#READ BOOK ó À l'ombre des jeunes filles en fleurs è eBook or E-pub free

sorry, david this book is better than swann s way to the extent that i may have to go back and give swann s way three stars so that when i give this book four stars it doesn t make them equals, and, having four books to go, i want to leave room for a five star anticipation the first half of swann s way had me understanding what people did not like about proust there was a lot of me hating on the narrator and gacking over his precious daintiness this one, though, phoar it is true it took me a long time to read it, and it was partly because the lulling nature of his prose would cause me to drift off into my own batch of memories and i would realize that three subway stops had gone by, or ten minutes of my break had passed, or i was asleep that happened a few times, not because it was boring, but because his style is so much like a gentle boat on a lazy stream and it s all memory and dreamy and suddenly i am actually dreaming that s pretty powerful and then, i realized my copy was defective, and eight pages were blank that s like two proust sentences gone so i had to get a new copy and transfer all my bookmarks, marking passages i liked, such as In reality, there is in love a permanent strain of suffering which happiness neutralises, makes potential only, postpones, but which may at any moment become, what it would long since have been had we not obtained what we wanted, excruciating which is just gorgeous and there is so much like that in this book so much delightfully neurotic stewing and examining every delicate memory of first, and second, love marcel is a thinkier prufrock waiting and waiting and thinking and hesitating and eventually pouncing, but like my cat when she s just playing with me to please me you can tell her heart is elsewhere but everyone, not just you, david, said this book was a valley in between the literary heights of swann s way and guermantes way, but i thought it was stunning i am taking a proust break for a moment,maybe two or three books worth, because i can see myself getting wholly immersed in the proustiverse and becoming too introspective and examining the minutia of life and love and disappointments and that s something you really want to space out and not digest all at once, for the sanity s sake but then i suspect i will not be able to stop until the bitter end with brian s deleted aborted wedding scene.come to my blog A Note about the TranslationI wanted to support the translation of this volume by James Grieve, a lecturer at my alma mater, Australian National University, when I was there in the 70 s.I m pretty sure he taught two of my close friends While I can t recall meeting him, I did socialise with one of his colleagues, Robert Dessaix, who subsequently became a talented writer It was a very capable French Department However, in the 90 s, it was decimated by budget cuts and Grieve was made redundant He subsequently undertook a full teaching load for no remuneration, declining an opportunity to move to Sydney, so he could continue to cycle everywhere around Canberra and continue his commitment to the cause of French language and literature ANU hasn t even updated his CV to give him credit for this translation which for what it s worth was the favourite of Alain de Botton.I approached Grieve s translation a little sceptically at first I still have a few quibbles he translated petite bande as a little gang of girls, which you might do for punks, but I wonder about middle class girls, even if they were perceived as unruly However, I quickly stopped paying attention to the translation and focussed on the pleasures of the text.A Note about the TitleThe novel continues and extends Proust s literary analysis of love, focussing mainly on the narrator s journey through late adolescence and his early sexual experiences at ages 15 to 20, unless I m mistaken.The title of the Grieve translation is In the Shadow of Young Girls in Flower , in contrast to the Kilmartin translation Within a Budding Grove.Taken separately, it s difficult to determine the intended meaning of each alternative title.To what extent is sexuality implicit in the title This question reminded me of the title of Chapter 28 of Thomas Hardy s Far from the Madding Crowd , a highly sexually charged chapter that goes by the name The Hollow Amid the Ferns Within a Budding Grove might simply refer to a forest of trees, which bud in winter in preparation for spring, a fairly innocuous translation, if still a metaphor.There is also an English song which might have been known to the translatorsYet soon the lovely days of Spring Will leaf the budding grove The budding could also be symbolic of the adolescent experience and puberty of both genders, since females are not mentioned in this version On the other hand, given the literal meaning of the French title, the budding grove might be a pointed reference to female puberty, a rosebud being slang for female genitalia see also its significance in Citizen Kane.Grieve s translation is literal The young women are in flower or in bloom , a metaphor for puberty Perhaps the shadow refers to the darkness of the girls transition to adulthood or the fact that they tower metaphorically over the narrator and cast a shadow over his life and social and sexual experiences What, There s More After the tour de force that was the first volume, it still amazes me that Proust was able to continue writing about love with such insight, sophistication and wit and there are volumes to come.He keeps finding new things to say, all of which seem to be definitive in their analysis.Proust possessed amazing powers of observation In the first volume they were directed partly at his own childhood relationship with his mother, but mainly at the relationship of Charles Swann and Odette de Crecey.The second volume continues the scrutiny of Swann and the now Madame Swann, but the narrator moves to centre stage.He is an older and greater participant in the action However, even this statement has to be qualified in the case of Proust The great bulk of the text is what occurs in the narrator s mind, as he responds to events and stimuli around him He is still an acute observer He doesn t just look and think, he reviews, he criticizes, he critiques, as if every aspect of life is a literary or aesthetic experience At times, it approaches the lyrical and the musical, as if Proust were composing a symphony or an opera assembled from his responses and interactions.The sensation of touch is not enough He must cerebrally process the sensation and convert it into art An animal can touch and feel, only a human can create Art Proust worked at the pinnacle of what a human can fashion from their life experience.Catherine Deneuve as Madame Odette Swann in the film of Time Regained At Madame Swann sIt quickly becomes apparent that Odette de Crecey from Volume 1 has married Charles Swann and had a daughter Gilberte, who is a similar age to the unnamed Marcel and is aged from 15 to 18 during the first section of the volume.Odette divided opinion in volume 1, because she was a high class courtesan Her marriage to Swann surprised Paris polite society and there are still many who scorn her However, despite all expectations, it seems that their marriage has been a success, at least to the extent that it has been mutually advantageous, which after all is possibly the least we can expect of any marriage.There are unresolved implications of dual infidelity, but they are back story and not the focus of this volume.Swann has lifted Odette into High Society, and she is grateful Odette has given Swann a daughter, who loves him, despite being equally strong willed, but just as importantly Odette confers on Swann a purely private satisfaction that cements their relationship.The status of the Swann family, despite Swann s Jewish background, allows Odette to establish a successful literary salon, but also to redesign herself Her complexion is dark In volume 1, her beauty was always played down Now, she seemed to have grown so many years younger, she had filled out, enjoyed better health, looked calmer, cooler, relaxed Her new pattern was full of majesty and charm She wore this immutable model of eternal youth At the same time, whatever she woreencompassed her like the delicate and etherealized epitome of a civilization These qualities are, apparently, attractive in a woman.While Marcel purports to be in love with Gilberte, he is at least partly in love with Odette as well Alternatively, he actually wants to be Odette, if only so that he can partner Swann, whom he admires This is not a simple relationship Picasso s Les Demoiselles d Avignon See Jim Everett s allusion to this painting here on Proust Reader At BalbecTwo years later, presumably when Marcel is about 18 to 20, his health requires him to spend a few seasons at the beach resort town of Balbec.He uses this time to forget his love for Gilberte Instead, his attention is drawn to a petite bande of jeunes filles en fleurs.This provides the set up for much contemplation on the subject matter of volume 1, memory and the nature of love, as well as the complications introduced by adolescent sexuality.It s these issues I d like to focus on for the rest of this review I hope you ll forgive me if I resort to the abstract or the impersonal, so as not necessarily to reveal the object of Marcel s affection and spoil your reading of the novel.A Critique of Pure DevotionIn volume 1, we learn much about the nature of love from the point of view of Swann, as narrated by Marcel Presumably, the narrative was dictated at a later phase of his life Here, we see him undergoing his own adolescent experiences, even if they were narrated subsequently.We learn what the older Marcel knows, only not in chronological order Proust adheres to a subjective order of revelation, which in a way reflects the fact that memory itself is not chronological It prioritises itself according to laws that we might never know or understand.From now on, I d like to allow Proust s words to speak for themselves as much as possible.The Subjectivity of LoveThe Object of Our Affection is what we make of themLove creates a supplementary person who is quite different from the one who bears our beloved s name in the outside world and is mostly formed from elements within ourselves Love having become so immense, we never reflect on how small a part the woman herself plays in it You love me, because I made you love meThis real Albertine was little than an outline everything else that had been added to her was of my own making, for our own contribution to our love even if judged solely from the point of view of quantity is greater than that of the person we love You ll be my mirrorWhen we are in love, our love is too vast to be wholly contained within ourselves it radiates outward, reaches the resistant surface of the loved one, which reflects it back to its starting point and this return of our own tenderness is what we see as the other s feelings, working their new, enhanced charm on us, because we do not recognise them as having originating in ourselves The Conjunction of Love and PainWhatever I longed for would be mine only at the end of a painful pursuitthis supreme goal could be achieved only on condition that I sacrifice to it the pleasure I had hoped to find in it The Quest for Beauty as a Source of Love and LifeI was at one of those times of youth when the idle heart, unoccupied by love for a particular person, lies in wait for Beauty, seeking it everywhere, as the man in love sees and desires in all things the woman he cherishes Looking at her, I was filled with that renewed longing for life which any fresh glimpse of beauty and happiness can bring The Desire to Please, to Possess and to PenetrateIn order to gain love, you must make the acquaintance of the one you desire and then seek their approvalI was not yet old enough, and had remained too sensitive, to have given up the wish to please others and to possess them First, you have to enter their field of vision and engage them in conversationIt was not only her body I was after, it was the person living inside it, with whom there can be only one mode of touching, which is to attract her attention, and one mode of penetration, which is to put an idea into her mind Sometimes, a kiss is not enough You must incite admiration, desire and memoryJust as it would not have been enough for me, in kissing her, to take pleasure from her lips without giving her any in return, so I wished that the idea of me, in entering her, in becoming part of her, might attract not only her attention, but her admiration, her desire, and might force it to keep a memory of me against the day when I might be able to benefit from it The Relevance of Physical IntimacyI had thought the love I felt for Albertine did not depend on any hope of physical intimacy The Unattainability of the Love ObjectLove, mobile and pre existing, focuses on the image of a certain woman simply because she will be almost certainly unattainable Sometimes, it s not impossible, just difficultI was inclined to magnify the simplest of pleasures because of the obstacles that lay between me and the possibility of enjoying them The Attainability of the Love ObjectThe easily attainable the love, the less the pleasureThe main reason for the shrinking of the pleasure to which I had been so looking forward was the knowledge that nothing could now prevent me from enjoying it The Possession of the Love ObjectOur love too seems to have vanished at the very moment when we come into possession of a prize the value of which we have never really thought about The Postponement of GratificationIt is seldom that a joy is promptly paired with the desire that longed for it The you dally, the greater the dallianceWhat monotony and boredom color the lives of those who drive directly without ever daring to dally along the way with what they desire But don t dally too longIt is not certain that the happiness that comes too late, at a time when one can no longer enjoy it, when one is no longer in love, is exactly the same happiness for which we once pined in vain There is only one person our former self who could decide the issue and that self is no longer with us Be wary of sabotage and self denialThe only thing I cared for, my relationship with Gilberte, was the very thing I was trying to sabotage, through my prolonging of our separation, through my gradual fostering not of her indifference toward me, but which would come to the same thing in the end of mine toward her My unremitting effort was directed to bringing about the slow, agonizing suicide of the self that loved Gilberte Self denial should not be conditional, lest the conditions not be metunless she made an unambiguous request for us to clarify our relationship, accompanied by a full declaration of her love for me, both of which I knew were impossible The Satisfaction of One Desire Creates AnotherTo possess a little of her would only increase our need for the part of her that we do not possess and in any case, within our part, since our needs arise out of our satisfactions, something of her would still lie forever beyond our grasp The Coincidence of Desire and RealityWhen reality coincides at last with something we have longed for, fitting perfectly with our dreams, it can cover them up entirely and become indistinguishable from them, as two symmetrical figures placed against one another seem to become one whereas, so as to give our joy its full intensity of meaning, we would actually prefer every detail of our desires, even at the instant of fulfillment, to retain the presence of still being immaterial, so as to be certain that this really is what we desired The Source of Our MemoryThe things that are best at reminding us of a person are those which, because they were insignificant, we have forgotten, and which have therefore lost none of their power Which is why the greater part of our memory exists outside us, in a dampish breeze, in the musty air of a bedroom or the smell of autumn s first fires, things through which we can retrieve any part of us that the reasoning mind, having no use for it, disdained, the last vestige of the past, the best of it, the part which, after all our tears seem to have dried, can make us weep again The Habits of LoveThis recurrence of pain and the renewal of my love for Gilberte did not last longer than they would have in a dream of her, for the very reason that my life at Balbec was free of the habits that in usual circumstances would have helped it to prevail It was because of Habit that I had become and indifferent to Gilberte The Mutability of LoveIf we consciously or unconsciously outgrow those associations, our love, as though it was a spontaneous growth, a thing of our own making, revives and offers itself to another woman There was in me a residue of old dreams of love, dating from my childhood, full of all the tenderness my heart was capable of, all the love it had ever felt, and which was now indistinguishable from it, which could be suddenly brought back to me by someone as different as possible from me This liking for new places and people is of course worked into our forgetting of older ones The Indivisibility of LoveMy feeling was no longer the simple attraction of the first days it was an incipient, tentative love for each or any of them, every single one of them being a natural substitute for any of the others The Resemblance of Our Love ObjectsThere is a degree of resemblance between the women we love at different times and this resemblance, though it devolves, derives from the unchanging nature of our own temperament, which is what selects them, by ruling out all those who are not likely to be both opposite and complementary to us, who cannot be relied on, that is, to gratify our sensuality and wound our heart Such women are a product of our temperament, an inverted image or projection, a negative of our sensitivity You Are Too Like Me for Me To LoveIt was impossible for any love of mine for Andree to be true she was too intellectual, too highly strung, too prone to ailment, too much like myself Though Albertine now seemed empty, Andree was full of something with which I was overfamiliar The ShadowAt those moments in my life when I was not in love but wished I was, the ideal of physical beauty I carried about with mewas partnered by the emotional shadow, ever ready to be brought to real life, of the woman who was going to fall in love with me and step straight into the part already written for herin the comedy of fondness and passion that had been awaiting her since my childhoodas long as she had a pleasant disposition and some of the physical characteristics required by the role Love or EnjoymentI sensed that those who know love and those who enjoy life are not the same people Emmanuelle B art as Gilberte in the film of Time Regained At the Zoo After and in the Words of Proust Madame Swann s Easy stepGave her coatA loose andLazy sway.Noticing,I conferredA shy glance,Subtle butAdmiring,Upon which,Detected,I was thenRewardedWith a wink Of her eyeAnd a slowFlirtatiousSmile Oh whatEcstasy.Ill Bergotten After and in the Words of Proust Matter of factAnd overrich,The familiar,Did he eschew Not content toToe the line, henceApproached from somePetty angle,His ideasAlways soundedUnbeauteous,Wearisome and Convoluted A CartesianDevil, vainlyEndeavouringTo endureEternallyIn equipoise Smartness for the Sake of smartness,Thus, were his wordsTwisted around.Ephemeral,But not profound.Avenue du Bois de Boulogne After and in the Words of Proust Madame Swann sauntered along theAvenue du Bois de Boulogne,Mellow, gentle, smiling and stately,At the peak of wealth and beauty,Delectable in the bloomingSummer season of her lifetime,From which glorious point she watchedWorlds turn beneath her measured tread,Until Prince de Sagan spied her.His greeting evoked chivalry,Polite and allegorical,A noble homage to Woman,Since recalled by Proust after noonAny fine day in May, a glimpseOf Madame Swann chatting with himIn the glow of wisteria.Satisfied, at peace, in love, hisSpirit freed from hysteria.Une Petite Bande After and in the Words of Proust Look there, far awayOn the esplanade,Making a strange massOf moving colours,Five or six young girlsAll as differentIn their appearanceAnd their ways from theOther bathers asThe odd gaggle of Seagulls strutting onThe beach, wings flapping. #READ BOOK ô À l'ombre des jeunes filles en fleurs Ä Popular Books, L Ombre Des Jeunes Filles En Fleurs By Marcel Proust This Is Very Good And Becomes The Main Topic To Read, The Readers Are Very Takjup And Always Take Inspiration From The Contents Of The Book L Ombre Des Jeunes Filles En Fleurs, Essay By Marcel Proust Is Now On Our Website And You Can Download It By Register What Are You Waiting For Please Read And Make A Refission For You . L OMBRE de la REPR SENTATIONOn my review of Du c t de chez Swann I had concentrated on the pre eminence of the visual The careful attention paid by Proust to light, to colour, to objects that add colour such as flowers, and to painting and the visual arts in general, led me to conceive of his art as painterly writing All those elements continue in this second volume I could easily select another rich sample of quotes that would illustrate this visual nature Indeed, sight is explicitly designated in this book as the principal sense It is through seeing that we make sense of our world Things, people, ne sont port s sur nous que sur une plane et inconsistante superficie, parce que nous ne prenons conscience d eux que par la perception visuelle r duite elle m me mais c est comme d l gu e des autres sens qu elle se dirige vers les autres sens vont chercherles diverses qualit s odorantes, tactiles, savoureuses, qu ils go tent ainsi m me sans le secours des mains et des l vres 559This extract then introduces another aspect which is the one on which I wish to focus this time ..et, capables, gr ce aux arts de transposition, au g nie de synth se o excelle le d sir, de restituer sous la couleur.., 559 This review will examine the concept and activity of Transposition or Representation as the very core of what constitutes artistic creation FASHIONING the FASHIONSInl ombre des jeunes filles en fleurs, we see the Narrator fascinated by the way people represent themselves When he observes those who have awakened his imagination, he pays attention to the way they dress and cloak their presence The choice of clothes is part of the way a person manifests the self And although the Narrator confesses that he is infatuated with Gilberte Swann, in reality his fascination is with the mother, with Odette, who has changed her life and made herself into Mme Swann He notices how in her self transformation Odette has moved from the rather theatrical Japonisme d cor, outfits and somewhat garish choice of clothes, that we saw from a close up in Un amour de Swann to a delicate style in which subtle pastel colours in silk cr pe reflect the tender and gentle manner seen in the depictions Watteau, the painter of the gallanterie, and which suit better the wife of Monsieur Swann But in this new style of clothes in which she has concocted herself there are traces of her past that the Narrator can sniff, as she lets her breasts be caressed by the silk and abandons herself to the enjoyment of the new luxury,230, desquelles elle faisait le geste de caresser sus ses seins l cume fleurie, et dans lesquelles elle se baignait, se pr lassait, s battaitSimilarly the decorative buttons are a quote of those functional which in the past would have been an invitation to their being unbuttoned235 d celer une intention une reminiscence indiscernable du passOdette works relentlessly at transforming and creating her own image and is completely aware of the transcendence of her self fashioning, for herself and for the world522 disciplinant ses traits avait fait de son visage et de sa taille cette cr ation , And also 234 On sentait qu elle ne s habillait pas seulement pour la commodit ou la parure de son corps, elle tait entour e de sa toilette comme de l appareil d licat et spiritualis d une civilisation.Because with all this calculated impersonation, Odette is acting indeed as a creator Rightfully, she feels satisfied with her art when she conceives her toilette254 ayant l air d assurance et de calme du cr ateur qui a accompli son oeuvre et ne se soucie plus du reste SALONS and THEATRICALITYBut Odette s transformation will reach its apex and she will be in full command of her new delicate and purified self, when she can also design her own setting, her own stage, her Salon In that composition she can become, finally, a Grande Dame Surrounded by white flowers, by white furniture, by white accoutrements, echoes of the Pre Raphaelites, and of the original Primitives, will resonate She can evoke images in which angels announce a miracle and designate the virginity in a woman, with all its inebriating effect All of this thanks to the harmonies of a fully orchestrated252 Symphonie en blanc majeur For it is through a Salon that a lady can best picture herself, fully The emblematic surroundings situate one as the model to which one s society can look Salons are the dramatic setting in which something is created out of sheer theatricality The guests form a frame around the Hostess who behaves as if she were the main guest, the main actress, the main sitter So much so, that it becomes difficult for some people to be able to picture a lady, Odette, outside of her own Salon.For the art of creating a Salon is the art of nothingness212 bien qu ils ne fassent que nuancer l inexistent, sculpter le vide, et soient proprement parler les Arts du N ant l art de savoir r unir , de s entendre grouper, de mettre en valeur , de s ffacer , de servir de trait d union inverted commas in the originalAnd in this art we saw in the previous volume that Odette s teacher had been Mme Verdurin whotait elle m me un Salon.REPRODUCTION or EYE LENSESIn a line of argument that Walter Benjamin may have picked up from Proust, the Narrator notices the other mode of visual representation, photography, with a similar view to his grandmother s in the Combray section of the first novel Industrial reproduction vulgarises that which art had filtered as beauty495 il faut reconna tre que, dans la mesure o l art met en lumi re certaines lois, une fois qu une industrie les a vulgaris es, l art ant rieur perd r trospectivement un peu de son originalit But the Narrator is no reactionary Photograhy has a value, since it stores images that have been lost409 La photographie acquiert un peu de la dignit qui lui manque, quand elle cesse d tre une reproduction du r el et nous montre des choses qui n existent plusAnd interestingly, it can also widen and enrich the capabilities of our eyesd admirables photographies de paysages et de villes image diff rente de celles que nos avons l habitude de voi telle de ces photographies magnifiques illustrera une loi de la perspective, nous montrera telle cath drale que nos avons l habitude de voir au milieu de la ville, prise au contraire d un point choisi d o elle aura l air trente fois plus haute que les maisons et faisant peron au bord du fleuve d o elle est en r alit distante Futher, it is thanks to these reproduced images that the Narrator has constructed his mental and ideal picture of the church at Balbec before he can visit it If sometimes his confrontation of reality leads him to disappointment, in this case representation is not at odds with its origin and has on the contrary aggrandized the significance of the original The Narrator is conquered by awe when standing in front of the real object, the thing in itself283 maintenant c est l glise elle m me, c est la statue elle m me, elles, les uniques c est bien plus.UNVEILING the CLOTHESBut if we saw that any one person will fashion her or his clothes with the idea of embodying the self in a particular desired way, here comes the artist, the painter, ready to disentangle that conception and model both the art of fashion designers and the projections of a sitter into yet another level of transformation.For Elstir teaches the Narrator that the modistes are artists who with just one gesture they can convert simple matter into something sublime571 their art le geste delicat par lequel elles donnent un dernier chiffonement aux noeuds et aux plumes d un chapeau terminAnd yet, he will, with also a single gesture, unlock the camouflage set up by the fashion makers and the sitters and reveal their inner reality523 cette harmonie, le coup d il d un grand peintre la d truit en une seconde,..So the Narrator presents the duel between a sitter and her portraitist, in which they fight for different representation of her image By the inclusion of a revealing element in the portrait of a cousin to the Princesse de Luxembourg,523 un vaste d cor inclin et violet qui faisait penser la Place Pigallethe painter leaves a trace that can lead to her dubious moral past This is a signal which the sitter, however, may not detect un grand artiste ne cherchera aucunement donner satisfaction la femmebut the artist is not ready to compromise and he will d senchanter le spectateur vulgaire.And it is in his portrait of Odette that the Elstir enthralls the Narrator by extracting from her that very quality which has fascinated our protagonist from early on but which Mme Swann had covered up In her portrayal as Miss Sacripant, Elstir has rendered all her theatricality, fictitiousness and double entendre Not only is she dressed up in costume and figuring as someone else, but even her sex appeal is ambiguous and elusive 506ff Odette Miss Sacripantle caract re ambigu de l tre dont j avais le portrait sous les yeux tenait, sans que je le comprisse, ce que c tait une jeune actrice d autrefois en demi travesti en costume un tre factice. Dismantling the construction of the mantle of purity in which Mme Swann had wrapped herself, the painter has unfolded the full fan inside the young Narrator s imagination by expanding the two poles of Odette s spectrum, the Grande Dame or the Cocotte PAINTERLY REPRESENTATIONElstir as Eye Opener.For it is in the painter Elstir that, so far, our Narrator finds the most pure inspiration When he finally encountered Bergotte, the object of his fascination from an early age, our Narrator felt disappointed Prior to the meeting he had already become very familiar with the writer s exquisite prose so there was no discovery And may be as a sign of his youth, he had fallen into the trap of expecting appearances to match substance, when Bergotte s common physique did not match his stylized prose So, even though Bergotte sits at the crest of writing, the art in which the Narrator dreams to excel, it is another art medium that will, literally, open the Narrator s eyes There is no disappointment in his meeting the metamorphosed Monsieur Biche And this Biche turned into Elstir presents him with new and unknown wonders.Pervasive Images.But one wonders at what point in time this Narrator has opened up his eyes As we read these memories we do not know when the painterly way of conceiving things entered his mind The novel is full of terms related to surfaces and paintings and frames There are many fen tres, cadres, rideaux, peintures doubles, cloth covered paintings, hublots portholes , vitraux and vitrines, crins, tudes en verre, r tables or predellas, and a lot of glass and glass gallerias Here is an extract loaded with them 454 changea le tableau que j y trouvais dans la fen tre dans le verre glauque et qu elle boursouflait de ses vagues rondes sertie entre les montants de fer de ma crois e comme dans les plombs d un vitrail un tableau religieux au dessus du ma tre autel parties diff rentes du couchant, expos es dans les glaces des biblioth ques basses en acajou couraient le long des murs on exhibe c t les uns des autres dans une salle de mus e les volets s par s que l imagination seule du visiteur remet leur place sur les pr delles d un retable. Observing Reality and Extracting Truth.The Narrator comes to the realization that talent is neither inherited nor is it contagious He had already admitted that by hanging out with Bergotte in social activities he would not absorb the writer s mastery Observing and talking with Elstir, he becomes mesmerized with the painter and tries to unlock the mystery of his artistic ability He apprehends that it cannot be obtained by sheer effort of the conscious mind or l int lligence Time and memory are necessary to extract the truth out of the surrounding reality and these cannot be summoned by the pure and cold intellect Perception tuned at its finest, together with a poetic eye, will bring the ability to dissolve one s preconceived notions and 492 voir la nature telle qu elle est, po tiquementOne is to let free the whole array of immediate sensations and not let the intellect s preconceptions 498 L effort que Elstir faisait pour se d pouiller en pr sence de la r alit de toutes les notions de son intelligence.Reality needs to be reflected, but the kind of mirror that is capable of reflecting beauty and truth is just not any mirror, it has to be the mirror of genius and it is in this mirroring activity that beauty is generated.157 De m me ceux qui produisent des oeuvres g niales sont ceux qui ont le pouvoir, de rendre leur personnalit pareille un miroir, de telle sorte que , le g nie consistant dans le pouvoir r fl chissant et non dans la qualit intrins que du spectacle refl t.Such is Elstir s abiltiy at detecting hidden beauty, that the Narrator also learns from him that it can also be extracted out of common objects This is a huge revelation for him, because he no longer needs to block obstacles and vulgar intrusions when he wants to admire his Balbec church Elstir is capable of distilling beauty even out of Dead Nature, or Still Lives 532 j essayais de trouver la beaut l o je ne m tais jamais figur qu elle f t, dans les choses les plus usuelles, dans la vie profonde des natures mortes.Mental Transformation Construction.But registering sensations is not enough As the Narrator tells us, the process that Leonardo called cosa mentale is necessary if one is to approach truth The artist will arrange a new grouping of the constituent elements of the sensory experience and this new arrangement will reveal its deeper nature 522 g nie artistique pouvoir de dissocier les combinaisons d atomes et de grouper ceux ci suivant d un ordre absolu.In the magic transformation in which beauty is distilled out of common elements, Elstir s alchemy converts his at lier or studio into a Laboratory Using his capabilities as Creator he will conjure up order out of chaos and will produce a new reality 491 L at lier d Elstir m apparut comme le laboratoire d une sorte de nouvelle cr ation du monde, o , du chaos que sont toutes choses que nous voyons, il avait tir And in this he is comparable to the supreme creator because if He named things, Elstir renames them 492 si Dieu le P re avait cr les choses en les nommant, c est en leur tant le nom, ou en leur donnant un autre, qu Elstir les recr ait.Art Becomes its own Force.Depicted things enter a new realm of existence They continue to be that which they may no longer are, but cease to be what they were by acquiring this new nature 491 pris une dignit nouvelle du fait qu ils continuaient tre, encore d pourvus de ce en quoi ils passaient pour consister la vague ne pouvant plus mouiller ni le veston habiller personne.With such a transformational ability, Art eventually is no longer just an outcome in a process It will consolidate its own existence and become a new force With this impulse it will act in a boomerang fashion and having emerged out of reality it will project itself back and change its nature Similarly to the way Swann fell in love with Odette, by clothing her with Botticelli s images, the Narrator begins to see a charm in Mme Elstir once he projects Titian onto her These two artists, Alessandro di Mariano di Vanni Fillipeppi a.k.a Botticelli and Tiziano Vecellio are an example of how two individuals, before Elstir, were able to elicit beauty out of their sitters and surroundings, thanks to their sensibility and ability to transform and represent bequeathing to us their art and enriching our perceptions.FINAL CURTAINSIn this volume we continue to accompany the Narrator in his Education Sentimentale, but as we join him in the exploration of his feelings, fascinations and obsessions, we witness the particular and wholehearted attention he pays to the phenomenon of artistic Representation We see with his eyes how he discovers it through the visual arts and its aesthetics and participate in this Education Artistique.And if the novel finishes with the opening of the curtains in the Narrators room, we shall now close them tightly until it is time to open them up again and let light stream in beautifully and poetically and enable us to continue to see.And all of this we see through text Page references are to the Gallimard Folio edition.FIFTEEN stars. Adolescent AestheticsThe temptation to compare Philip Roth and Marcel Proust is one I can t resist Both Goodbye Columbus and Portnoy s Complaint seem to me inverted interpretations of Proust s Within the Budding Grove Using the same technique of relentless interior monologue, all are coming of age novels featuring sex, taste of one kind or another, and social class set against a background of contemporary manners and Jewish assimilation All three books assay the problems of male adolescence hormones, separation from family, impending career and their possible solutions But whereas Roth views these problems as arising from perceived cultural deprivation, Proust shows how inadequacies emerge equally among the privileged in much the same way And while Roth treats the evolution from child to adult in terms of neurosis to be overcome, Proust describes milestones in psychological and social realisation that are necessary steps to becoming a person.Proust would likely agree with Roth s take on adolescence A disorder in which strongly felt ethical and altruistic impulses are perpetually warring with extreme sexual longings, often of a perverse nature Marcel s warring self is in essence not much different from Portnoy s, although a tad refined, our virtues themselves are not free and floating qualities over which we retain a permanent control and power of disposal says Marcel, inverting St Paul s observations about vice.But the aims of each author protagonist differ fundamentally Roth s ambition through Portnoy is to raise obscenity to the level of a subject Marcel s goal is to experience romantic love in which he penetrates the soul of another Sexual intimacy for the latter is an expected consequence of this spiritual union but not its objective, perhaps because of his access even as a young teenager to the brothels of Paris which he found unsatisfying.As the son of a senior government official, Marcel is exposed to ministers of state, the nobility and other VIP s from infancy What he learns without knowing what he is learning is protocol, how to act formally in social situations What to say and not to say, how to stand, who to quote, the techniques of assessing relative social standing, and distinguishing the outre from the avant garde Roth s characters come from the antithesis of Paris, namely Newark, New Jersey They too learn skills, those that are equally necessary to survive in a dominant culture which is not their own and in a political environment which may be just as brutal as that of Paris but far less gentile Nevertheless the manners each acquires because of his background are equally problematic for all For the Newark boys, their lower class immigrant Jewish roots impede assimilation into middle class American society for Marcel, his learned reserve and internalised emotional calculation inhibit his naturalness and makes him shy in the company of the relatively free wheeling middle classes For all, their backgrounds get in the way of relations with women, the former with Gentile girls, the latter with modern females unimpressed by breeding All persistently pursue the same types with predictable, disappointing results.What Roth seems to lack almost totally, however, and which Proust emphasises, even in his stylised accounts of sex and class, is the development of taste, the aesthetic sense which substitutes in Proust s work for religious belief It is this sense of the beautiful that provides an increasingly important guide for Marcel s actions Early in Within the Budding Grove, Marcel marks the centrality of the aesthetic even in relationships of love, The bonds that unite us to another human being are sanctified when he or she adopts the same point of view as ourselves in judging one of our imperfections He then goes on to make love instrumental to the appreciation of beauty rather than vice versa fully as much as retirement, ill health, or religious conversion, a protracted love affair will substitute fresh visions for the old This aesthetic sense is the pivot around which all of Proust s writing in this volume rotates It is what makes the work a coherent whole And it is the lack of an equivalent centre of gravity in Roth that makes his work somewhat unsatisfying in comparison.Marcel is aware of himself in a way that the Newark boys can t be without a sense of the aesthetic In Jungian terms and there can be little doubt that Proust is a natural if not a well read Jungian , Marcel is an Objective Introvert, that is he is particularly sensitive to his environment and he tends to adapt himself to that environment rather than to try to change it He comes to know this towards the end of the volume contrary to what I had always asserted and believed, I was extremely sensitive to the opinions of others and I feel it is eminently sensible of them to safeguard their lives, while at the same time being unable to prevent myself pushing my own safety into the background That is, he learns something that is not possible without an aesthetic standard of what constitutes learning.But because Marcel has a developed aesthetic sense, he also has a solution to his, rather common, problem of objective introversion He has another aspect to his personality which on its own also causes him additional and frequent trouble he constantly projects himself onto other people He believes that they are either like himself in terms of desires and likely responses, or that they conform to his primitively articulated ideal This causes recurring disappointment a famed actress is far less talented than he expects, church sculptures are less impressive than he had believed, a prospective friend turns out less approachable than he anticipates Marcel comes to know he does this and he begins to appreciate the consequences But instead of trying to eliminate this tendency toward projection from his personality, something he recognises as impossible, he seeks to make it conscious as a sort of control on the other part of his personality, his natural introversion, For beauty is a series of hypotheses which ugliness cuts short Projections are no longer neurotic if they ever were , but a means to test the world, in an almost scientific way through hypotheses, to find out what is really there This is a very clever psychological strategy that neither Freud nor Jung ever considered, a sort of pragmatic aesthetics which allows the parts of his psyche to function productively together And it works.Moreover, in the manner of St Augustine, Marcel, recognises that aesthetically driven desire leads beyond itself, like a religious icon which points to a reality not yet occurring, The most exclusive love for a person is always a love for something else It is this something else which he first brings up in volume 1 and alludes to subtly throughout volume 2 Always just beyond our linguistic grasp, it is that which draws language forth He goes even further and creates a quasi religious ontology of that which lies beyond, For a desire seems to us attractive, we repose on it with confidence, when we know that outside ourselves there is a reality that conforms to it, even if, for us, it is not to be realised Therefore, Marcel s Proust s aesthetic is, remarkably, both pragmatic and spiritual Even remarkably, it is also ethical The advice of his painter friend Elstir is precise, We do not receive wisdom we must discover it for ourselves Although Marcel s aspiration is to become a writer, this advice is general Discovery implies that there is something new to be seen, heard, touched, painted, talked about, invented He is able to come to several conclusions therefore, which are rather insightful than anything in Roth Regarding which of a gang of girls to woo, for example, he puts all his newly acquired skills together to picture the future somewhat longer than the subsequent few hours As in a nursery plantation where the flowers mature at different seasons, I had seen them, in the form of old ladies, on this Balbec shore, those shrivelled seed pods, those flabby tubers, which my new friends would one day be But what matter For the moment it was their flowering time Innovative indeed for a man on the make The recognition and maturing of this aesthetic sense is the necessary next step from Marcel s insights in volume 1 about purposefulness, the capacity to choose appropriate purpose The aesthetic criteria he is developing apply not only to appreciating beauty but to understanding what is important, that is, what is valuable Value is not an economic category in Proust but an aesthetic one therefore inseparable from taste And it in taste that Marcel is than a bit advanced over his New Jersey fellow adolescents. . There s a lot of stuff in Volume 2 of A La Recherche Du Temps Perdu, and people see different things in it To me, though, the unifying theme is a continuation of Proust s analysis of how romantic relationships work, which he started in Un Amour de Swann There, he examined one particular kind of relationship Swann spends a fair amount of time with Odette, who is very nice to him and keeps saying how she wishes she could see him often Without realizing it, he comes to rely on her always to be there for him One night, she isn t, and he suddenly discovers he s hooked The balance of power changes completely he needs her all the time, she s hardly ever available, and his life is taken over by psychotic jealousy If you ve never had this kind of thing happen to you, count yourself lucky.In the second volume, Proust looks at two kinds of patterns, where the relationship isn t as clearly defined as it is with Swann and Odette He shows how hard it can sometimes be to understand that a relationship has started or ended With the narrator and Gilberte, he s involved with her in an early teen way, and then, somehow, things go wrong He s mad at her, and thinks he won t see her for a bit Then it continues a bit longer, and he still hasn t seen her After a while, it s clear that the relationship is over, but it s not obvious whether he ever made a real decision to end it He examines all his shifting thoughts and emotions in the minutest detail, and you still don t know At least, I didn t.With Albertine, in the last third of the book, we get the case that I find most interesting He s at Balbec apparently it s based on the real life resort town of Cabourg I first learned that from a Brigade Mondaine novel He sees this rather rowdy gang of teenage girls who go around together, laughing and indulging in various kinds of horseplay He s a sickly kid, and their boisterous animal spirits appeal to him There s one in particular that he keeps on bumping into by accident Her name is Albertine, and after a while he decides he s fallen in love with her Being Proust, he has to carefully go though all the times they ve met, and look at how his feelings evolved in response to those chance meetings When he reconstructs everything, an interesting fact emerges he thought he was meeting the same girl every time, but in fact he may not have It s possible that he met different girls on the different occasions, and the feelings just crystallized out as deciding that he was in love with Albertine He doesn t know, and they don t know If the book had been written 15 years later, I would have wondered if this was an allusion to the new quantum theory you have, as it were, a wave function of girls, which collapses into the single Albertine observation But I m pretty sure that that was still in the future, so Proust made it all up himself Impressive Conceivably, the causality went the other way perhaps some quantum physicist was inspired by Proust s novel The thought I find so interesting here is that, as Proust shows, you can fall in love quickly, but then there is a philosophical problem who are you falling in love with At one point in my life, I was kind of interested in the semantics of denotation and reference, but linguistic philosophers like Kripke, Quine or Montague never seem to look at examples as complex as the ones that Proust makes up I would love to know if someone has done an analysis of his books from this kind of angle From the practical point of view, though, I think there is a useful lesson to be learned If you fall in love quickly, the person you re in love with may not really exist That s worth remembering. 685 Remembrance of Things Past Marcel Proust la recherche du temps perdu II l ombre des jeunes filles en fleurs la recherche du temps perdu 2 In the Shadow of Young Girls in Flower In Search of Lost Time, 2 , Marcel Proust 1994 1372 9643052176 1385 20 1 2 The only book I ve ever abandoned after the first sentence.And what a sentence But I ll come back to that Let me first hasten to defend myself, to present my credentials, because I realise that Proust is held in such high esteem as to be almost beyond criticism not in the real world of course, that would be ridiculous, but on Goodreads certainly Of the 29 Goodreads friends who have rated this, 25 give it five stars, three give it four stars one the only French reader gives it three That is an astonishingly high proportion of full marks.So my apologies to all of you I plead only the right to a subjective opinion, one that has not been arrived at trivially My history with Proust is as follows I read Swann s Way very slowly over a period of several weeks, a reading experience memorable mainly for the fact that my girlfriend kept waking me up because I had dozed off halfway through a sentence Reading it in bed was probably a mistake There was a lot I liked about it, but I admit I didn t quite grasp what all the fuss was about I thought it insightful in parts, trite in others It was also plotless and self indulgent, but those things don t bother me on their own.The real problem was the prose style.For someone revered as a stylist, Proust to me seemed irritating at best, at worst barely readable I am prepared to accept that this is my problem In my notebook from that year I divided the page into two columns headed Awesomeness and Awkwardness to try and clarify in my mind the different reactions I was getting to his sentences But I gradually got fixated on the second category Phrases likeI was well aware that I had placed myself in a position than which none could be counted upon to involve me in graver consequences at my parents handsstrike me as being not just recondite, but fundamentally unsound in English, and I stress that caveat because I m aware that there may be a translation issue going on This kind of construction plays better in French, and although I do read French, I happened to read Proust in translation just because I have a Folio Society set of the Moncrieff Kilmartin Enright version If you re going to tell me that this all flows prettily in the original, I m prepared to believe you I think.After I finished Swann s Way, my dubious reaction to it niggled at me Surely I was missing something As a rule I m not someone who likes to follow popular opinion, but when so many people I respect seem to love this writer, maybe I have somehow failed to spot his essential charm So one day, several months later, I got the second volume down, poured myself a drink, sat in the garden and started reading It opens My mother, when it was a question of our having M de Norpois to dinner for the first time, having expressed her regret that Professor Cottard was away from home and that she herself had quite ceased to see anything of Swann, since either of these might have helped to entertain the ex Ambassador, my father replied that so eminent a guest, so distinguished a man of science as Cottard could never be out of place at a dinner table, but that Swann, with his ostentation, his habit of crying aloud from the house tops the name of everyone he knew, however slightly, was a vulgar show off whom the Marquis de Norpois would be sure to dismiss as to use his own epithet a pestilent fellow.I calmly closed the book again, got up, went inside and put it back on the shelf, where it has remained I went back and finished my drink I love the audacity of this sentence That is the only thing I love about it, though I feel that every native speaker who reads it must have the same jarring sense of dislocation when they reach the words my father , because it s natural when reading it to assume that My mother is the subject of the sentence, albeit immediately diverted by two long subordinate clauses But eventually on the third scan, in my case it dawns that the only verb governed by my mother is having expressed , and that the main clause hasn t even started until you get to his father So what Proust has done here is to postpone the grammatical subject of his sentence until fifty four words in For the opening sentence of a novel And it introduces five separate characters This is an unusual construction, to say the least X having done Y, A did B is unremarkable but introducing a subordinate clause set off by commas immediately after X leaves you hanging on, open mouthed, for a finitive verb, and hence obscures the meaning I understand that there are people who adore this style of writing and find it charming or delicate I don t though, I find it deeply unfriendly More than that, I find it somehow creepy.This is not because of the opacity itself Because I m a journalist, and because I like thinking about the mechanics of sentence structure, some friends have accused me of being overly harsh on writers who do not go for clarity and efficiency at all times I do respect those qualities, but I deny the charge I love complicated baroque prose styles, and there are plenty of writers who use Proustian effects in ways that move and excite me Henry James, Thomas Pynchon, oh there s dozens really It s really just Proust himself that leaves me cold It s something to do with the intricate formal correctness of it as though he s saying, Claim to be confused by this if you must I can assure you it adheres to all the rules There is an over earnest quality, a sickly intricacy, to his sentences They seem to be made all of elbows.The way he expresses himself is somehow true to the letter of language, without being true to its spirit At least in translation So that s my experience of him I m sorry, but I am just constitutionally unable to get past the extreme ponderousness of expression to enjoy his flashes of insight That s not to say that I ve given up on Marcel, and when I have some time I hope to try him again in French But for now at least he s staying on the shelf.