Appendix I A Firefly: Proust and Dickens

It is to Andre Maurois that we owe Proust the devotee of Dickens. In chapter 2 of Ala recherche de Marcel Proust (1949) he evokes those Easter holidays at Illiers in the household of Proust's paternal aunt Amiot at 4, Rue du Saint Esprit. Close-by in the Pre Catalan, a small park owned by his uncle on the banks of the Loir, the adolescent Proust would loll reading. Many years afterwards, in the preface to Sesame et les lys he summoned up those distant 'journees de lecture', but Maurois com­ pounds the account with details of his own:

Above all he relished the long days of reading that he spent in the Pre Catalan ... bordered by the fairest of hawthorn hedges, in the depths of which, in a bower that exists to this day, Marcel enjoyed the stillness, broken only by the golden sound of church bells. There he read George Sand, Victor Hugo, Charles Dickens, George Eliot and Balzac.I

Later, at the Lycee Condorcet he was, Maurois confidently states, 'a great reader of The Thousand and One Nights and, in translation, of Dickens, Thomas Hardy, Stevenson and George Eliot'.2 But the Nights too would have been in translation, presumably Galland's. And Proust himself says that his keenest reading as a child was Theophile Gautier and Augustin Thierry. Hardy and Stevenson belong, as we have already seen, to a much later period of his life. It was Proust's mother who read him George Sand. How much can we trust on this list? Undeterred, Maurois carries on. When in the 1890s Proust got to know the Daudets- Alphonse, Madame Alphonse, and the brothers Lucien and Leon - he was delighted to note in the work of the magisterial Alphonse something of 'a French Dickens'.3 He even, apparently, had aspirations to the title himself. So, we hear, the humour with which the snobbery of the narrator's relatives, the Octaves, is portrayed in Ducote de chez Swann is 'indulgent like that of Dickens'.4 M. de Norpois and the Baron de Charlus too have their pretensions mocked in the tones reminiscent of Pickwick Papers.s Nor is Proust's dialogue unaffected, the carefully placed malapropisms of the director of the Grand Hotel in Balbec recalling 'Balzac and Dickens' .6 In sum, Proust is in a direct line from Dickens, and even Arnold Bennett? This 285 286 Proust and the Vtctorians inheritance was, however, something of a back-handed compliment, since Maurois quotes Jules Lemaitre to startling effect: 'This Proust, when he is bad, is as good as Dickens, and when he's good, is an awful lot better.'8 The biographers have followed suit. George D. Painter too has Proust on his back ploughing his way through Dickens, in the same Pre Catalan. Even Terence Kilmartin, who spent so much time updating the English translation of Proust, spoke of a Dickensian vein in A la recherche. But let us examine the facts. In France Dickens had enjoyed something of a mixed press. In A rebours, Des Esseintes, in search of his own peculiar kind of vicarious experience, saturates himself in the novels of Dickens, but baulks ultimately at their moral squeamishness, like a man choking on milk. The result is to confirm him in his decadence:

But these volumes produced an effect contrary to that which he expected: these chaste lovers and protesting (or Protestant) heroines, dressed to the neck, with their starry-eyed loves, forever lowering their eyes, blushing, weeping for happiness and holding hands, this exaggeration of purity drove him to an opposing frenzy. By virtue of the law of contrasts he leaped to opposite extremes, recalled vibrant and debauched episodes, dreamed of the practices of human couples: the hybrid kiss, or the columbine kiss as ecclesiastical prurience styles it, in which the tongue penetrates the lips.9

But this reaction, or perhaps over-reaction, was far from universal. The Daudets, whose Thursday gatherings Proust attended from 1894, and who must have seemed to the impressionable young man less a family than a literary clan, were Dickens fanatics. When in May of the following year Madame Alphonse Daudet published her Notes sur Londres, Marcel wrote to her appreciatively and, knowing the tastes she shared with the rest of the family, was careful to drop a reference to one passage describing Poets' Corner where 'old Chaucer, Dickens, Thackeray, Walter Scott, Shakespeare, if only in effigy, lie gloriously side by side' .tO Lucien who, Proust later wrote was 'worthy of his father, of his mother, of his brother, being despite this utterly original', had once studied in London in Whistler's studio. Through his books, immature as they were, Proust thought he could discern the tutelary spirits of Dickens and Whistler,ll but the conjunction is itself suspicious, suggesting a fog-bound aura common to both rather than knowledge of any one book. If Alphonse Daudet seemed to him a sort of French Dickens, then, it was only par for the course. But the remark was made in all innocence, for in 1897, the year of Alphonse's death, he was able to write to Lucien with disarming candour: 'What is the best of Dickens? (I know nothing of him whatsoever).'12 1897, if ever, was the year when Proust might have come to share his friend's literary tastes. He was twenty-six at the time, in the throes of Jean Santeuil and still regarding himself as some­ thing of a social realist. He was also much in need of direction. On A Firefly: Proust and Dickens 287

Lucien's advice he borrowed from Rene Peter a copy of David Copperfield and sat down to read it. This would presumably have been the three-volume set translated in 1851 by Amedee Pichot, originally as Le Neveu de ma tante. But by the second chapter, it seems, he had snapped the cover to, his eyes apparently offended by the words: 'It touches me now, although I tell it lightly, to recollect how eager I was to leave my happy home.' The following day he returned it with the curt comment that he found disgusting this urchin who 'dilates with pride because he's lost his mother'.l3 This, of course, is a highly selective reading, but it remains true, whatever the status of Peggotty, that David's story begins when he flies the parental nest. And though he seems to have picked up the tone of release while missing the postponed regret, he is not the only reader to have done so. For whatever reason, it clearly did not please him. Did he ever repair the loss? Painter repeats a late anecdote of Jacques Porel that, when he dined with the author in May 1917, the writer assured him that among his favourite novels was Bleak House.14 If this is accurate, it is somewhat surprising that three years later, on the occasion of the centenary of George Eliot, he should have reacted to a celebratory article in La Nouvelle revue fran~aise by Albert Thibaudet with an effusive rush of praise for everything English: '[Thibaudet] asks if there are any Eliotists left. Well there's me at any rate. And even more of a Hardyist (I know nothing of Dickens nor Thackeray).'l5 What reason would he have he to lie? Modesty? Then why boast about Eliot 'the worship of my adolescence' whom 'so many references in Wlanges prove just how well I know.' Where it came to personal reading, Proust was not one to hide his light. Throughout twenty volumes of corres­ pondence, not another word is breathed about Dickens, and in Proust's other works nothing that cannot be attributed to hearsay. This is itself remarkable, for about authentic enthusiasms he was nothing if not effusive, sometimes repetitively so. Can anything be made of all this? So entrenched is the myth of a Dickensian element in A la recherche, one does so want to try. The most teasing due is an account by Lucien Daudet, written many years after the event, of Proust's delight when he pointed out that the Charlus/ Morel liaison in Sodome et Gomorrhe resembled the relationship between Pip and Magwitch in Great Expectations.16 But, knowing Proust's gal­ lantry, may he not merely have been making social noises? It was in any case a not very bright remark about Dickens, nor for that matter about Proust who, especially among close friends, was invariably polite. To respond with becoming appreciation, he did not have to have read Great Expectations at all. Conscious as he must have been that among la Jamille Daudet Dickens amounted to something of a cult, may he simply have been anxious to please - so anxious as to wish to conceal that there were places where, lead as Lucien might, he was quite unwilling to follow him? It is very tempting ourselves to follow this will o' the wisp over the hawthorn hedge of the Pre Catalan to the bleak Kentish marshes. For one thing, the fact that Dickens plays down the parental while Proust 288 Proust and the VICtorians stressed it tells us much about the difference. This difference can perhaps best be explored through a contrast between Great Expectations, which Proust may or may not have read, and The Mill on the Floss, which undeniably moved him to tears.J7 Both are novels of childhood and growth, both in a sense Bildungsromans. But the debate between nature and nurture which is an almost inevitable concomitant in such a genre is one they approach from different ends. Pip is an orphan who has been brought up under the domineering influence of his sister and the tender ministrations of her husband Joe Gartery. As a result he seems torn between vicious tendencies and a strong capacity for affection which eventually wins through. His experience as it unfolds creates him; it is not for nothing that the convict Abel Magwitch is convinced that he has 'made' Pip. When he visits Satis House his instability of temperament is exploited by encountering those whom he regards as being above his station. He is impossibly attracted to the beacon of Estella, his false star. Estella, we later learn, is the natural daughter of Magwitch from whom temperamentally she seems to have inherited little - arrogance is not one of his most searching faults - and of Jaggers's housekeeper, whose hand movements remind Pip of her. Physically she has borrowed from both parents, but psychologically she is the product, not of heredity but of environment. She is, then, in the same position as Esther Summerson, part-narrator of Bleak House, who is likewise in ignorance of her parentage. Esther is moved to learn that her mother is Lady Deadlock with whom, however, she shares nothing. Sentimental about so much, Dickens seems to have been if anything somewhat stony about the strict parental or filial relation. His sons and daughters, ignorant of or else indifferent to their parentage, arrive creatively ex nihil. Just as Pip is warped out of his native virtue- or perhaps the Edenic virtue of Joe's forge -by false hopes, so Estella has in her turn been created by Miss Havisham. Her pride is a product of this early influence, and Pip falls victim to it. Miss Havisham in her tum has been warped by the calculating wiies of Compeyson, who is also responsible for transforming Magwitch from a mere felon into a murderer. Like Steerforth in David Copperfield, Compeyson is handsome, personable, with acquired social advantages. If in the world of Oliver Twist it is poverty that corrupts, in these novels it is wealth, though in either case the view is the same. Children are tabulae rasae on which the world may write what it will. If Pip is not a product of his parentage, he is arguably a product of landscape. His earliest memories are of the marshes, and to the marshes he returns. Joe's village (Cooling, six miles north-east of Rochester, where Dickens lived for some time after his marriage) is a sort of childhood paradise, like Combray. While Pip changes, Cooling and Joe stay still. It is a domain of repetition. When Pip returns to it towards the end of the novel he finds himself sitting before the open fire:

over there, fenced into the corner with Joe's leg, and sitting on his own little stool, looking at the fire was - I live again! 'We give him the A Firefly: Proust and Dickens 289

name of Pip for your sake, dear old chap' said Joe, delighted when I took another stool by the child's side (for I did not rumple his hair) 'and we hoped he might grow a little bit like you, and we think he do.'l8

But if little Pip resembles his older namesake in the slightest, he has nurture to thank, for he has not the slightest biological connection with the narrator. Satis House is also changeless. Time, it is stressed, has stood still. Miss Havisham's conflagration, by destruction of her decaying trous­ seau, sets time flowing again, and when Pip revisits Satis House at the end of the book, it has like Combray been devastated, though by arson rather than war. Pip's restlessness as a young man, like Marcel's, is the result of an early trauma. Pip and Marcel are dazzled by the proximity of the illustrious - the Guermantes; Satis House and its inhabitants. It is this early exposure to social eminence that sets Marcel off on a fruitless quest for the Duchesse de Guermantes; Pip off on his for Estella. The Guermantes, however, are aristocrats of the blood. In the world of Proust, as in the world of Eliot, one is made by one's descent. Maggie in The Mill on the Floss is a Tulliver and always will be; her salvation, after her abortive elopement, lies in a rapprochement with her back­ ground, painful though this may be. Maggie and Tom Tulliver die clinging to one another in a final recognition of physical, hence emotional bonding. It is this moment of all others in the novel that Proust found so stirring, reducing him to floods of sympathetic tears, drowning them anew. Between Dickens on the one hand, and Eliot and Proust on the other, the rift finally is this: that Dickens, starting with an assumed existential freedom, converts his orphans into social creatures metaphorically tied, where Proust, fleshing his men and women with characteristics biologically endowed, releases them finally into the arbitrary freedom of art. Appendix II Proust's Letter to his Publisher

In January 1903, after four years' hard labour, Proust handed over the manuscript of his translation of The Bible of Amiens (the first part of Ruskin's projected That Which Our Fathers Have Told Us) to his publisher, Prince Constantin de Brancovan, editor and director of the Renaissance Latine. According to Georges de Lauris, who was present, the Prince glanced at it and inquired 'How did you manage it, Marcel? You don't know a word of English.' Stung to the quick, Proust wrote him a letter:

Dear friend, You know how much I love you - and above all at the moment when you have just been so kind to me and my Ruskins, I would not wish to give the impression of reproaching you - but I find it fantastic in the end, knowing that I have worked for four years on a translation of The Bible of Amiens, that this translation is about to appear, that it has given me a lot of trouble and that I attach the greatest importance to it - knowing all of this, I find it fantastic that you should have said in front of Lauris (or indeed anybody else) what you said just now: 'Basically, you don't know English, and this is bound to be full of nonsense.' I know that you did not say this maliciously, my little Constantin. But somebody who detested me and wished to lay waste in one word the effect of four years' work, undertaken what is more in the throes of sickness, who wished for nobody to read my translation, that it be taken for an imposture - I simply ask you what could they have done worse? Just say the same thing to three people and I would not have been able to embark on a single one of the thousand hours of work (and how many more) this work has cost me - As to the fact, you know that I am not in the habit of overrating what I do and that I do not try the patience of the world with my productions. But I believe that this translation, not through my talent which is negligible, but through the infinite pains that I have taken - will be a translation like few others - a veritable recreation. If you knew that there is not a single ambiguous expression, not an obscure expression on which I have not consulted at least ten English writers and on which I do not possess a file of correspondence, you would 290 Proust's Letter to his Publisher 291

not enunciate the word nonsense. And by dint of plumbing the sense of each word, the connotation of each expression, the connections between all of the ideas, I have arrived at so precise an appreciation of the text that each time I have consulted an Englishman - or a Frenchman knowing English profoundly - on any difficulty whatever - they habitually take an hour before perceiving the problem and congratulating me on knowing English better than an Englishman. In which they are mistaken. I do not know a single word of spoken English and I do not read English with ease. But during the four years that I have been working on The Bible of Amiens I have got to know it by heart entire, and it has assumed for me that degree of total assimilation, of absolute transparency, in which the only re­ maining obscurities are the result not of insufficient attention but of a certain residual opaqueness in the thought proposed. A propos of more than twenty phrases, d'Humieres has said to me 'That's impossible to translate, it makes no sense in English, if I was you I would skip it.' By dint of much patience, even these phrases I have managed to reduce to sense. And if there remain any faults in my translation they must exist in straightforward and lucid parts, because the obscure ones have been pondered over, reworked, plumbed for years ... My telling you this dear friend is not in character. I don't think that in my whole life I have spoken to somebody before in this way. But I was more than a little hurt by your unfairness and apprehensive of the consequences that your words would have for me. When you see Antoine Bibesco just ask him if he thinks that I have a thorough understanding of Ruskin's text. He has seen me dither over a meaning where he did not believe there could be the slightest room for doubt. And in listening to my explanations and observing how I wracked my brains over the most scrupulous of exegeses, he used to say to me 'I would not have thought it possible to translate some­ body so well.' It's slightly ludicrous that I should have to furnish you with so many references, but wasn't it after all necessary? All this despite the fact that if you offered me a drink in English I would not know what you were saying, because when I was learning English I had asthma and was incapable of talking and so learned it by sight and cannot pronounce the words, nor make them out when they are pronounced. I do not claim to know English. And you know that I do not harbour many pretensions. Perhaps you will remain convinced of the contrary: that my translation is a tissue of nonsense. But then for friendship's sake don't blurt it out to anyone, and let the public work it out for themselves. Forgive my frankness and rest assured of my most loyal affection. Marcel1

To which it should perhaps be added that the notebook (Nouvelles acquisitions franc;aises 16623 in the Bibliotheque Nationale) containing the first draft of La Bible d'Amiens is in the hand of Mme Adrien Proust, 292 Proust and the Vzctorians as are NAF 16624, 16625, 16626, containing draft versions of Sisame et les lys. Proust's mother likewise seems to have helped him make sense of Ruskin's Mornings in Florence (NAF 16627), but the rest of his research into Ruskin Proust seems to have done himself, with the assistance, that is, of English-speaking friends. It might be fair to summarise the case thus: that during the four years of preparation that went into La Bible d'Amiens, and the three additional years that went into Sisame et les lys, Proust managed to learn to read, not English exactly, but that peculiar sub-species of English writing known as Ruskin. Appendix III Victorian Literature in French Translation: Versions Available to Proust

This is not a complete list, since I have included only translations published in Proust's lifetime of authors in whom at one time or other he expressed an interest. The problem, of course, remains Dickens, for whom I have simply listed the standard collected edition on the supposition that Proust was at least aware of what he almost certainly did not read. Where texts appear in the foregoing discussion and not in this somewhat cursory bibliography, it can be taken that, as with much of Ruskin, Proust's reading was in the original tongue.

James Barrie Peter Pan dans les Jardins de Kensington, conte tire du 'Petit oiseau blanc', illustre par Arthur Rackham (Paris: Hachette, 1907). L'Admirable Crichton, adaptation franc;aise de Alfred Athis (Paris: La Petite Illustration Theiitrale, Nouvelle Serle, no. 22, 1920).

The Brontes Shirley et Agnes Grey, par Currer Bell, trad. C. Romey et A. Rolet (Paris: Hachette, 1859) 2 tomes. Jeanne Eyre, ou les Memoires d'une institutrice, par Currer Bell, trad. Lesbazeilles Souvestre (Paris: D. Giraud, 1854) 2 tomes. Jane Eyre, ou Memoires d'une gouvernante, par Currer Bell, imite par Old Nick (P.-E. Dauran-Forgues) (Paris: Hachette, 1855), Le Professeur, par Currer Bell, trad. Henriette Loreau (Paris: Hachette, 1858). Shirley par l'auteur de 'Jane Eyre', imite de I'anglais par Old Nick (P.-E. Dauran-Forgues) (Paris: Prost, 1850).

293 294 Proust and the Vrctorians

Un Amant [Wuthering Heights], trad Teodor de Wyzema (Paris: Perrin, 1892).

Thomas Carlyle Histoire de Ia Rroolution jram;aise, trad. Elais Regnault et Odysse Barot (tome 2 trad. E. Regnault et Jules Roche; tome 3 trad. Jules Roche) (Paris: G. Balliere, 1865-7) 3 tomes. Les Heros, le culte des heros, et l'herol"que dans l'histoire, trad. et intr. J. B. J. Izoulet-Loubatieres (Paris: A. Colin, 1888). Carlyle Intime: Lettres de Thomas Carlyle a sa mere dont les plusieures inedites, revues sur les originaux par Alexandre Carlyle, trad. Emile Mason avec un portrait de Mrs Carlyle (Paris: Mercure de France, 1907). Carlyle et le Saint-Simonisme, lettres a Gustave d'Eichthal, trad. Eugene d'Eichthal (Paris: Alcan, 1903). Les Hommes de Ia Rroolution jram;aise, trad. Henri Fauvel (Paris: Gautier, 1888). Cathedrales d'autrejois et usines d'aujourd'hui. Pass~ et present, trad. Camille Bos, intr. Jean Izoulet (Paris: Revue Blanche, 1901). Sartor Resartus, vie et opinions de Herr Teufelsdroeckh, trad. Edmond Barthelemy (Paris: Mercure de France, 1904).

Charles Dickens The standard popular French translation was Oeuvres de Charles Dickens, trad. sous Ia direction de P. Lorain [with Dickens's 'Address of the English Author to the French Public'] 28 tomes (Paris: Hachette, 1857-74). If Proust did consult this, the following would have been of interest:

Bleak House, trad. M. Bonnomet, 2 tomes (1858) Le Neveu de ma tante. Histoire personelle de David Copperfield, trad. Amedee Pichot, 3 tomes (1857). Les Grandes espbances, trad. Charles Bemard-Derosne, 2 tomes (1864).

George Eliot

Scenes de Ia vie du clerge, trad. Fran~ois d' Albert-Durade (Paris: Hachette, 1886). Adam Bede, trad. Fran~ois d' Albert-Durade (Paris: E. Dentu, 1861). Middlemarch: etude de Ia vie de province, trad. M.-J. M., 2 tomes (Paris: Colmann Levy, 1890). Silas Marner ... le tisserand de Raveloe, trad. Fran~ois d' Albert-Durade (Geneva: Bilbliotheque universelle et Revue Suisse, Nouvelle Periode, tomes 14, 15, 1862; Paris: Fischbacher, 1881). Victarian Literature in French 'ITanslation 295

Silas Marner: le tisserand de Raveloe, trad. Auguste Malfroy (Paris: Hachette, 1889). Silas Marner; le tisserand de Raveloe, trad. Leon Morel (Paris: 1896). La Famille Thlliver, ou le Moulin su la Floss, trad. Franc;ois D' Albert­ Durade, 2 tomes (Paris: E. Dentu, 1863; Hachette, 1887). Romola ou Florence et Savanorole, trad. Franc;ois Albert-Durade, 2 tomes (Paris: Hachette, 1887). Daniel Deronda, trad. Ernest David (Paris: C. Levy, 1882).

Ralph Waldo Emerson Essais de philosophie ambicaine, trad. et intr. Emile Montegut (Paris: Charpentier, 1851). Sept Essais d'Emerson [Confiance en soi-meme; Compensation; Lois de I' esprit; le Poete; Caractere; L' Arne supreme; Fatalite], trad. I. Will avec une preface de Maurice Maeterlinck (Bruxelles: Lacomblez, 1894). Amitie, Amour, Art, trois essais d'Emerson, trad. E. D. (Mayenne: Poirier-Bealu, 1897). La Conduite de la vie, trad. M. Dugard (Paris: Colin, 1909). Les Representants de l'humanite, trad. P de Boulogne (Paris: Lacroix, 1863). Les Surhumains, trad. Jean Izoulet (Paris: Colin, 1895). Vie et caractere de Napoleon Bonaparte, trad. Franc;ois Van Meenan, 1857).

Thomas Hardy

Barbara [Far from the Madding Crowd], trad. Mathilde Zeys (Paris: Mercure de France, 1901). jude l'obscur, trad. M. Firmin Roz (Paris: Librairie Paul Ollendorff, 1901). Les petites ironies de la vie, trad. Mme H. Bouvin, etc. (Paris: F. Rieder, 1921). La vie et la mort du maire de Casterbridge, trad. Philippe Neel (Paris: Nouvelle revue franglise, 1922). Tess d'Urberville, trad. Madeleine Roilland, 2 tomes (Paris: Editions de Ia Sirene, 1924). Sous la verte feuillee [Under the Greenwood 'free], trad. Eve Paul­ Margueritte (Paris: Flammarion, 1923). Une femme imaginative, trad. Cecil Georges-Bazill (Paris: C. Georges­ Bazile, 1918). Les forestiers, trad. Antoinette Six (Paris: Nouvelle librairie franc;aise, 1932). Deux Yeux Bleus, trad. Eve Paul-Margueritte (Paris: Pion, 1913). This first appeared, as 'Les Yeux Bleus', in the journal des debats, October­ December 1910. La Bien-aimee [The Well-Beloved], trad. Eve Paul-Margueritte, preface de Paul Margueritte (Paris: Pion, 1909). Le 'Itompette-major, trad. Yorick Bemard-Derosne (Paris: Hachette, 1882). 296 Proust and the Vzctorians

Walter Pater Portraits imaginaires, trad. G. Knopff, intr. Arthur Symons (Paris: Mercure de France, 1899). La Renaissance, trad. F. Roger-Comaz (Paris: Payot, 1917). Marius l'epicurien, roman philosophique, trad. E. Coppinger (Paris: Perrin, 1922).

John Ruskin 'Un Chapitre de Ruskin', Les Sept Lampes de ['Architecture, trad. Olivier Georges Destree, La Revue Generale (Bruxelles) tome LVII (Octobre 1895) pp. 481-99. 'Les Deux Sentiers' (extract) in Le Bulletin de l'Union pour l'Action Morale, 15 July 1896. Les Sept lampes de ['Architecture et La Couronne d'olivier sauvage, trad. George Elwall (Paris: Edition artistique, 1900). Conf~rences sur ['architecture et la peinture, trad. E. Cammaerts (Paris: Laurens, 1910). Les Matins a Florence, trad. Eugenic Nypels, annotees Emile Cammaerts, preface de Robert de la Sizeranne (Paris: H. Laurens, 1906). Les Peintres modernes, trad. et annote E. Cammaerts (Paris: Laurens, 1914). Praeterita, trad. Mme Gaston Paris, preface de Robert de Ia Sizeranne (Paris: Hachette, 1911). Le Repos de Saint-Marc, histoire de Venise pour les voyageurs qui se soucient encore de ses monuments, trad. K. johnston (Paris: Hachette, 1908). Les Pierres de Venise, ~tudes locales pouvant servir de direction aux voyageurs s~journant a Venise et a Verone, trad. Mathilde P. Cremieux, preface de Robert de Ia Sizeranne (Paris: Laurens, 1906). Le Val d'Amo, trad et annotees E. Cammaerts (Paris: Laurens, 1911).

Robert Louis Stevenson A Ia pagaie sur L'Escaut, le canal de Willbrocke, Ia Sambre et L'Oise [An Inland Voyage], trad. Lucien Lemaire (Paris: Lechevalier, 1900). Les hommes joyeux (The Merry Men], trad. Albert Savine et Michel Georges-Michel (Paris: L'Edition Franc;aise Illustree, 1920). La nuit des iles, trad. Fred Causse-Mael (Paris: L'Edition Franc;aise lllustree, 1920). Suicide-Club - Le Diamant du Rajah, trad. Louis Despreaux (Paris: Calmann-Levy, 1885). Le Cas etrange du Docteur Jekyll, trad. Mme B. J. Lowe (Paris: Pion, 1890). Voyage a travers les Cevennes avec un line, trad. A. Moulharac (Paris: au siege de Ia Societe, 1901). L'Ile au Tr~sor, trad Andre Laurie [Paschal Grousset] (Paris: Hetzel, 1885). Victorian Literature in French 'Itanslation 297

Hermiston, le juge-pendeur [Weir of Hermiston), trad. Albert Bordeaux, preface Teodor de Wyzewa (Paris: Fontemoing, 1912). Dans les mers du Sud, trad. M.-L des Garets (Paris: Nouvelle revue fraru;aise, 1920). Dans les mers du Sud, trad. Theo Varlet (Paris: Editions de la Sirene, 1920) tome 1, Les Marquises et les Paumotus; tome 2, Les Gilberts. Les gais lurons, trad. Theo Varlet (Paris: Editions de la Sirene, 1920). Le Maitre de Ballantrae, trad. Theo Varlet (Paris: Editions de Ia Sirene, 1920). Le Reflux [The Ebb-Tide), trad. Teodor de Wyzewa (Paris: Perrin, 1925). Les Aventures de David Balfour, trad. Marie Dronsart (Paris: Hachette, 1907), Le Dynamiteur, trad. G. Art, preface Marcel Schwob (Paris: Plon, 1894). Le Roman du prince Othon, trad. Egerton Castle (Paris: Perrin, 1897). Saint-Ives, aventures d'un prisonnier fran~is en Angleterre, trad. Teodor de Wyzewa (Paris: Hachette, 1904). Le Naufrageur, trad. L.-M. 'h!ys (Paris: Hachette, 1906). Le Secret du navire (Paris: F. Juven, 1910). Le Mort vivant [The Wrong Box), trad. Teodor de Wyzewa (Paris: Perrin, 1905). Enleve! memoire relatant les aventures de David Balfour en l'an 1751, trad. d' Albert Savine (Paris: P.-V. Stock, 1905). Catriona, trad. Jean de Nay (Paris: Hachette, 1907).

Rabindranafh Tagore L'Offrande lyrique [Gitanjalz], trad. Andre Gide (Paris: Nouvelle revue fram;aise, 1913). Amal et 1a lettre du roi, trad. Andre Gide (Paris: Vogel, 1922). La Corbeille de fruits, trad. Helene du Pasquier (Paris: Nouvelle revue fraru;aise, 1920). Le ]ardinier d'amour, trad. Henriette Mirabaud-Thorens (Paris: Nouvelle revue fran~ise, 1920).

Henry David Thoreau Walden ou la vie dans les bois, trad. W. Singer (Princesse de Polignac) (Paris: La Renaissance Latine, numeros de 15 december et 15 janvier, 1904). Walden, trad. Louis Fabulet (Paris: Editions de Ia Nouvelles revue fran­ ~ises, 1922).

H. G. Wells La Machine a explorer le temps, trad. Henry-D. Davray (Paris: Mercure de France, 1898-9). 298 Proust and the VICtorians

La Guerre des mondes, trad. Henry-D. Davray, (Paris: Mercure de France, 1900). L'lle du docteur Moreau, trad. Henry-D. Davray (Paris: Mercure de France, 1901). L'Homme invisible, trad. Achille Laurent (Paris: Mercure de France, 1901). L'Amour et M. Lewisham, trad. Henry-D. Davray et B. Kozakiewitz (Paris: Mercure de France, 1903). La merveilleuse visite, trad. Louis Barron (Paris: Mercure de France, 1903). La Decouverte de l'avenir, trad. Henry-D. Davray et B. Kozakiewitz (Paris: Mercure de France, 1904). Place aux g~ants [The Food of the Gods], trad. Henry-D. Davray et B. Kozakiewitz (Paris: Mercure de France, 1904). 'La Verite concernant Pyecraft', trad. Henry-D. Davray et B. Kozakiewicz (L'lllustration, 4 novembre 1905). Les Premiers hommes dans la lune, trad. Henry-D. Davray (Paris: Mercure de France, 1901). L'Histoire de Monsieur Polly, trad. Henry-D. Davray et B. Kozakiewitz (Paris: Mercure de France, 1911). Quant le dormeur s'toeillera, trad. Henry-D. Davray et B. Kozakietwitz (Paris: Mercure de France, 1905). Le Pays des aveugles, trad. Henry-D. Davray et B. Kozakietwitz (Paris: Mercure de France, 1914). La Guerre qui tuera la guerre, trad. Cecil Georges-Bazile (Paris: Michel, 1916). La Guerre de l'avenir, l'Italie, la France et la Grande-Bretagne en guerre, trad. Cecil de Georges-Bazile (Paris: Michel, 1917).

Oscar Wilde Ballade de la Geole de Reading, trad. Henry-D. Davray (Paris: Mercure de France, 1898). De Profundis. Precede de lettres ecrites de la prison par Oscar Wilde a Robert Ross, suivi de la Ballade de la geole de Reading, trad. Henry-D. Davray (Paris: Mercure de France, 1905). In Memoriam (extraits), le De Profundis, trad. Andre Gide (Paris: Mercure de France, 1910). Intentions, trad. J. Joseph-Renaud (Paris: P.-V. Stock, 1905). Intentions, trad. Hughes Rebelle, preface Charles Grolleau (Paris: Carrington, 1906). Opinions de litt&ature et d'art, trad. J. Contel (Paris: l'Edition Moderne, 1914), Le portrait de Dorian Gray, trad. attrib. Eugene Tardieu et Georges Maurevert (Paris: Savine, 1895). Salow, drame en un acte (London: Elkin Mathews and John Lane; Paris: Librairie de l'art independant, 1893). Performed in Paris, Theatre de l'Oeuvre, 11 February 1896. Salow, drame en un acte (Paris: Editions G. Cres, 1922). Victorian Literature in French 'Iranslation 299

Le Crime de Lord Arthur Savile, trad. Albert Savine (Paris: P.-V. Stock, 1905). La Maison des grenades [The House of Pomegranates), trad. G. Knopff (Paris: Editions de la Plume, 1902). Poemes en prose, trad. Henry-D. Davray (Paris: La Revue Blanche, tome XIX, mai-aotit, 1899). Poemes en prose, trad. Charles Grolleau, preface Jacques Derroix (Paris: Carrington, 1906). Les Origines de la critique historique, et confbences sur l'art, trad. Cecile Georges-Bazil (Paris: Mercure de France, 1914). L'Ame de l'homme, trad. Paul Grosfils (Bruges: Herbert, 1906). Theatre, trad. d' Albert Savine (Paris: P.-V. Stock, 1910-11) tome 1, Evential de Lady Windemere. Une femme sans importance; tome 2. Un mari idhll. De l 'Importance du smeux. Notes

Abbrevations are given in the 'Note on Sources' at the beginning of this book (p. xiii). All references to French versions of nineteenth-century English or American texts are to titles listed in Appendix III. Translations, unless otherwise stated, are by the author.

1 The Lamp of Memory: The Child in the House (1)

1. NP, I, 5. and editors' note at 1087. Henry-D. Davray's translation of The Time Machine [La 111JlC1ine a explorer Ie temps] was first published in Le Mercure de France, XVIII (December 1898) 583-646, and XXIX Uanuary 1899) 92-150. See Appendix III and discussion below. 2. See the extracts from Cahier 3 printed as Exquisse 1 of NP, I, 633-9. 3. Gerard Genette, 'Proust palimpseste' in Figures (Paris: Editions de Seuil, 1966) p. 47. 4. S&L, 18-19. Compare also the passage about the invalid obliged to sleep in a strange hotel from NP, I, 4. Also the passage concerning the fear of sleeping in strange rooms, Exquisse V of NP, I, 658-62. 5. Gerard Genette, Figures III (Paris: Editions du Seuil, 1972) pp. 152-3. 6. George D. Painter, Marcel Proust: A Biography, 2nd edn (London: Chatto & Windus, 1989) vol. II, pp. 35-6. 7. See Prousrs own description of the abstracted eyes of one absorbed in his memories, 'Sentiments filiaux d'un parricide', CS-B, 152. 8. C&W, IX, 35, 425. See also VIII, 6, 130; x, 160-2, 290; XXIII, 303 and so on. 9. C&W, XXXV, 163-8, 320-9, 433-56 and passim. 10. Painter, Marcel Proust, vol. I, pp. 258-9. Cor, II, 367 with Kolb's footnote, 368. The extract that they found was Un Chapitre de Ruskin, Les Sept Lampes de ['Architecture, trad. Olivier Georges Destree, La Revue Generale (Bruxelles) tome LVII (Octobre 1895) pp. 481-99. Identified as 'The Lamp of Memory' by Jean Autret, L'influence de Ruskin sur la vie, les idees et l'oeuvre de Marcel Proust (Geneve: Libraire Droz; Lille: Librairie Giard, 1955). A later, and different, translation of the same chapter was to appear the following year as 'La Lampe du Souvenir' in Les Sept Lampes de l'architecture, trad. Elwall, pp. 184-208. 11. C&W, VIII, 223-4. Elwall, Les Sept Lampes, pp. 186-7. 12. C&W, XVIII, 122. S&L, 189. The passage in fact was a cue for one of Proust's more ludicrous mistranslations, his version running: 'Mais dans Ia mesure ou il est une place sacree, un temple vestalien, un temple du coeur sur qui veillent les Dieux Domestiques devant Ia face desquels ne peuvent paraitre que ceux qu'ils peuvent recevoir

300 Notes 301

avec amour, pour autant qu'il est cela, que le toit et le feu ne sont que les emblemes d'une ombre et d'une flamme plus nobles, l'ombre du rocher sur une terre aride et Ia lumiere du phare sur une mer demontee; pour autant il justifie son nom et merite sa gloire de Foyer.' But, granted that hearth and home would have given Proust two 'foyers', even household Lares can presumably tell the difference between a 'hearth' and a 'heart'. 13. See photograph of the bedroom at 44 rue Hamelin reproduced as illustration 38 in Painter, Marcel Proust, vol. II, 118-19. See also Celeste Albaret's description of the relative starkness of the comer of the bedroom in the Boulevard Haussmann in which Proust chose to work: 'What was most striking was the contrast between all these large pieces of furniture, with their gilded bronzes, and the others: those which constituted his own corner, in the angle between his wall and the chimney piece. Apart from one piece in the chinese style with five leaves behind the bedhead, everything was simple' (Celeste Albaret, Monsieur Proust, Souvenirs recueillis par Georges Belmont [Paris: Robert Laffond, 1973] p. 77). The photograph of the bedroom at the rue Hamelin reproduced by Albaret's editors between pp. 96 and 97 is similarly suggestive. 14. Jerome K. Buckley, The 'Iriumph of Time: A Study of the Victorian Concepts of Time, History, Progress and Decadence (Cambridge, Mass.: Belknap Press of the Harvard University Press, 1966; London: Oxford University Press, 1967).

2 The Lamp of Heroism: Carlyle, Emerson, Thoreau 1. Lettres a Reynaldo Hahn, ed. Philip Kolb (Paris: Gallimard, 1956) p.163. 2. Cor, XI, 71. George D. Painter, Marcel Proust: A Biography, 2nd edn (London: Chatto & Windus, 1989) vol. I, p. 335. NP, II, 631. 3. James Anthony Froude, Thomas Carlyle. A History of His Life in London, 1834-1881 (London: Longman, 1884) vol. II, pp. 138-40. Carlyle intime, pp. 306-10. 4. Le Camet de 1908, ed. Philip Kolb, Cahiers Marcel Proust, nouvelle serie 8 (Paris: Gallimard, 1976) p. 47. The original of this document is in the Bibliotheque Nationale, Departement des manuscrits, Nouvelles acquisitions francsaises 16637, Fonds Marcel Proust. All subsequent citations, unless otherwise stated, are to Kolb's edition. Vertical dashes represent divisions between the lines 5. Carlyle intime, p. 88. Letters of Carlyle, ed. Charles Eliot Norton (London and New York: Macmillan, 1888) vol. I, p. 12. 6. Painter, Marcel Proust, vol. I, p. 48. The quotation was from Horace, II.iii, 11. 483-4: 'Si vous n'etes Romain, soyez digne de l'iHre.' 7. Painter, Marcel Proust, vol. I, pp. 182-4 8. Thomas Carlyle, On Heroes, Hero-Worship and the Heroic in History (London: James Fraser, 1841) pp. 126-7; Les Heros, le culte des heros, 302 Proust and the Vzctorians

et l'heroique dans l'histoire, trad. et intr. J. B. J. Izoulet-Loubatieres (Paris: A. Colin, 1888)pp. 125-6. 9. See especially Thomas Carlyle, The French Revolution (London: James Fraser, 1837) vol. I, pp. 194-9; Histoire de la Rwolution franr;aise, trad. Elais Regnault et Odysse Barot (Paris: G. Balliere, 1865-7) vol. I, pp. 179-84. 10. Ralph Waldo Emerson, English 1Taits (London: Routledge, 1856) p. 9. 11. The Correspondence of Emerson and Carlyle, ed. Joseph Slater (New York and London: Columbia University Press, 1964) p. 108 12. Ralph Waldo Emerson, Representative Men (London: J. Chapman, 1850) p. 54; Les Surhumains, trad. Jean Izoulet (Paris: Colin, 1895) pp. 71-2. 13. For her account of Emerson's incommunicability and independence of temperament, an account that Proust seems to have very much taken to heart, see Marie Dugard, Ralph Waldo Emerson, Sa vie et son oeuvre (Paris: Colin, 1907) pp. 109-17. 14. The reference to Carlyle is to his portrait of Rousseau, Heros, pp. 298-304; Les Heros, trad. Izoulet-Loubatieres, pp. 289--95; that to Alfred de Vigny to 'Le Mort du Loup', I. 78, Oeuvres Completes, ed. F. Baldensperger (Paris: Gallimard, Edition de Ia Ph~iade, 1948) vol. I, p. 198. 15. Camet, 84, quoting Dugard, Emerson, p. 97. 16. The Correspondence of Emerson and Carlyle, p. 10. The reference is to Wilhelm Meisters Lehrjahre (Zurich: Artemis-Verlag, 1948) vol. VII, p. 477. Carlyle's own translation runs: 'The world is waste and empty, when we figure only towns and rivers in it: but to know of some one here and there, whom we accord with, who is living with us even in silence, makes this earthly ball a peopled garden' (Wilhelm Meister's Apprenticeship: A Novel from the German of Goethe [Edinburgh: Oliver & Boyd, 1824) p. 39). 17. C&W, XXXVII, 440. For Broicher's discussion see Charlotte Broicher, john Ruskin und sein Werk (Leipzig: Verlegt Bei Diedericks, 1902) vol. I, pp. 259--72. 18. The Works of Ralph Waldo Emerson (London: Macmillan, 1883) vol. II, p. 252; cited Dugard, Emerson, p. 97; quoted Camet, 84. 19. Emerson, Works, vol. II; cited Dugard, Emerson, p. 68; quoted Camet, 84.

3 The Lamp of Servitude: Ruskin

1. Figaro, 19 November 1907. Collected in CS-B, 63-9, where, however, the title is changed to 'Journees en automobile'. 2. George D. Painter, Marcel Proust: A Biography, 2nd edn (London: Chatto & Windus, 1989) vol. I, p. 271. 3. The relevant work of Joseph-Antoine Milsand (1817-86) first appeared in La Revue des Deux Mondes between 1860 and 1861. It was later collected as l'esthttique Anglaise: etude sur Ruskin (Paris, Notes 303

1864). Jacques Bardoux (1874-59) published his Le Mouvement idealiste et social dans Ia litterature anglllise au XIXe sitcle: John Ruskin in 1900. Robert de Ia Sizeranne's Ruskin et Ia religion de Ia beauM was published by Hachette in 1897. 4. For a full and sensitive treatment of Proust's debts to these authors, see Jean Autret, L'influence de Ruskin sur Ia vie, les id~ et l'oeuvre de Marcel Proust (Geneve: Libraire Droz; Lille: Librairie Giard, 1955) pp. 18-26. 5. Gerard Genette, Figures III (Paris: Editions du Seuil, 1972) pp. 152-3. 6. Heather Henderson, The Victorian Self: Autobiography and Biblical Narrative (Ithaca, NY and London: Cornell University Press, 1989) pp. 85-88. 7. Edmund Gosse, Father and Son: A Study of Two Temperaments (London: Heinemann, 1907) pp. 33-4. For a discussion of such typologies in Gosse, again see Henderson, The Victorian Self, pp. 117-59. 8. Sizeranne, Ruskin et Ia religion, p. 189. 9. Ibid., p. 224. 10. Between 1893 and 1903 Le Bulletin de l'Union pour l'Action Morale published brief translated extracts from Saint Mark's Rest, Sesame and Lilies, The Two Paths, Modern Painters, The Stones of Venice, The Crown of Wild Olive and Unto This Last. Les Deux Sentiers, a longish extract from The Two Paths was published in the issue of 15 July 1896. The extract there given is the description of La Vierge Doree above the south portal of Amiens, but Proust quite clearly knew the whole work well. See the Preface to Amiens, 24: 'If I mention these things here it is because the The Two Paths appeared in 1858 and The Bible of Amiens in 1885, and the closeness of the texts and the dates demonstrates just how much The Bible of Amiens differs from the sort of books we write on things that we have studied in order to write about them ... instead of writing about things which we have long studied in order to satisfy a disinterested taste, and without considering that later on they might provide us with material for a book.' 11. For a detailed account of this episode, and of the jewellery and artwork to which it gave rise, see Charlotte Gere and Geoffrey C. Munn, Artists' ]ewellry; Pre-Raphaelite to Arts and Crafts (London: Antique Collectors' Club, 1989) pp. 123-34. 12. Sizeranne, Ruskin et Ia religion, pp. 54-6. 13. Painte~ Marcel Proust, vol. II, pp. 320-1. 14. See letter to Binet-Valmer (Cor, v, 221-3).

4 The Lamp of Truth: George Eliot 1. Andre Maurois, A Ia recherche de Marcel Proust (Paris: Hachette, 1949) p. 16. 304 Proust and the Vtetorians

2. Gordon S. Haight, George Eliot: A Biography (Oxford; Clarendon, 1968) p. 332. 3. The George Eliot Letters, ed. Gordon S. Haight (Yale University Press and Oxford University Press, 1954-5) vol. I, pp. 316-17; quoted in Haight, George Eliot, pp. 75--6. 4. The George Eliot Letters, vol. III, p. 374. 5. CS-B, 72-3, citing Ruskin in The Bible of Amiens: 'stopping as you go, so as to get into a cheerful temper, and buying some bonbons or tarts for the children in one of the charming patissier's shops to the left' (C&:W, XXXIII, 128). 6. CS-B, 74. The quotations from Eliot are from Albert Durade's translation of Adam Bede, pp. 84, 85, 226, 227, 228, 230. 7. J. W. Cross, Life of George Eliot (1885) vol. II, p. 7. 8. Westminster Review, April 1856; cited in Selected Essays, Poems and Other Writings, ed. A. S. Byatt (Harmondsworth, Middx.: Penguin, 1990) p. 368. 9. George Eliot, Adam Bede (London: Blackwood, 1859) vol. II, pp. 4--5. 10. Haight, George Eliot, p. 259, citing The George Eliot Letters, vol. II, p. 451. 11. Preface to ]S, I, 13-14, citing JS, I, 53-4. 12. Review of Robert Mackay's Progress of the Intellect, Westminster Review, January 1851; cited Byatt, Selected Essays, p. 271. 13. Cross, Life of George Eliot, vol. II, p. 68. 14. ]S, 11, 252, which, however, has 'M. Cabusson'.

5 The Lamp of Form: Proust, Whistler and la peinture anglaise 1. George D. Painter, Marcel Proust: A Biography, 2nd edn (London: Chatto &: Windus, 1989) vol. I, p. 123. 2. P&], 81. The translation is that of David Kelley accompanying the compact disk of the Reynaldo Hahn settings of 'Portraits des Peintres' (Accord, 200592), with Caroline Gautier singing and William Nabore at the piano. I am grateful to Dr Kelley for his permission to reproduce his translation on page 22 of the accomp­ anying booklet. 3. The Letters of Thomas Gainsborough, ed. Mary Woodall (London: Lion and Unicorn Press, 1961) letter no. 50 from Bath to William Jackson, Exeter, 2 September 1767, 101. Compare CS-B, 525-6. 4. ]S, II, 317. The picture is not mentioned in the text, but the pictorial details give it away. Proust would have seen the painting on his frequent expeditions to the Louvre. 5. Robert de Montesquiou,. 'L' Ami du "Voleur de Soleil"', in 'Utes couronnees (Paris, 1916) pp. 117-41. Montesquiou fancied himself as something of a connoisseur of English art. See also Autels privilegies (Paris, 1899). 6. Letter to Montesquiou (Cor, I, 315-16). In a review of Gabriel Notes 305

Maurey's book on Gainsborough, Proust refers to Groult's collection as 'le Louvre de Ia peinture anglaise' (CS-B, 526). 7. Montesquiou, 'mtes couronnks, 121. 8. NP, II, 192, 198, 209-10, 215. 9. Gerard Genette, 'Proust palimpseste', Figures (Paris: Editions de Seuil, 1966) p. 47. See also chapter 1 above, pp. 4-5. 10. Robert de Ia Sizeranne, La Peinture anglaise contemporaine (Paris: Hachette, 1895). Sizeranne's book is mentioned in Proust's article 'Dante Gabriel Rossetti et Elizabeth Siddal', first published in La Chronique des arts et de la curiosite, 7 and 14 November 1903. CS-B, 470-4 11. Sizeranne, La Peinture anglaise contemporaine, p. 211. 12. NP, I, 9-10. See chapter 1 above, pp. 3-4. 13. NP, I, 417. See also the discussion in chapter 1 above, pp. 13-16. 14. Painter, Marcel Proust, vol. 11, p. 168. 15. NP, III. 208. Not everybody, however, shared Madame Cambremer's 'modernist' admiration for Pellbls, including a certain 'noble lady from Avranches' who rushes up to her at La Raspaliere shouting 'We had an interesting experience during our stay in Paris; we went to the Opera Comique to hear Pelleas et Wlisande; it was frightful' (NP, III, 207). 16. NP, III, 623-4. For much of the musicological information, especially the analysis of the tritone, the whole-tone scale and the 'psalmodic' style, I am indebted to a former teacher, Melanie Daiken, a one-time student of Olivier Messaien, whose composition class I attended at Morley College, 1979-82. 17. Painter, Marcel Proust, vol. I, pp. 118-19. His brief infatuation with Marie Finaly is re-created in ]S, III, 247-9. 18. The Works of Dante Gabriel Rossetti, ed. W. M. Rossetti (London: Ellis, 1911) sonnet LV, 93. Proust's citation is from the French translation of The House of Life, La Maison de la Vie, Sonnets traduits litteralement mais litterairement, trad. Clemence Couve, intr. }. Peladan (Paris: Alphonse Lemaire, 1884) sonnet LV, 'Amour Mort-Ne', 112. 19. NP, I, 139-40 and IV, 269. 20. Sizeranne's account of the trial appears on pp. 251-6 of La Peinture anglaise. I have used the translation of H. M. Poynter in English Contemporary Art (London: Constable, 1898) p. 295. 21. Painter, Marcel Proust, vol. I, pp. 217-9. 22. See letter to Marie Nordlinger, 9 or 10 February 1905 (Cor, v, 41-3). 23. The Gentle Art of Milking Enemies: 'as pleasingly exemplified in many instances, wherein the serious ones of the earth, carefully ex­ asperated, have been prettily spurred on to unseemingliness and indiscretion, while overcome by a undue sense of right' (London: Heinemann, 1890). 24. Letter to Marie Nordlinger, 9 or 10 February 1905 (Cor, v, 41-3). 25. Jacques-Emile Blanche, Propos de Peintre, first series, preface by Marcel Proust (Paris, 1919) pp. 57-8, 68. See also Cor, v, 226 and XVII, 61. 26. Letter to Blanche (Cor, XVI, 125-6). 306 Proust and the Vtetorians

27. James McNeill Whistler, Ten O'Clock (London: Chatto & Windus, 1888) p. 15. The pagination of the French edition Le 'Ten o'clock' de M. Whistler, trad. Stephane Mallarme (Paris: 1888) is identical. 28. The Gentle Art of Making Enemies, p5. 29. Ruskin; Rossetti; Pre-Rapiulelitism, ed. W. M. Rossetti (London: George Allen, 1899) pp. 28--30. 30. The Gentle Art of Making Enemies, p. 126. 31. Whistler, Ten O'Clock, p. 14.

6 The Lamp of Geometry: Hardy

1. See n. 4, chapter 2 above. The Camet is on Microfilm 530 of the Proust collection at the Bibiotheque Nationale. 2. Camet, 67. I have followed Kolb's excellent extrapolations on this passage in his note on p. 137, and some of his suggestions elsewhere in his edition. 3. See his page references to the 1908 edition of La Matiere et la mbnoire, Camet, 113. 4. Bergson, Matiere et Memoire (Paris: Alcan; 1896). Throughout the opening chapters Bergson seems to employ the terms 'realiste' and 'materialiste' almost interchangibly. Page 12, for example, has 'realiste', though from p. 13 he speaks of 'Ia hypothese material­ iste'. See also discussion in chapter 2 above. 5. Le Rouge et le noire, Bibliotheque de Ia Pleiade, Romans et Nouvelles, vol. I (Paris: Gallimard, 1952) p. 650. 6. La Chartreuse de Parme, Bibliotheque de Ia Pleiade, Romans et Nouvelles, vol. II (Paris: Gallimard, 1952) p. 280. 9. Camet, 114. The notebook is particularly difficult to decipher at this point, the phrase 'de Jethway' being squeezed between the lines. Kolb reads 'this steamboat coming from Sothway' which seems to bear no relation to Hardy's text. The second of these paragraphs is inscribed vertically down the left-hand margin of p. 48. See chapter 11 below. 7. Thomas Hardy, The Well-Beloved: A Sketch of A Temperament, Wessex Edition of the novels of Thomas Hardy (London: Macmillan, 1912) pp. 3-4; La Bien-Aimee, trad. Eve Paul-Margueritte, preface de Paul Margueritte (Paris: Pion, 1909) p. 3. 8. See Appendix III. 9. See Appendix III. Both in the case of this book and of Miss Marguerite's Deux Yeux Bleus the text is slightly abridged. 10. Letter to Lucien Daudet (Cor, X, 202). 11. Letter to Lucien Daudet (Cor, x, 240). 12. Thomas Hardy, A Pair of Blue Eyes, Wessex Edition of the novels of Thomas Hardy (London: Macmillan, 1912) p. 362; Deux Yeux Bleus, trad. Eve Paul-Margueritte (Paris: Pion, 1913) p. 297. 13. Samuel Hynes (ed.), Thomas Hardy, Oxford Standard Authors, (Oxford University Press, 1984) p. 168. 14. A Pair of Blue Eyes, p. 24.2; Deux Yeux Bleus, 207. But Miss Paul- Notes 307

Marguerite's text is expecially disappointing at this juncture. For 'Time closed up like a fan before him' we have 'Le present s'abolit.' 15. The Well-Beloved, p. 11; LA Bien-aimee, p. 11. 16. Walter Pater, Imaginary Portraits, which Proust would have read in the translation of G. Knopff with its introduction translated by Knopff from the English of Arthur Symonds (Paris, 1899). See bibliography. 17. Barbey d' Aurevilly, L'Ensorcelee (Paris: Alphonse Lemerre, 1889) p. 306. 18. The Life of Thomas Hardy, 1840-1928, ed. Florence Emily Hardy (London: Macmillan, 1962) p. 286. It is widely recognised that this book is in effect by Thomas Hardy, compiled on his instructions by Florence from his own journal jottings and notes. 19. Hynes, Thomas Hardy, p. 59. 20. The Life of Thomas Hardy, p. 432. Hardy's citations of A l'ombre des jeunes filles en fleurs are from the original (1919) edition. 21. The successive transformations of Albertine in the prism of mem­ ory are considered by the narrator at NP, IV, 60. The revelations of her behaviour at the bathhouse occur at 73, and the laundry girl's confession at 104-5. 22. N~ IV, 58 with note at 1062. The phrase 'au bord de Ia Vivonne' was written by Proust on the typescript, then scored through. A later insertion has 'during a walk by the Vivonne', but this time the suggestion is k~pt.

7 The Lamp of Adventure: Robert Louis Stevenson 1. }. K. Huysmans, A rebours (Paris: Bibliotheque Charpentier, 1891) pp. 176-7. 2. Ibid., p. 184. 3. ]S, I, 222. The deployment of the imperfect tense here is a very clear early instance of the pseudo-iterative: 'Quelquefois elle entendait des cloches et se disait: "Encore quelqu'un de mort"; et envoyait Ernestine chez l'epicier demander qui c'etait. "C'est dans ~a que je n'avais pas vu M. Grigout retourner."' M. Grigout, however, can have died but once. 4. N~ I, 109. and note 2, 1155. 5. Le Livre des Mille Nuits et Une Nuit, trad. J. C. Mardrus (Paris: Editions de Ia Revue Blanche, 1900) vol. VI, p. 154. 6. See Fanny Stevenson's preface to The Dynamiter in the Valima Edition of the works of R. L. Stevenson (London: Heinemann, Chatto & Windus, Longmans; New York: Scribners, 1922) vol. VII, esp. p. 9. The Dynamiter was translated into French in 1894 (see Bibliography). 7. Robert Louis Stevenson, The New Arabian Nights, Valima Edition, vol. III. For the French translation by Louis Despreaux, see Appendix III. 8. A Child's Garland of Verses, Valima Edition, vol. VIII, 25-6. 308 Proust and the VICtorians

9. Valima Edition, vol. I, p. 11. 10. Valima Edition, vol. 11. Proust read this in the translation of L. Lemaire, to which he refers in his preface to La Bible d'Amiens (CS-B, 122, note ••). For Lemaire, see Appendix III. 11. Robert Louis Stevenson, Across the Plains with Other Memories and Essays (London: Chatto & Windus, 1892) pp. 229-52. In the Valima Edition, however, the essays are separated, 'A Chapter of Dreams' appearing in vol. XII. 12. CS-B, 640. The preference for the telescope over the microscope as an image of narrative recurrs in the dosing pages of A la recherche du temps perdu (NP, IV, 618). 13. Valima Edition, vol. XIV, p. 220. 14. Valima Edition, vol. III, pp. 200-1. 15. Valima Edition, vol. VII, p. 32. 16. Valima Edition, vol. VII, p. 349. 17. See Fanny's Stevenson's preface, Valima Edition, vol. VII, pp. 337-41. 18. Elaine Showalter, Sexual Anarchy: Gender and Culture at the Fin de Siecle (London: Bloomsbury, 1991) pp. 105-6. 19. Nineteenth Century, November 1886, pp. 648-66. 20. George D. Painter, Marcel Proust: A Biography, 2nd edn (London: Chatto & Windus, 1989) vol. I, p. 2. 21. NP, I, 157-63; III, 765-6. 22. NP, II, 88-93, 139-43; IV, 234-40, 256-60. 23. Valima Edition, vol. VII, p. 452. 24. Valima Edition, vol. VII, p. 241. 25. Celeste Albaret, Monsieur Proust, Souvenirs recueillis par Georges Belmont (Paris: Robert Laffond, 1973) p. 240.

8 The Lamp of Observation: Wells

1. NP, III, esp. 265-8, 341-2, 363-6. 2. H. G. Wells, The First Men in the Moon (London: George Newnes, 1901) pp. 244-5. 3. H. G. Wells, The Invisible Man: A Grotesque Romance (LOndon: C. Arthur Pearson, 1897) p. 149. 4. Reprinted at NP, III, 921-2. But in none of these cases is there an ascertainable source in Thomas Huxley, of whom naturally Aldous was the grandson, not the nephew. 5. NP, III, 37-8. 6. Malcolm Bowie, Freud, Proust and Lacan: Theory as Fiction (Cambridge University Press, 1987) pp. 56-7. 7. CS-B, 640. The preference for the telescope over the microscope as an image of narrative recurrs in the dosing pages of A la recherche du temps perdu (NP, IV, 618). See also chapter 7 above. 8. H. G. Wells, The Remarkable Case of Davidson's Eyes first appeared in the Pall Mail Budget on 28 March 1895, and was later collected in The Stollen Bacillus and Other Incidents (London: Methuen, 1894). Notes 309

9. NP, I; Exquisse III, 644. 10. H.G. Wells, The Time Machine (London: Heinemann, 1895) p. 143; La Machine a explorer le temps, trad. Henry-D. Davray (Paris: Mercure de France, 1898-9) vol. XXVIII, p. 142. 11. NP, I, 5. and editors' note at 1087. 12. George D. Painter, Marcel Proust: A Biography, 2nd edn (London: Chatto & Windus, 1989) vol. II, p. 244. 13. H. G. Wells, The Food of the Gods (London: Macmillan, 1904) PP· 45-6. 14. Ibid., p. 102. 15. H. G. Wells, 'The Truth about Pyecraft' from Twelve Stories and a Dream (London: Macmillan, 1903). The story was translated into French by Davray and Kozakiewicz as 'La Verite concernant Pyecraft', a special issue of L'Illustration, 4 November 1905. 16. H. G. Wells. When the Sleeper Wakes: A Story of the Years to Come (London and New York: Harpers, 1899) pp. 20fr7.

9 The Lamp of Artifice: Darwin, Wilde

1. Adrian Desmond and James Moore, Darwin (London: Michael Joseph, 1991) p. 509. 2. Erasmus Darwin, The Loves of the Plants, canto N, 11. 489-4, with note to l. 490. 3. Charles Darwin, On the Various Contrivances by which British and Foreign Orchids Are fertilized 11y insects and on the good effects of intercrossing (London: John Murray, 1862) pp. 359-60. 4. Desmond and Moore, Darwin, p. 279. 5. The relevant French translations are Des differentes formes de fleurs dans les plantes de Ia meme espece, trad. Eduard Heckel, preface Amedee Coutance (Paris: Reinwald, 1878); De Ia fecondation des orchidees par les insectes et des bons resultats du croisement, trad. L. Rerolle (Paris: Reinwald, 1870); Des effets de Ia fecondation croisee et de la ftcondation directe dans le regne vegetal, trad. Eduard Heckel (Paris: Reinwald, 1877). See also NP, III, 1268-9. 6. Charles Darwin, The Different Forms of Flowers on Plants of the Same Species (London: John Murray, 1877) esp. pp. 156--W. 7. For Darwin's experiments with the Lythrum salicaria, see Desmond and Moore, Darwin, pp. 519-20. 8. Darwin, Des difforentes formes de fleurs, vol. XXVIII. 9. Oscar Wilde, The Picture of Dorian Gray (London: Ward, Lock, 1891) pp. 34-5. 10. Ibid., p. 189. 11. As was indeed recognised by Proust. See Celeste Albaret, Monsieur Proust, Souvenirs recueillis par Georges Belmont (Paris: Robert Laffond, 1973) p. 311. 12. Ibid., p. 315. 310 Proust and the Vtctorians

13. Philippe Jullian, Oscar Wilde (Paris, 1967) p. 246; George D. Painter, Marcel Proust: A Biography, 2nd edn (London: Chatto & Windus, 1989) vol. I, pp. 169-70; Hayman, pp. 86-7; Richard Ellman, Oscar Wilde (Harmondsworth, Middx.: Penguin, 1988) pp. 327-8; Martin Fido, Oscar Wilde (London: Hamlyn, 1973) p. 88. For all of these latter accounts the principal source is Jullian, whose own footnote reads 'This story was related to the writer by two of Madame Arthur Baignere's grandsons.' Hear-say evidence perhaps; but it has the ring of truth. The behaviour seems oddly brusque for Wilde, a notoriously polite man. If explanation has to be found, Hayman's suggestion of a sexual malentendu seems rather more plausible than Fido's imputation of simple high-handedness. 14. The phrase is Fernand GreSh's, for whose account of the incident see L'Age d'or (Paris: Grasset, 1947) pp. 191-2. 14. 'You are forever gazing. You gaze too much. One should not gaze at people in that way. Something terrible may occur' (Salome [Paris: Cres, 1922] p. 5). 16. From the 1894 edition of Salome. See again Elaine Showalter, Sexual Anarchy: Gender and Culture at the Fin de Siecle (London: Bloomsbury, 1991) pp. 151-4. 17. 'Who is this woman who is gazing at me? I do not wish her to gaze at me. Why does she gaze at me from her golden eyes beneath their gilded lids?' (Salome, p. 27). 18. 'I gazed at you all the evening ... I gazed at you all evening. Your beauty troubled me. But I will do it no more. It is not seemly to gaze except in mirrors' (Salom~, p. 70). 19. Fido, Oscar Wilde, p. 88; Showalter, Sexual Anarchy, p. 149. 20. Honore de Balzac, Illusions perdues, La Com~die Humaine, Etudes de Moeurs, Scenes de Ia vie en Province, vol. II, texte etabli par Marcel Bouteron, Edition de Ia Pleiade (Paris: Gallimard, 1952) pp. 1019-20. In citing Swann's opinion of this passage Charlus is also citing Proust's. See Carnet, 48-9. 21. Balzac, Illusions perdues, 1015. 22. Oscar Wilde, 'The Decay of Lying' in Intentions (London: Osgood, Mcilvaine, 1891) p. 18; 'Le Declin du Mensonge' in Intentions, trad. Hughes Rebelle, preface Charles Grolleau (Paris: Carrington, 1906) p. 19; 'La Decadence du mensonge' in Intentions, trad. J. Joseph­ Renaud (Paris: P.-V. Stock, 1905) p. 19. 23. Indeed, this is precisely on what the narrator insists at NP, IV, 489-90: 'In reality, each reader when he reads is the reader of his own self. The writer's work is nothing but a sort of optical instru­ ment which he hands to reader so as to help him to discern in the book that which he could not see for himself.' There is no definitive reading of, no definitive sexuality in, A Ia recherche. 24. Jonathan Dollimore, Sexual Dissidence: Augustine to Wilde, Freud to Foucault (Oxford: Clarendon, 1991), see especially part n: 'Pespectives'. 25. Ibid., p. 60. 26. Ibid., p. 16. Notes 311

27. Oscar Wilde, 'The Critic As Artist', in the Rebelle and Joseph­ Renaud translations of Intentions. 28. NP, III, 23-5. See also Camet, 63. 29. NP, IV, 962-3. The works cited by Proust are H. G. Wells, War and the Future: Italy, France and Britain at War (London: Cassell, 1917) of which see esp. 99-133 and 266-97, and Rudyard Kipling, France at War (London: Macmillan, 1915), of which see especially chapter 1: 'On the Frontier of Civilization'. For translation of Wells, see appendix Ill. Kipling's war testimony had been translated as La France en guerre, trad. Claude and Joell Ritt (Paris: Berger-Levrault, 1915). The Jungle Book had been translated as Le Livre de la jungle, trad. Louis Fabulet and Robert d'Humieres (Paris: Mercure de France, 1899). 30. Painter, Marcel Proust, vol. II, pp. 60-1; Hayman, 254-5. Hayman's interpetation of the 'accident' at the Gare Saint Lazare seems sensible. 31. Painter, Marcel Proust, vol. II, pp. 67-9; Hayman, 254-5. 32. CS-B, 158-9. Hayman reads the verb 'vieillons' as intransitive, but I cannot agree. 33. Oscar Wilde, 'Sallade de Ia Geole de Reading', Mercure de France, vol. XXVI (May 1898) p. 357, translating 'Yet each man kills the thing he loves, By each let this be heard,/Some do it with a bitter look,/Some with a flattering word,/The coward does it with a kiss/The brave man with a sword./Some kill their love when they are young,/ And some when they are old;/Some strangle with the hands of Gold;/The kindest use a knife, because/The dead so soon grow old.' 34. Ellman, Oscar Wilde, pp. 467-8, 532; Fido, Oscar Wilde, pp. 125, 136. 35. Albaret, Monsieur Proust, p. 220. 36. Hayman, pp. 171-3. 37. Mercure de France, vol. XXVI (April 1898) p. 323. 'Mitte de deorsum' is the Vulgate version of Matthew IV.6; also of Luke IV.9. 38. 'La Race Maudite' in Contre Sainte-Beuve, suivi de Nouveaux Melilnges, ed. B. de Fallois (Paris: Gallimard, 1954) pp. ~9. For simplicity's sake I have read the pronouns 'il', 'lui' and so on as refering to an individual member of the 'race maudite' ,though within the context of this exceptionally long sentence it strictly refers to the race itself. Compare By Way of Sainte-Beuve, trans. Sylvia Townsend Warner (London: Chatto & Windus, 1958) p. 163. 39. Painter, Marcel Proust, vol. I, pp. 154-9. Indeed the whole structure of Painter's monumental work, with its parallel indexing- 'People and Places', 'Characters and Places' -is predicated upon a Sainte­ Beuviste assumption. 40. Oscar Wilde, Intentions, p. 21; Joseph-Renaud trad., pp. 22-3; Rebelle trad., p. 22. 41. Intentions, p. 40-1; Joseph-Renauld trad., pp. 44-5; Rebelle trad., pp. 4Q-:1. 42. Darwin, On the Various Contrivances, pp. 358-60. 43. Desmond and Moore, Darwin, p. 512. 312 Proust and the VICtorians

10 The Lamp of Time: The Child in the House (2)

1. NP, I, 92-5 where, however, Bergotte is still very much a novelist, if one who shares Ruskin's enthusiasm for French medieval cathedrals along with certain tricks of his style. 2. Quoted also in Robert de Ia Sizeranne, Ruskin et Ia religion de beauM (Paris: Hachette, 1897) pp. 128-9 and Ruskin's Pages choisies, ed. Robert de Ia Sizeranne (Paris: Hachette, 1909) pp. 6-10. 3. The passage parodied by Forster is in C&W, x, 25. 4. CS-B, 640. The preference for the telescope over the microscope as an image of narrative recurrs in the closing pages of A Ia recherche du temps perdu (NP, IV, 618). 5. NP, I, 9-10. For which, see above, pp. 3-4. 6. C&W, III, 223-4. For which, see above, pp. 16-20. 7. SL, 24, n. 3. For which, see above, pp. 10-11. 8. Walter Pater, Imaginary Portraits (London: Macmillan, 1924) pp. 89-134. 9. Ibid., pp. 1-48. 10. Walter Pater, Marius the Epicurean, 2 vols (London: Macmillan, 1885). 11. Walter Pater, Miscellaneous Studies (London: Macmillan, 1899) pp. 147-69. 12. Heather Henderson, The Victorian Self: Autobiography and Biblical Narrative (Ithaca, NY and London: Cornell University Press, 1989) pp. 90-1. 13. 'A Prayer for My Daughter', Selected Poetry, ed. A. N. Jeffares (London: Macmillan, 1%2) p. 103. 14. Pater, Miscellaneous Studies, pp. 158-60. 15. Ibid., 174. 16. A Shropshire Lad, XL. 17. See letter of March 1910 to Robert de Billy (Cor, X, 55). 18. For whose mythologising of childhood, or rather of one particular child, see Ann Thwaite, A. A. Milne: A Life (London: Faber, 1990). 19. First published in the Daily Chronicle, 14 July 1906. Collected in The Country of the Blind (London: Nelson, 1911). 20. Frederic W. H. Myers, 'Multiplex Personality', Nineteenth Century (November 1886) pp. 648-66. 21. Ibid., 654-5. 22. Ibid., 654. 23. Eclogues, VIII, 37-41. I am grateful to my esteemed friend Ben Okri for bringing this passage to my attention. 24. Celeste Albaret, Monsieur Proust, Souvenirs recueillis par Georges Belmont (Paris: Robert Laffond, 1973) p. 183. 25. Ibid., p. 209. 26. For an exposition of which see Robert Fraser, The Making of the Golden Bough: The Origins and Growth of an Argument (London: Macmillan, 1990) especially the chapter 'The Progress of the Mind', pp.117-35. 27. See especially photograph 39 reproduced by George D. Painter Notes 313

(Marcel Proust: A Biography, 2nd edn [London: Chatto & Windus, 1989) vol. II facing p. 119) and that carrying the caption 'La demiere photo de son vivant' in Albaret, Monsieur Proust, between pp. 192-3. In both, the face is bruised by sickness, but the expression beneath it exultant. 28. See above, p. 24-5. 29. For which remark I tender my apologies to my revered colleague Eric Griffiths, whose photographs of Illiers have kept me going all winter.

11 The Lamp of Eternity: Proust, Time and the English 1. Adumbrated in The Two Paths, translated into French in 1896 as 'Les Deux Sentiers'. See chapter 3 above. 2. Oscar Wilde, Intentions, pp. 24-6; Joseph-Renaud trad., pp. 27-8; Rebelle trad., pp. 26-7. For an intelligent discussion of Proust's relationship to this passage, and of both men to the aesthetic principles of art nouveau, see Philippe Jullian, Oscar Wilde (Paris, 1967) ch. 9. 3. Sainte-Beuve, 'a M. Villemain' in Pensees d'Aoilt, Poesies (Paris: Eugene Renduel, 1837) p. 152. I am grateful to my brother-in-law, Dr Peter Birkett of Columbia University, NY, for pointing out this passage. 4. Henri Bergson, Essai sur les donnees immediates de la conscience (Paris: Felix Alcan, 1889). 5. Ibid., pp. 142-3. 6. Ibid., pp. 172-6. 7. Ibid., p. 9. 8. Ibid., pp. 107-8. 9. Bergson, Matiere et memoire (Paris: Felix Alcan, 1896) p. 87. 10. Ibid., figure 4, p. 165. 11. T. E. Hulme, 'Intensive Manifolds' in Speculations: Essays on Humanism and the Philosophy of Art, ed. Herbert Read, intr. Jacob Epstein (London: Kegan Paul, 'french, Trubnelj 1924) pp. 194-5. 12. Described but not illustrated by Hulme in 'Humanism and the Religious Attitude', ibid., pp. 5-6. My own figure follows Hulme's hints. 13. Hulme, 'Modern Art and its Philosophy', ibid., p. 96. 14. Hulme, 'Humanism and the Religious Attitude', ibid., pp. 57-8. 15. Hulme, 'Modern Art and its Philosophy', ibid., pp. 101-3. 16. Virginia Woolf, The Waves (London: The Hogarth Press, 1931) p. 117. 17. Ibid., pp. 176-7. 18. Bibliotheque Nationale, Fonds Marcel Proust, NAF 16637, Microfilm 530, 48. The whole vertical comment is squeezed into the left-hand column. 19. Cor, XII, 180. For a fuller discussion see chapter 6. 20. Gerard Genette, Figures III (Paris: Editions du Seuil, 1972) passim 314 Proust and the V~etorians

21. Vtrgina Woolf, The Moment and Other Essays (London: The Hogarth Press, 1947) p. 1. 22. Vtrginia Woolf, Orlando (London; The Hogarth Press, 1928) p. 277. 23. Virginia Woolf, Th the Lighthouse (London: The Hogarth Press, 1927) p.83. 24. The telescope image is explored at NP, IV, 618. To extend the metaphor, Woolf then is a virtuoso of the microscope. 25. Claude Levi-Strauss, La Pensee sauvage (Paris: Pion, 1962) pp. 309-10. Chapter 8 of Levi-Strauss's work, in which this distinction is expounded, has the suggestively Proustian title 'Le Temps retrouve'. The coded allusion to the last volume of A Ia recherche du temps perdu serves to connect Levi-Strauss's conception of the timelessness of myth with the aesthetic of Proust's work. The idea of a 'cold society' would also seem to be directly relevant to Hulme's notion of the timeless classicism of primitive art. 26. Woolf, Orlando, pp. 239-40. 27. W. H. Auden, The English Auden, ed. Edward Mendelson (London: Faber, 1977) p. 52. 28. Richard Ellman, ]ames Joyce (London: Oxford University Press, 1959) pp. 524-4; James Joyce, The Letters of ]ames Joyce, ed. Stuart Gilbert (London: Faber, 1957) p. 148; George D. Painter, Marcel Proust: A Biography, 2nd edn (London: Chatto &: Windus, 1989) vol. 11, pp. 341-2; Hayman, pp. 483-4.

Appendix I Proust and Dickens 1. Andre Maurois, A Ia recherche de Marcel Proust (Paris: Hachette, 1949) p. 16. 2. Ibid., p. 24. 3. Ibid., p. 68. 4. Ibid., p. 231. 5. Ibid., p. 236. 6. Ibid., p. 241. 7. Ibid., p. 279. 8. Ibid., p. 301 9. J. K. Huysmans, A rebours (Paris: Bibliotheque Charpentier, 1891) pp. 135-6. 10. Cor, 11, 44. 11. In a review of Lucien Daudet's La Chemin mort, L'Intransigeant, 8 September 1908. CS-B, 551. 12. Cor, 11, 211. 13. Cor, VI, 18. with Kolb's commentary. 14. George D. Painter, Marcel Proust: A Biography, 2nd edn (London: Chatto & Windus, 1989) vol. II, pp. 289, citing Jacques Pore!, Fils de Rejane (Paris: Pion, 1951-2) vol. I, pp. 317-31, 334. 15. Cor, XIX, 124-5. Thibautet's article had appeared in the Nouvelle revue franfaise, vol. LXXVII (1 February 1920) under the title 'Reflexions sur Ia litterature: le centenaire de George Eliot'. Notes 315

16. Painter, Marcel Proust, vol. II, p. 289 citing Lucien Daudet, Autour de Soi:mnte Lettres de Mlrcel Proust (Paris: Gallimard, 1929). 17. Cor, x, 55. See also chapter 4 above. 18. Charles Dickens, Great Expectations (London: Hazell, Watson & Viney, 1940) p. 701.

Appendix II Proust's Letter to his Publisher

1. Cor, III, 219 sq. But, in the language of Proust's favourite Shake­ speare play: 'Methinks the lady doth protest too much.' Index

abstract form 78 Brichot, 159 216 Agostinelli, Alfred 56-7, 219-20 Broiche:t; Charlotte 47-9 Ainslie, Douglas 59 Bronte, Anne 293 Albaret, Celeste 184-5, 210 Bronte, Charlotte 293 Albertine 56-7, 78-9, 88, 164-7, Bronte, Emily 159, 293 191-3,219-20 Burnett, Frances Hodgson 250, 253 Albert-Durade, Fran~is D' 89-93 Andree 87-8 Armenian massacres 37 Caillavet, Mme Arman de 212 art nouveau 7, 23 Calmette, Gaston 226 Auden, W. H. 282 Cambremer, Mme de 12 Caraman-Chimay, Princesse Alex- andre de 168-9, 177-8, 179, Baigneres, Mme Laure 211 198 Balzac, Honore de 9-10, 91, 93, Cardane, Charles 226-7 134,233 Capuo, Eduardo de 65-6 Les Chouans 9-10 Carlyle, Thomas 28-55 passim, 294 Splendeurs et miseres des Of Heroes, H~Worship and the courtesanes 33, 217 Heroic on History 33-8 Illusions perdues 216-17 The French Revolution 33, 36-8 Barbey d'Aurevilly, Jules-Amedee correspondence with Emerson 156-8 44-6 Bardoux, Jean 58 Carrol, Lewis 250 Barrie, J. M. 147, 250, 293 Cezann~Paul 146,272 Baudelaire, Charles 142, 218 Champagnolle 18-21, 46 Bergotte 81-2, 83-5 Charcot, Jean 183 Bergson, Henri 50, 14>-4, 262-73 Charlus, M. Baron de 42, 111-12, Essai sur les donnees immediates 133-4, 181-3, 188, 204-5, 216, de Ia conscience 262-7 224,287 Matiere et mlmoire 43-4, 267-70 Chatelleraud, Due de 190 Bibesco, Antoine de 43, 48, 128, Cottard, Dr 182-3 291 Cottard, Mme 182-3 Billy, Robert de 32, 115, 147, 160 Blanche, Jacques-Emile 24, 211-12 Bowie, Malcolm 192 Darwin, Charles 202-6, 236 Blarenberghe, Henri van 225-7 Darwin, Emma (nee Wedgwood) Bloch 117 203-4 Boisdeffre, General 38 Darwin, Erasmus 202, 232 Boylesve, Rene 177-8 Darwin, Henrietta 202 Brancovan, Prince Constantin de Daudet, Alphonse 286 290-2 Daudet, Mme Alphonse 286 Braque, Georges 4 Daudet, Leon 142, 146, 286 Briand, Aristide 56 Daudet, Lucien 131-2, 174, 286-7 316 Index 317

Davray, Henri-D 227-8,230-1 Gautiei; Theophile 7, 249-50 Debussy, Oaude 126-7 Genette, Gerard 4, 10, 120, 277-9 Dickens, Charles 170, 285-9, 294 Gide, Andre 220-1 Blellk House 288, 294 Gifford, Emma see Hardy, Emma David Copperfield 286, 288, 294 Gilberte 72-4, 107-9, 129, 247-9 Great Expectatians 287-9, 294 Giotto 57-8, 198 Dollimore, Jonathan 220-1 Goethe, Johann W>lfgang von 47-9 Dostoievski, Fydor 150, 156 Goncourt, Edmond de 142, 181-2 Dreyfus Scandal 38-40, 262 Gosse, Sir Edmund 63 Dugard, Marie 41 Gregh, Fernand de 212-3 Guermantes, Due de 112-13, 201 Guermantes, Oriane, Duchesse de Eliot, George 87-113 passim, (formerly Princesse de 287-9,294 Laumes) 54, 112-3, 188, 201, Adam Bede 95-6 241-2 The Mill on the Floss 106--8, 294 Guiraud, Ernest 114 Sibls Marner 101-3, 294 Middlemarch 103, 104-5, 294 Scenes from Clerical Life 294 Hahn, Maria (later Mme de Eliot, T. S. 283 Madrazo) 33, 75 Elstir 4-5, 68-70, 74-5, 76-7, 119- Hahn Mme 29-30 20 Hahn, Reynaldo 28-30, 31-2, 116- Emerson, Ralph Waldo 29, 39-43, 17,228-9 101-2,295 Hardy, Emma 152 Representattoe Men 39-40 Hardy, Florence 160 correspondence with Carlyle Hardy, Thomas 140-67 passim, 44-6 274-5,287,295 Empedodes of Sicily 252-3 'Castle Boterel' 152 Eulenbourgh, Philippe, Prince jude the Obscure 151, 159, 295 von 231-2, 235 A Pair of Blue Eyes 146-50, 152-4,295 The Well-Beloved 154-7, 160-8, Faure, Gabriel 128 295 'Felida X' 252-3 'The Well-Beloved' (poem) Fielding, Henry 91 161-2 Finaly, Marie 128 Hauser, Lionel 42-3 Flaubert, Gustave 141 Hayman, Ronald 229-30 Forsteli E. M. 239 hawthorns 247-8 Fortuny, Mariano 74-5 Heath, Willy 115-16 Fra Angelico 118 Henderson, Heather 63 Francsoise 57, 201 Hennel, Sara % Frazer, J. G. 215, 255 Hobbema, M. 122 Fridegande 114 Hogarth, William 125 Freer, Charles L. 130 Housman, A. E. 250-1 Hulme, T. E. 27G-5 Humieres, vicomte Robert d' 291 Gainsborough, Thomas 117 Huysmans, J.-K. 168-70, 207-8 Galland, Antoine 173-4, 180 Huxley, Aldous (grandson of Gaudier-Brzeska, Henri 271 Thomas) 190 318 Index

Huxley, Thomas 190-1 Morel, 188, 287 Morris, William 7, 12 'multiplex personality' 251-3 Izoulet-Loubatieres, Jean 33, 40, Musset, Alfred de 142 294,295 Myers, Frederick W. H. 183, 251-3

Joyce, James 283-4 Nordlinget; Marie 28, 135-6 Norpois, M. de 261-2 Kipling, Rudyard 224-5 Odette de Crecy see Mme Swann La Touche, Rose 72 Lang, Andrew 178-9, 240 Padua 57-8 Laurent, Mery 130 Painter, George D. 11, 32,283-4 Lauris, Georges de 146, 290 Pater, Walter 59, 155-6, 244-7, Legrandin 254 260,295 Lemaire, Mme de 116-7 Pelleas et Melisande 127-8 Leonie, Aunt 171-2 Penhoet, M. 196 Linnaean classification 203 Perrault, Charles 2 Lisieux 56-7 Petet; Rene 287 Listelj Sir Reginald 147 Picquart, Lieutenant-General 38-40 Locke, John 121 Pierre, Monsieur ('historian of the Lorrain, Jean 132 Fronde') 188-9 Loti, Pierre 126 Polignac, Princesse de 43-4 Louys, Pierre 215 Poulet, Georges 197-8 Lutyens, Sir Edwin 153 Poussin, Gaspar 122 Proust, Mme Adrien 28-31 Proust, Marcel Madrazo, Mme de see Hahn, Maria childhood 1-13; relationship Maeterlinck, Maurice 126-7, 214- with his mother 28-31, 16 228-9; death of mother Malesieux, Nicholas de 173 28-31; friendship with Mallarme, Stephane 133 Reynaldo Hahn 28-34; Maple (furnisher) 7, 12 with Antoine de Bibesco Mardrus, J. C. V. 173-5 43, 48, 128, 291; his asthma Matisse, Henri 282 168-75; insomnia 1-5; edits Maurois, Andre 286-8 Ruskin Cr 13; final illness Meyelj Paul 38 83-5; death 25Cr7 Mille et Une Nuits, Les 174-5 Jean Santeuil 2, 14, 33-7, 54-5, Milne, A. A. 250 61, 172-4, 248-9 Milsand, Emile 58 Du cote de chez Swann 1-2, 14, mimetic form 77 107, 126,21~ 237-43,247-8 mnemonic form 77-8 A l'ombre des jeunes filles en Monet, Claude 4, 69-70, 120 Jleurs 4, 14, 29-30, 74-5, Montesquiou, Comte Robert de 87-8 119, 132, 179-80, 198, 209-11, Le cote de Guermantes 112-13, 221,235 117 Index 319

Proust, Marcel- continued Sainte-Beuve, Charles Augustin Sodome et GomDnhe 188-91, 93--4,118-19,141,261-2 201-6, 218-24 Saint-Saens, Camille 114 La Prisonniere 1~1, 164-6, Saint-Loup, Robert de 222, 277 191-2 Salignac-Fenelon, Comte Bertram Albertine disparue 21, 65-6, 192-3 de 229--30 Le Temps retrouve 110-12, 137-9, Sand, George 264 259--61, 276-7 Saniette 188 'Les Plaisirs et les jours' Sartre, Jean-Paul 66 115-17, 228-9 Saussure, Ferdinand de 282 'Pastiches' from 'L'Affaire Scott, Sir Walter 91 183--4 Lemoine' 198-200 5evigne, Madame de 173--4 'Sur la lecture' 6-13 Shakespeare, William 91 La Bible d'Amiens (Preface) 15, 79-81 Showaltet; Elaine 183--4 La mort des cathedrales' 56--8 Siddall, Lizie 125 'Sentiments filiaux d'un Sizeranne, Robert de Ia 60, 70-1, parricide' 192-3, 225-7 80, 122-5, 129-30 Socrates 39-40 I A ajouter a Flaubert' 97-9 'Robert de Montesquiou "Le Stendhal [Henri Beyle] 141-2, 144- souverain des chases 5, 148-9 transitoires"' 208-9 Stevenson, Fanny 175 'Un professeur de beaute' 208-9 Stevenson, Robert Louis 175-86 'Sur George Eliot' 101-4 passim, 2% 'Rembrandt' 83--5 An Inland Voyage 177 Dr Jekyll and Mr Hyde 183--6 A Child's Garland of Verses 176-7 Rembrandt van Rijn 83--5, 118 Across the Plains 178-9, 184-5, Rossetti, Dante Gabriel 124-5, 194 127-9,135 'A Chapter on Dreams' 178-9 Rossetti, William Michael 124 The Dynamiter 175-7 Rousseau, Jean-Jacques 41 The New Arabian Nights 176-8 Roz, Firmin 146 Straus, Mme Genevieve 140, 142 Ruisdael, Jacob van 122 Stravinsky, Igor 283--4 Ruskin 6-20 passim, 56--86 passim, Swann, Charles 112-13, 165-6, 94-5, 198-200, 272, 290-2, 296 259--61 Sesame and Lilies 6-12 Swann, Mme Odette 21-3,126-7, Fors Claoigera 57-8, 78-9 165-6 The Bible of Amiens 15, 65, 79-81 The Seoen Lamps of Architecture 18-21,57,237-41 Tagore, Rabindranath 297 Praeterita 61-3 Taine, Hippolyte 59 The Stones of Venice 66, 72, 77-8, Thibaudet, Albert 287 79-81 Thoreau, Henry David 43--4, 297 The Ethics of Dust 66-7 Turner, J. M. W. 118-21 Modern Painters 67, 121-2. The 'JWo Paths 71-2, 94 Fiction, Foul and Fair 106-7 VanDyck, Antoine 115-16 320 Index

Verdurin, Mme de (after her first The Food of the Gods 197-8 widowhood, Duchesse de War and the Future 224 Duras; after her second, Prin­ 'The Door in the Wall' 250-1 cesse de Guermantes) 182, Whistlet James MacNeil 28-30, 188 33, 114-39 passim, 235, 260-3 Verlaine, Paul 142 Wilde, Oscar 206-36 passim, 297- Vermeet Jan 118 8,260-1 Veronese, Paolo 74 The Picture of Dorian Gray 206-9 Vign~ Alfred de 42, 232, 261-2 Salomt 213-16 Vinteuil, Mile 20-1, 184-5 'Ballad of Reading Gaol' 227-8 Virgil 253 Intentions 232-6 Voltaire 173 The Importance of Being Ernest 234 Woodridge, '&ooper T. C. 227-8 Weil, Georges 225-6 Woolf, Virginia 273-4 Wells, H. G. 187-200 passim, 297-8 The Waves 273-4 The Time Machine 1, 195 1b the Lighthouse 279 The First Men in the Moon 188-9 Orlando 278, 281 The Invisible Man 188-90 Wordsworth, William 134 'The Remarkable Case of Davidson's Eyes' 193-4 When The Sleeper Awakes 196, Zola, Emile 38, 235 199-200 Zurbaran, Francisco de 158