“All our misfortunes are not worth a single glance from her eyes,” but the exactly opposite impression which may be expressed by: “What, it is for this that he has worked himself into such a state, has grieved himself so, has done so many idiotic things!”
It must indeed be admitted that this sort of reaction at the sight of the person who has caused the suffering, upset the life, sometimes brought about the death of some one whom we love, is infinitely more frequent than that felt by the Trojan elders, and is in short habitual. This is not merely because love is individual, nor because, when we do not feel it, finding it avoidable and philosophising upon the folly of other people come naturally to us. No, it is because, when it has reached the stage at which it causes such misery, the structure composed of the sensations interposed between the face of the woman and the eyes of her lover—the huge egg of pain which encases it and conceals it as a mantle of snow conceals a fountain—is already raised so high that the point at which the lover’s gaze comes to rest, the point at which he finds his pleasure and his sufferings, is as far from the point which other people see as is the real sun from the place in which its condensed light enables us to see it in the sky. And what is more, during this time, beneath the chrysalis of griefs and affections which render invisible to the lover the worst metamorphoses of the beloved object, her face has had time to grow old and to change. With the result that if the face which the lover saw on the first occasion is very far removed from that which he has seen since he has been in love and has been made to suffer, it is, in the opposite direction, equally far from the face which may now be seen by the indifferent onlooker. (What would have happened if, instead of the photograph of one who was still a girl, Robert had seen the photograph of an elderly mistress?) And indeed we have no need to see for the first time the woman who has caused such an upheaval, in order to feel this astonishment. Often we know her already, as my great-uncle knew Odette. Then the optical difference extends not merely to the bodily aspect, but to the character, to the individual importance.
It is more likely than not that the woman who is causing the man who is in love with her to suffer has already behaved perfectly towards some one who was not interested in her, just as Odette who was so cruel to Swann had been the sedulous ‘lady in pink’ to my great-uncle, or indeed that the person whose every decision is calculated in advance with as much dread as that of a deity by the man who is in love with her, appears as a person of no importance, only too glad to do anything that he may require of her, in the eyes of the man who is not in love with her, as Saint-Loup’s mistress appeared to me who saw in her nothing more than that ‘Rachel, when from the Lord’ who had so repeatedly been offered me. I recalled my own stupefaction, that first time that I met her with Saint-Loup, at the thought that anybody could be tormented by not knowing what such a woman had been doing, by the itch to know what she might have said in a whisper to some other man, why she had desired a rupture. And I felt that all this past existence—but, in this case, Albertine’s—toward which every fibre of my heart, of my life was directed with a throbbing, clumsy pain, must appear just as insignificant to Saint-Loup as it would one day, perhaps, appear to myself. I felt that I would pass perhaps gradually, so far as the insignificance or gravity of Albertine’s past was concerned, from the state of mind in which I was at the moment to that of Saint-Loup, for I was under no illusion as to what Saint-Loup might be thinking, as to what anyone else than the lover himself might think.
And I was not unduly distressed. Let us leave pretty women to men devoid of imagination. I recalled that tragic explanation of so many of us which is furnished by an inspired but not lifelike portrait, such as Elstir’s portrait of Odette, which is a portrait not so much of a mistress as of our degrading love for her. There was lacking only what we find in so many portraits—that the painter should have been at once a great artist and a lover (and even then it was said that Elstir had been in love with Odette). This disparity, the whole life of a lover—of a lover whose acts of folly nobody understands—the whole life of a Swann goes to prove. But let the lover be embodied in a painter like Elstir and then we have the clue to the enigma, we have at length before our eyes those lips which the common herd have never perceived, that nose which nobody has ever seen, that unsuspected carriage.
The portrait says: “What I have loved, what has made me suffer, what I have never ceased to behold is this.” By an inverse gymnastic, I who had made a mental effort to add to Rachel all that Saint-Loup had added to her of himself, I attempted to subtract the support of my heart and mind from the composition of Albertine and to picture her to myself as she must appear to Saint-Loup, as Rachel had appeared to me. Those differences, even though we were to observe them ourselves, what importance would we attach to them? When, in the summer at Balbec, Albertine used to wait for me beneath the arcades of Incarville and spring into my carriage, not only had she not yet put on weight, she had, as a result of too much exercise, begun to waste; thin, made plainer by an ugly hat which left visible only the tip of an ugly nose, and a side-view, pale cheeks like white slugs, I recognised very little of her, enough however to know, when she sprang into the carriage, that it was she, that she had been punctual in keeping our appointment and had not gone somewhere else; and this was enough; what we love is too much in the past, consists too much in the time that we have spent together for us to require the whole woman; we wish only to be sure that it is she, not to be mistaken as to her identity, a thing far more important than beauty to those who are in love; her cheeks may grow hollow, her body thin, even to those who were originally most proud, in the eyes of the world, of their domination over beauty, that little tip of a nose, that sign in which is summed up the permanent personality of a woman, that algebraical formula, that constant, is sufficient to prevent a man who is courted in the highest society and is in love with her from being free upon a single evening because he is spending his evenings in brushing and entangling, until it is time to go to bed, the hair of the woman whom he loves, or simply in staying by her side, so that he may be with her or she with him, or merely that she may not be with other people.
“You are sure,” Robert asked me, “that I can begin straight away by offering this woman thirty thousand francs for her husband’s constituency? She is as dishonest as all that? You’re sure you aren’t exaggerating and that three thousand francs wouldn’t be enough?” “No, I beg of you, don’t try to be economical about a thing that matters so much to me. This is what you are to say to her (and it is to some extent true): ‘My friend borrowed these thirty thousand francs from a relative for the election expenses of the uncle of the girl he was engaged to marry. It was because of this engagement that the money was given him. And he asked me to bring it to you so that Albertine should know nothing about it. And now Albertine goes and leaves him. He doesn’t know what to do. He is obliged to pay back the thirty thousand francs if he does not marry Albertine. And if he is going to marry her, then if only to keep up appearances she ought to return immediately, because it will look so bad if she stays away for long.’ You think I’ve made all this up?” “Not at all,” Saint-Loup assured me out of consideration
