![In Search of Lost Time [volumes 1 to 7] - Marcel Proust](/cover_900356.jpg "In Search of Lost Time [volumes 1 to 7] - Marcel Proust")
her tone, “she ought to have put ‘Sir.’ In the same way, to end up, she ought to have thought of something like, ‘Suffer me, Sir,’ (at the very most, ‘Dear Sir’) to inform you of the sense of high esteem with which I have the honour to be your servant.’ Then again, Gisèle says that the choruses in Athalie are a novelty. She is forgetting Esther, and two tragedies that are not much read now but happen to have been analysed this year by the Professor himself, so that you need only mention them, since he’s got them on the brain, and you’re bound to pass. I mean Les Juives, by Robert Gamier, and Montchrestien’s L’Aman.” Andrée quoted these titles without managing quite to conceal a secret sense of benevolent superiority, which found expression in a smile, quite a delightful smile, for that matter. Albertine could contain herself no—longer. “Andrée, you really are a perfect marvel,” she cried. “You must write down those names for me. Just fancy, what luck it would be if I got on to that, even in the oral, I should bring them in at once and make a colossal impression.” But in the days that followed, every time that Albertine begged Andrée just to tell her again the names of those two plays so that she might write them down, her blue-stocking friend seemed most unfortunately to have forgotten them, and left her none the wiser. “And another thing,” Andrée went on with the faintest note in her voice of scorn for companions so much younger than herself, though she relished their admiration and attached to the manner in which she herself would have composed the essay a greater importance than she wanted us to think, “Sophocles in the Shades must be kept well-informed of all that goes on. He must know, therefore, that it was not before the general public but before the King’s Majesty and a few privileged courtiers that Athalie was first played. What Gisèle says in this connexion of the esteem of qualified judges is not at all bad, but she might have gone a little further. Sophocles, now that he is immortal, might quite well have the gift of prophecy and announce that, according to Voltaire, Athalie is to be the supreme achievement not of Racine merely but of the human mind.” Albertine was drinking in every word. Her eyes blazed. And it was with the utmost indignation that she rejected Rosemonde’s suggestion that they should begin to play. “And so,” Andrée concluded, in the same easy, detached tone, blending a faint sneer with a certain warmth of conviction, “if Gisèle had noted down properly, first of all, the general ideas that she was going to develop, it might perhaps have occurred to her to do what I myself should have done, point out what a difference there is between the religious inspiration of Sophocles’s choruses and Racine’s. I should have made Sophocles remark that if Racine’s choruses are instinct with religious feeling like those of the Greek Tragedians, the gods are not the same. The God of Joad has nothing in common with the god of Sophocles. And that brings us quite naturally, when we have finished developing the subject, to our conclusion: What does it matter if their beliefs are different? Sophocles would hesitate to insist upon such a point. He would be afraid of wounding Racine’s convictions, and so, slipping in a few appropriate words on his masters at Port-Royal, he prefers to congratulate his disciple on the loftiness of his poetic genius.”
Admiration and attention had so heated Albertine that great drops were rolling down her cheeks. Andrée preserved the unruffled calm of a female dandy. “It would not be a bad thing either to quote some of the opinions of famous critics,” she added, before they began their game. “Yes,” put in Albertine, “so I’ve been told. The best ones to quote, on the whole, are Sainte-Beuve and Merlet, aren’t they?” “Well, you’re not absolutely wrong,” Andrée told her, “Merlet and Sainte-Beuve are by no means bad. But you certainly ought to mention Deltour and Gascq-Desfossés.” She refused, however, despite Albertine’s entreaties, to write down these two unfamiliar names.
Meanwhile I had been thinking of the little page torn from a scribbling block which Albertine had handed me. “I love you,” she had written. And an hour later, as I scrambled down the paths which led back, a little too vertically for my liking, to Balbec, I said to myself that it was with her that I would have my romance.
The state of being indicated by the presence of all the signs by which we are accustomed to recognise that we are in love, such as the orders which I left in the hotel not to awaken me whoever might ask to see me, unless it were one or other of the girls, the beating of my heart while I waited for her (whichever of them it might be that I was expecting) and on those mornings my fury if I had not succeeded in finding a barber to shave me, and must appear with the disfigurement of a hairy chin before Albertine, Rosemonde or Andrée, no doubt this state, recurring indifferently at the thought of one or another, was as different from what we call love as is from human life the life of the zoophytes, where an existence, an individuality, if we may term it, is divided up among several organisms. But natural history teaches us that such an organization of animal life is indeed to be observed, and that our own life, provided only that we have outgrown the first phase, is no less positive as to the reality of states hitherto unsuspected by us, through which we have to pass, and can then abandon them altogether. Such was for me this state of love divided among several girls at once. Divided—say rather undivided, for more often than not what was so delicious to me, different from the rest of the world, what was beginning to become so precious to me that the hope of finding it again on the morrow was the greatest happiness in my life, was rather the whole of the group of girls, taken as they were all together on those afternoons on the cliffs, during those lifeless hours, upon that strip of grass on which were laid those forms, so exciting to my imagination, of Albertine, Rosemonde, Andrée; and that without my being able to say which of them it was that made those scenes so precious to me, which of them I was most anxious to love. At the start of a new love as at its ending, we are not exclusively attached to the object of that love, but rather the desire to be loving from which it will presently emerge (and, later on, the memory which it leaves behind) wanders voluptuously through a zone of interchangeable charms—simply natural charms, it may be, gratification of appetite, enjoyment of one’s surroundings—which are so far harmonised among themselves that it does not in the presence of any one of them feel itself out of place. Besides, as my perception of them was not yet dulled by familiarity, I had still the faculty of seeing them, that is to say of feeling a profound astonishment every time that I found myself in their presence. No doubt this astonishment is to some extent due to the fact that the other person on such occasions presents himself in a fresh aspect; but so great is the multiformity of each of us, so abundant the wealth of lines of face and body, lines so few of which leave any trace, once we have parted from the other person, on the arbitrary simplicity of our memory. As our mind has selected some peculiarity that had struck us, has isolated it, exaggerated it, making of a woman who has appeared to us tall, a sketch in which her figure is absurdly elongated, or of a woman who has seemed to be pink-cheeked and golden-haired a pure ‘Harmony in pink and gold,’ so, the moment that woman is once again standing before us, all the other forgotten qualities which restore the balance of that one remembered feature at once assail us, in their confused complexity, diminishing her height, paling her cheeks, and substituting for what we have come to her solely to seek other peculiarities which we remember now that we did notice the first time, and fail to understand how we can so far have forgotten to look out for again. We thought we remembered; it was a peahen, surely; we go to see it and find a peony. And this inevitable astonishment is not the only one; for, side by side with it comes another, born of the difference, not now between the stereotyped forms of memory and reality, but between the person whom we saw last time and him who appears to us to-day from another angle and shews us another aspect. The human face is indeed, like the face of the God of some Oriental theogony, a whole cluster of faces, crowded together but on different surfaces so that one does not see them all at once.
But to a great extent our astonishment springs from the other person’s presenting to us also a face that is the same as before. It would require so immense an effort to reconstruct everything that has been imparted to us by things other than ourselves—were it only the taste of a fruit—that no sooner is the impression received than we begin imperceptibly to descend the slope of memory and, without noticing anything, in a very short time, we have come a long way from what we actually felt. So that every fresh encounter is a sort of rectification, which brings us back to what we really did see. We have no longer any recollection of this, to such an extent does what we call remembering a person consist really in forgetting him. But so long
