Reading Proust - A Running Commentary

  The second chapter of Cities of the Plain sees the development of Marcel's relationship with Albertine, the commencement of the amorous entanglement of Charlus and the fianc é of Jupien's niece, and the reappearance of the Verdurins. We have already observed Marcel's duplicitous approach to relationships when he feigned indifference to Albertine and a preference for Andr é e (see my 17 th  post). Despite his now having grown closer to Albertine, he is still acting in the same manner, and has added suspicion and jealousy to this unhealthy romance. It is hard for the reader to judge the validity of Marcel's suspicions that Albertine is lying and cheating on him because we are only presented with his thought processes, not hers; he is not honest with her and is maybe not being honest in his narration; his distrust is largely the result of inferences rather than direct evidence; and the suspicions are so recurrent as to suggest he is suffering from a paranoid personali...

First edition in Great Britain  of Sodom et Gomorrhe translated as Cities of the Plain    We have already discussed Scott Moncrieff's loose translation of the title of the novel (see my third introductory comment ). Here is perhaps the place to make a couple of comments on his translation of the titles of the separate parts of the novel. Proust, having been alerted by Stephen Hudson (who later completed, badly, the English translation following Scott Moncrieff's death), was worried that his translator had rendered Du côté de chez Swann as Swann's Way on the basis that it might be misunderstood to mean Swann's manner or style. This is a baseless worry that credits the English reader with too little sense, a concern that is carried to the extreme by Lydia Davis' recent rendering of the title as The Way by Swann's , which is laughably fussy and awkward, the hanging possessive being surely too puzzling to the sort of reader who cannot be trusted to understand Swan...

 Following his failure, due to feigned indifference, to be introduced by Elstir to the girls of the “little band”, Marcel finds pleasure afterwards in the realisation that he will nevertheless soon meet them. As he observes, many hours might pass between the event that gave us pleasure and the moment at which we are free to enjoy it ( p.229 IV Scott Moncrieff, p.925 Kilmartin ). When, having persuaded Elstir to give a small tea-party so that he can meet Albertine Simonet, his favourite of the girls, Marcel again experiences this deferred pleasure after he is introduced to her: “This is not to say that the introduction ... did not give me any pleasure, nor assume a definite importance in my eyes. But so far as the pleasure was concerned, I was not conscious* of it, naturally, until some time later, when, once more in the hotel, and in my room alone, I had become myself again. Pleasure in this respect is like photography. What we take, in the presence of the beloved object, is merely...

 Seascape, with Frieze of Girls is the title that Scott Moncrieff gave to the third and final part of Within a Budding Grove. For Proust, and later translators, there were only two parts: Madame Swann at Home and Place-Names: The Place. The latter is itself in two parts, and it is this second part of Place-Names: The Place that Scott Moncrieff has chosen to entitle. His sectioning off is understandable because while the whole of Place-Names: The Place is set in Balbec during Marcel's stay at the Grand Hotel, its first half concerns his meeting Mme de Villeparisis, Robert de Saint-Loup and Baron de Charlus, while its second half concerns his meeting the painter Elstir and, through him, Albertine Simonet and her “little band” of girl friends. Artist: Frank Weston Benson Robert, who is a sergeant in a cavalry regiment, has had to depart Balbec for his barracks at Doncières. Left by himself, Marcel is hanging about outside the hotel when he sees in the distance, walking towards him “fi...

How to introduce characters in a novel? Here is some actual advice given to novice writers: “provide a brief description or summary of the character's physical appearance (age, height, hair colour and clothing style), personality (shy and reserved or outgoing and charismatic) and background (occupation, family and past experiences)”.  Yet this is not how the great writers go about it. There are two ways of introducing characters: by having them appear or by referring to them before they appear (Godot being the exception). At one extreme, where introduction and appearance coincide, we can think of literary characters who suddenly and dramatically appear on the scene. In Great Expectations, for example, the young narrator, Pip, has just introduced himself to the reader and is in the churchyard where his father, mother and five brothers are buried. Without any warning, Dickens then introduces the startling character of Abel Magwitch:  “‘Hold your noise!’ cried a terrible voice, a...

 It is now two years after the Gilberte episode and Marcel, aged about 16 or 17, finally gets finally to go to Balbec, accompanied by his grandmother. In Place-Names: The Name, at the end of Swann's Way, Marcel has only the names of desired destinations with which to conjure. But now in the much longer Place-Names: The Place, he experiences one of the destinations of which he has long dreamed. In particular, he has been looking forward to seeing the Persian-influenced church at Balbec and, as ever, he is disappointed by the reality. He has alighted from the train at Balbec-le-Vieux rather than Balbec-Plage and discovers that the church is not next to the sea, which he had romantically imagined lapping at the foot of its walls, but twelve miles away in the inland town's mundane surroundings of a café, an omnibus office, a bank and a pâtisserie. Furthermore, the church's statue of the Virgin appears as a little, wrinkled, old lady (which is discussed in a 357-word sentence – ...