French Novelist, Critic and Essayist
Marcel Proust, fully Valentin Louis Georges Eugène Marcel Proust
French Novelist, Critic and Essayist
With a great musician...his playing is that of so fine a pianist that one cannot even be certain whether the performer is a pianist at all, since...his playing is become so transparent, so full of what he is interpreting, that himself one no longer sees and he is nothing now but a window opening upon a great work of art.
True life life at last discovered and illuminated the only life therefore really lived that life is literature.
We do not succeed in changing things according to our desire, but gradually our desire changes. The situation that we hoped to change because it was intolerable becomes unimportant. We have not managed to surmount the obstacle, as we were absolutely determined to do, but life has taken us round it, led us past it, and then if we turn round to gaze at the remote past, we can barely catch sight of it, so imperceptible has it become.
We say that the hour of death cannot be forecast, but when we say this we imagine that hour as placed in an obscure and distant future. It never occurs to us that it has any connection with the day already begun or that death could arrive this same afternoon, this afternoon which is so certain and which has every hour filled in advance.
When he talked, there was a sort of mushy sound to his pronunciation that was charming because one sensed that it betrayed not so much an impediment in his speech as a quality of his soul, a sort of vestige of early childhood innocence that he had never lost. Each consonant he could not pronounce appeared to be another instance of a hardness of which he was incapable.
With one image he would make that beauty explode into me.
Truth and life are very difficult to fathom, and I retained of them, without really having got to know them, an impression in which sadness was perhaps actually eclipsed by exhaustion.
We don?t receive wisdom; we must discover it for ourselves after a journey that no one can take for us or spare us.
We say that we often see animals in our dreams, but we forget that almost always we are ourselves animals therein, deprived of that reasoning power which projects upon things the light of certainty; on the contrary we bring to bear on the spectacle of life only a dubious vision, extinguished anew every moment by oblivion, the former reality fading before that which follows it as one projection of a magic lantern fades before the next as we change the slide.
When I had found, one day, in a book by Bergotte, some joke about an old family servant... which was in principle what I had often said to my grandmother about Fran‡oise...then it was suddenly revealed to me that my own humble existence and the Realms of Truth were less widely separated than I had supposed, that at certain points they were actually in contact; and in my new-found confidence and joy I wept upon his printed page, as in the arms of a long-lost father.
With the girls, on the other hand, if the pleasure which I enjoyed was selfish, at least it was not based on the lie which seeks to make us believe that we are not irremediably alone and prevents us from admitting that, when we chat, it is no longer we who speak, that we are fashioning ourselves then in the likeness of other people and not of a self that differs from them.
Truth is a point of view about things.
We exist only by virtue of what we possess, we possess only what is really present to us, and many of our memories, our moods, our ideas sail away on a voyage of their own until they are lost to sight! Then we can no longer take them into account in the total which is our personality. But they know of secret paths by which to return to us.
We see orality permeating a seemingly more adult erotic situation. In one of the most impressive derivatives of the basic scene, we read of Albertine (or Albert?) who 'every night, rather late, before leaving me, slipped her tongue deep in my mouth, like everyday bread, like a nourishing aliment'.
When I saw any external object, my consciousness that I was seeing it would remain between me and it, enclosing it in a slender, incorporeal outline which prevented me from ever coming directly in contact with the material form; for it would volatilize itself in some way before I could touch it, just as an incandescent body which is moved towards something wet never actually touches moisture, since it is always preceded, itself, by a zone of evaporation.
Words present us with little pictures, clear and familiar, like those that are hung on the walls of schools to give children an example of what a workbench is, a bird, an anthill, things conceived of as similar to all others of the same sort. But names present a confused image of people--and of towns, which they accustom us to believe are individual, unique like people--an image which derives from them, from the brightness or darkness of their tone, the color with which it is painted uniformly, like one of those posters, entirely blue or entirely red, in which, because of the limitations of the process used or by a whim of the designer, not only the sky and the sea are blue or red, but the boats, the church, the people in the streets.
Until I saw Chardin's painting, I never realized how much beauty lay around me in my parents' house, in the half-cleared table, in the corner of a tablecloth left awry, in the knife beside the empty oyster shell.
We have nothing to fear and a great deal to learn from trees, that vigorous and pacific tribe which without stint produces strengthening essences for us, soothing balms, and in whose gracious company
We strive all the time to give our life its form, but we do so by copying willy-nilly, like a drawing, the features of the person that we are and not of the person we should like to be.
When nothing else subsists from the past, after the people are dead, after the things are broken and scattered...the smell and taste of things remain poised a long time, like souls...bearing resiliently, on tiny and almost impalpable drops of their essence, the immense edifice of memory
Works of art, like artesian wells, mount higher in proportion as the suffering has more deeply pierced the heart.
Very few people understand the purely subjective nature of the phenomenon that we call love, or how it creates, so to speak, a fresh, a third, a supplementary person, distinct from the person whom the world knows by the same name, a person most of whose constituent elements are derived from ourself, the lover.
We have such numerous interests in our lives that it is not uncommon, on a single occasion, for the foundations of a happiness that does not yet exist to be laid down alongside the intensification of a grief from which we are still suffering.
Well, how could a reader notice that? There may be something lacking there I admit. But heavens above, they ought to count themselves lucky! It's full enough of good things as it is, far more than they usually get.
When the mind has a tendency to dream, it is a mistake to keep dreams away from it, to ration its dreams. So long as you distract your mind from its dreams, it will not know them for what they are; you will always be being taken in by the appearance of things, because you will not have grasped their true nature. If a little dreaming is dangerous, the cure for it is not to dream less but to dream more, to dream all the time. One must have a thorough understanding of one