This lost country composers do not actually remember, but each of them remains all his life somehow attuned to it; he is wild with joy when he is singing the airs of his native land, betrays it at times in his thirst for fame, but then, in seeking fame, turns his back upon it, and it is only when he despises it that he finds it when he utters, whatever the subject with which he is dealing, that peculiar strain the monotony of which—for whatever its subject it remains identical in itself—proves the permanence of the elements that compose his soul. But is it not the fact then that from those elements, all the real residuum which we are obliged to keep to ourselves, which cannot be transmitted in talk, even by friend to friend, by master to disciple, by lover to mistress, that ineffable something which makes a difference in quality between what each of us has felt and what he is obliged to leave behind at the threshold of the phrases in which he can communicate with his fellows only by limiting himself to external points common to us all and of no interest, art, the art of a Vinteuil like that of an Elstir, makes the man himself apparent, rendering externally visible in the colours of the spectrum that intimate composition of those worlds which we call individual persons and which, without the aid of art, we should never know?
A pair of wings, a different mode of breathing, which would enable us to traverse infinite space, would in no way help us, for, if we visited Mars or Venus keeping the same senses, they would clothe in the same aspect as the things of the earth everything that we should be capable of seeing. The only true voyage of discovery, the only fountain of Eternal Youth, would be not to visit strange lands but to possess other eyes, to behold the universe through the eyes of another, of a hundred others, to behold the hundred universes that each of them beholds, that each of them is; and this we can contrive with an Elstir, with a Vinteuil; with men like these we do really fly from star to star. The andante had just ended upon a phrase filled with a tenderness to which I had entirely abandoned myself; there followed, before the next movement, a short interval during which the performers laid down their instruments and the audience exchanged impressions. A Duke, in order to shew that he knew what he was talking about, declared: “It is a difficult thing to play well.” Other more entertaining people conversed for a moment with myself. But what were their words, which like every human and external word, left me so indifferent, compared with the heavenly phrase of music with which I had just been engaged?
I was indeed like an angel who, fallen from the inebriating bliss of paradise, subsides into the most humdrum reality. And, just as certain creatures are the last surviving testimony to a form of life which nature has discarded, I asked myself if music were not the unique example of what might have been—if there had not come the invention of language, the formation of words, the analysis of ideas—the means of communication between one spirit and another. It is like a possibility which has ended in nothing; humanity has developed along other lines, those of spoken and written language. But this return to the unanalysed was so inebriating, that on emerging from that paradise, contact with people who were more or less intelligent seemed to me of an extraordinary insignificance. People—I had been able during the music to remember them, to blend them with it; or rather I had blended with the music little more than the memory of one person only, which was Albertine. And the phrase that ended the andante seemed to me so sublime that I said to myself that it was a pity that Albertine did not know it, and, had she known it, would not have understood what an honour it was to be blended with anything so great as this phrase which brought us together, and the pathetic voice of which she seemed to have borrowed. But, once the music was interrupted, the people who were present seemed utterly lifeless.
Refreshments were handed round. M. de Charlus accosted a footman now and then with: “How are you? Did you get my note? Can you come?” No doubt there was in these remarks the freedom of the great nobleman who thinks he is flattering his hearer and is himself more one of the people than a man of the middle classes; there was also the cunning of the criminal who imagines that anything which he volunteers is on that account regarded as innocent. And he added, in the Guermantes tone of Mme. de Villeparisis: “He’s a good young fellow, such a good sort, I often employ him at home.” But his adroitness turned against the Baron, for people thought his intimate conversation and correspondence with footmen extraordinary. The footmen themselves were not so much flattered as embarrassed, in the presence of their comrades. Meanwhile the septet had begun again and was moving towards its close; again and again one phrase or another from the sonata recurred, but always changed, its rhythm and harmony different, the same and yet something else, as things recur in life; and they were phrases of the sort which, without our being able to understand what affinity assigns to them as their sole and necessary home the past life of a certain composer, are to be found only in his work, and appear constantly in it, where they are the fairies, the dryads, the household gods; I had at the start distinguished in the septet two or three which reminded me of the sonata.
Presently—bathed in the violet mist which rose particularly in Vinteuil’s later work, so much so that, even when he introduced a dance measure, it remained captive in the heart of an opal—I caught the sound of another phrase from the sonata, still hovering so remote that I barely recognised it; hesitating, it approached, vanished as though in alarm, then returned, joined hands with others, come, as I learned later on, from other works, summoned yet others which became in their turn attractive and persuasive, as soon as they were tamed, and took their places in the ring, a ring divine but permanently invisible to the bulk of the audience, who, having before their eyes only a thick veil through which they saw nothing, punctuated arbitrarily with admiring exclamations a continuous boredom which was becoming deadly. Then they withdrew, save one which I saw reappear five times or six, without being able to distinguish its features, but so caressing, so different—as was no doubt the little phrase in Swann’s sonata—from anything that any woman had ever made me desire, that this phrase which offered me in so sweet a voice a happiness which would really have been worth the struggle to obtain it, is perhaps—this invisible creature whose language I did not know and whom I understood so well—the only Stranger that it has ever been my good fortune to meet. Then this phrase broke up, was transformed, like the little phrase in the sonata, and became the mysterious appeal of the start.
A phrase of a plaintive kind rose in opposition to it, but so profound, so vague, so internal, almost so organic and visceral that one could not tell at each of its repetitions whether they were those of a theme or of an attack of neuralgia. Presently these two motives were wrestling together in a close fight in which now one disappeared entirely, and now the listener could catch only a fragment of the other. A wrestling match of energies only, to tell the truth; for if these creatures attacked one another, it was rid of their physical bodies, of their appearance, of their names, and finding in me an inward spectator, himself indifferent also to their names and to all details, interested only in their immaterial and dynamic combat and following with passion its sonorous changes. In the end the joyous motive was left triumphant; it was no longer an almost anxious appeal addressed to an empty sky, it was an ineffable joy which seemed to come from paradise, a joy as different from that of the sonata as from a grave and gentle angel by Bellini, playing the theorbo, would be some archangel by Mantegna sounding a trump. I might be sure that this new tone of joy, this appeal to a super-terrestrial joy, was a thing that I would never forget. But should I be able, ever, to realise it? This question seemed to me all the more important, inasmuch as this phrase was what might have seemed most definitely to characterise—from its sharp contrast with all the rest of my life, with the visible world—those impressions which at remote intervals I recaptured in my life as starting-points, foundation-stones for the construction of a true life: the impression that I had felt at the sight of the steeples of Martinville, or of a line of trees near Balbec.
In any case, to return to the particular accent of this phrase, how strange it was that the presentiment most different from what life assigns to us on earth, the boldest approximation to the bliss of the world beyond should have been materialised precisely in the melancholy, respectable little
