'I was at one of those periods in youth--vacant, without any particular love object--when, like a lover seeing his beloved in all things, we desire, we seek, we see Beauty everywhere.'
In the Shadow of Girls in Blossom, the second volume of Proust's In Search of Lost Time (1913-27), is a novel of exploration and (self-) discovery, continuing the story of the narrator's youth and adolescence. From the enclosed spaces of the fin-de-siècle social world that revolves around Madame Swann, we move to the fictional town of Balbec on the Normandy coast, a place where the social classes intermingle with mutual fascination. Against the ever-changing backdrop of the sea--a constant reminder of beauty, mutability, and the vastness of the world beyond individual human affairs--the narrator encounters individuals who will shape his experience and indelibly colour his outlook on that world. He finds a friend in the aristocratic Robert de Saint-Loup and is perplexed by his enigmatic uncle the Baron de Charlus; he finds a tutelary figure in Elstir, the gifted, idiosyncratic painter; and in Albertine he comes to recognise the blossoming girl who will become the love--and the bane--of his life.
The novel provides a breathaking illumination of what it is to encounter beauty and to seek to understand our relation to it, in people, in experiences, in art, or the landscape around us. An exploration of the thrills of infatuation, the fallibility of perception, and how desire builds and ebbs, the narrative prepares readers for the love affair that will define the narrator's future existence and shape the volumes of In Search of Lost Time to come.
ABOUT THE For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Marcel Proust was a French novelist, best known for his 3000 page masterpiece À la recherche du temps perdu (Remembrance of Things Past or In Search of Lost Time), a pseudo-autobiographical novel told mostly in a stream-of-consciousness style.
Born in the first year of the Third Republic, the young Marcel, like his narrator, was a delicate child from a bourgeois family. He was active in Parisian high society during the 80s and 90s, welcomed in the most fashionable and exclusive salons of his day. However, his position there was also one of an outsider, due to his Jewishness and homosexuality. Towards the end of 1890s Proust began to withdraw more and more from society, and although he was never entirely reclusive, as is sometimes made out, he lapsed more completely into his lifelong tendency to sleep during the day and work at night. He was also plagued with severe asthma, which had troubled him intermittently since childhood, and a terror of his own death, especially in case it should come before his novel had been completed. The first volume, after some difficulty finding a publisher, came out in 1913, and Proust continued to work with an almost inhuman dedication on his masterpiece right up until his death in 1922, at the age of 51.
Today he is widely recognized as one of the greatest authors of the 20th Century, and À la recherche du temps perdu as one of the most dazzling and significant works of literature to be written in modern times.
In lieu of a review, I offer my list of new to me vocabulary:
Tisane - herbal tea Pas-de-quartre - a dance with four participants Intaglio - a design created by cutting into a printing plate Samovar - a metal urn used to make tea Spume - froth or foam, especially that of waves Faille - a soft, light-woven fabric with a ribbed texture Chatelaine - the mistress of a chateau Tamarisks - a tree with a feathery appearance due to its scale-like leaves on thin branches Transept - the two parts of a church forming the arms of a cross shaped church, projecting from the nave Morocco (adjective) - a fine leather from goatskin tanned with sumac Cheval-glass - a freestanding large mirror, usually with a tilt mechanism Vetiver - a species of tropical grass Belvedere - a summer house or open-sided gallery, typically at rooftop level Cambric - a lightweight cotton or linen fabric Introit - a psalm sung as the priest approaches the altar Analgesic - a drug that relieves pain Zither - a string instrument common in Central European music Batonnier - the president of a law society Rince-bouches - a small bowl of perfumed warm water presented to guests at a dinner between courses Barouche - a horse drawn carriage Esplanade - a long, open walkway alongside a body of water Narthex - a vestibule in a church Pistils - the female reproductive parts of a flower Ogival - having a pointed, curved shape; the adjective form of an ogee Portico - a porch leading to an entrance Custumal - a written account of the customs of a local community Vicuña - a wild Andean animal related to the llama and the alpaca Quarterings (heraldic) - a method of joining several coats of arms in one Pepla - a flared ruffle Androcephalous - of an animal or beast, having a human head Valerian - a strongly smelling flowering herb Cocotte - a courtesan Lorgnette - opera glasses held by a long handle Confabulation - an imagined memory Peri - beautiful, feared supernatural beings in Arabic mythology Unctuous - pleasingly rich Predella - the lowest part of an altarpiece, often part of a polytypch Ataxia - a loss of muscle control Toque - a hat with narrow or no brim Zoophyte - an obsolete term for a class of organism thought to be between animals and plants Diabolo - a circus prop similar to a double sided yo-yo Corolla - the petals of a flower Cryptogams - plants which reproduce without seeds Papilinaceous - related to a family of flowers that resemble butterflies
“the masterpiece we gaze upon during dinner doesn't give us the same intoxicating joy we can only expect from it in an art gallery, which, by its bareness and lack of any personality of its own, symbolizes much more aptly the inner spaces into which the artist withdrew to create it.”
“it seemed to me that whatever there was that was great and real in this performance would be even more so if the actress superimposed it on work of real value instead of embroidering truth and beauty on a mediocre, common fabric.”