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The Theater in the Fiction of MARCEL PROUST Ïaywood Linn

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The Theater in the Fiction of MARCEL PROUST Ïaywood Linn The Theater in the Fiction of MARCEL PROUST - ^ ^ . n*^pp/.. ïaywood Linn The Theater in the Fiction of Marcel Proust JOHN GAYWOOD LINN That Marcel Proust and the theater of his time were not strangers to one another is evident to even the most casual reader of A la recherche du temps perdu. From Mr. Linn's thoroughgoing investigation, however, it is clear that the significance of this re­ markable abundance of theatrical and dra­ matic references, both in Proust's great novel and his other fiction, is far greater than has heretofore been suspected. For Mr. Linn uncovers a very definite pattern and a rigid control in Proust's deployment of theatrical metaphor and allusion, in his use of quotations from the drama, and in the parallels he draws between the actions of plays, events in real life, and the lives of his characters. Ultimately, Mr. Linn demonstrates, through Proust's constant use of theatrical reference as a means of delineating character and per­ sonality, building and destroying illusion, and depicting the setting for a bit of action, that life and art in his writings become so closely interwoven, so intimately interrelated, that one is scarcely discernible from the other as they subtly merge and then separate again. Art, for Proust, remains the constant stand arc! against which life is to be measured; and (Continued on back flap) /fie Çffîècfeeti tff $o/in Copyright © 1966 by the Ohio State University Press All Rights Reserved Library of Congress Catalogue Card Number: 65-24374 All quotations from Marcel Proust's Du côté de chez Swann, A l'ombre des jeunes filles en fleurs, Le Côté de Guermantes, Soâome et Gomorrhc, La Prisonnière, La Fugitive, and Le Temps retrouvé are from the 1954 Gallimard edition of A la recherche du temps perdu in the "Bibliothèque de la Pléiade." Copyright © 1913, 1919, 1920, 1921, 1922, 1923, 1924, 1925, and 1927 by Editions Gallimard and used by permission of the publisher. All quotations from Marcel Proust's Pastiches et mélanges are copy­ right © 1919 by Editions Gallimard, and are used by permission of the publisher. All quotations from Marcel Proust's Jean Santeuil are copyright © 1952 by Editions Gallimard, and are used by permission of the publisher. All quotations from Germaine Brée, Du temps perdu au temps retrouvé are used by permission of Les Belles Lettres, Paris. All quotations from Robert Dreyfus, Souvenirs sur Marcel Proust axe used by permission of Editions Bernard Grasset, Paris. All quotations from Jacques Nathan, Citations, références et allusions de Proust and La Morale de Proust are used by permission of Librairie A. G. Nizet, Paris. All quotations from Léon Pierre-Quint, Marcel Proust, sa vie, son œuvre are used by permission of Editions de Sagittaire, Paris. All quotations from Marcel Proust, Correspondance avec sa mère, edited by Philip Kolb, are used by permission of Librairie Pion. All quotations from Marcel Proust, Lettres à Madame et Monsieur Emile Straus, edited by Suzy Proust-Mante and Paul Brach, are used by per­ mission of Librairie Pion. All quotations from Marcel Proust, Lettres à Walter Berry, [et al.], edited by Robert Proust and Paul Brach, are used by permission of Librairie Pion. All quotations from Derrick Leon, Introduction to Proust: His Life, His Circle, and His Work are used by permission of Routledge and Kegan Paul, Ltd., London. All quotations from Marcel Proust's Les Plaisirs et les jours are copy­ right © 1924 by Editions Gallimard, and are used by permission of the publisher. All quotations from Marcel Proust's Contre Sainte-Beuve suivi de nouveaux mélanges are copyright © 1954 by Editions Gallimard, and are used by permission of the publisher. All quotations from Clive Bell, Proust, are used by permission of Harcourt, Brace, and World, Inc., New York, and The Hogarth Press, London. All quotations from André Maurois, Proust: Portrait of a Genius are used by permission of Harper and Row, Publishers, Inc., New York. All quotations from Proust, the Early Years by George D. Painter, Copyright ©, 1959, by George D. Painter. Reprinted by permission of Atlantic-Little, Brown and Company, publishers, Boston, and Chatto and Windus, Ltd., London. Chapters III and VI contain two articles by John Gaywood Linn originally published in the Romanic Review—Vol. LII, No. 3 (October, 1961), pp. 210-25, and Vol. XLIX, No. 3 (October, 1958), pp. 179-90. They are reprinted here by permission of the Columbia University Press. %3r<l *nu ttit/e ^-(S) te finer' I WISH to express my gratitude for the interest shown and the encouragement given by Professor Justin O'Brien, Columbia University, whose acceptance of two portions of the manuscript for publication in the Romanic Review em­ boldened me to proceed with the total work, and by Professor Victor Brombert, Yale University, whose careful analysis and helpful suggestions were greatly useful in the revision of the manuscript. Neither of them, of course, is to be thought of as having subscribed to my thesis, or as in any way involved with errors or inadequacies in the final manuscript. I am also grateful for the secretarial assistance provided by the office of the Division of Graduate Studies, Queens College of the City University of New York. I am beholden in various ways for the interest, encouragement, and advice of Professor George B. Parks, Professor Robert H. Ball, Professor Martha W. England, and other colleagues in the Queens College English Department. I also thank my editor, Robert S. Demorest, for his conscientious care, tactful advice, and sense Acknowledgments of humor. My wife's work in preparing the Index is but the outward and visible sign of her contributions to the entire work, public acknowledgement of which would be superfluous and inadequate. I shall only thank her for her patience, interest, and invaluable help of all kinds when I was, to use Proust's own term, "Proustifying." J. G. L. January, 1965 4 Proust and the Theater of His Time 3 s Drama and Theater Allusions in A la recherche du temps perdu 23 5 Proust's Manipulation of Chronology 71 4* Quotations from Drama in A la recherche du temps perdu 95 s Theater in the Action of A la recherche du temps perdu 123 Berma 124 Rachel 159 Berma and Rachel 174 Others 185 e The Pattern of Theater Metaphors in A la recherche du temps perdu 197 Notes 239 Bibliography 257 Index 265 STAe Sfiieate* tn Me ^ee/ton of *J?avce t/ //ie ST/iea/er- e^&ûô- S/ttttne THIS ESSAY, like the novel on which it focuses, ends where it began. While teaching Sivann's Way in a course in modern fiction, I was attracted, as a matter of simple curiosity, to the number of metaphors using theater and drama as their ve­ hicles. Extending the examination of such metaphors to the whole of A la recherche du temps perdu revealed not only a large number of them, but a pattern and control in their deployment, a pattern so significant that its understanding required an examination of other theatrical material—allu­ sions, quotations, and action—in the novel and Proust's other writings. In his essay on Goethe, written at the turn of the century, Proust had commented somewhat prophetically on the use of theater in Goethe's novels, presenting observations which literally and metaphorically apply to his own later work. Even his metaphors in the passage are a faint prediction of his later practice: Les arts, et les moyens par lesquels on s'y perfectionne, occupent beaucoup les romans de Goethe. L'art de l'acteur, l'art de l'archi­ tecte, l'art du musicien, l'art du pédagogue y jouent un grand rôle, The Theater in the Fiction of Marcel Proust et en tout ceci ce qui est vraiment l'art. La difficulté d'obtenir un ensemble où chacun soit prêt le frappe évidemment comme faisant partie de l'essence même de l'effort artistique. D'où la part faite aux comédies de société, aux comédies improvisées, à cette première représentation où Wilhelm Meister veut jouer et ne sait quoi dire. -1 Here Proust shows his awareness of materials which he was himself to carry further when he made extensive use of artists—particularly theatrical artists—and pursued the ramifications of society's comedies. In A la recherche, Proust includes hundreds of metaphors drawn from theater, some brief, others extended. The meta­ phors are found in conjunction with a rather astonishing amount of non-metaphorical theater material. Independent of portions of the plot connected with the theater, close to seventy-five allusions to attending the theater are made- meeting at the theater, seeing friends in the audience, chatting in the lobby. A score and more characters from drama are mentioned, in comparisons, criticisms, and passing reference. Twenty-five or more actors and actresses, including what appears to be the whole of the Comédie Française troupe, are spoken of or appear in the action. Nearly fifty plays, classical and contemporary, are mentioned; half a dozen plays are quoted from, Athalie, Esther, and Phèdre more than a score of times. Close to thirty dramatists, from classical times to Proust's contemporaries, some of whom are asserted to be associates of the fictional characters, are alluded to or appear in the novel. Much of this, of course, arises naturally from the world and culture which Proust portrayed, and from his own tastes and interests; but it is also made to serve more integrated purposes. In addition to almost five hundred metaphorical Proust and the Theater of His Time and direct allusions to theater and drama, and quotations from drama, by Marcel and other characters, the plot con­ tinually involves the theater and its people.
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