Chapter XXII: Part II: Place-Names: the Place (7)

And then, even my own life was entirely hidden from me by a new setting, like the "drop" lowered right at the front of the stage before which, while the scene shifters are busy behind, actors appear in a fresh "turn". The turn in which I was now cast for a part was in the manner of an Oriental fairy tale; I retained no knowledge of my past or of myself, on account of the intense proximity of this interpolated scenery; I was merely a person who received the bastinado and underwent various punishments for a crime the nature of which I could not distinguish, though it was actually that of having taken too much port wine. Suddenly I awoke and discovered that, thanks to a long sleep, I had not heard a note of the concert. It was already afternoon; I verified this by my watch after several efforts to sit up in bed, efforts fruitless at first and interrupted by backward falls on to my pillow, but those short falls which are a sequel of sleep as of other forms of intoxication, whether due to wine or to convalescence; besides, before I had so much as looked at the time, I was certain that it was past midday. Last night I had been nothing more than an empty vessel, without weight, and (since I must first have gone to bed to be able to keep still, and have been asleep to be able to keep silent) had been unable to refrain from moving about and talking; I had no longer any stability, any centre of gravity, I was set in motion and it seemed that I might have continued on my dreary course until I reached the moon. But if, while I slept, my eyes had not seen the time, my body had nevertheless contrived to calculate it; had measured the hours; not on a dial superficially marked and figured, but by the steadily growing weight of all my replenished forces which, like a powerful clockwork, it had allowed, notch by notch, to descend from my brain into the rest of my body in which there had risen now to above my knees the unbroken abundance of their store. If it is true that the sea was once upon a time our native element, into which we must plunge our cooling blood if we are to recover our strength, it is the same with the oblivion, the mental non-existence of sleep; we seem then to absent ourselves for a few hours from Time, but the forces which we have gathered in that interval without expending them, measure it by their quantity as accurately as the pendulum of the clock or the crumbling pyramid of the sandglass. Nor does one emerge more easily from such sleep than from a prolonged spell of wakefulness, so strongly does everything tend to persist; and if it is true that certain narcotics make us sleep, to have slept for any time is an even stronger narcotic, after which we have great difficulty in making ourselves wake up. Like a sailor who sees plainly the harbour in which he can moor his vessel, still tossed by the waves, I had a quite definite idea of looking at the time and of getting up, but my body was at every moment cast back upon the tide of sleep; the landing was difficult, and before I attained a position in which I could reach my watch and confront with its time that indicated by the wealth of accumulated material which my stiffened limbs had at their disposal, I fell back two or three times more upon my pillow.

At length I could reach and read it: "Two o'clock in the afternoon!" I rang; but at once I returned to a slumber which, this time, must have lasted infinitely longer, if I was to judge by the refreshment, the vision of an immense night overpassed, which I found on awakening. And yet as my awakening was caused by the entry of Françoise, and as her entry had been prompted by my ringing the bell, this second sleep which, it seemed to me, must have been longer than the other, and had brought me so much comfort and forgetfulness, could not have lasted for more than half a minute.

My grandmother opened the door of my bedroom; I asked her various questions about the Legrandin family.

It is not enough to say that I had returned to tranquillity and health, for it was more than a mere interval of space that had divided them from me yesterday, I had had all night long to struggle against a contrary tide, and now I not only found myself again in their presence, they had once more entered into me. At certain definite and still somewhat painful points beneath the surface of my empty head which would one day be broken, letting my ideas escape for all time, those ideas had once again taken their proper places and resumed that existence by which hitherto, alas, they had failed to profit.

Once again I had escaped from the impossibility of sleeping, from the deluge, the shipwreck of my nervous storms. I feared now not at all the menaces that had loomed over me the evening before, when I was dismantled of repose. A new life was opening before me; without making a single movement, for I was still shattered, although quite alert and well, I savoured my weariness with a light heart; it had isolated and broken asunder the bones of my legs and arms, which I could feel assembled before me, ready to cleave together, and which I was to raise to life merely by singing, like the builder in the fable.

Suddenly I thought of the fair girl with the sad expression whom I had seen at Rivebelle, where she had looked at me for a moment. Many others, in the course of the evening, had seemed to me attractive; now she alone arose from the dark places of my memory. I had felt that she noticed me, had expected one of the waiters to come to me with a whispered message from her. Saint-Loup did not know her and fancied that she was respectable. It would be very difficult to see her, to see her constantly. But I was prepared to make any sacrifice, I thought now only of her. Philosophy distinguishes often between free and necessary acts. Perhaps there is none to the necessity of which we are more completely subjected than that which, by virtue of an ascending power held in check during the act itself, makes so unfailingly (once our mind is at rest) spring up a memory that was levelled with other memories by the distributed pressure of our indifference, and rush to the surface, because unknown to us it contained, more than any of the others, a charm of which we do not become aware until the following day. And perhaps there is not, either, any act so free, for it is still unprompted by habit, by that sort of mental hallucination which, when we are in love, facilitates the invariable reappearance of the image of one particular person.

This was the day immediately following that on which I had seen file past me against a background of sea the beautiful procession of young girls. I put questions about them to a number of the visitors in the hotel, people who came almost every year to Balbec. They could tell me nothing. Later on, a photograph shewed me why. Who could ever recognise now in them, scarcely and yet quite definitely beyond an age in which one changes so utterly, that amorphous, delicious mass, still wholly infantine, of little girls who, only a few years back, might have been seen sitting in a ring on the sand round a tent; a sort of white and vague constellation in which one would have distinguished a pair of eyes that sparkled more than the rest, a mischievous face, flaxen hair, only to lose them again and to confound them almost at once in the indistinct and milky nebula.

No doubt, in those earlier years that were still so recent, it was not, as it had been yesterday when they appeared for the first time before me, one's impression of the group, but the group itself that had been lacking in clearness. Then those children, mere babies, had been still at that elementary stage in their formation when personality has not set its seal on every face. Like those primitive organisms in which the individual barely exists by itself, consists in the reef rather than in the coral insects that compose it, they were still pressed one against another. Sometimes one pushed her neighbour over, and then a wild laugh, which seemed the sole manifestation of their personal life, convulsed them all at once, obliterating, confounding those indefinite, grinning faces in the congealment of a single cluster, scintillating and tremulous. In an old photograph of themselves, which they were one day to give me, and which I have kept ever since, their infantile troop already presents the same number of participants as, later, their feminine procession; one can see from it that their presence must, even then, have made on the beach an unusual mark which forced itself on the attention; but one cannot recognise them individually in it save by a process of reasoning, leaving a clear field to all the transformations possible during girlhood, up to the point at which one reconstructed form would begin to encroach upon another individuality, which must be identified also, and whose handsome face, owing to the accessories of a large build and curly hair, may quite possibly have been, once, that wizened and impish little grin which the photograph album presents to us; and the distance traversed in a short interval of time by the physical characteristics of each of these girls making of them a criterion too vague to be of any use, whereas what they had in common and, so to speak, collectively, had at that early date been strongly marked, it sometimes happened that even their most intimate friends mistook one for another in this photograph, so much so that the question could in the last resort be settled only by some detail of costume which one of them could be certain that she herself, and not any of the others, had worn. Since those days, so different from the day on which I had just seen them strolling along the "front", so different and yet so close in time, they still gave way to fits of laughter, as I had observed that afternoon, but to laughter of a kind that was no longer the intermittent and almost automatic laughter of childhood, a spasmodic discharge which, in those days, had continually sent their heads dipping out of the circle, as the clusters of minnows in the Vivonne used to scatter and vanish only to gather again a moment later; each countenance was now mistress of itself, their eyes were fixed on the goal towards which they were marching; and it had taken, yesterday, the indecision and tremulousness of my first impression to make me confuse vaguely (as their childish hilarity and the old photograph had confused) the spores now individualised and disjoined of the pale madrepore.

Repeatedly, I dare say, when pretty girls went by, I had promised myself that I would see them again. As a rule, people do not appear a second time; moreover our memory, which speedily forgets their existence, would find it difficult to recall their appearance; our eyes would not recognise them, perhaps, and in the mean time we have seen new girls go by, whom we shall not see again either. But at other times, and this was what was to happen with the pert little band at Balbec, chance brings them back insistently before our eyes. Chance seems to us then a good and useful thing, for we discern in it as it were rudiments of organisation, of an attempt to arrange our life; and it makes easy to us, inevitable, and sometimes--after interruptions that have made us hope that we may cease to remember--cruel, the retention in our minds of images to the possession of which we shall come in time to believe that we were predestined, and which but for chance we should from the very first have managed to forget, like so many others, with so little difficulty.

Presently Saint-Loup's visit drew to an end. I had not seen that party of girls again on the beach. He was too little at Balbec in the afternoons to have time to bother about them, or to attempt, in my interest, to make their acquaintance. In the evenings he was more free, and continued to take me constantly to Rivebelle. There are, in those restaurants, as there are in public gardens and railway trains, people embodied in a quite ordinary appearance, whose name astonishes us when, having happened to ask it, we discover that this is not the mere inoffensive stranger whom we supposed but nothing less than the Minister or Duke of whom we have so often heard. Two or three times already, in the Rivebelle restaurant, we had--Saint-Loup and I--seen come in and sit down at a table when everyone else was getting ready to go, a man of large stature, very muscular, with regular features and a grizzled beard, gazing, with concentrated attention, into the empty air. One evening, on our asking the landlord who was this obscure, solitary and belated diner, "What!" he exclaimed, "do you mean to say you don't know the famous painter Elstir?" Swann had once mentioned his name to me, I had entirely forgotten in what connexion; but the omission of a particular memory, like that of part of a sentence when we are reading, leads sometimes not to uncertainty but to a birth of certainty that is premature. "He is a friend of Swann, a very well known artist, extremely good," I told Saint-Loup. Whereupon there passed over us both, like a wave of emotion, the thought that Elstir was a great artist, a celebrated man, and that, confounding us with the rest of the diners, he had no suspicion of the ecstasy into which we were thrown by the idea of his talent. Doubtless, his unconsciousness of our admiration and of our acquaintance with Swann would not have troubled us had we not been at the seaside. But since we were still at an age when enthusiasm cannot keep silence, and had been transported into a life in which not to be known is unendurable, we wrote a letter, signed with both our names, in which we revealed to Elstir in the two diners seated within a few feet of him two passionate admirers of his talent, two friends of his great friend Swann, and asked to be allowed to pay our homage to him in person. A waiter undertook to convey this missive to the celebrity.

A celebrity Elstir was, perhaps, not yet at this period quite to the extent claimed by the landlord, though he was to reach the height of his fame within a very few years. But he had been one of the first to frequent this restaurant when it was still only a sort of farmhouse, and had brought to it a whole colony of artists (who had all, as it happened, migrated elsewhere as soon as the farm-yard in which they used to feed in the open air, under a lean-to roof, had become a fashionable centre); Elstir himself had returned to Rivebelle this evening only on account of a temporary absence of his wife, from the house which he had taken in the neighbourhood. But great talent, even when its existence is not yet recognised, will inevitably provoke certain phenomena of admiration, such as the landlord had managed to detect in the questions asked by more than one English lady visitor, athirst for information as to the life led by Elstir, or in the number of letters that he received from abroad. Then the landlord had further remarked that Elstir did not like to be disturbed when he was working, that he would rise in the middle of the night and take a little model down to the water's edge to pose for him, nude, if the moon was shining; and had told himself that so much labour was not in vain, nor the admiration of the tourists unjustified when he had, in one of Elstir's pictures, recognised a wooden cross which stood by the roadside as you came into Rivebelle.

"It's all right!" he would repeat with stupefaction, "there are all the four beams! Oh, he does take a lot of trouble!"

And he did not know whether a little _Sunrise over the Sea_ which Elstir had given him might not be worth a fortune.

We watched him read our letter, put it in his pocket, finish his dinner, begin to ask for his things, get up to go; and we were so convinced that we had shocked him by our overture that we would now have hoped (as keenly as at first we had dreaded) to make our escape without his noticing us. We did not bear in mind for a single instant a consideration which should, nevertheless, have seemed to us most important, namely that our enthusiasm for Elstir, on the sincerity of which we should not have allowed the least doubt to be cast, which we could indeed have supported with the evidence of our breathing arrested by expectancy, our desire to do no matter what that was difficult or heroic for the great man, was not, as we imagined it to be, admiration, since neither of us had ever seen anything that he had painted; our feeling might have as its object the hollow idea of a "great artist", but not a body of work which was unknown to us. It was, at the most, admiration in the abstract, the nervous envelope, the sentimental structure of an admiration without content, that is to say a thing as indissolubly attached to boyhood as are certain organs which have ceased to exist in the adult man; we were still boys. Elstir meanwhile was reaching the door when suddenly he turned and came towards us. I was transported by a delicious thrill of terror such as I could not have felt a few years later, because, while age diminishes our capacity, familiarity with the world has meanwhile destroyed in us any inclination to provoke such strange encounters, to feel that kind of emotion.

In the course of the few words that Elstir had come back to say to us, sitting down at our table, he never gave any answer on the several occasions on which I spoke to him of Swann. I began to think that he did not know him. He asked me, nevertheless, to come and see him at his Balbec studio, an invitation which he did not extend to Saint-Loup, and which I had earned (as I might not, perhaps, from Swann's recommendation, had Elstir been intimate with him, for the part played by disinterested motives is greater than we are inclined to think in peopled lives) by a few words which made him think that I was devoted to the arts. He lavished on me a friendliness which was as far above that of Saint-Loup as that was above the affability of a mere tradesman. Compared with that of a great artist, the friendliness of a great gentleman, charming as it may be, has the effect of an actor's playing a part, of being feigned. Saint-Loup sought to please; Elstir loved to give, to give himself. Everything that he possessed, ideas, work, and the rest which he counted for far less, he would have given gladly to anyone who could understand him. But, failing society that was endurable, he lived in an isolation, with a savagery which fashionable people called pose and ill breeding, public authorities a recalcitrant spirit, his neighbours madness, his family selfishness and pride.

And no doubt at first he had thought, even in his solitude, with enjoyment that, thanks to his work, he was addressing, in spite of distance, he was giving a loftier idea of himself to those who had misunderstood or hurt him. Perhaps, in those days, he lived alone not from indifference but from love of his fellows, and, just as I had renounced Gilberte to appear to her again one day in more attractive colours, dedicated his work to certain people as a way of approaching them again, by which without actually seeing him they would be made to love him, admire him, talk about him; a renunciation is not always complete from the start, when we decide upon it in our original frame of mind and before it has reacted upon us, whether it be the renunciation of an invalid, a monk, an artist or a hero. But if he had wished to produce with certain people in his mind, in producing he had lived for himself, remote from the society to which he had become indifferent; the practice of solitude had given him a love for it, as happens with every big thing which we have begun by fearing, because we knew it to be incompatible with smaller things to which we clung, and of which it does not so much deprive us as it detaches us from them. Before we experience it, our whole preoccupation is to know to what extent we can reconcile it with certain pleasures which cease to be pleasures as soon as we have experienced it.

Elstir did not stay long talking to us. I made up my mind that I would go to his studio during the next few days, but on the following afternoon, when I had accompanied my grandmother right to the point at which the "front" ended, near the cliffs of Canapville, on our way back, at the foot of one of the little streets which ran down at right angles to the beach, we came upon a girl who, with lowered head like an animal that is being driven reluctant to its stall, and carrying golf-clubs, was walking in front of a person in authority, in all probability her or her friends' "Miss", who suggested a portrait of Jeffreys by Hogarth, with a face as red as if her favourite beverage were gin rather than tea, on which a dried smear of tobacco at the corner of her mouth prolonged the curve of a moustache that was grizzled but abundant. The girl who preceded her was like that one of the little band who, beneath a black polo-cap, had shewn in an inexpressive chubby face a pair of laughing eyes. Now, the girl who was now passing me had also a black polo-cap, but she struck me as being even prettier than the other, the line of her nose was straighter, the curve of nostril at its base fuller and more fleshy. Besides, the other had seemed a proud, pale girl, this one a child well-disciplined and of rosy complexion. And yet, as she was pushing a bicycle just like the other's, and was wearing the same reindeer gloves, I concluded that the differences arose perhaps from the angle and circumstances in which I now saw her, for it was hardly likely that there could be at Balbec a second girl, with a face that, when all was said, was so similar and with the same details in her accoutrements. She cast a rapid glance in my direction; for the next few days, when I saw the little band again on the beach, and indeed long afterwards when I knew all the girls who composed it, I could never be absolutely certain that any of them--even she who among them all was most like her, the girl with the bicycle--was indeed the one that I had seen that evening at the end of the "front", where a street ran down to the beach, a girl who differed hardly at all, but was still just perceptibly different from her whom I had noticed in the procession.

From that moment, whereas for the last few days my mind had been occupied chiefly by the tall one, it was the one with the golf-clubs, presumed to be Mlle. Simonet, who began once more to absorb my attention. When walking with the others she would often stop, forcing her friends, who seemed greatly to respect her, to stop also. Thus it is, calling a halt, her eyes sparkling beneath her polo-cap, that I see her again to-day, outlined against the screen which the sea spreads out behind her, and separated from me by a transparent, azure space, the interval of time that has elapsed since then, a first impression, faint and fine in my memory, desired, pursued, then forgotten, then found again, of a face which I have many times since projected upon the cloud of the past to be able to say to myself, of a girl who was actually in my room: "It is she!"

But it was perhaps yet another, the one with geranium cheeks and green eyes, whom I should have liked most to know. And yet, whichever of them it might be, on any given day, that I preferred to see, the others, without her, were sufficient to excite my desire which, concentrated now chiefly on one, now on another, continued--as, on the first day, my confused vision--to combine and blend them, to make of them the little world apart, animated by a life in common, which for that matter they doubtless imagined themselves to form; and I should have penetrated, in becoming a friend of one of them--like a cultivated pagan or a meticulous Christian going among barbarians--into a rejuvenating society in which reigned health, unconsciousness of others, sensual pleasures, cruelty, unintellectuality and joy.

My grandmother, who had been told of my meeting with Elstir, and rejoiced at the thought of all the intellectual profit that I might derive from his friendship, considered it absurd and none too polite of me not to have gone yet to pay him a visit. But I could think only of the little band, and being uncertain of the hour at which the girls would be passing along the front, I dared not absent myself. My grandmother was astonished, too, at the smartness of my attire, for I had suddenly remembered suits which had been lying all this time at the bottom of my trunk. I put on a different one every day, and had even written to Paris ordering new hats and neckties.

It adds a great charm to life in a watering-place like Balbec if the face of a pretty girl, a vendor of shells, cakes or flowers, painted in vivid colours in our mind, is regularly, from early morning, the purpose of each of those leisured, luminous days which we spend upon the beach. They become then, and for that reason, albeit unoccupied by any business, as alert as working-days, pointed, magnetised, raised slightly to meet an approaching moment, that in which, while we purchase sand-cakes, roses, ammonites, we will delight in seeing upon a feminine face its colours displayed as purely as on a flower. But at least, with these little traffickers, first of all we can speak to them, which saves us from having to construct with our imagination their aspects other than those with which the mere visual perception of them furnishes us, and to recreate their life, magnifying its charm, as when we stand before a portrait; moreover, just because we speak to them, we can learn where and at what time it will be possible to see them again. Now I had none of these advantages with respect to the little band. Their habits were unknown to me; when on certain days I failed to catch a glimpse of them, not knowing the cause of their absence I sought to discover whether it was something fixed and regular, if they were to be seen only every other day, or in certain states of the weather, or if there were days on which no one ever saw them. I imagined myself already friends with them, and saying: "But you weren't there the other day?" "Weren't we? Oh, no, of course not; that was because it was a Saturday. On Saturdays we don't ever come, because . . ." If it were only as simple as that, to know that on black Saturday it was useless to torment oneself, that one might range the beach from end to end, sit down outside the pastry-cook's and pretend to be nibbling an eclair, poke into the curiosity shop, wait for bathing time, the concert, high tide, sunset, night, all without seeing the longed-for little band. But the fatal day did not, perhaps, come once a week. It did not, perhaps, of necessity fall on Saturdays. Perhaps certain atmospheric conditions influenced it or were entirely unconnected with it. How many observations, patient but not at all serene, must one accumulate of the movements, to all appearance irregular, of those unknown worlds before being able to be sure that one has not allowed oneself to be led astray by mere coincidence, that one's forecasts will not be proved wrong, before one elucidates the certain laws, acquired at the cost of so much painful experience, of that passionate astronomy. Remembering that I had not yet seen them on some particular day of the week, I assured myself that they would not be coming, that it was useless to wait any longer on the beach. And at that very moment I caught sight of them. And yet on another day which, so far as I could suppose that there were laws that guided the return of those constellations, must, I had calculated, prove an auspicious day, they did not come. But to this primary uncertainty whether I should see them or not that day, there was added another, more disquieting: whether I should ever set eyes on them again, for I had no reason, after all, to know that they were not about to sail for America, or to return to Paris. This was enough to make me begin to love them. One can feel an attraction towards a particular person. But to release that fount of sorrow, that sense of the irreparable, those agonies which prepare the way for love, there must be--and this is, perhaps, more than any person can be, the actual object which our passion seeks so anxiously to embrace--the risk of an impossibility. Thus there were acting upon me already those influences which recur in the course of our successive love-affairs, which can, for that matter, be provoked, (but then rather in the life of cities) by the thought of little working girls whose half-holiday is we know not on what day, and whom we are afraid of having missed as they came out of the factory; or which at least have recurred in mine. Perhaps they are inseparable from love; perhaps everything that formed a distinctive feature of our first love attaches itself to those that come after, by recollection, suggestion, habit, and through the successive periods of our life gives to its different aspects a general character.

I seized every pretext for going down to the beach at the hours when I hoped to succeed in finding them there. Having caught sight of them once while we were at luncheon, I now invariably came in late for it, waiting interminably upon the "front" for them to pass; devoting all the short time that I did spend in the dining-room to interrogating with my eyes its azure wall of glass; rising long before the dessert, so as not to miss them should they have gone out at a different hour, and chafing with irritation at my grandmother, when, with unwitting malevolence, she made me stay with her past the hour that seemed to me propitious. I tried to prolong the horizon by setting my chair aslant; if, by chance, I did catch sight of no matter which of the girls, since they all partook of the same special essence, it was as if I had seen projected before my face in a shifting, diabolical hallucination, a little of the unfriendly and yet passionately coveted dream which, but a moment ago, had existed only--where it lay stagnant for all time--in my brain.

I was in love with none of them, loving them all, and yet the possibility of meeting them was in my daily life the sole element of delight, alone made to burgeon in me those high hopes by which every obstacle is surmounted, hopes ending often in fury if I had not seen them. For the moment, these girls eclipsed my grandmother in my affection; the longest journey would at once have seemed attractive to me had it been to a place in which they might be found. It was to them that my thoughts comfortably clung when I supposed myself to be thinking of something else or of nothing. But when, even without knowing it, I thought of them, they, more unconsciously still, were for me the mountainous blue undulations of the sea, a troop seen passing in outline against the waves. Our most intensive love for a person is always the love, really, of something else as well.

Meanwhile my grandmother was shewing, because now I was keenly interested in golf and lawn-tennis and was letting slip an opportunity of seeing at work and hearing talk an artist whom she knew to be one of the greatest of his time, a disapproval which seemed to me to be based on somewhat narrow views. I had guessed long ago in the Champs-Elysées, and had since established to my own satisfaction, that when we are in love with a woman we simply project into her a state of our own soul, that the important thing is, therefore, not the worth of the woman but the depth of the state; and that the emotions which a young girl of no kind of distinction arouses in us can enable us to bring to the surface of our consciousness some of the most intimate parts of our being, more personal, more remote, more essential than would be reached by the pleasure that we derive from the conversation of a great man or even from the admiring contemplation of his work.

I was to end by complying with my grandmother's wishes, all the more reluctantly in that Elstir lived at some distance from the "front" in one of the newest of Balbec's avenues. The heat of the day obliged me to take the tramway which passed along the Rue de la Plage, and I made an effort (so as still to believe that I was in the ancient realm of the Cimmerians, in the country it might be, of King Mark, or upon the site of the Forest of Broceliande) not to see the gimcrack splendour of the buildings that extended on either hand, among which Elstir's villa was perhaps the most sumptuously hideous, in spite of which he had taken it, because, of all that there were to be had at Balbec, it was the only one that provided him with a really big studio.

It was also with averted eyes that I crossed the garden, which had a lawn--in miniature, like any little suburban villa round Paris--a statuette of an amorous gardener, glass balls in which one saw one's distorted reflexion, beds of begonias and a little arbour, beneath which rocking chairs were drawn up round an iron table. But after all these preliminaries hall-marked with philistine ugliness, I took no notice of the chocolate mouldings on the plinths once I was in the studio; I felt perfectly happy, for, with the help of all the sketches and studies that surrounded me, I foresaw the possibility of raising myself to a poetical understanding, rich in delights, of many forms which I had not, hitherto, isolated from the general spectacle of reality. And Elstir's studio appeared to me as the laboratory of a sort of new creation of the world in which, from the chaos that is all the things we see, he had extracted, by painting them on various rectangles of canvas that were hung everywhere about the room, here a wave of the sea crushing angrily on the sand its lilac foam, there a young man in a suit of white linen, leaning upon the rail of a vessel. His jacket and the spattering wave had acquired fresh dignity from the fact that they continued to exist, even although they were deprived of those qualities in which they might be supposed to consist, the wave being no longer able to splash nor the jacket to clothe anyone.

At the moment at which I entered, the creator was just finishing, with the brush which he had in his hand, the form of the sun at its setting.

The shutters were closed almost everywhere round the studio, which was fairly cool and, except in one place where daylight laid against the wall its brilliant but fleeting decoration, dark; there was open only one little rectangular window embowered in honeysuckle, which, over a strip of garden, gave on an avenue; so that the atmosphere of the greater part of the studio was dusky, transparent and compact in the mass, but liquid and sparkling at the rifts where the golden clasp of sunlight banded it, like a lump of rock crystal of which one surface, already cut and polished, here and there, gleams like a mirror with iridescent rays. While Elstir, at my request, went on painting, I wandered about in the half-light, stopping to examine first one picture, then another.

Most of those that covered the walls were not what I should chiefly have liked to see of his work, paintings in what an English art journal which lay about on the reading-room table in the Grand Hotel called his first and second manners, the mythological manner and the manner in which he shewed signs of Japanese influence, both admirably exemplified, the article said, in the collection of Mme. de Guermantes. Naturally enough, what he had in his studio were almost all seascapes done here, at Balbec. But I was able to discern from these that the charm of each of them lay in a sort of metamorphosis of the things represented in it, analogous to what in poetry we call metaphor, and that, if God the Father had created things by naming them, it was by taking away their names or giving them other names that Elstir created them anew. The names which denote things correspond invariably to an intellectual notion, alien to our true impressions, and compelling us to eliminate from them everything that is not in keeping with itself.

Sometimes in my window in the hotel at Balbec, in the morning when Françoise undid the fastenings of the curtains that shut out the light, in the evening when I was waiting until it should be time to go out with Saint-Loup, I had been led by some effect of sunlight to mistake what was only a darker stretch of sea for a distant coast-line, or to gaze at a belt of liquid azure without knowing whether it belonged to sea or sky. But presently my reason would re-establish between the elements that distinction which in my first impression I had overlooked. In the same way I used, in Paris, in my bedroom, to hear a dispute, almost a riot, in the street below, until I had referred back to its cause--a carriage for instance that was rattling towards me--this noise, from which I now eliminated the shrill and discordant vociferations which my ear had really heard but which my reason knew that wheels did not produce. But the rare moments in which we see nature as she is, with poetic vision, it was from those that Elstir's work was taken. One of his metaphors that occurred most commonly in the seascapes which he had round him was precisely that which, comparing land with sea, suppressed every line of demarcation between them. It was this comparison, tacitly and untiringly repeated on a single canvas, which gave it that multiform and powerful unity, the cause (not always clearly perceived by themselves) of the enthusiasm which Elstir's work aroused in certain collectors.

It was, for instance, for a metaphor of this sort--in a picture of the harbour of Carquethuit, a picture which he had finished a few days earlier and at which I now stood gazing my fill--that Elstir had prepared the mind of the spectator by employing, for the little town, only marine terms, and urban terms for the sea. Whether its houses concealed a part of the harbour, a dry dock, or perhaps the sea itself came cranking in among the land, as constantly happened on the Balbec coast, on the other side of the promontory on which the town was built the roofs were overtopped (as it had been by mill-chimneys or church-steeples) by masts which had the effect of making the vessels to which they belonged appear town-bred, built on land, an impression which was strengthened by the sight of other boats, moored along the jetty but in such serried ranks that you could see men talking across from one deck to another without being able to distinguish the dividing line, the chink of water between them, so that this fishing fleet seemed less to belong to the water than, for instance, the churches of Criquebec which, in the far distance, surrounded by water on every side because you saw them without seeing the town, in a powdery haze of sunlight and crumbling waves, seemed to be emerging from the waters, blown in alabaster or in sea-foam, and, enclosed in the band of a particoloured rainbow, to form an unreal, a mystical picture. On the beach in the foreground the painter had arranged that the eye should discover no fixed boundary, no absolute line of demarcation between earth and ocean. The men who were pushing down their boats into the sea were running as much through the waves as along the sand, which, being wet, reflected their hulls as if they were already in the water. The sea itself did not come up in an even line but followed the irregularities of the shore, which the perspective of the picture increased still further, so that a ship actually at sea, half-hidden by the projecting works of the arsenal, seemed to be sailing across the middle of the town; women who were gathering shrimps among the rocks had the appearance, because they were surrounded by water and because of the depression which, after the ringlike barrier of rocks, brought the beach (on the side nearest the land) down to sea-level, of being in a marine grotto overhung by ships and waves, open yet unharmed in the path of a miraculously averted tide. If the whole picture gave this impression of harbours in which the sea entered into the land, in which the land was already subaqueous and the population amphibian, the strength of the marine element was everywhere apparent; and round about the rocks, at the mouth of the harbour, where the sea was rough, you felt from the muscular efforts of the fishermen and the obliquity of the boats leaning over at an acute angle, compared with the calm erectness of the warehouse on the harbour, the church, the houses of the town to which some of the figures were returning while others were coming out to fish, that they were riding bareback on the water, as it might be a swift and fiery animal whose rearing, but for their skill, must have unseated them. A party of holiday makers were putting gaily out to sea in a boat that tossed like a jaunting-car on a rough road; their boatman, blithe but attentive, also, to what he was doing, trimmed the bellying sail, every one kept in his place, so that the weight should not be all on one side of the boat, which might capsize, and so they went racing over sunlit fields into shadowy places, dashing down into the troughs of waves. It was a fine morning in spite of the recent storm. Indeed, one could still feel the powerful activities that must first be neutralised in order to attain the easy balance of the boats that lay motionless, enjoying sunshine and breeze, in parts where the sea was so calm that its reflexions had almost more solidity and reality than the floating hulls, vaporised by an effect of the sunlight, parts which the perspective of the picture dovetailed in among others. Or rather you would not have called them other parts of the sea. For between those parts there was as much difference as there was between one of them and the church rising from the water, or the ships behind the town. Your reason then set to work and made a single element of what was here black beneath a gathering storm, a little farther all of one colour with the sky and as brightly burnished, and elsewhere so bleached by sunshine, haze and foam, so compact, so terrestrial, so circumscribed with houses that you thought of some white stone causeway or of a field of snow, up the surface of which it was quite frightening to see a ship go climbing high and dry, as a carriage climbs dripping from a ford, but which a moment later, when you saw on the raised and broken surface of the solid plain boats drunkenly heaving, you understood, identical in all these different aspects, to be still the sea.

Although we are justified in saying that there can be no progress, no discovery in art, but only in the sciences, and that the artist who begins afresh upon his own account an individual effort cannot be either helped or hindered by the efforts of all the others, we must nevertheless admit that, in so far as art brings into prominence certain laws, once an industry has taken those laws and vulgarised them, the art that was first in the field loses, in retrospect, a little of its originality. Since Elstir began to paint, we have grown familiar with what are called "admirable" photographs of scenery and towns. If we press for a definition of what their admirers mean by the epithet, we shall find that it is generally applied to some unusual picture of a familiar object, a picture different from those that we are accustomed to see, unusual and yet true to nature, and for that reason doubly impressive to us because it startles us, makes us emerge from our habits and at the same time brings us back to ourselves by recalling to us an earlier impression. For instance, one of these "magnificent" photographs will illustrate a law of perspective, will shew us some cathedral which we are accustomed to see in the middle of a town, taken instead from a selected point of view from which it will appear to be thirty times the height of the houses and to be thrusting a spur out from the bank of the river, from which it is actually a long way off. Now the effort made by Elstir to reproduce things not as he knew them to be but according to the optical illusions of which our first sight of them is composed, had led him exactly to this point; he gave special emphasis to certain of these laws of perspective, which were thus all the more striking, since his art had been their first interpreter. A river, because of the windings of its course, a bay because of the apparent contact of the cliffs on either side of it, would look as though there had been hollowed out in the heart of the plain or of the mountains a lake absolutely landlocked on every side. In a picture of a view from Balbec painted upon a scorching day in summer an inlet of the sea appeared to be enclosed in walls of pink granite, not to be the sea, which began farther out. The continuity of the ocean was suggested only by the gulls which, wheeling over what, when one looked at the picture, seemed to be solid rock, were as a matter of fact inhaling the moist vapour of the shifting tide. Other laws were discernible in the same canvas, as, at the foot of immense cliffs, the lilliputian grace of white sails on the blue mirror on whose surface they looked like butterflies asleep, and certain contrasts between the depth of the shadows and the pallidity of the light. This play of light and shade, which also photography has rendered common-place, had interested Elstir so much that at one time he had painted what were almost mirages, in which a castle crowned with a tower appeared as a perfect circle of castle prolonged by a tower at its summit, and at its foot by an inverted tower, whether because the exceptional purity of the atmosphere on a fine day gave the shadow reflected in the water the hardness and brightness of the stone, or because the morning mists rendered the stone as vaporous as the shadow. And similarly, beyond the sea, behind a line of woods, began another sea roseate with the light of the setting sun, which was, in fact, the sky. The light, as it were precipitating new solids, thrust back the hull of the boat on which it fell behind the other hull that was still in shadow, and rearranged like the steps of a crystal staircase what was materially a plane surface, but was broken up by the play of light and shade upon the morning sea. A river running beneath the bridges of a town was caught from a certain point of view so that it appeared entirely dislocated, now broadened into a lake, now narrowed into a rivulet, broken elsewhere by the interruption of a hill crowned with trees among which the burgher would repair at evening to taste the refreshing breeze; and the rhythm of this disintegrated town was assured only by the inflexible uprightness of the steeples which did not rise but rather, following the plumb line of the pendulum marking its cadence as in a triumphal march, seemed to hold in suspense beneath them all the confused mass of houses that rose vaguely in the mist along the banks of the crushed, disjointed stream. And (since Elstir's earliest work belonged to the time in which a painter would make his landscape attractive by inserting a human figure), on the cliff's edge or among the mountains, the road, that half human part of nature, underwent, like river or ocean, the eclipses of perspective. And whether a sheer wall of mountain, or the mist blown from a torrent, or the sea prevented the eye from following the continuity of the path, visible to the traveller but not to us, the little human personage in old-fashioned attire seemed often to be stopped short on the edge of an abyss, the path which he had been following ending there, while, a thousand feet above him in those pine-forests, it was with a melting eye and comforted heart that we saw reappear the threadlike whiteness of its dusty surface, hospitable to the wayfaring foot, whereas from us the side of the mountain had hidden, where it turned to avoid waterfall or gully, the intervening bends.

The effort made by Elstir to strip himself, when face to face with reality, of every intellectual concept, was all the more admirable in that this man who, before sitting down to paint, made himself deliberately ignorant, forgot, in his honesty of purpose, everything that he knew, since what one knows ceases to exist by itself, had in reality an exceptionally cultivated mind. When I confessed to him the disappointment that I had felt upon seeing the porch at Balbec: "What!" he had exclaimed, "you were disappointed by the porch! Why, it's the finest illustrated Bible that the people have ever had. That Virgin, and all the bas-reliefs telling the story of her life, they are the most loving, the most inspired expression of that endless poem of adoration and praise in which the middle ages extolled the glory of the Madonna. If you only knew, side by side with the most scrupulous accuracy in rendering the sacred text, what exquisite ideas the old carver had, what profound thoughts, what delicious poetry!