The Proust Project, Day 34

Where this began
Day 33

In the Shadow of Young Girls in Flower (translated by James Grieve), pp. 59-70.

This was one of those hectic pre-holiday days (maybe because it's the shortest day of the year), so this post may be a little perfunctory.

Having vowed that January 1 would be the start of "a new friendship" with Gilberte, the narrator nevertheless realizes that there's no intrinsic reason why it should become one. "I was aware that this day did not know it was called New Year's Day, and that it was coming to an end in the twilight in a way that was not unknown to me." He recognizes instead "the reappearance of former times, with the never-ending unchangingness of their substance, their familiar dampness, their ignorant fluidity." In short, he's in the same mood as yesterday, when his father's remark -- "he's probably not going to change" -- cast him in such a funk. "Our desires interweave with each other; and in the confusion of existence, it is seldom that a joy is promptly paired with the desire that longed for it."

Moreover, in Gilberte's absence, he is tormented by the realization that he "could not even remember her face." But then Gilberte returns to the park, and "Each time she came, she left me with new things to desire for the following day." And then Gilberte taunts him with the information that her parents "don't fancy you very much, you know!" He writes Swann a sixteen-page letter assuring him of his sincerity and trustworthiness and asks Gilberte to take it to him. But the result is devastating: Gilberte informs him that her father didn't believe what he had written.

The obvious question here is, since the narrator has given up superimposing his mature voice on that of the young narrator, whether Gilberte is telling the truth. Did she even give her father the letter? Is she tormenting the narrator out of some perverse impulse to power? But Proust has stopped tipping his hand, at least for now.

He and Gilberte are interrupted by Françoise, who wants him to accompany her to the "green-trellised pavilion" that houses the restrooms. While he's there, he recognizes, or perhaps imagines, the attentions of the woman who tends the restroom as having a sexual overtone. When he returns, Gilberte offers to return the letter to him, but, "attracted by her body," he improvises a game in which she will try to keep the letter from him:

I had her pinned between my legs as though she were the bole of a little tree I was trying to climb. In the middle of all my exertions, without my breathing being quickened much more than it already was by a muscular exercise and the heat of the playful moment, like few drops of sweat produced by the effort, I shed my pleasure, before I even had time to be aware of it.

This bit of "pleasure-shedding" turns into a somewhat unsavory version of the madeleine scene: the experience links itself with "the cool, almost sooty air of the little trellised booth," which reminds him of the "dampish redolence" of his uncle Adolphe's room at Combray, the one in which he masturbated, leaving "a natural trail like that left by a snail." He is overcome with a sense of shame because "I had experienced a moment of genuine rapture, not from some idea of importance, but from a musty smell."

As this section ends, he has fallen ill. "Neurotics ... are so used to detecting disorders in themselves, which they later come to realize were quite harmless, that they reach the stage of paying no attention to any of them." And even when he is not really ill, he masters the art of faking it because one of the medicines the doctor prescribes for him is "a drink of beer, champagne, or brandy" whenever he feels an attack coming on.

The Proust Project, Day 33

Where this began
Day 32

In the Shadow of Young Girls in Flower (translated by James Grieve), pp. 44-59.

M. de Norpois continues to hold sway over the narrator and his parents. When the narrator asks about Swann and the Comte de Paris, de Norpois recalls an occasion when the Comte saw Odette:

Now, of course, no one in his entourage saw fit to ask His Highness what he thought of her. ... But when the vagaries of conversation happened subsequently to bring up her name, His Highness appeared not averse to bring up her name, by means of certain signs, you understand, which, though they may verge on the imperceptible, are withal quite unambiguous, that his impression of the lady had been far from, in a word, unfavorable.

The "in a word" is a nice touch. No word in de Norpois' discourse ever goes it alone, always being accompanied by qualifiers and litotic undercuttings. No word, that is, until we get to the question of the narrator's cherished writer Bergotte. De Norpois dismisses the narrator's favorite as "a flute-player," a writer without substance whose "works are so flaccid that one can never locate in them anything one could call a framework." Worse still, he uses the narrator's enthusiasm for Bergotte to issue a harsh critique of the narrator's own writing -- "that little thing you showed me before dinner, about which, by the way, the less said the better." He dismisses it as, using the narrator's own words (which the narrator intended as a show of modesty), "mere childish scribbling." Returning to Bergotte, de Norpois comments,

"Nowadays, a chap sets off a few verbal fireworks and everyone acclaims him as a genius.... Believe you me, he's the perfect illustration of the idea of that clever fellow who once said that he only acquaintance one should have with writers is through their books."

Here the general reader can be grateful for Grieve's note that the "clever fellow" is Proust himself, in his essay "Contre Sainte-Beuve." (Grieve is not as thorough in annotating this volume, I think, as Davis was in hers, but here he gives us some essential information.)

The narrator is, of course, "devastated": "I became once more acutely aware of my own intellectual poverty and of the fact that I had no gift for writing." Feeling "deflated and dumbfounded," he changes the subject by asking if Gilberte was at the dinner where de Norpois met Odette. De Norpois recalls "A young lady of fourteen or fifteen" -- the first more or less precise indication we've had of the age of Gilberte (and the narrator) at this point in the novel. And so the narrator presses de Norpois to speak about him to Gilberte and Odette, and when de Norpois agrees, "I was suddenly so overcome by tender feelings for this important man, who was going to exercise on my behalf the great prestige he must enjoy in the eyes of Mme Swann, that I had to retrain myself from kissing his soft hands." But his enthusiasm "was so chilling in its effect that ... I caught a glimpse of hesitancy and annoyance flitting across the ambassador's face." He has gone too far with this overinflated egotist.

Still, despite the harshness of de Norpois' criticism of his work, and of his idol Bergotte, the narrator is so awed by the man's reputation that he assumes that his own opinions are worthless. His sense of his own inadequacy is reinforced when his father shows him a newspaper review of La Berma's performance, which accords with de Norpois' conventional opinion of the actress. The narrator learns that the newspaper critic regards the performance he has seen, and been disappointed by, as "a triumph than which, in the whole course of her illustrious career, she has rarely had a greater," that it was "a veritable milestone in the theater," and that "the best-qualified judges are as one" in acclaiming it "as the finest, highest achievement in the realm of art that any of us have been privileged to witness in this day and age." Too naive to recognize the critique for what it is -- vapid and banal -- the narrator is all too ready to convince himself that he agrees with it.

Moreover, he now begins to have serious doubts about his vocation as a writer, which his father has endorsed for the wrong reasons. His father's statement -- "He's not a child anymore, he knows that he likes, he's probably not going to change, he's old enough to know what'll make him happy in life" -- depresses him. It implies that "the years to come would not be very different from the years already elapsed." And more important for the theme of the novel is the implication "that I did not live outside Time but was subject to its laws." His father's statement "suddenly showed me myself living inside Time; and he filled me with sadness."

The Proust Project, Day 32

Where this began
Day 31

In the Shadow of Young Girls in Flower (translated by James Grieve), pp. 30-44.

Proust pulls several narrative tricks in this section.

First, he wears us down with several pages of the ineffably boring M. de Norpois, about whom the narrator comments, "The only deduction I could draw was that, in politics, it was a mark of superiority rather than inferiority to repeat what everybody else thought." And then, just as we are tempted to begin to skim, he allows M. de Norpois to deliver a small bombshell at the dinner table:

"I dined [last night] at the house of a lady of whom you may have heard -- the beautiful Mme Swann."

My mother all but trembled. ... However, she was curious to know what sort of people went to the Swanns', and inquired of M. de Norpois about his fellow guests.

"Well, now .... to tell you the truth ... I must say it's a house at which most of the guests appear to be ... gentlemen. There were certainly several married men present -- but their wives were all indisposed yesterday evening, and had been unable to go," the ambassador replied, with a crafty glance masked by joviality, his eyes full of a demure discretion that pretended to moderate their mischievousness while making it more obvious.

And he goes on in this vein, remarking on Swann's fallen state in society, until he finally delivers the second narrative coup, answering the question that has lurked in the reader's mind about why Swann has married Odette when the last time we saw him, he was convinced he no longer loved or was obsessed by her:

"And yet, you know, I don't think the man's unhappy. It's true that the woman stooped to some pretty nasty things in the years before the marriage, some quite unsavory blackmail -- if he ever declined to satisfy her something or other, she just forbade him access to the child."

And having let us know that Odette had conceived a child -- Gilberte, the reader assumes at this point -- who was used to bind Swann to her permanently, Proust does something that would be considered a flaw in most contemporary fiction writing: He superimposes the mature narrator on the point of view of the young narrator. It's as if this section of the novel is being narrated by two voices. It's the mature narrator who takes over to tell us how Odette manipulated Swann into a marriage which "came as a surprise to almost everybody, which is a surprise." It is the mature narrator, after all who is privy to the information that "when it occurred to [Swann] that he might one day marry Odette, there was only one person in society whose opinion he would have cared for, the Duchesse de Guermantes." And that the Duchesse, whom we saw through the young narrator's eyes earlier in the novel , is someone we have also seen in the "Swann in Love" section, when she was the Princesse des Laumes.

And here we get another narrative trick: imparting information to us about what is to come in the novel, a kind of "spoiler" that might even be considered a narrative flaw in the hands of a lesser writer.

[I]t can be said that the purpose of Swann's marrying Gilberte was to introduce her and Gilberte, even though no one else might be present, even though no one else might ever know of it, to the Duchesse de Guermantes. As will be seen, the fulfillment of this social ambition, the only one he had ever harbored for his wife and child, was the very one that was to be denied him; and the veto preventing it was to be so absolute that Swann was to die without imagining that the Duchesse would ever meet them. It will be seen too that the Duchesse de Guermantes did come, after Swann's death, to be acquainted with Odette and Gilberte.

So why does Proust drop these as-will-be-seens on us, including the death of a major character, thereby eliminating at least one element of narrative suspense from his novel? We can only assume that Proust has bigger things in mind than mere plot.

Curriculum

First period: That's a Chair, This Is Your Scratching Post

Nap

Second period: Where Are My Socks? They Were Here on the Bed a Moment Ago

Nap

Third period: There's Nothing in That Closet/Cabinet/Drawer/Package for You

Nap

Fourth period: Get Down From There! Now!

Nap

Fifth period: No. No! NO! NOOOOO!

Nap

Sixth period: Awww, That's So Cute

The Proust Project, Day 31

Where this began
Day 30

In the Shadow of Young Girls in Flower (translated by James Grieve), pp. 3-30.

The narrator's comment in Swann's Way about "the mystery of personality" seems to apply particularly well here at the opening of the second volume, in which we learn that the foolish Dr. Cottard we met at the Verdurins in the first volume has now become "a scientific man of some renown," and that Swann is now regarded as "nothing but a vulgar swank," at least by the narrator's father. "This statement of my father's may require a few words of explanation," the narrator interjects, "as there may be some who remember Cottard as a mediocrity and Swann as the soul of discretion."

Both men have reinvented themselves -- in Swann's case an adaptation to "a new position for himself, ... far below the one he had formerly occupied, but suited to the wife with whom he must now share it." The narrator notes that there is some anti-Semitism in the current view of the sudden vulgarity of "this man (who in former days, and even now, could show exquisite tact in not advertising an invitation to Twickenham or Buckingham Palace) braying out the fact that the wife of an undersecretary's undersecretary had returned Mme. Swann's visit."

In his gushing ways with these new friends and his boastful citing of their exploits, Swann was like the great artist who takes up cooking or gardening late in life and who, though modest enough to be untroubled by criticism of his masterpieces, cannot bear to hear faint praise of his recipes or flower beds.

As for Cottard, now "Professor Cottard," "it is possible to be unread, and to like making silly puns, while having a special gift that outweighs any general culture, such as the gift of the great strategist or the great clinician." And Cottard has apparently emerged as a gifted diagnostician. The narrator observes that "the nature we display in the second part of our life may not always be, though it often is, a growth from or a stunting of our first nature, an exaggeration or attenuation of it. It is at times an inversion of it, a turning inside out." So Cottard has shaved his beard and mustache and cultivated a cold and taciturn manner -- except when he's with the "little circle" at the Verdurins "where he instinctively became himself again."

These transformations of personality are, I think, central to the novel, which is not only a search for lost time but often also a search for the lost self that time has carried away. In his introduction, Grieve notes how often Proust switches point of view from the narrator as a young man to the narrator in his later years, sometimes to the confusion of the reader. And that Proust doesn't specify the narrator's age, so that we're never quite sure how old he is at any given time in his remembrances of things past. I think this is key to Proust's examination of memory. We assume that the narrator is a mature man, telling us about what it was like to be a child anxiously awaiting his mother's goodnight kiss, but in telling us the story he becomes that child again, giving us more than any mere scouring of our memories could really supply. We are what we create ourselves to be.

But we are not the sole creators of ourselves. One theme apparent in the opening pages of this volume is the influence of others, not only family and friends, but of society as a whole in shaping the person. Both Swann and Cottard are who are they have become because they are responding to the expectations of others. And the pompous Marquis de Norpois, the narrator's father's new friend, holds sway over the narrator's parents.

By strengthening in my father's mind the high opinion he had of M. de Norpois, and thereby also fostering in him a higher opinion of himself, she felt she was fulfilling the wifely duty of making life sweet for her husband, just as she did when she saw to the excellence of the cooking and the quietness of the servants.

M. de Norpois also plays a key role in fulfilling the narrator's desire to see the actress La Berma. Although the doctor has forbidden him from going to the theater, fearing that the overexcitement would be hazardous to his health, the narrator, under the influence of the praise of the writer Bergotte (in the little book given him by Gilberte), continues to plead for the opportunity: "By day and night my mind was haunted by the knowledge of the divine Beauty which her acting would be bound to reveal." And it is de Norpois who sanctions his going to see La Berma perform in two acts from Phèdre.

But the experience is disillusioning, not at all the transport that the narrator has been expecting: "I sat there and listened to her as I might have read Phèdre, or as though at that moment Phèdre herself was saying the things I was hearing, without La Berma's talent seeming to add anything at all to them.... [S]he blurred the whole speech into a toneless recitative, blunting the keen edges of contrasts which any semi-competent performer, even a girl in a school production, could hardly have failed to bring out." When the applause breaks out, he is momentarily lifted out of his disappointment:

I let the cheap wine of this popular enthusiasm go to my head. Even so, once the curtain had fallen, I was aware of being disappointed that the enjoyment I had longed for had not been greater, but also of wishing that, such as it was, it would continue, and that I was not obliged to leave behind me forever, as I walked out of the auditorium, this life of the theater in which I had just shared for a few hours.

We've seen the narrator disappointed before: in his first sight of the Duchesse de Guermantes. But he conquered that disappointment quickly, overcoming the ordinariness of her appearance by dwelling on the cultural and historical significance of the family she represents. Now he hopes that de Norpois will illuminate him on the excellence of La Berma. But he receives only platitudes and received opinions from the Marquis:

"I have never seen Mme. Berma in Phèdre, but I have been told she is outstanding. It must, of course, have been quite a thrill for you.

M. de Norpois, being incomparably cleverer than I was, must be in possession of the truth that I had been unable to derive from La Berma's acting.... Concentrating my whole attention on my impressions, which were hopelessly confused, with no thought of shining or finding favor, but in the hope of gaining from him the truth I sought, I made no effort to substitute set phrases for the words that failed me, I made no sense, and eventually, so as to have him say straight out what was so admirable about La Berma, I owned up to my disappointment.

"What's that?" exclaimed my father, appalled at the poor impression my ineptness might make on M. de Norpois. "How can you say you didn't enjoy it? Your grandmother told us you didn'[t miss a word, that you just stared and stared at her, that nobody else in the whole auditorium lapped it up the way you did!"

"Well, yes, I was listening as hard as I could, to see what was so great about her. I mean, she's very good..."

"Well, then, if she's very good, what more do you want?"

And after de Norpois delivers himself of some more inanities about the reputation of La Berma, the narrator finally concludes, "He's right, you know! ... What a lovely voice, what simple costumes! How clever of her to think of doing Phèdre! Of course I'm not disappointed!"

On the one hand we have here an amusing but fairly commonplace bit of satire on bourgeois received opinions and their potentially deleterious effect on the bright and inquisitive mind of an original and aspiring artist. But what makes this more than just a comic moment is the way the experience of disillusionment works on the narrator. Just a few pages earlier, his father has touted de Norpois as an authority on becoming a published writer. We have learned that the narrator inherited Aunt Léonie's estate, so he has the wherewithal to make his way in whatever career he chooses. So his father urges him to show de Norpois something he has written. What he produces is the piece about the three steeples that he wrote on their ride back from a walk on the Guermantes way. "I had written it in a state of exhilaration which I felt it must convey to anyone who read it. But my exhilaration must have failed to touch M. de Norpois; and he handed it back to me without a word."

What we have here is failure to communicate.

The Proust Project, Day 30

Where this began
Day 29

Swann's Way (translated by Lydia Davis), pp. 423-444.

The narrator develops an obsession with Gilberte's parents. He knows that Swann has "quarreled" with his family and that they don't accept Mme. Swann into their circle of friends, but this hardly matters to him: "for me Swann was preeminently her father, and no longer Swann of Combray." But now he must prepare for a separation from Gilberte, who prattles on about the various things that will be occupying her in the coming days, including the fact that they may be leaving Paris for the holidays. He is devastated by the way "in which Gilberte had exploded with joy at the prospect of not coming back to the Champs-Élysées for such a long time."

Like Swann suffering Odette's absence, he relishes his sorrow, clinging to the gifts she has given him: a book by Bergotte and an agate marble. He wallows in "the perpetual concern I felt to show myself to advantage in her eyes, because of which I tried to persuade my mother to buy Françoise a waterproof coat and a hat with a blue ostrich feather" like Gilberte's governess. And although he realizes "that in my friendship with Gilberte, I was the only one who loved," he is determined to "ask Gilberte to give up our old friendship and lay the foundations of a new one."

His parents, by not indulging his infatuation with the Swanns -- he pulls at his nose and rubs his eyes in an effort to make himself look like Swann, causing his father to say, "The child has no sense, he'll make himself quite hideous" -- are a source of constant frustration, and sometimes of disillusionment, as when his mother identifies the old lady who is always in the park as Mme. Blatin, and as "horrible," "rather mad," "frightfully vulgar, and a troublemaker into the bargain." On the other hand, when his mother reports that she ran into Swann at the umbrella counter in Trois Quartiers and that he mentioned that the narrator played with his daughter, he is stunned "with the prodigious fact that I existed in Swann's mind."

Of the household, only Françoise is a source of any consolation, as when she reports what the governess has told her about Mme. Swann, that "she puts a good deal of trust in her medals. You won't find her going off on a trip if she's heard an owl hooting, or something ticking like a clock inside the wall, or if she's seen a cat at midnight, or if the wood furnniture creaks. Oh, yes! She's a person of great faith!" And so he's able to persuade Françoise to take him on walks in the Swanns' neighborhood and in the Bois de Boulogne.

It's in the Bois that he sees Mme. Swann in her element, among the "famous Beauties" who rode and strolled there. And here the narrator begins his shift from the boy's point of view to his current one, reconstructing the conversations that might have been had by on-lookers, which the boy simply perceived as "the indistinct murmur of celebrity":

"Do you know who that is? Mme. Swann! That means nothing to you? Odette de Crécy?"

"Odette de Crécy? Why in fact I was just wondering. ... Those sad eyes. ... But you know she can't be as young as she once was! I remember I slept with her the day MacMahon resigned."

"You'd better not remind her of it. She's now Mme. Swann, wife of a gentleman in the Jockey Club who's a friend of the Prince of Wales. But she's still superb."

"Yes, but if only you'd known her then -- how pretty she was. She lived in a very strange little house filled with Chinese bric-a-brac. I remember we were bothered by the newsboys shouting outside, in the end she made me get up."

And so the identity of Mme. Swann, which the reader has probably already surmised, is confirmed, along with the knowledge that Gilberte is the daughter of a "woman whose reputation for beauty, improper behavior, and elegance was universal." (The narrator has already hinted that, "as will be seen," his parents "did not like my playing with her.")

In the final section of the novel, the narrator shifts into his present-day voice, an extended and nostalgic reverie on the beauty -- and the Beauties -- of the Bois de Boulogne: "My consolation is to think about the women I once knew, now that there is no more elegance." The motorcar has replaced the carriages, and the women who stroll there are "ordinary women, in whose elegance I had no faith and whose dress seemed to me unimportant.... Nature was resuming its rule over the Bois, from which the idea that it was the Elysian Garden of Women had vanished."

And so the novel concludes with a kind of realization about the search for lost time:

what a contradiction it is to search in reality for memory's pictures, which would never have the charm that comes to them from memory itself and from not being perceived by the senses. The reality I had known no longer existed.... The places we have known do not belong solely to the world of space in which we situate them for our greater convenience. They were only a thin slice among contiguous impressions whch formed our life at that time; the memory of a certain image is but regret for a certain moment; and houses, roads, avenues are as fleeting, alas, as the years.

The Proust Project, Day 29

Where this began
Day 28

Swann's Way (translated by Lydia Davis), pp. 410-423.

What's in a name? Quite a lot if that name is Gilberte, which the narrator hears in the park on the Champs-Élysées. He has not seen Mlle. Swann since the day of the "indecent gesture," yet his infatuation with her has simmered and now comes to a furious boil. Even the fact that her governess wears "a blue ostrich feather" becomes part of his obsession, to the detriment of his own governess, Françoise, whom he now "noticed for the first time with irritation that she had a vulgar way of speaking, and alas, no blue feather in her hat." He is jealous of those who keep her company, including "a lady of a certain age" who is always in the park, whom Gilberte greeted every day and who "asked Gilberte for news of 'her love of a mother.'"

But he is invited to play with Gilberte and her friends, and soon becomes a regular part of their group. The day on which he fears that a snowfall will prevent his seeing her, and which in fact delays the arrival of her friends, leaving the narrator alone for a while with Gilberte "caused my love to progress, for it was like a first sorrow that she had shared with me." And when the friends arrive, "That day which I had so dreaded was in fact, one of the only ones on which I was not too unhappy."

We're beginning to see the parallels between the narrator/Gilberte and Swann/Odette. (I keep leaving the final e off of "Gilberte," and if I fail to correct it, don't assume that I'm one of those who insist that Gilberte really is a Gilbert, or Albertine an Albert.) But Swann and Odette, we are reminded, were adults. What we have here is a case of puppy love (between some rather precocious puppies, to be sure). As the narrator says,

I still believed that Love really existed outside of us; that, allowing us at the very most to remove obstacles in our way, it offered its joys in an order which we were not free to alter; it seemed to me that if I had, on my own initiative, substituted for the sweetness of confession the simulation of indifference, I would not only have deprived myself of one of the joys of which I had dreamed most often but that I would have fabricated for myself in my own way a love that was artificial and without value, without any connection to the real one, whose mysterious and preexisting paths I would have had to forgo following.

Or as Lorenz Hart put it: "Falling in love with Love is falling for make-believe."

When Gilberte finally speaks the narrator's given name (which he coyly keeps from us), the effect is startlingly sensual. He had "the impression that I had been held for a moment in her mouth, I myself, naked, ... her lips ... seemed to strip me, undress me." What's in a name, indeed.

The friendship with Gilberte also gives the narrator a new perspective on Swann, hitherto not much more to him than the man who came to dinner.

For he and Mme. Swann -- because their daughter lived in their home, because her studies, her games, her friendships depended on them -- contained for me, like Gilberte, perhaps even more than Gilberte, as was proper for gods all-powerful with respect to her, in whom it must have had its source, an inaccessible strangeness, a painful charm.

The Proust Project, Day 28

Where this began
Day 27

Swann's Way (translated by Lydia Davis), pp. 399-410.

The section called "Place-Names: The Name" begins with ... a meditation on place names. Well, actually, it begins with the narrator thinking about the Grand-Hôtel de la Plage, at Balbec, and his

desire to see a storm at sea, not so much because it would be a beautiful spectacle as because it would be a moment of nature's real life unveiled; or rather for me there were not beautiful spectacles except the ones which I knew were not artificially contrived for my pleasure, but were necessary, unchangeable -- the beauties of landscapes or of great art.

He's in search of "those things which I believed to be more real than myself," things "most opposite to the mechanical productions of men." A pretty good definition of the Romantic temperament.

Place names embody what he's searching for:

Even in spring, finding the name of Balbec in a book was enough to awaken in me the desire for storms and Norman Gothic; even on a stormy day the name of Florence and Venice gave me a desire for the sun, for lilies, for the Palace of the Doges, and for Saint-Mary-of-the-Flowers.

Names have a synaesthetic effect on the narrator:

Bayeux, so lofty in its noble red-tinged lace, its summit illuminated by the old gold of its last syllable; Vitré, whose acute accent barred its ancient glass with black wood lozenges; gentle Lamballe, whose whiteness goes from eggshell yellow to pearl gray; Coutances, a Norman cathedral, which its final, fat, yellowing diphthong crowns with a tower of butter....

... and so on. It's a passage that links Proust with Rimbaud, who colorized the vowel sounds in "Voyelles":

A noir, E blanc, I rouge, U vert, O bleu: voyelles,
Je dirai quelque jour vos naissances latentes.
A, noir corset velu des mouches éclatantes
Qui bombinent autour des puanteurs cruelles,

Golfes d'ombre ; E, candeurs des vapeurs et des tentes,
Lances des glaciers fiers, rois blancs, frissons d'ombelles;
I, pourpres, sang craché, rire des lèvres belles
Dans la colère ou les ivresses pénitentes ;

U, cycles, vibrements divins des mers virides,
Paix des pâtis semés d'animaux, paix des rides
Que l'alchimie imprime aux grands fronts studieux;

O, suprême Clairon plein de strideurs étranges,
Silences traversés des Mondes et des Anges:
-- O, l'Oméga, rayon violet de Ses Yeux !

Unfortunately, when the narrator's parents give him the opportunity to travel, to visit Florence and Venice, which he imagines in terms derived from Ruskin (whom Proust translated), the excited youth falls ill and, on the doctor's advice not only has to cancel the trip but also miss a consolation prize: going "to the theater to hear La Berma; the sublime artist whom Bergotte had regarded as a genius."

The Proust Project, Day 27

Where this began
Day 26

Swann's Way (translated by Lydia Davis), pp. 369-396.

A poison-pen letter arrives, accusing Odette of numerous affairs, including some with women, and even frequenting "houses of ill-repute." But Swann is not outraged so much by the accusation as he is by the anonymity of the letter-writer, and begins to compile a list of suspects, starting with M. de Charlus, M. des Laumes, and M. d'Orsan, and eventually including his coachman Rémi, the writer Bergotte, the Verdurins and their friend the painter, and even the narrator's grandfather. But he remains unconvinced that any of these is guilty.

He is initially less concerned by the charges included in the letter because "Swann, like many people, had a lazy mind and lacked the faculty of invention." That is, he tended to assume that people were the same in moments when he wasn't in their company as they were when he was. But the allegations gradually nag at him, especially the ones "that she went to procuresses, took part in orgies with other women, that she led the dissolute life of the most abject of creatures." His suspicions, reinforced by some suddenly surfacing memories of things she had done or said, eventually lead him to question Odette, though he tries to find ways at first of introducing the subject casually or obliquely.

"Odette," he said to her, "my dear, I know I'm being hateful, but there are a few things I must ask you. Do you remeber the idea I had about you and Mme. Verdurin? Tell me, was it true, with her or with anyone else?"

She shook her head while pursing her lips.... When he saw Odette make this sign to him that it was untrue, Swann understood that it was perhaps true.

And he tries to make her swear on her medal of Our Lady of Laghet that she has never been sexually involved with other women, because he knows she's pious enough not to bear false witness on the medal. Hesitating, she finally blurts out that she may have done so "a very long time ago, without realizing what I was doing, maybe two or three times." And under Swann's scrutiny, she recalls an incident in the Bois de Boulogne involving a woman she says she rejected.

Swann is startled by his own homophobia: "He marveled that acts which he had always judged so lightly, so cheerfully, had now become as serious as a disease from which one may die." And in the days that followed, he finds more fuel for his disillusionment with Odette. When he asks her "if she had ever had any dealings with a procuress," she replies, "'Oh, no! Not that they don't pester me,'... revealing by her smile a self-satisfied vanity which she no longer noticed could not seem justified to Swann." She also admits that she had lied to him once, not admitting that she had been to Forcheville's because he "asked me to come and look at his engravings." (I almost wrote "etchings.") But Swann doesn't break things off with Odette, and her presence "continued to sow Swann's heart with affection and suspicion by turns." Though they continue to "make cattleya," Swann visits brothels, thinking he may find her name mentioned there.

They are also separated by Odette's frequent voyages with the Verdurins. "Each time she had been gone for a little while, Swann felt he was beginning to separate from her, but as if this mental distance were proportional to the physical distance, as soon as he knew Odette was back he could not rest without seeing her." But Swann discovers that, "corresponding to the weakening of his love there was a simultaneous weakening of his desire to remain in love." And after a dream, a nightmare in which he symbolically yields Odette to Forcheville, he decides to leave Paris for Combray, "having learned that Mme. de Cambremer -- Mlle. Legrandin -- was spending a few days there."

He now decides that he's cured.

And with the intermittent coarseness that reappeared in him as soon as he was no longer unhappy and the level of his morality dropped accordingly, he exclaimed to himself: "To think that I wasted years of my life, that I wanted to die, that I felt my deepest love, for a woman who did not appeal to me, who was not my type!"

The Proust Project, Day 26

Where this began
Day 25

Swann's Way (translated by Lydia Davis), pp. 356-369.

Swann is attempting to leave the party when the musicians begin a familiar piece:

And before Swann had time to understand, and say to himself: "It's the litte phrase from the sonata by Vinteuil; don't listen!" all his memories of the time when Odette was in love with him, which he had managed until now to keep out of sight in the deepest part of himself, deceived by this sudden beam of light from the time of love which they believed had returned, had awoken and flown swiftly back up to sing madly to him, with no pity for his present misfortune, the forgotten refrains of happiness.

("Nessun maggior dolore / Che ricordarsi del tempo felice / Nella miseria.")

And so Proust (or "the narrator") launches into an examination of the nature of music, as an entity with a life of its own (just as Swann's memories have an autonomous life -- they believe that "the time of love ... had returned"). Swann feels that "the little phrase was addressing him, was talking to him in a low voice about Odette. For he no longer felt, as he once had, that the little phrase did not know him and Odette." In Swann's/Proust's/the narrator's formulation music "belonged to an order of supernatural creatures whom we have never seen." The composer (and the performer) is an "explorer of the invisible" who captures the creature.

The concert is also a turning point. "From this evening on, Swann realized that the feeling Odette had had for him would never return, that his hopes of happiness would never be realized now." But although he has resumed his study of Vermeer, and needs to travel to see some of the paintings he has under consideration, he can't bring himself to leave Paris.

One day he dreamed he was leaving for a year; leaning out the door of the railway car toward a young man on the platform who was saying good-bye to him, weeping. Swann tried to convince him to leave with him. The train began to move, his anxiety woke him, he remembered that he was not leaving, that he would see Odette that evening, the next day, and almost every day after.

It's unclear here what significance needs to be attached to the fact that in the dream, the surrogate for Odette is a young man.

He has become so desperately entrapped in his infatuation that he wishes for her accidental death, likening himself to Mohammed II (the subject of a favorite painting by Bellini, whom Swann once found the narrator's friend Bloch resembled), "who, realizing that he had fallen madly in love with one of his wives, stabbed her in order ... to recover his independence of mind." Murder doesn't yet seem to be in Swann's repertoire, but "the dread ... of causing her to hate him, had vanished now that he had lost all hope of ever being loved by her."