Une page de Proust au hasard:
1312 - J’ai dit que l’oubli commençait à faire son œuvre
Depuis qu’elle était partie, bien souvent, quand il me semblait qu’on ne pouvait pas voir que j’avais pleuré, je sonnais Françoise et je lui disais : « Il faudra voir si Mademoiselle Albertine n’a rien oublié. Pensez à faire sa chambre, pour qu’elle soit bien en état quand elle viendra. » Ou simplement : « Justement l’autre jour Mademoiselle Albertine me disait, tenez justement la veille de son départ... » Je voulais diminuer chez Françoise le détestable plaisir que lui causait le départ d’Albertine en lui faisant entrevoir qu’il serait court. Je voulais aussi montrer à Françoise que je ne craignais pas de parler de ce départ, le montrer — comme font certains généraux qui appellent des reculs forcés une retraite stratégique et conforme à un plan préparé — comme voulu, comme constituant un épisode dont je 60 cachais momentanément la vraie signification, nullement comme la fin de mon amitié avec Albertine. En la nommant sans cesse, je voulais enfin faire rentrer, comme un peu d’air, quelque chose d’elle dans cette chambre où son départ avait fait le vide et où je ne respirais plus. Puis on cherche à diminuer les proportions de sa douleur en la faisant entrer dans le langage parlé entre la commande d’un costume et des ordres pour le dîner.
SCENARIO ALBERTINE
SUR LE MEME THEME:
- THE SWEET CHEAT GONE - PROUST
- ALBERTINE DISPARUE - The Sweet Cheat Gone - LE CHAGRIN ET L'OUBLI - Grief and Oblivion
- PROUST The Sweet Cheat Gone : Grief and Oblivion (Remembrance of Things Past)
- 1366 - Je ramenais avec moi les filles qui m’eussent le moins plu, je lissais des bandeaux à la vierge
- 1365 - Associées maintenant au souvenir de mon amour, les particularités physiques
PROUST
TAGS
FILMS7
- OLIVIA GOTANEGRE : Groupuscule Ep. 7 : Shakrâne - EMMANUEL BONAMI - RENAUD BONAMI
- KLAUS NOMI : AFTER THE FALL - LIVE
- WAGNER - DAS RHEINGOLD - The descent of the gods into Niebelheim - KARAJAN
- Ein Deutsches Requiem / A German Requiem (BRAHMS) - Denn Alles Fleisch, Es Ist Wie Gras - KARL RICHTER
- CARLOS KLEIBER - 4th SYMPHONY - BRAHMS
- NIGHTWISH - WALKING IN THE AIR - LIVE
- FRED ASTAIRE - Top Hat, White Tie and Tails
- CAROLINE GUIVARCH
- Chanson de Monsieur Henri (Henri de la Rochejaquelein)
- JULIE ANDREWS, 12 - GOD SAVE THE KING
- MEMENTO Christopher Nolan Guy Pearce - spoiler in six minutes
- James Joyce reading from Finnegans Wake
- MARGUERITE YOURCENAR dans sa maison
- SINEAD O'CONNOR - Dark I Am Yet Lovely (Live Night of the Proms 2008)
- FILMS7 - LES "UNE"
- TROY - SINEAD O'CONNOR - LIVE Night of the Proms 2008
- Peter Gabriel - Sinead O'Connor - Blood Of Eden
- Edouard de Blay, photographe : étudier les tableaux, connaître les lignes de fuites - PHOTO de JULIE VOISIN
- Odette Wolkonsky styling
- Josquin des Prez - Missa Pange Lingua - Kyrie Eleison - Saint Clement's Church, Philadelphia


1312 I have said that oblivion was beginning to perform
Marcel Proust
"Remembrance of Things Past" (In Search of Lost Time),
translated by C. K. Scott Moncrieff (1889-1930)
I have said that oblivion was beginning to perform its task. But one of the effects of oblivion was precisely—since it meant that many of Albertine’s less pleasing aspects, of the boring hours that I had spent with her, no longer figured in my memory, ceased therefore to be reasons for my desiring that she should not be with me as I used to wish when she was still in the house—that it gave me a curtailed impression of her, enhanced by all the love that I had ever felt for other women. In this novel aspect of her, oblivion which nevertheless was engaged upon making me accustomed to our separation, made me, by shewing me a more attractive Albertine, long all the more for her return.
Since her departure, very often, when I was confident that I shewed no trace of tears, I would ring for Françoise and say to her: “We must make sure that Mademoiselle Albertine hasn’t left anything behind her. Don’t forget to do her room, it must be ready for her when she comes.” Or merely: “Only the other day Mademoiselle Albertine said to me, let me think now, it was the day before she left....” I was anxious to diminish Françoise’s abominable pleasure at Albertine’s departure by letting her see that it was not to be prolonged. I was anxious also to let Françoise see that I was not afraid to speak of this departure, to proclaim it—like certain generals who describe a forced retreat as a strategic withdrawal in conformity with a prearranged plan—as intended by myself, as constituting an episode the true meaning of which I concealed for the moment, but in no way implying the end of my friendship with Albertine. By repeating her name incessantly I sought in short to introduce, like a breath of air, something of herself into that room in which her departure had left a vacuum, in which I could no longer breathe. Then, moreover, we seek to reduce the dimensions of our grief by making it enter into our everyday speech between ordering a suit of clothes and ordering dinner.