The Modern Library In Search of Lost Time, Complete and Unabridged : 6-Book Bundle (9 page)

Too late: my father was upon us. Instinctively I murmured, though no one heard me, “I’m done for!”

I was not, however. My father used constantly to refuse to let me do things which were quite clearly allowed
by the more liberal charters granted me by my mother and grandmother, because he paid no heed to “principles,” and because for him there was no such thing as the “rule of law.” For some quite irrelevant reason, or for no reason at all, he would at the last moment prevent me from taking some particular walk, one so regular, so hallowed, that to deprive me of it was a clear breach of faith; or again, as he had done this evening, long before the appointed hour he would snap out: “Run along up to bed now; no excuses!” But at the same time, because he was devoid of principles (in my grandmother’s sense), he could not, strictly speaking, be called intransigent. He looked at me for a moment with an air of surprise and annoyance, and then when Mamma had told him, not without some embarrassment, what had happened, said to her: “Go along with him, then. You said just now that you didn’t feel very sleepy, so stay in his room for a little. I don’t need anything.”

“But, my dear,” my mother answered timidly, “whether or not I feel sleepy is not the point; we mustn’t let the child get into the habit …”

“There’s no question of getting into a habit,” said my father, with a shrug of the shoulders; “you can see quite well that the child is unhappy. After all, we aren’t gaolers. You’ll end by making him ill, and a lot of good that will do. There are two beds in his room; tell Françoise to make up the big one for you, and stay with him for the rest of the night. Anyhow, I’m off to bed; I’m not so nervy as you. Good night.”

It was impossible for me to thank my father; he would have been exasperated by what he called mawkishness. I stood there, not daring to move; he was still in
front of us, a tall figure in his white nightshirt, crowned with the pink and violet cashmere scarf which he used to wrap around his head since he had begun to suffer from neuralgia, standing like Abraham in the engraving after Benozzo Gozzoli which M. Swann had given me, telling Sarah that she must tear herself away from Isaac. Many years have passed since that night. The wall of the staircase up which I had watched the light of his candle gradually climb was long ago demolished. And in myself, too, many things have perished which I imagined would last for ever, and new ones have arisen, giving birth to new sorrows and new joys which in those days I could not have foreseen, just as now the old are hard to understand. It is a long time, too, since my father has been able to say to Mamma: “Go along with the child.” Never again will such moments be possible for me. But of late I have been increasingly able to catch, if I listen attentively, the sound of the sobs which I had the strength to control in my father’s presence, and which broke out only when I found myself alone with Mamma. In reality their echo has never ceased; and it is only because life is now growing more and more quiet round about me that I hear them anew, like those convent bells which are so effectively drowned during the day by the noises of the street that one would suppose them to have stopped, until they ring out again through the silent evening air.

Mamma spent that night in my room: when I had just committed an offence for which I expected to be banished from the household, my parents gave me a far greater concession than I could ever have won as the reward of a good deed. Even at the moment when it manifested itself in this crowning mercy, my father’s behaviour
towards me still retained that arbitrary and unwarranted quality which was so characteristic of him and which arose from the fact that his actions were generally dictated by chance expediencies rather than based on any formal plan. And perhaps even what I called his severity, when he sent me off to bed, deserved that title less than my mother’s or my grandmother’s attitude, for his nature, which in some respects differed more than theirs from my own, had probably prevented him from realising until then how wretched I was every evening, something which my mother and grandmother knew well; but they loved me enough to be unwilling to spare me that suffering, which they hoped to teach me to overcome, so as to reduce my nervous sensibility and to strengthen my will. Whereas my father, whose affection for me was of another kind, would not, I suspect, have had the same courage, for as soon as he had grasped the fact that I was unhappy he had said to my mother: “Go and comfort him.”

Mamma stayed that night in my room, and it seemed that she did not wish to mar by recrimination those hours which were so different from anything that I had had a right to expect, for when Françoise (who guessed that something extraordinary must have happened when she saw Mamma sitting by my side, holding my hand and letting me cry unchided) said to her: “But, Madame, what is young master crying for?” she replied: “Why, Françoise, he doesn’t know himself: it’s his nerves. Make up the big bed for me quickly and then go off to your own.” And thus for the first time my unhappiness was regarded no longer as a punishable offence but as an involuntary ailment which had been officially recognised, a
nervous condition for which I was in no way responsible: I had the consolation of no longer having to mingle apprehensive scruples with the bitterness of my tears; I could weep henceforth without sin. I felt no small degree of pride, either, in Françoise’s presence at this return to humane conditions which, not an hour after Mamma had refused to come up to my room and had sent the snubbing message that I was to go to sleep, raised me to the dignity of a grown-up person, brought me of a sudden to a sort of puberty of sorrow, a manumission of tears. I ought to have been happy; I was not. It struck me that my mother had just made a first concession which must have been painful to her, that it was a first abdication on her part from the ideal she had formed for me, and that for the first time she who was so brave had to confess herself beaten. It struck me that if I had just won a victory it was over her, that I had succeeded, as sickness or sorrow or age might have succeeded, in relaxing her will, in undermining her judgment; and that this evening opened a new era, would remain a black date in the calendar. And if I had dared now, I should have said to Mamma: “No, I don’t want you to, you mustn’t sleep here.” But I was conscious of the practical wisdom, of what would nowadays be called the realism, with which she tempered the ardent idealism of my grandmother’s nature, and I knew that now the mischief was done she would prefer to let me enjoy the soothing pleasure of her company, and not to disturb my father again. Certainly my mother’s beautiful face seemed to shine again with youth that evening, as she sat gently holding my hands and trying to check my tears; but this was just what I felt should not have been; her anger would have saddened me
less than this new gentleness, unknown to my childhood experience; I felt that I had with an impious and secret finger traced a first wrinkle upon her soul and brought out a first white hair on her head. This thought redoubled my sobs, and then I saw that Mamma, who had never allowed herself to indulge in any undue emotion with me, was suddenly overcome by my tears and had to struggle to keep back her own. When she realised that I had noticed this, she said to me with a smile: “Why, my little chick, my little canary, he’s going to make Mamma as silly as himself if this goes on. Look, since you can’t sleep, and Mamma can’t either, we mustn’t go on in this stupid way; we must do something; I’ll get one of your books.” But I had none there. “Would you like me to get out the books now that your grandmother is going to give you for your birthday? Just think it over first, and don’t be disappointed if there’s nothing new for you then.”

I was only too delighted, and Mamma went to fetch a parcel of books of which I could not distinguish, through the paper in which they were wrapped, any more than their short, wide format but which, even at this first glimpse, brief and obscure as it was, bade fair to eclipse already the paintbox of New Year’s Day and the silkworms of the year before. The books were
La Mare au Diable, François le Champi, La Petite Fadette
and
Les Maîtres Sonneurs
. My grandmother, as I learned afterwards, had at first chosen Musset’s poems, a volume of Rousseau, and
Indiana
; for while she considered light reading as unwholesome as sweets and cakes, she did not reflect that the strong breath of genius might have upon the mind even of a child an influence at once more dangerous and less invigorating than that of fresh air and sea
breezes upon his body. But when my father had almost called her an imbecile on learning the names of the books she proposed to give me, she had journeyed back by herself to Jouy-le-Vicomte to the bookseller’s, so that there should be no danger of my not having my present in time (it was a boiling hot day, and she had come home so unwell that the doctor had warned my mother not to allow her to tire herself so), and had fallen back upon the four pastoral novels of George Sand. “My dear,” she had said to Mamma, “I could not bring myself to give the child anything that was not well written.”

The truth was that she could never permit herself to buy anything from which no intellectual profit was to be derived, above all the profit which fine things afford us by teaching us to seek our pleasures elsewhere than in the barren satisfaction of worldly wealth. Even when she had to make someone a present of the kind called “useful,” when she had to give an armchair or some table-silver or a walking-stick, she would choose antiques, as though their long desuetude had effaced from them any semblance of utility and fitted them rather to instruct us in the lives of the men of other days than to serve the common requirements of our own. She would have liked me to have in my room photographs of ancient buildings or of beautiful places. But at the moment of buying them, and for all that the subject of the picture had an aesthetic value, she would find that vulgarity and utility had too prominent a part in them, through the mechanical nature of their reproduction by photography. She attempted by a subterfuge, if not to eliminate altogether this commercial banality, at least to minimise it, to supplant it to a certain extent with what was art still, to introduce, as it were,
several “thicknesses” of art: instead of photographs of Chartres Cathedral, of the Fountains of Saint-Cloud, or of Vesuvius, she would inquire of Swann whether some great painter had not depicted them, and preferred to give me photographs of “Chartres Cathedral” after Corot, of the “Fountains of Saint-Cloud” after Hubert Robert, and of “Vesuvius” after Turner, which were a stage higher in the scale of art. But although the photographer had been prevented from reproducing directly these masterpieces or beauties of nature, and had there been replaced by a great artist, he resumed his odious position when it came to reproducing the artist’s interpretation. Accordingly, having to reckon again with vulgarity, my grandmother would endeavour to postpone the moment of contact still further. She would ask Swann if the picture had not been engraved, preferring, when possible, old engravings with some interest of association apart from themselves, such, for example, as show us a masterpiece in a state in which we can no longer see it today (like Morghen’s print of Leonardo’s “Last Supper” before its defacement). It must be admitted that the results of this method of interpreting the art of making presents were not always happy. The idea which I formed of Venice, from a drawing by Titian which is supposed to have the lagoon in the background, was certainly far less accurate than what I should have derived from ordinary photographs. We could no longer keep count in the family (when my great-aunt wanted to draw up an indictment of my grandmother) of all the armchairs she had presented to married couples, young and old, which on a first attempt to sit down upon them had at once collapsed beneath the weight of their recipients. But my grandmother would have thought it sordid
to concern herself too closely with the solidity of any piece of furniture in which could still be discerned a flourish, a smile, a brave conceit of the past. And even what in such pieces answered a material need, since it did so in a manner to which we are no longer accustomed, charmed her like those old forms of speech in which we can still see traces of a metaphor whose fine point has been worn away by the rough usage of our modern tongue. As it happened, the pastoral novels of George Sand which she was giving me for my birthday were regular lumber-rooms full of expressions that have fallen out of use and become quaint and picturesque, and are now only to be found in country dialects. And my grandmother had bought them in preference to other books, as she would more readily have taken a house with a Gothic dovecot or some other such piece of antiquity as will exert a benign influence on the mind by giving it a hankering for impossible journeys through the realms of time.

Mamma sat down by my bed; she had chosen
François le Champi
, whose reddish cover and incomprehensible title gave it, for me, a distinct personality and a mysterious attraction. I had not then read any real novels. I had heard it said that George Sand was a typical novelist. This predisposed me to imagine that
François le Champi
contained something inexpressibly delicious. The narrative devices designed to arouse curiosity or melt to pity, certain modes of expression which disturb or sadden the reader, and which, with a little experience, he may recognise as common to a great many novels, seemed to me—for whom a new book was not one of a number of similar objects but, as it were, a unique person, absolutely self-contained—simply an intoxicating distillation of the
peculiar essence of
François le Champi
. Beneath the everyday incidents, the ordinary objects and common words, I sensed a strange and individual tone of voice. The plot began to unfold: to me it seemed all the more obscure because in those days, when I read, I used often to daydream about something quite different for page after page. And the gaps which this habit left in my knowledge of the story were widened by the fact that when it was Mamma who was reading to me aloud she left all the love-scenes out. And so all the odd changes which take place in the relations between the miller’s wife and the boy, changes which only the gradual dawning of love can explain, seemed to me steeped in a mystery the key to which (I readily believed) lay in that strange and mellifluous name of
Champi
, which invested the boy who bore it, I had no idea why, with its own vivid, ruddy, charming colour. If my mother was not a faithful reader, she was none the less an admirable one, when reading a work in which she found the note of true feeling, in the respectful simplicity of her interpretation and the beauty and sweetness of her voice. Even in ordinary life, when it was not works of art but men and women whom she was moved to pity or admire, it was touching to observe with what deference she would banish from her voice, her gestures, from her whole conversation, now the note of gaiety which might have distressed some mother who had once lost a child, now the recollection of an event or anniversary which might have reminded some old gentleman of the burden of his years, now the household topic which might have bored some young man of letters. And so, when she read aloud the prose of George Sand, prose which is everywhere redolent of that generosity and moral
distinction which Mamma had learned from my grandmother to place above all other qualities in life, and which I was not to teach her until much later to refrain from placing above all other qualities in literature too, taking pains to banish from her voice any pettiness or affectation which might have choked that powerful stream of language, she supplied all the natural tenderness, all the lavish sweetness which they demanded to sentences which seemed to have been composed for her voice and which were all, so to speak, within the compass of her sensibility. She found, to tackle them in the required tone, the warmth of feeling which pre-existed and dictated them, but which is not to be found in the words themselves, and by this means she smoothed away, as she read, any harshness or discordance in the tenses of verbs, endowing the imperfect and the preterite with all the sweetness to be found in generosity, all the melancholy to be found in love, guiding the sentence that was drawing to a close towards the one that was about to begin, now hastening, now slackening the pace of the syllables so as to bring them, despite their differences of quantity, into a uniform rhythm, and breathing into this quite ordinary prose a kind of emotional life and continuity.