2.One of the great achievements of Proust the artist is his portrayal of the contradictions and variety of character within a scapolo person. de Charlus who is the adjonction example of this, but it is ubiquitous in the people who populate Proust’s world. Giammai one is who they are on the surface, and if they are presenting themselves durante per indivisible way you can be sure that they are hiding either opposite inclinations, or gross deficiencies, or if they boast of talent or knowledge they are covering for what they are actually inept at or ignorant of, or if they are generous or kindly it is from some socially trained gesture and they are sure puro later spit venom at the former subject of their pleasantries, or if they are overtly cruel at one moment they will show themselves later esatto be courtaud of indulgent tenderness. Sopra other words, what Proust understands and sets down so perfectly is the infinite complexity of the human personality, the multitude of motives behind our aimable, and even personal interactions, or, preciso use Shelley’s words, that «Nought may endure but Mutability». This is extended even to the physiognomic descriptions of characters such as Albertine and Mme. de Guermantes, who are seen by Marcel as revealing such differing features at different instances that they are sometimes unrecognizable preciso him.
3.The need for possession is seldom triggered by love, and most often triggered by jealousy. This especially is the case for Marcel, who shows frankly psychotic jealous tendencies. I mean, we are supposed sicuro know that this young man has a sometimes debilitating nervous disorder, and physical ailments such as asthma that often restrict his activity (and allow him long bed-bound sito di incontri giapponese online hours of introverted contemplation), but his jealousy over Albertine (which, I can say, is a hundred times more pronounced so far sopra testo five), is unsettling. It is not only his relationship with Albertine that is seemingly ignited by jealousy alone, but also in the case of Charlus and Morel, and con perhaps all of the social gatherings, it is per need for possession (or durante the accommodant case, domination), provoked by per kind of covetous resentfulness, that motivates these people. More on this later.
This is one of the great themes of the novel, the subjectivity of perception
4.Con Search of Lost Time, while always tinged with melancholy (and I fear, tragedy), is essentially comedic. The drawing rooms of the upper-echelon resound with sardonic, parodic lplifying their defects, mocking their arbitrary tastes, making use of the one tool that always subverts and destroys verso power structure: laughter.
And while Marcel is superior puro them (because of his brilliant artistic aptitude, true talent for observation, «the painterly-poetic eye») he still suffers from the same malady
5.The Verdurins return in volume four, seeking Marcel out puro esibizione off how artistic and «forward» their salon is, and thank god for this. They are hilariously cruel, utterly contemptuous of anyone outside their «little moltitudine», on the whole not very bright, but entertaining as hell. The train rides along the Norman coast with Brichot’s etymological digressions on French place-names are some of the highlights of this volume. Marcel’s return sicuro Balbec is quite different from his first sojourn puro the shore. Now he is per connected, sought after man of society. The squadra of the Grand Hotel go out of their way sicuro accommodate him, he has inherited a large fortune and can therefore spoil Albertine with trips sopra per motor car (as he points out, still quite rare con those days) and alt clothes and dinners, but he is pursued, emotionally, by recent events which cloud his disposition, including his grandmother’s death, the full grief of which is provoked only on his return preciso Balbec by an onslous «incident of the madelaine» that plunged him into the original depths of remembrance of Combray per Swann’s Way. The exorcising of this grief is detailed in the strongest section of tomo four, entitled «The Intermittencies of the Heart», verso powerful exposition on dealing with the death of per loved one. His grief is assuaged durante one of those miracle landscape descriptions that Proust so excels at:
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