ALBERTINE
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Having read the three brilliant books that Nicolas Grimaldi devoted to jealousy in Proust [1] , I took The Captive and The Fugitive . With the same malaise as the first reading.
"The taste of female world is superior geniuses." The word applies Baudelaire, of course, Proust.
First, Research replete with female figures that often the terrain, the authority, the heroines of great novelists, on the other hand, the universe in which they operate is recreated by a language that piles up, amalgam, intrigue, memories, observations, judgments, thoughts, comments the narrator, in the pages at once, overwhelming the reader with a continuous expression of happiness and just humiliate: since evocations , the reported remarks give at any time, the feeling of a flagrant, unimpeachable authenticity, how no one had it not been notified, even without possessing such a keenness of perception, an equal penetration of the innermost recesses heart, the same power, same magnitude of affective memory, combined with the luxuriance of imagination, all schools served Write a twining, twining, profuse, including a breadcrumb conjure the complexity of unwinding?
It remains only to agree on what Baudelaire meant by a "female world".
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Filigrana work, eroticism is omni-present. It is the motive of many major lines, the narrator of those first. Which, without makeup, portrays himself as a man of desire that can not see a girl in bloom or not, and any condition whatsoever, without dreaming of the hail, touch, kiss, knead, the "rumple" possess. This is the obsession, the obsession! This will find, with the figure of Albertine, his vitality.
The narrator brought Balbec one of the young girls in flower in his Paris apartment. Jailer suspicious, jealous to the extreme, torturing, it makes it live in near seclusion until she escapes. His tragic death, the posthumous jealousy lover designs, tracking him from oblivion, occupying the first chapters of Fugitive .
ago in Research , many female figures that are little more than stooges. But with Albertine voluptuous captive of a man, "said the player who knows the prodigious powers of introspection, suggestion, Proust, we will have on Male (capital of rigor) key evidence, or even" capitalissime. In his psychology, certainly, on the manifestations of the desire it arouses, the glare that causes her nakedness with a man who, like Ruskin, "the religion of Beauty," and a connoisseur who admires Giotto, Botticelli, Chardin and Monet. We will, on feelings, feelings of a lover caressing the body loved, coveted, views the finest, fresh, compelling. We will finally, the experience of carnal pleasure, for ineffable essence, an evocation that will really all that was written on the subject, including Lady Chatterley.
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one sketchbook of 1911, I extract these two quotes were not included in Research, and recount the narrator's carnal intercourse with the maid of Mrs. Putbus.
"And then when she gave herself, her face found a simplicity, a gentleness, a youth larger. It seemed that it seemed that giving kisses, she would add to the tenderness, tenderness so sweet and so trusting that it made him look a little girl. The time of possession is where a woman so much she erases any intention, any passion, is so passive and so sweet to let crumple like a flower at this time the woman most majestic and becomes more cruel in her sweet smile nice quiet woman. [...] "
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" I stayed so inert, leaving me to it. "Oh that," I said, tell me the truth is a farmer who taught you that - but no - But who is he? "It's always how I imagined a caress peasant . - Well I shall remember. - Who taught you? - But it's you. - What, me! - Yes, you're just now who told me: 'Just like that'. Then I looked at what you wanted. "I did as these fellows in good faith by giving a hand to a hypnotist who is blindfolded the lead without realizing it to the place where an object is hidden they believe that he discovered while it is only them who showed them. "[...]
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case of sketches, one must be indulgent for a style applied, without grace. The least we can note that the narrator appears in the scene, few ... party. Or when a woman gives herself to him (and a true experience of carnal knowledge of a number of them would have deterred the widespread attitude of the woman in the gift of self, nor in the "peasant caress" - the irrumation? - which is reported to us by inquisitive witness .... And this is not the following passage from the side of the Guermantes , Chapter II, which can dissipate our sense of inauthenticity:
"[...] Already, when I'd lay on my bed and when I started to caress her, Albertine had a tune that I do not know him, goodwill docile, almost childlike simplicity. Erasing all of her concerns, all pretensions usual, the moment before pleasure, such as this that after death, had rendered his face rejuvenated as the innocence of childhood. [...] "
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One of the greatest pleasures of a lover is difficult to contemplate the sleep of the beloved. So great length at the beginning of The Captive , the narrator portrays Albertine asleep and we shared thoughts, feelings, that this show inspires. It is a pity that only two or three notation, for "his hair down along her rosy face [that] was placed beside her on the bed," the pearls of her necklace as her breathing moved, we can replace the end to end it of the sleeper by a it Adonis asleep.
What is true in the passage where, feeling that the sleep of his mistress was "in full", the lover would spread to her: "I jumped on the bed quietly, I slept throughout her, I took the size of one of my arms, I put my lips on his cheek and his heart, then all parts of his body, only put my free hand, and was also raised as pearls, by breathing; myself, I was moved slightly from its steady motion. I had boarded the sleeping Albertine. "(The Captive )
We know nothing of tactile sensations, emotions of successive and varied, a man putting his hand "on all sides" of the body of the lover (seems that no power strokes awaken!)
So that the reader who himself has an experience of what Eluard evokes the term "shared Nights", sees in these pages, a mental construct within the plot, as it gives the feeling that there is ... mistaken identity.
* [1] Nicolas Grimaldi La Jalousie, study on the imaginary Proustian , Actes Sud, 1993; Proust, the horrors of love , PUF, 2008; Essay on jealousy, hell Proustian , PUF, 2010.
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The Murmurs of love
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The love
Whether you exist, you whom I have waited a long time, sometimes desperately, as a consolation past, future, and you look like you, that's me close my eyes in disbelief, gratitude to the spell.
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The lover
Ah, the joy of being able, thanks to you, then greet the woman without hesitation ... You do not know as you are those consoles home safe, mobile and talkative, and what price is your fondness for contemplative silence, when you allow the range of low water which is flush our doorstep to take place within our walls O woman of great amusement!
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François Solesmes The Murmurs of love , Ink Navy.
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