From its own wreck the thing it contemplates;

and it is this attitude towards life, this creative contemplation of experience, which to my mind gives its deeper significance to Proust’s work, and lends an importance and depth of meaning to the youthful and rather shabby love-affairs, the fashionable wickednesses and worldlinesses, which form so large a part of his subject-matter. What was Proust’s ultimate “intention” in writing his great novel, the intention which, when fulfilled, will give, we must hope, a final and satisfying form to this immense creation, must remain a matter of conjecture until the complete work is before us. There is, however, much to indicate that when he retired from the world to sift and analyse his boyish experience, it was with the purpose to disengage from that flux of life and time the meanings implicit in it—to recover, to develop in the dark room of consciousness, and re-create the ultimate realities and ideals which experience reveals, though it never really attains them. The title of the whole work, A la Recherche du Temps Perdu, and that of its ultimate and yet unpublished volume, Le Temps retrouvé, seem indeed to suggest some such purpose.

That there is something irremediably wrong in the present moment; that the true reality is the creation of desire and memory, and is most present in hope, in recollection and absence, but never in immediate experience; that we kill our souls by living, and that it is in solitude, in illness, or at the approach of death that we most truly possess them—it is on these themes, which are repeated with deeper harmonies and richer modulations throughout his later work, that the young Proust harps in this divinely fresh overture to the masterpiece which was to follow. Surely, one thinks, a book of such exquisite promise and youthful achievement, heralded as it was to the world by Anatole France’s preface, and talked of, no doubt, in all the Paris salons, must have produced a remarkable impression on people so cultivated as the Parisians, so alert to discover and appreciate literary merit. However, as we know, it produced no such impression; in spite of Anatole France’s praise, no one seems to have had any real notion of its importance, or to have guessed that a new genius had appeared, a new star had arisen. And when, after publishing this large, shiny, unappreciated volume, its author disappeared from the world into a solitary sick-room, he seems to have been thought of (as far as he was thought of at all) as a pretentious, affected boy who had been made a pet of for a while in worldly salons—a little dilettante with his head turned, who had gone up like a rocket in the skies of fashion, but would be heard of no more in the world of letters, where anyhow this pretty coruscation had attracted almost no attention. This seems to have been the impression of even those among Proust’s personal friends who were themselves writers, and who, on re-reading Les Plaisirs et les Jours, are now amazed, as M. Gide confesses, that they should have been so blind to its beauty when they first read it—that in the first eagle-flights of this young genius they had seen little more than the insignificant flutterings of a gay butterfly of fashion.

When we read the lives of the great artists of the past, we are apt to be amazed at the indifference of their contemporaries to their early achievements; and we cannot believe that we too, in the same circumstances, would have been equally undiscerning. But here, happening in our own days, is an obvious instance of this contemporary blindness; and I, at least, as I read the little Proust’s first volume, and see spread so clearly before me, as in the light of a beautiful dawn, the world of his creation, try to make myself believe that if the noontide of his genius had never illuminated that world and made it familiar to me, that if Proust had never lived to write Swann and the Guermantes, I too should be as blind as were his friends to its beauty and merits. I tell myself this, and yet, with the book before me, I cannot believe it. But then I remind myself of what I already know very well, that new dawns in art are apt to appear on just the horizons towards which we are not looking, and to illuminate landscapes of which we have as yet not the slightest knowledge; and that it is only afterwards, when the master’s whole œuvre is familiar to us, that we can see the real merits of his early attempts, and read back into them the meaning and value of his complete and acknowledged achievement. The moral of all this (and it is pleasant to end, if possible, one’s reflections with a moral)—the moral is that we do not know, we cannot know, what those disquieting persons, our younger contemporaries, are really up to; that we must “look to the end,” as the old saying has it; and that in the first attempts of other youths who, like Proust, were endowed with genius, but whose gifts, unlike his, came to no fruition, we possess no doubt early masterpieces of which we can have no conception, worlds of the imagination which actually exist and shine in the light of an exquisite dawn before our eyes, although our eyes cannot see them.

LOGAN PEARSALL SMITH.

VI
A READER’S GRATITUDE

A FRENCH uncle of mine once took me as a boy to visit a distinguished mathematician who lived with his melons and his roses on the outskirts of a small town in the Lyonnais. On the way thither I was admonished not to interrupt with foolish questions what I was given to suppose would be an important inquiry by two learned men into the origin of the universe: Monsieur X—— would never have me inside his house again if I could not behave myself better than most of the children of the present day. We waited for our host in a large musty room of subdued sunlight, where not even a fly buzzed and where the only hint of life was the shadow of a passing bird across the yellow blind or the quivering filigree of a reflected bough. Presently Monsieur X—— came in to greet us; but without showing any inclination to discuss philosophy with my uncle he led us to some chairs and a table set out upon the sparse turf under what I think must have been a big catalpa tree. Here he heaped my plate with cakes and fruit and sweets, insisted that I was old enough to drink two glasses of a cordial, and, when he did begin to talk, talked most entertainingly about his neighbours.

Gratitude may be childhood’s greatest embarrassment; not merely the verbal expression of thanks, but the emotion itself, which the more deeply it is felt, the more miserably it is involved in shame. As we grow older, we learn what is called politeness; and although we are still capable of being confused by and of actually suffering from excess of gratitude, we have learnt to cover that speechless confusion and pain with a glib phrase like ‘I do not know how to thank you.’ But the child’s silence does convey the depth of his gratitude; and even as I hung my head in silent embarrassment when I was invited to thank Monsieur X—— for his kindness, so now when I ought to be thanking Marcel Proust, against interrupting whose discourse I have been as it were warned by the respect accorded to him by our uncles the critics, but who when I met him as a reader filled my plate with one delicious fruit and sweet and cake after another (steeped those cakes in tisane of limeflowers or tea), I feel incapable of expressing gratitude; and I fear to indulge in criticism, lest I should be just one more uncle standing between Proust and that innocent, appreciative, timorous, awkward child, the public.

If I say that I regard Proust as the only completely satisfying poetical record, the most important literary phenomenon of our time, I feel that I am involved in an argument with people who think that the relentless effusion of modern verse has more significance than, let us say, a bath tap which has been left running. And I simply do not want to argue about what I enjoy. If I say that Proust represents the apex hitherto reached by the feminine or realistic art of this age, just as Stendhal represents the culmination of the masculine or ideological art of the eighteenth century, or that Proust arrives at the general through an incredibly sensitive exploration of the particular, whereas Stendhal achieves the particular by his exquisite consciousness of the general, I am involved in a lecture. And I simply do not want to lecture about what I enjoy. The trouble is that, in order to demonstrate Proust to people who have not read him, one ought to have as subtle a power of evocation, as rich a manner of suggestion as Proust himself, who could, I believe, make even a dream interesting, so that we should live in that dream and extract from it the essential flavour of its peculiarity as authentically as the dreamer. That is why Proust writes of childhood with such magic. He manages to recognize, in the complication of events that merely occur and are forgotten, the ideal duration in which they were imbedded and which gave them their material weight and spiritual portentousness. It is only in childhood, or at any rate only in isolated fragments of time later, that we possess at all intimately this sense of duration when objects appeal to us as their essential selves, as pure energies. At other periods we value them according as they forward our lives, according as they are useful to us, and thus we lose our sense of their independent existence. I have just read once more the Combray chapter (marvellously enshrined in a translation that, like the translation of a saint’s bones, destroys not a bit of their efficacy), and I have laid it aside, thinking of Leopardi’s Ricordanze and listening to where, under the scintillations of the Great Bear,

sotto al patrio tetto