to relate that a similar notion had been made use of by an amateur who is the prime favourite at her children's evening parties, the Scotchman Stevenson, a name which forced from Swann the peremptory affirmation: 'But Stevenson is a great writer, I can assure you, M. de Goncourt, a very great one, equal to the greatest.' And upon my marvelling at the escutcheoned panels of the ceiling in the room where we are smoking, panels which came from the ancient Palazzo Barberini, I express my regret at the progressive darkening of a certain vase through the ashes of our londrès, Swann having recounted that similar stains on the leaves of certain books attest their having belonged to Napoleon I, books owned, despite his anti-Bonapartist opinions by the Duc de Guermantes, owing to the fact that the Emperor chewed tobacco, Cottard, who reveals himself as a man of penetrating curiosity in all matters, declares that these stains do not come at all from that: 'Believe me, not at all,' he insists with authority, 'but from his habit of having always near at hand, even on the field of battle, some pastilles of Spanish liquorice to calm his liver pains. For he had a disease of the liver and it is of that he died,' concluded the doctor."
I stopped my reading there for I was leaving the following day, moreover, it was an hour when the other master claimed me, he under whose orders we are for half our time. We accomplish the task to which he obliges us with our eyes closed. Every morning he surrenders us to our other master knowing that otherwise we should be unable to yield ourselves to his service. It would be curious, when our spirit has reopened its eyes, to know what we could have been doing under that master who clouds the minds of his slaves before putting them to his immediate business. The most cunning, before their task is finished, try to peep out surreptitiously. But slumber speedily struggles to efface the traces of what they long to see. And, after all these centuries we know little about it. So I closed the Goncourt journal. Glamour of literature! I wanted to see the Cottards again, to ask them so many details about Elstir, I wanted to go and see if the "Petit Dunkerque" shop still existed, to ask permission to visit that mansion of the Verdurins where I had dined. But I experienced a vague apprehension. Certainly I did not disguise from myself that I had never known how to listen nor, when I was with others, to observe; to my eyes no old woman exhibited a pearl necklace and my ears heard nothing that was said about it. Nevertheless, I had known these people in my ordinary life, I had often dined with them; whether it was the Verdurins, or the Guermantes, or the Cottards, each had seemed to me as commonplace as did that Basin to my grandmother who little supposed he was the beloved nephew, the charming young hero, of Mme. de Beausergent. All had seemed to me insipid; I remembered the numberless vulgarities of which each one was composed. . . .
"Et que tout cela fît un astre dans la nuit!"
I resolved to put aside provisionally the objections against literature which these pages of Goncourt had aroused in me. Apart from the peculiarly striking naïvete of the memoir-writer, I was able to reassure myself from different points of view. To begin with, in regard to myself, the inability to observe and to listen of which the journal I have quoted had so painfully reminded me was not complete. There was in me a personage who more or less knew how to observe but he was an intermittent personage who only came to life when some general essence common to many things which are its nourishment and its delight, manifested itself. Then the personage remarked and listened, but only at a certain depth and in such a manner that observation did not profit. Like a geometrician who in divesting things of their material qualities, only sees their linear substratum, what people said escaped me, for that which interested me was not what they wanted to say but the manner in which they said it in so far as it revealed their characters or their absurdities. Or rather that was an object which had always been my particular aim because I derived specific pleasure from identifying the denominator common to one person and another. It was only when I perceived it that my mind—until then dozing even behind the apparent activity of my conversation the animation of which masked to the outside world a complete mental torpor—started all at once joyously in chase, but that which it then pursued—for example the identity of the Verdurin's salon at diverse places and periods—was situated at half-depth, beyond actual appearance, in a zone somewhat withdrawn. Also the obvious transferable charm of people escaped me because I no longer retained the faculty of confining myself to it, like the surgeon who, beneath the lustre of a female abdomen, sees the internal disease which is consuming it. It was all very well for me to go out to dinner. I did not see the guests because when I thought I was observing them I was radiographing them. From that it resulted that in collating all the observations I had been able to make about the guests in the course of a dinner, the design of the lines traced by me would form a unity of psychological laws in which the interest pertaining to the discourse of a particular guest occupied no place whatever. But were my portraits denuded of all merit because I did not compose them merely as portraits? If in the domain of painting one portrait represents truths relative to volume, to light, to movement, does that necessarily make it inferior to another quite dissimilar portrait of the same person in which, a thousand details omitted in the first will be minutely related to each other, a second portrait from which it would be concluded that the model was beautiful while that of the first would be considered ugly, which might have a documentary and even historical importance but might not necessarily be an artistic truth. Again my frivolity the moment when I was with others, made me anxious to please and I desired more to amuse people with my chatter than to learn from listening unless I went out to interrogate someone upon a point of art or unless some jealous suspicion preoccupied me. But I was incapable of seeing a thing unless a desire to do so had been aroused in me by reading; unless it was a thing of which I wanted a previous sketch to confront later with reality. Even had that page of the Goncourts not enlightened me, I knew how often I had been unable to give my attention to things or to people, whom afterwards, once their image had been presented to me in solitude by an artist, I would have gone leagues and risked death to rediscover. Then my imagination started to work, had begun to paint. And the very thing I had yawned at the year before I desired when I again contemplated it and with anguish said to myself, "Can I never see it again? What would I not give for it?" When one reads articles about people, even about mere society people, qualifying them as "the last representatives of a society of which there is no other living witness", doubtless some may exclaim, "to think that he says so much about so insignificant a person and praises him as he does", but it is precisely such a man I should have deplored not having known if I had only read papers and reviews and if I had never seen the man himself and I was more inclined, in reading such passages in the papers, to think, "What a pity! And all I cared about then was getting hold of Gilberte and Albertine and I paid no attention to that gentleman whom I simply took for a society bore, for a pure façade, a marionnette." The pages of the Goncourt Journal that I had read made me regret that attitude. For perhaps I might have concluded from them that life teaches one to minimise the value of reading and shows us that what the writer exalts for us is not worth much; but I could equally well conclude the contrary, that reading enhances the value of life, a value we have not realised until books make us aware of how great that value is. Strictly, we can console ourselves for not having much enjoyed the society of a Vinteuil or of a Bergotte, because the awkward middleclassness of the one, the unbearable defects of the other prove nothing against them, since their genius is manifested by their works; and the same applies to the pretentious vulgarity of an Elstir in early days. Thus the journal of the Goncourts made me discover that Elstir was none other than the "M. Tiche" who had once inflicted upon Swann such exasperating lectures at the Verdurins. But what man of genius has not adopted the irritating conversational manner of artists of his own circle before acquiring (as Elstir did, though it happens rarely) superior taste. Are not the letters of Balzac, for instance, smeared with vulgar terms which Swann would rather have died than use? And yet, it is probable that Swann, so sensitive, so completely exempt from every dislikeable idiosyncrasy, would have been incapable of writing Cousine Bette and Le Curé de Tours. Therefore, whether or no memoirs are wrong to endow with charm a society which has displeased us, is a problem of small importance, since, even if the writer of these memoirs is mistaken, that proves nothing against the value of a society which produces such genius and which existed no less in the works of Vinteuil, of Elstir and of Bergotte.
Quite at the other extremity of experience, when I remarked that the very curious anecdotes which are the inexhaustible material of the journal of the Goncourts and a diversion for solitary evenings,
