One person sneezes and gasps because he is passing a rosebush, another breaks out in an eruption at the smell of wet paint, has frequent attacks of colic if he has to start on a journey, and grandchildren of thieves who are themselves millionaires and generous cannot resist the temptation to rob you of fifty francs. As for knowing in what consisted Francoise’s incapacity to tell the time correctly, she herself never threw any light upon the problem. For, notwithstanding the anger that I generally displayed at her inaccurate replies, Françoise never attempted either to apologise for her mistake or to explain it.
She remained silent, pretending not to hear, and thereby making me lose my temper altogether. I should have liked to hear a few words of justification, were it only that I might smite her hip and thigh; but not a word, an indifferent silence. In any case, about the timetable for to-day there could be no doubt; Albertine was coming home with Françoise at three o’clock, Albertine would not be meeting Léa or her friends. Whereupon the danger of her renewing relations with them, having been averted, at once began to lose its importance in my eyes and I was amazed, seeing with what ease it had been averted, that I should have supposed that I would not succeed in averting it.
I felt a keen impulse of gratitude to Albertine, who, I could see, had not gone to the Trocadéro to meet Léa’s friends, and shewed me, by leaving the performance and coming home at a word from myself, that she belonged to me more than I had imagined. My gratitude was even greater when a bicyclist brought me a line from her bidding me be patient, and full of the charming expressions that she was in the habit of using. “My darling, dear Marcel, I return less quickly than this cyclist, whose machine I would like to borrow in order to be with you sooner. How could you imagine that I might be angry or that I could enjoy anything better than to be with you? It will be nice to go out, just the two of us together; it would be nicer still if we never went out except together. The ideas you get into your head! What a Marcel! What a Marcel! Always and ever your Albertine.”
The frocks that I bought for her, the yacht of which I had spoken to her, the wrappers from Fortuny’s, all these things having in this obedience on Albertine’s part not their recompense but their complement, appeared to me now as so many privileges that I was enjoying; for the duties and expenditure of a master are part of his dominion, and define it, prove it, fully as much as his rights. And these rights which she recognised in me were precisely what gave my expenditure its true character: I had a woman of my own, who, at the first word that I sent to her unexpectedly, made my messenger telephone humbly that she was coming, that she was allowing herself to be brought home immediately. I was more of a master than I had supposed. More of a master, in other words more of a slave.
I no longer felt the slightest impatience to see Albertine. The certainty that she was at this moment engaged in shopping with Françoise, or that she would return with her at an approaching moment which I would willingly have postponed, illuminated like a calm and radiant star a period of time which I would now have been far better pleased to spend alone. My love for Albertine had made me rise and get ready to go out, but it would prevent me from enjoying my outing. I reflected that on a Sunday afternoon like this little shopgirls, midinettes, prostitutes must be strolling in the Bois. And with the words midinettes, little shopgirls (as had often happened to me with a proper name, the name of a girl read in the account of a ball), with the image of a white bodice, a short skirt, since beneath them I placed a stranger who might perhaps come to love me, I created out of nothing desirable women, and said to myself: “How charming they must be!”
But of what use would it be to me that they were charming, seeing that I was not going out alone. Taking advantage of the fact that I still was alone, and drawing the curtains together so that the sun should not prevent me from reading the notes, I sat down at the piano, turned over the pages of Vinteuil’s sonata which happened to be lying there, and began to play; seeing that Albertine’s arrival was still a matter of some time but was on the other hand certain, I had at once time to spare and tranquillity of mind. Floating in the expectation, big with security, of her return escorted by Françoise and in my confidence in her docility as in the blessedness of an inward light as warming as the light of the sun, I might dispose of my thoughts, detach them for a moment from Albertine, apply them to the sonata. In the latter, indeed, I did not take pains to remark how the combinations of the voluptuous and anxious motives corresponded even more closely now to my love for Albertine, from which jealousy had been absent for so long that I had been able to confess to Swann my ignorance of that sentiment. No, taking the sonata from another point of view, regarding it in itself as the work of a great artist, I was carried back upon the tide of sound to the days at Combray—I do not mean at Montjouvain and along the Méséglise way, but to walks along the Guermantes way—when I had myself longed to become an artist. In definitely abandoning that ambition, had I forfeited something real? Could life console me for the loss of art, was there in art a more profound reality, in which our true personality finds an expression that is not afforded it by the activities of life? Every great artist seems indeed so different from all the rest, and gives us so strongly that sensation of individuality for which we seek in vain in our everyday existence. Just as I was thinking thus, I was struck by a passage in the sonata, a passage with which I was quite familiar, but sometimes our attention throws a different light upon things which we have long known, and we remark in them what we have never seen before.
As I played the passage, and for all that in it Vinteuil had been trying to express a fancy which would have been wholly foreign to Wagner, I could not help murmuring ‘Tristan,’ with the smile of an old friend of the family discovering a trace of the grandfather in an intonation, a gesture of the grandson who never set eyes on him. And as the friend then examines a photograph which enables him to estimate the likeness, so, in front of Vinteuil’s sonata, I set up on the music-rest the score of Tristan, a selection from which was being given that afternoon, as it happened, at the Lamoureux concert. I had not, in admiring the Bayreuth master, any of the scruples of those people whom, like Nietzsche, their sense of duty bids to shun in art as in life the beauty that tempts them, and who, tearing themselves from Tristan as they renounce Parsifal, and, in their spiritual asceticism, progressing from one mortification to another, arrive, by following the most bloody of viae Cruets, at exalting themselves to the pure cognition and perfect adoration of Le Postillon de Longjumeau. I began to perceive how much reality there is in the work of Wagner, when I saw in my mind’s eye those insistent, fleeting themes which visit an act, withdraw only to return, and, sometimes distant, drowsy, almost detached, are at other moments, while remaining vague, so pressing and so near, so internal, so organic, so visceral, that one would call them the resumption not so much of a musical motive as of an attack of neuralgia.
Music, very different in this respect from Albertine’s society, helped me to descend into myself, to make there a fresh discovery: that of the difference that I had sought in vain in life, in travel, a longing for which was given me, however, by this sonorous tide which sent its sunlit waves rolling to expire at my feet. A twofold difference. As the
