The final volume of In Search of Lost Time chronicles the years of World War I, when, as M. de Charlus reflects on a moonlit walk, Paris threatens to become another Pompeii. Years later, after the war's end, Proust's narrator returns to Paris, where Mme. Verdurin has become the Princesse de Guermantes. He reflects on time, reality, jealousy, artistic creation, and the raw material for literature - his past life. This volume also includes the indispensable Guide to Proust, an index to all six volumes of the novel. The final volume of a new, definitive text of A la recherche du temps perdu was published by the Bibliotheque de la Pleiade in 1989. For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin's acclaimed reworking of C. K. Scott Moncrieff's translation to take into account the new French editions.
Marcel Proust was born in the Parisian suburb of Auteuil on July 10, 1871. His father, Adrien Proust, was a doctor celebrated for his work in epidemiology; his mother, Jeanne Weil, was a stockbroker's daughter of Jewish descent. He lived as a child in the family home on Boulevard Malesherbes in Paris, but spent vacations with his aunt and uncle in the town of Illiers near Chartres, where the Prousts had lived for generations and which became the model for the Combray of his great novel. (In recent years it was officially renamed Illiers-Combray.) Sickly from birth, Marcel was subject from the age of nine to violent attacks of asthma, and although he did a year of military service as a young man and studied law and political science, his invalidism disqualified him from an active professional life.
During the 1890s Proust contributed sketches to Le Figaro and to a short-lived magazine, Le Banquet, founded by some of his school friends in 1892. Pleasures and Days, a collection of his stories, essays, and poems, was published in 1896. In his youth Proust led an active social life, penetrating the highest circles of wealth and aristocracy. Artistically and intellectually, his influences included the aesthetic criticism of John Ruskin, the philosophy of Henri Bergson, the music of Wagner, and the fiction of Anatole France (on whom he modeled his character Bergotte). An affair begun in 1894 with the composer and pianist Reynaldo Hahn marked the beginning of Proust's often anguished acknowledgment of his homosexuality. Following the publication of Emile Zola's letter in defense of Colonel Dreyfus in 1898, Proust became 'the first Dreyfusard,' as he later phrased it. By the time Dreyfus was finally vindicated of charges of treason, Proust's social circles had been torn apart by the anti-Semitism and political hatreds stirred up by the affair.
Proust was very attached to his mother, and after her death in 1905 he spent some time in a sanitorium. His health worsened progressively, and he withdrew almost completely from society and devoted himself to writing. Proust's early work had done nothing to establish his reputation as a major writer. In an unfinished novel, Jean Santeuil (not published until 1952), he laid some of the groundwork for In Search of Lost Time, and in Against Sainte-Beuve, written in 1908-09, he stated as his aesthetic credo: 'A book is the product of a different self from the one we manifest in our habits, in society, in our vices. If we mean to try to understand this self it is only in our inmost depths, by endeavoring to reconstruct it there, that the quest can be achieved.' He appears to have begun work on his long masterpiece sometime around 1908, and the first volume, Swann's Way, was published in 1913. In 1919 the second volume, Within a Budding Grove, won the Goncourt Prize, bringing Proust great and instantaneous fame. Two subsequent sections--The Guermantes Way (1920-21) and Sodom and Gomorrah (1921)--appeared in his lifetime. (Of the depiction of homosexuality in the latter, his friend André Gide complained: 'Will you never portray this form of Eros for us in the aspect of youth and beauty?') The remaining volumes were published following Proust's death on November 18, 1922: The Captive in 1923, The Fugitive in 1925, and Time Regained in 1927.
Biography
Born to a wealthy family, iconic French writer Marcel Proust (1871-1922) studied law and literature. His social connections allowed him to become an observant habitué of the most exclusive drawing rooms of the nobility, and he wrote social pieces for Parisian journals. He published essays and stories, including the story collection Pleasures and Days (1896). He had suffered from asthma since childhood, and c. 1897 he began to disengage from social life as his health declined.
Half-Jewish himself, he became a major supporter of Alfred Dreyfus in the affair that made French anti-Semitism into a national issue. Deeply affected by his mother's death in 1905, he withdrew further from society. An incident of involuntary revival of childhood memory in 1909 led him to retire almost totally into an eccentric seclusion in his cork-lined bedroom to write À la recherche du temps perdu (in English: In Search of Lost Time or Remembrance of Things Past ). Published between 1913 and 1927, the vast seven-part novel is at once a kind of autobiography, a vast social panorama of France in the years just before and during World War I, and an immense meditation on love and jealousy and on art and its relation to reality. One of the supreme achievements in fiction of all time, it brought him worldwide fame and affected the entire climate of the 20th-century novel.
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这本书最让我感到震撼的是它对“美”的探索,它将艺术欣赏提升到了一种近乎宗教体验的层面。无论是对音乐的深刻剖析,还是对绘画的精准描述,都透露出作者对形式和本质的执着追寻。他笔下的“美”并非廉价的愉悦,而是一种需要付出巨大心力去接近、去理解的真理。这种追求过程中伴随着巨大的痛苦与迷惘,因为每一次对美的捕捉,都意味着对更深层虚无的直面。我特别喜欢那些关于文学家和艺术家之间微妙竞争与相互依存关系的段落,它们揭示了创作的孤独本质,以及名声与真正创造力之间那道难以逾越的鸿沟。这本书似乎在用一种极其优美却又冰冷的方式告诉我:我们倾尽一生去追逐的东西,很可能只是一个幻影,但追逐本身,构成了我们生命最后的价值。阅读过程中,我感觉自己的审美神经被不断地拉伸和淬炼,对日常生活中事物的感知度都提高了不少。
评分从结构上看,这部巨著无疑是对线性时间观念的颠覆。它不是按照“发生什么”来推进,而是按照“如何被记住”来组织。过去、现在、未来的界限在作者的笔下变得极其模糊和渗透。那种对瞬间的无限拉伸,对短暂感受的反复打磨,使得时间仿佛凝固成一种可触摸的物质。我个人认为,本书的魅力在于其内在的辩证法:越是想要紧紧抓住某种情感或状态不放,它便消散得越快,而只有通过间接的回忆、通过艺术的转化,它才获得了永恒的可能。这种对“非线性时间”的实践,要求读者必须保持高度的警觉性,以捕捉那些看似不重要的过渡和重复。最终,你会明白,这不是一部关于事件的记录,而是一部关于“存在”本身如何被感知、被构建、并最终消逝的宏伟冥想。它需要你放下所有急躁,沉浸其中,直到你自身的时钟也开始以它的节奏滴答作响。
评分我不得不承认,这本书的阅读门槛相当高,初期的投入感可能不是线性的。起初,你会感到角色之间的关系盘根错节,场景的切换也常常显得跳跃,仿佛作者在随意地丢掷线索,期待读者自己去编织出那张巨大的网。但正是这种看似松散,实则精妙的设计,营造出一种真实生活的错位感——生活本身就是由无数不合时宜的片段和突如其来的顿悟组成的。特别是当那些看似无关紧要的细节,比如某次宴会上的耳语,或是某段旋律的重复出现,在故事后半段猛然间汇聚成一股洪流时,那种“啊哈”的体验是无与伦比的。这种延迟满足的叙事手法,极大地考验了读者的耐心和记忆力,但一旦你跟上了作者的步伐,你便会发现,每一个被提及的配角,每一种被描述的情绪波动,都拥有其不可替代的意义。它不是那种读完会让你感到轻松愉快的作品,它更像是一场漫长而精致的智力与情感的马拉松。
评分翻开这卷书,我立刻被卷入了一种近乎巴洛克式的复杂叙事结构之中。句子之冗长,结构之迂回,初读时真让人有些气喘吁吁,仿佛在攀登一座由从句和嵌套式思考构筑的思维高塔。然而,一旦适应了这种独特的节奏,便会发现其中蕴含着无与伦比的音乐性和逻辑性。作者似乎总是在同一个事件上绕行数次,从不同的角度、不同的心绪状态去审视它,每一次的回望都揭示出新的细微差别和矛盾性。这使得人物的心理活动呈现出惊人的多维度和深度,没有绝对的黑白,只有永恒的灰色地带和主观的诠释。书中对于贵族阶层日常生活的描绘,尤其令人印象深刻,那种表面上的礼仪周全与内在的空虚和算计形成了强烈的张力。这种对社会风俗和人际潜规则的细致入微的刻画,远超了一般的社会批判,它是一种近乎田野调查式的记录,让人不禁思考,我们今日的社交辞令和人际迷宫,是否也只是换了身行头的旧戏码。
评分这部作品的氛围营造简直令人窒息,那种弥漫在字里行间的旧日气息,仿佛能透过书页渗出来,带着一丝尘封的香气和无可挽回的失落感。作者对于感官细节的捕捉精确得可怕,无论是午后阳光穿过窗帘缝隙投下的光斑,还是某个不经意间闻到的气味瞬间触发的遥远记忆,都被描摹得栩栩如生。我常常需要停下来,不是因为情节的推动,而是被那种纯粹的“在场感”所震撼。它不是在讲述一个故事,更像是在带领你潜入一个由情感和记忆构筑的迷宫。读到那些关于艺术、关于社交场域的描绘时,我深切体会到一种对时间流逝的无力感,那种曾经鲜活的、充满生机的一切,如今只剩下碎片化的回忆和精致的重建。这种重建过程本身,就带着一种近乎偏执的美学追求。阅读体验是极其私密的,它强迫你面对自己内心深处那些被遗忘的角落,那些你以为已经处理妥当的情绪暗流,又重新在你面前翻涌起来。整体上,它更像是一部心理学的观察手稿,而非传统意义上的小说,对读者的心智投入要求极高,但回报也是惊人的,那是一种对生命本质的深刻洞察。
评分读的第一个追忆英译本就是C. K. Scott Moncrieff的,盛名非虚
评分引力波都被检测到了,可是Proust还是得忍受着Combray里的孤独,长眠于哀愁。
评分引力波都被检测到了,可是Proust还是得忍受着Combray里的孤独,长眠于哀愁。
评分引力波都被检测到了,可是Proust还是得忍受着Combray里的孤独,长眠于哀愁。
评分引力波都被检测到了,可是Proust还是得忍受着Combray里的孤独,长眠于哀愁。
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