which we are longing never happens quite in the way we have been expecting, failing the advantages on which we supposed that we might count, others present themselves for which we never hoped, and make up for our disappointment; and we have been so dreading the worst that in the end we are inclined to feel that, taking one thing with another, chance has, on the whole, been rather kind to us.

“I did so much want to know them,” I said as I rejoined Elstir. “Then why did you stand a mile away?” These were his actual words, uttered not because they expressed what was really in his mind, since, if his desire had been to gratify mine, he could quite easily have called me, but perhaps because he had heard phrases of this sort, in familiar use among vulgar people when they are caught in the wrong, and because even great men are in certain respects much the same as vulgar people, and take their everyday excuses from the same common stock just as they get their daily bread from the same baker; or it may be that such remarks (which ought, one might almost say, to be read backwards, since their literal meaning is the opposite of the truth) are the instantaneous effect, the negative exposure of a reflex action. “They were in a hurry.” It struck me that of course they must have stopped him from summoning a person who did not greatly attract them; otherwise he would not have failed to do so, after all the questions that I had put to him about them, and the interest which he must have seen that I took in them.

“We were speaking just now of Carquethuit,” he said to me as we walked towards his villa. “I’ve done a little sketch in which you can see the curve of the beach much better. The painting is not too bad, but it’s different. If you will allow me, as a souvenir of our friendship, I’d like to give you the sketch,” he went on, for the people who refuse us the objects of our desire are always ready to offer us something else.

“I should very much like, if you have such a thing, a photograph of the little portrait of Miss Sacripant. By the way, that’s not a real name, surely?”

“It’s the name of a character the sitter played in a stupid little musical comedy.”

“But, I assure you, Monsieur, that I’ve never set eyes on her; you look as though you thought that I knew her.”

Elstir was silent. “It couldn’t be Mme Swann before she was married?” I hazarded, in one of those sudden fortuitous stumblings upon the truth, which are rare enough in all conscience, and yet suffice, after the event, to give a certain cumulative support to the theory of presentiments, provided that one takes care to forget all the wrong guesses that would invalidate it.

Elstir did not reply. The portrait was indeed that of Odette de Crécy. She had preferred not to keep it for many reasons, some of them only too obvious. But there were others less apparent. The portrait dated from before the point at which Odette, disciplining her features, had made of her face and figure that creation the broad outlines of which her hairdressers, her dressmakers, she herself—in her way of holding herself, of speaking, of smiling, of moving her hands and eyes, of thinking—were to respect throughout the years to come. It required the vitiated taste of a surfeited lover to make Swann prefer to all the countless photographs of the “definitive” Odette who was his charming wife the little photograph which he kept in his room and in which, beneath a straw hat trimmed with pansies, one saw a thin young woman, fairly plain, with bunched-out hair and drawn features.

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 girls. 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.