In Search of Lost Time [volumes 1 to 7]. Marcel Proust

as the line with which the wind furrows the sand. And in her it must have been hereditary; for the snow-white hair of Andrée’s mother was driven in the same way, forming here a swelling, there a depression, like a snowdrift that rises or sinks according to the irregularities of the soil. Certainly, when compared with the fine delineation of Andrée’s, Rosemonde’s nose seemed to present broad surfaces, like a high tower raised upon massive foundations. Albeit expression suffices to make us believe in enormous differences between things that are separated by infinitely little—albeit that infinitely little may by itself create an expression that is absolutely unique, an individuality—it was not only the infinitely little of its lines and the originality of its expression that made each of these faces appear irreducible to terms of any other. Between my friends’ faces their colouring established a separation wider still, not so much by the varied beauty of the tones with which it provided them, so contrasted that I felt when I looked at Rosemonde—flooded with a sulphurous rose colour, with the further contrast of the greenish light in her eyes—and then at Andrée—whose white cheeks received such an austere distinction from her black hair—the same kind of pleasure as if I had been looking alternately at a geranium growing by a sunlit sea and a camellia in the night; but principally because the infinitely little differences of their lines were enlarged out of all proportion, the relations between one and another surface entirely changed by this new element of colour which, in addition to being a dispenser of tints, is great at restoring, or rather at altering, dimensions. So that faces which were perhaps constructed on not dissimilar lines, according as they were lighted by the flaming torch of an auburn poll or high complexion, or by the white glimmer of a dull pallor, grew sharper or broader, became something else, like those properties used in the Russian ballet, consisting sometimes, when they are seen in the light of day, of a mere disc of paper, out of which the genius of a Bakst, according to the blood-red or moonlit effect in which he plunges his stage, makes a hard incrustation, like a turquoise on a palace well, or a swooning softness, as of a Bengal rose in an eastern garden. And so when acquiring a knowledge of faces we take careful measurements, but as painters, not as surveyors.

      So it was with Albertine as with her friends. On certain days, slim, with grey cheeks, a sullen air, a violet transparency falling obliquely from her such as we notice sometimes on the sea, she seemed to be feeling the sorrows of exile. On other days her face, more sleek, caught and glued my desires to its varnished surface and prevented them from going any farther; unless I caught a sudden glimpse of her from the side, for her dull cheeks, like white wax on the surface, were visibly pink beneath, which made me anxious to kiss them, to reach that different tint which thus avoided my touch. At other times happiness bathed her cheeks with a clarity so mobile that the skin, grown fluid and vague, gave passage to a sort of stealthy and subcutaneous gaze, which made it appear to be of another colour but not of another substance than her eyes; sometimes, instinctively, when one looked at her face punctuated with tiny brown marks among which floated what were simply two larger, bluer stains, it was like looking at the egg of a goldfinch—or often like an opalescent agate cut and polished in two places only, where, from the heart of the brown stone, shone like the transparent wings of a sky-blue butterfly her eyes, those features in which the flesh becomes a mirror and gives us the illusion that it allows us, more than through the other parts of the body, to approach the soul. But most often of all she shewed more colour, and was then more animated; sometimes the only pink thing in her white face was the tip of her nose, as finely pointed as that of a mischievous kitten with which one would have liked to stop and play; sometimes her cheeks were so glossy that one’s glance slipped, as over the surface of a miniature, over their pink enamel, which was made to appear still more delicate, more private, by the enclosing though half-opened case of her black hair; or it might happen that the tint of her cheeks had deepened to the violet shade of the red cyclamen, and, at times, even, when she was flushed or feverish, with a suggestion of un-healthiness which lowered my desire to something more sensual and made her glance expressive of something more perverse and unwholesome, to the deep purple of certain roses, a red that was almost black; and each of these Albertines was different, as in every fresh appearance of the dancer whose colours, form, character, are transmuted according to the innumerably varied play of a projected limelight. It was perhaps because they were so different, the persons whom I used to contemplate in her at this period, that later on I became myself a different person, corresponding to the particular Albertine to whom my thoughts had turned; a jealous, an indifferent, a voluptuous, a melancholy, a frenzied person, created anew not merely by the accident of what memory had risen to the surface, but in proportion also to the strength of the belief that was lent to the support of one and the same memory by the varying manner in which I appreciated it. For this is the point to which we must always return, to these beliefs with which most of the time we are quite unconsciously filled, but which for all that are of more importance to our happiness than is the average person whom we see, for it is through them that we see him, it is they that impart his momentary greatness to the person seen. To be quite accurate I ought to give a different name to each of the ‘me’s’ who were to think about Albertine in time to come; I ought still more to give a different name to each of the Albertines who appeared before me, never the same, like—called by me simply and for the sake of convenience ‘the sea’—those seas that succeeded one another on the beach, in front of which, a nymph likewise, she stood apart. But above all, in the same way as, in telling a story (though to far greater purpose here), one mentions what the weather was like on such and such a day, I ought always to give its name to the belief that, on any given day on which I saw Albertine, was reigning in my soul, creating its atmosphere, the appearance of people like that of seas being dependent on those clouds, themselves barely visible, which change the colour of everything by their concentration, their mobility, their dissemination, their flight—like that cloud which Elstir had rent one evening by not introducing me to these girls, with whom he had stopped to talk, whereupon their forms, as they moved away, had suddenly increased in beauty—a cloud that had formed again a few days later when I did get to know the girls, veiling their brightness, interposing itself frequently between my eyes and them, opaque and soft, like Virgil’s Leucothea.

      No doubt, all their faces had assumed quite new meanings for me since the manner in which they were to be read had been to some extent indicated to me by their talk, talk to which I could ascribe a value all the greater in that, by questioning them, I could prompt it whenever I chose, could vary it like an experimenter who seeks by corroborative proofs to establish the truth of his theory. And it is, after all, as good a way as any of solving the problem of existence to approach near enough to the things that have appeared to us from a distance to be beautiful and mysterious, to be able to satisfy ourselves that they have neither mystery nor beauty. It is one of the systems of hygiene among which we are at liberty to choose our own, a system which is perhaps not to be recommended too strongly, but it gives us a certain tranquillity with which to spend what remains of life, and also—since it enables us to regref nothing, by assuring us that we have attained to the best, and that the best was nothing out of the common—with which to resign ourselves to death.

      I had now substituted, in the brains of these girls, for their supposed contempt for chastity, their memories of daily ‘incidents,’ honest principles, liable, it might be, to relaxation, but principles which had hitherto kept unscathed the children who had acquired them in their own respectable homes. And yet, when one has been mistaken from the start, even in trifling details, when an error of assumption or recollection makes one seek for the author of a malicious slander, or for the place where one has lost something, in the wrong direction, it frequently happens that one discovers one’s error only to substitute for it not the truth but a fresh error. I drew, so far as their manner of life and the proper way to behave with them went, all the possible conclusions from the word ‘Innocence’ which I had read, in talking familiarly with them, upon their faces. But perhaps I had been reading carelessly, with the inaccuracy born of a too rapid deciphering, and it was no more written there than was the name of Jules Ferry on the programme of the performance at which I had heard Berma for the first time, an omission which had not prevented me from maintaining to M. de Norpois that Jules Ferry, beyond any possibility of doubt, was a person who wrote curtain-raisers.

      No matter which it might be of my friends of the little band, was not inevitably the face that I had last seen the only face that I could recall, since, of our memories with respect to a person, the mind eliminates everything