Marcel Proust Quotations | Page 4

On ne re c° oit pas la sagesse, il faut la de couvrir soi-me" me, apre' s un trajet que personne ne peut faire pour nous, ne peut nous e pargner. We do not receive wisdom.We must discover it ourselves after experiences which no one else can have for us and from which no one else can spare us.

On devient moral de' s qu'on est malheureux. We become moral once we are miserable.

L'adolescence est le seul temps o u' l'on ait appris quelque chose. Adolescence is the only time when we can learn something.

Proust was the greatest novelist of the twentieth century, just as Tolstoy was in the nineteenth.

I shall not find a painting more beautiful because the artist has painted a hawthorn in the foreground, though I know of nothing more beautiful than the hawthorn, for I wish to remain sincere and because I know that the beauty of a painting does not depend on the things represented in it. I shall not collect images of hawthorn. I do not venerate hawthorn, I go to see and smell it.

We construct our lives for one person, and when at length it is ready to receive her that person does not come; presently she is dead to us, and we live on, prisoners within the walls which were intended only for her.

If, I can someday see M. Claude Monet's garden, I feel sure that I shall see something that is not so much a garden of flowers as of colours and tones, less an old-fashioned flower garden than a colour garden, so to speak, one that achieves an effect not entirely nature's, because it was planted so that only the flowers with matching colours will bloom at the same time, harmonized in an infinite stretch of blue or pink.

Having a body is in itself the greatest threat to the mind... The body encloses the mind in a fortress; before long the mind is besieged on all sides, and in the end the mind has to give itself up.

There are people whose faces assume an unaccustomed beauty and majesty the moment they cease to look out of their eyes.

To achieve accurate knowledge of others, if such a thing were possible, we could only ever arrive at it through the slow and unsure recognition of our own initial optical inaccuracies. However, such knowledge is not possible: for, while our vision of others is being adjusted, they, who are not made of mere brute matter, are also changing; we think we have managed to see them more clearly, but they shift; and when we believe we have them fully in focus, it is merely our older images of them that we have clarified, but which are themselves already out of date.

Pleasures are like photographs: in the presence of the person we love, we take only negatives, which we develop later, at home, when we have at our disposal once more our inner dark room, the door of which it is strictly forbidden to open while others are present.

None of us constitutes a material whole, identical for everyone, which a person has only to go look up as though we were a book of specifications or a last testament; our social personality is a creation of the minds of others. Even the very simple act that we call "seeing a person we know" is in part an intellectual one. We fill the physical appearance of the individual we see with all the notions we have about him, and of the total picture that we form for ourselves, these notions certainly occupy the greater part.

Most of the supposed expressions of our feelings merely relieve us of them by drawing them out of us in an indistinct form that does not teach us to know them.

One cannot change, that is to say become a different person, while continuing to acquiesce to the feelings of the person one has ceased to be.

Most of our faculties lie dormant because they can rely upon Habit, which knows what there is to be done and has no need of their services.

We are all of us obliged, if we are to make reality endurable, to nurse a few little follies in ourselves.

Our shadows, now parallel, now close together and joined, traced an exquisite pattern at our feet.

...the nose is generally the organ in which stupidity is most readily displayed.

Do you suppose that it is within your power to insult me? You evidently are not aware to whom you are speaking? Do you imagine that the envenomed spittle of five hundred little gentlemen of your type, heaped one upon another, would succeed in slobbering so much as the tips of my august toes?

It is always thus, impelled by a state of mind which is destined not to last, we make our irrevocable decisions

The truth is that every morning war is declared afresh. And the men who wish to continue it are as guilty as the men who began it, more guilty perhaps, for the latter perhaps did not foresee all its horrors.

To be an artist is to fail, as no other dare to fail... failure is his world and the shrink from it desertion

Reality is never more than a first step towards an unknown on the road to which one can never progress very far.

Dear Friend: I have nearly died three times since morning.

Our vanity, our passions, our spirit of imitation, our abstract intelligence, our habits have long been at work, and it is the task of art to undo this work of theirs, making us travel back in the direction from which we have come to the depths where what has really existed lies unknown within us.

What we have not had to decipher, to elucidate by our own efforts, what was clear before we looked at it, is not ours. From ourselves comes only that which we drag forth from the obscurity which lies within us, that which to others is unknown.

Less disappointing than life, great works of art do not begin by giving us all their best.

A cathedral, a wave of a storm, a dancer's leap, never turn out to be as high as we had hoped.

Are not the thoughts of the dying often turned towards the practical, painful, obscure, visceral aspect, towards the "seamy side" of death which is, as it happens, the side that death actually presents to them and forces them to feel, and which far more closely resembles a crushing burden, a difficulty in breathing, a destroying thirst, than the abstract idea to which we are accustomed to give the name of Death?

...that melancholy which we feel when we cease to obey orders which, from one day to another, keep the future hidden, and realise that we have at last begun to live in real earnest, as a grown-up person, the life, the only life that any of us has at his disposal.

One becomes moral as soon as one is unhappy.

When we are in love, our love is too big a thing for us to be able altogether to contain it within ourselves. It radiates towards the loved one, finds there a surface which arrests it, forcing it to return to its starting-point, and it is this repercussion of our own feeling which we call the other's feelings and which charms us more then than on its outward journey because we do not recognise it as having originated in ourselves.

What an abyss of uncertainty, whenever the mind feels overtaken by itself; when it, the seeker, is at the same time the dark region through which it must go seeking and where all its equipment will avail it nothing. Seek? More than that: create. It is face to face with something which does not yet exist, which it alone can make actual, which it alone can bring into the light of day.

For what we suppose to be our love or our jealousy is never a single, continuous and indivisible passion. It is composed of an infinity of successive loves, of different jealousies, each of which is ephemeral, although by their uninterrupted multiplicity they give us the impression of continuity, the illusion of unity.

People who, not being in love themselves, feel that a clever man should only be unhappy about a person who is worth his while; which is rather like being astonished that anyone should condescend to die of cholera at the bidding of so insignificant a creature as the comma bacillus.

And so it is with our own past. It is a labour in vain to attempt to recapture it: all the efforts of our intellect must prove futile. The past is hidden somewhere outside the realm, beyond the reach of intellect, in some material object (in the sensation which that material object will give us) of which we have no inkling. And it depends on chance whether or not we come upon this object before we ourselves must die.

But,instead of what our imagination makes us suppose and which we worthless try to discover,life gives us something that we could hardly imagine.

Everything that seems imperishable tends to extinguishment.

The highest praise of God consists in the denial of him by the atheist who finds creation so perfect that it can dispense with a creator.

A little tap at the window, as though some missile had struck it, followed by a plentiful, falling sound, as light, though, as if a shower of sand were being sprinkled from a window overhead; then the fall spread, took on an order, a rhythm, became liquid, loud, drumming, musical, innumerable, universal. It was the rain

Many years have passed since that night. The wall of the staircase up which I had watched the light of his candle gradually climb was long ago demolished. And in myself, too, many things have perished which I imagined would last for ever, and new ones have arisen, giving birth to new sorrows and new joys which in those days I could not have foreseen, just as now the old are hard to understand.

At that time, he was satisfying a sensual curiosity by experiencing the pleasures of people who live for love. He had believed he could stop there, that he would not be obliged to learn their sorrows; how small a thing her charm was for him now compared with the astounding terror that extended out from it like a murky halo, the immense anguish of not knowing at every moment what she had been doing, of not possessing her everywhere and always!

Perhaps the immobility of the things that surround us is forced upon them by our conviction that they are themselves, and not anything else, and by the immobility of our conceptions of them.

We have nothing to fear and a great deal to learn from trees, that vigorours and pacific tribe which without stint produces strengthening essences for us, soothing balms, and in whose gracious company we spend so many cool, silent, and intimate hours.

The thirst for something other than what we have…to bring something new, even if it is worse, some emotion, some sorrow; when our sensibility, which happiness has silenced like an idle harp, wants to resonate under some hand, even a rough one, and even if it might be broken by it.

The true paradises are the paradises that we have lost.

We become moral when we are unhappy.

Perhaps it is not-being that is the true state, and all our dream of life is inexistent; but, if so, we feel that these phrases of music, these conceptions which exist in relation to our dream, must be nothing either. We shall perish, but we have as hostages these divine captives who will follow and share our fate. And death in their company is somehow less bitter, less inglorious, perhaps even less probable.

Reading is at the threshold of the spiritual life; it can introduce us to it. It does not constitute it ... There are certain cases of spiritual depression in which reading can become a sort of curative discipline ... reintroducing a lazy mind into the life of the Spirit.

You know Balbec so well - do you have friends in the area?' I have friends wherever there are companies of trees, wounded but not vanquished, which huddle together with touching obstinacy to implore an inclement and pitiless sky.' That is not what I meant,' interrupted my father, as obstinate as the trees and as pitiless as the sky.

I was left alone there in the company of the orchids, roses and violets, which, like people waiting beside you who do not know you, preserved a silence which their individuality as living things made all the more striking, and warmed themselves in the heat of a glowing coal fire...

Our desires cut across one another, and in this confused existence it is rare for happiness to coincide with the desire that clamoured for it.

I wished to see storms only on those coasts where they raged with most violence...

May you always see a blue sky overhead, my young friend; and then, even when the time comes, as it has come for me now, when the woods are black, when night is fast falling, you will be able to console yourself, as I do, by looking up at the sky.

In reality, every reader is, while reading, the reader of his own self.

The bonds that unite us to another human being are sanctified when he or she adopts the same point of view as ourselves in judging one of our imperfections.

She's got feet like boats, whiskers like an American, and her undies are filthy.

This dim coolness of my room was to the broad daylight of the street what the shadow is to the sunbeam, that is to say equally luminous, and presented to my imagination the entire panorama of summer, which my senses, if I had been out walking, could have tasted and enjoyed only piecemeal; and so it was quite in harmony with my state of repose which (thanks to the enlivening adventures related in my books) sustained, like a hand reposing motionless in a stream of running water, the shock and animation of a torrent of activity.

Now the same mystery which often veils from our eyes the reason for a catastrophe envelops just as frequently, when love is in question, the suddenness of certain happy solutions, such as had been brought to me by Gilberte's letter. Happy, or at least seemingly happy, for there are few that can really be happy when we are dealing with a sentiment of such a kind that any satisfaction we can give it does no more, as a rule, than dislodge some pain. And yet sometimes a respite is granted us, and we have for a little while the illusion of being healed.

But sometimes illumination comes to our rescue at the very moment when all seems lost; we have knocked at every door and they open on nothing until, at last, we stumble unconsciously against the only one through which we can enter the kingdom we have sought in vain a hundred years - and it opens.

Even in the most insignificant details of our daily life, none of us can be said to constitute a material whole, which is identical for everyone, and need only be turned up like a page in an account-book or the record of a will; our social personality is created by the thoughts of other people.

For although we know that the years pass, that youth gives way to old age, that fortunes and thrones crumble (even the most solid among them) and that fame is transitory, the manner in which—by means of a sort of snapshot—we take cognisance of this moving universe whirled along by Time, has the contrary effect of immobilising it.

The soldier is convinced that a certain indefinitely extendable time period is accorded him before he is killed, the burglar before he is caught, men in general, before they must die. That is the amulet which preserves individuals — and sometimes populations — not from danger, but from the fear of danger, in reality from the belief in danger, which in some cases allows them to brave it without being brave. Such a confidence, just as unfounded, supports the lover who counts on a reconciliation, a letter.

There are mountainous, arduous days, up which one takes an infinite time to climb, and downward-sloping days which one can descend at full tilt, singing as one goes.

She was "a woman of uncertain age.

I cannot express the uneasiness caused in me by this intrusion of mystery and beauty into a room I had at last filled with myself to the point of paying no more attention to the room than to that self. The anesthetizing influence of habit having ceased, I would begin to have thoughts, and feelings, and they are such sad things.

Man is the creature that cannot emerge from himself, that knows his fellows only in himself; when he asserts the contrary, he is lying.

What artists call posterity is the posterity of the work of art.

Perfume is that last and best reserve of the past, the one which when all out tears have run dry, can make us cry again!

Perhaps the pleasure one feels in writing is not the infallible test of the literary value of a page; perhaps it is only a secondary state which is often superadded, but the want of which can have no prejudicial effect on it. Perhaps some of the greatest masterpieces were written while yawning.

The creation of the world did not occur at the beginning of time, it occurs every day.

Only through art can we get outside of ourselves and know another's view of the universe which is not the same as ours and see landscapes which otherwise would remain unknown to us like the landscapes of the moon. Thanks to art, instead of seeing a single world, our own, we see it multiply until we have before us as many worlds as there are original artists.

When we have passed a certain age, the soul of the child that we were and the souls of the dead from whom we sprang come and shower upon us their riches and their spells, asking to be allowed to contribute to the new emotions which we feel and in which, erasing their former image, we recast them in an original creation.

The most powerful soporific is sleep itself.

The great quality of true art is that it rediscovers, grasps and reveals to us that reality far from where we live, from which we get farther and farther away as the conventional knowledge we substitute for it becomes thicker and more impermeable.

Any mental activity is easy if it need not take reality into account.

My dear Madame, I just noticed that I forgot my cane at your house yesterday; please be good enough to give it to the bearer of this letter. P.S. Kindly pardon me for disturbing you; I just found my cane.

Until I saw Chardin's painting, I never realized how much beauty lay around me in my parents' house, in the half-cleared table, in the corner of a tablecloth left awry, in the knife beside the empty oyster shell.

The duty and the task of a writer are those of an interpreter.

But to ask pity of our body is like discoursing in front of an octopus, for which our words can have no more meaning than the sound of the tides, and with which we should be appalled to find ourselves condemned to live.

When we have passed a certain age, the soul of the child we were and the souls of the dead from whom we have sprung come to lavish on us their riches and their spells.

And so when studying faces, we do indeed measure them, but as painters, not as surveyors.

That translucent alabaster of our memories.

The fixity of a habit is generally in direct proportion to its absurdity.

The heart does not lie.

A collection of bad love songs, tattered from overuse, has to touch us like a cemetery or a village. So what if the houses have no style, if the graves are vanishing under tasteless ornaments and inscriptions? Before an imagination sympathetic and respectful enough to conceal momentarily its aesthetic disdain, that dust may release a flock of souls, their beaks holding the still verdant dreams that gave them an inkling of the next world and let them rejoice or weep in this world.

A sort of egotistical self-evaluation is unavoidable in those joys in which erudition and art mingle and in which aesthetic pleasure may become more acute, but not remain as pure.

It is a mistake to speak of a bad choice in love, since, as soon as a choice exists, it can only be bad.

The past not merely is not fugitive, it remains present.

It is the tragedy of other people that they are to us merely showcases for the very perishable collections of our own mind.

One reads the papers as one wants to with a bandage over one's eyes without trying to understand the facts, listening to the soothing words of the editor as to the words of one s mistress.

When I am not too sad to listen, music is my consolation.

We are less justified in saying that the thinking life of humanity is a miraculous perfectioning of animal and physical life than that it is an imperfection in the organization of spiritual life as rudimentary as the communal existence of protozoa in colonies.

According to a charming law of nature which is evident even in the most sophisticated societies, we live in complete ignorance of whatever we love.

Let a prize lower my position, if it causes me to be read; that I prefer immediately to all the honors.

Human altruism which is not egoism, is sterile.

After a certain age, the more one becomes oneself, the more obvious one's family traits become.

They like my books better in England than in France; a translation would be very successful there.

I believe that all true art is classic, but the dictates of the mind rarely permit of its being recognized as such when it first appears.

A work should convey its entire meaning by itself, imposing it on the spectator even before he knows what the subject is.