《 zhuī yì sì shuǐ nián huá》（ yī yì wéi《 zhuī yì shì shuǐ nián huá》） zhè bù bèi yù wéi 'èr shí shì jì zuì zhòng yào de wén xué zuò pǐn zhī yī de cháng piān jù zhe， yǐ qí chū sè de duì xīn líng zhuī suǒ de miáo xiě hé zhuó yuè de yì shí liú jì qiǎo 'ér fēngmǐ shì jiè， bìng diàn dìng liǎo tā zài dāng dài shì jiè wén xué zhōng de dì wèi。
duō juàn jí cháng piān jù zhe《 zhuī yì shì shuǐ nián huá》 shì fǎ guó zuò jiā mǎ sài 'ěr . pǔ lǔ sī tè (1871-1922) de dài biǎo zuò， quán shū gòng qī bù， shí wǔ juàn， cóng 1905 nián kāi shǐ chuàng zuò， zhì zuò zhě shì shì qián quán bù wán chéng。 xiǎo shuō de dì yī bù《 tōng wǎng sī wàn jiā de lù》 yú 1913 nián wèn shì， dàn fǎn yìng lěng dàn， yī xiē yòu míng de chū bǎn shè dōubù yuàn chū bǎn， zuò zhě biàn zì fèi yìn xíng。 hòu lái《 tōng wǎng sī wàn jiā de lù》 zhú jiàn huò dé wén yì jiè de zàn shǎng。 yú shì， gè dà chū bǎn shè jìng xiāng yǔ pǔ lǔ sī tè qiān dìng hé tóng， yǐ qiú qǔ dé chū bǎn zhè bù duō juàn jí de qí yú jǐ bù zuò pǐn de quán lì。 bù jiǔ， dì yī cì shì jiè dà zhàn bào fā， chū bǎn gōng zuò bèi gē zhì xià lái。 zhàn zhēng jié shù hòu， xiǎo shuō de dì 'èr bù《 zài huā zhī zhāo zhǎn de shàonǚ men shēn bàng》 yú 1919 nián chū bǎn， huò gōng gǔ 'ěr wén xué jiǎng， pǔ lǔ sī tè míng shēng dà zhèn。 cǐ hòu， xiǎo shuō de dì sān bù《 gài 'ěr máng jiā》 hé dì sì bù《 suǒ duō mǔ hé guō mù 'ěr》 xiāng jì yú 1921 hé 1922 nián chū bǎn， zuì hòu sān bù《 nǚ qiú fàn》 (1923)，《 táo wáng zhě》 (1925)， hé《 xī rì zài xiàn》 (1927) zé shì pǔ lǔ sī tè shì shì hòu cái chū bǎn de。
mù lù
dì yī bù zài sī wàn jiā nà biān
zhuī yì sì shuǐ nián huá zhuī yì sì shuǐ nián huá
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dì sān bù gài 'ěr máng tè jiā nà biān
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《 zhuī yì shì shuǐ nián huá》 shì yī bù yǔ chuán tǒng xiǎo shuō bù tóng de cháng piān xiǎo shuō。 quán shū yǐ xù shù zhě “ wǒ ” wéi zhù tǐ， jiāng qí suǒ jiàn suǒ wén suǒ sī suǒ gǎn róng hé yī tǐ， jì yòu duì shè huì shēng huó， rén qíng shì tài de zhēn shí miáo xiě， yòu shì yī fèn zuò zhě zì wǒ zhuī qiú， zì wǒ rèn shí de nèi xīn jīng lì de jì lù。 chú xù shì yǐ wài， hái bāo hán yòu dà liàng de gǎn xiǎng hé yì lùn。 zhěng bù zuò pǐn méi yòu zhōng xīn rén wù， méi yòu wán zhěng de gù shì， méi yòu bō lán qǐ fú， guàn chuān shǐ zhōng de qíng jié xiàn suǒ。 tā dà tǐ yǐ xù shù zhě de shēng huó jīng lì hé nèi xīn huó dòng wéi zhóu xīn， chuān chā miáo xiě liǎo dà liàng de rén wù shì jiàn， yóu rú yī kē zhī yā jiāo cuò de dà shù， kě yǐ shuō shì zài yī bù zhù yào xiǎo shuō shàng pài shēng zhe xǔ duō dú lì chéng piān de qí tā xiǎo shuō， yě kě yǐ shuō shì yī bù jiāo zhì zhe hǎo jǐ gè zhù tí qū de jù dà jiāo xiǎng lè。
xiǎo shuō zhōng de xù shù zhě“ wǒ” shì yī gè jiā jìng fù yù 'ér yòu tǐ ruò duō bìng de qīng nián， cóng xiǎo duì shū huà yòu tè shū de 'àihào， céng jīng cháng shì guò wén xué chuàng zuò， méi yòu chéng gōng。 tā jīng cháng chū rù bā lí de shàng céng shè huì， pín fán wǎng lái yú gè chá huì， wǔ huì， zhāo dài huì jí qí tā shí máo de shè jiāo chǎng hé， bìng zhōng qíng yú yóu tài fù shāng de nǚ 'ér jí 'ěr bó tè， dàn bù jiǔ jiù shī liàn liǎo。 cǐ wài， tā hái dào guò jiā xiāng gòng bǎi lāi xiǎo zhù， dào guò hǎi bīn shèng dì bā péi kè liáo yǎng。 tā jié shí liǎo lìng yī wèi shàonǚ 'ā 'ěr bó dì， fā xiàn 'ā 'ěr bó dì huàn tóng xìng liàn， biàn jué xīn qǔ tā wéi qī， yǐ jiū zhèng tā de biàn tài xīn lǐ。 tā bǎ 'ā 'ěr bó dì jìn bì zài zì jǐ jiā zhōng， ā 'ěr bó dì què shè fǎ táo páo， yú shì， tā duō fāng dǎ tīng tā， xún zhǎo tā， hòu lái dé zhī 'ā 'ěr bó dì qí mǎ shuāi sǐ。 zài bēi tòng zhōng tā rèn shí dào zì jǐ de bǐng fù shì xiě zuò， tā suǒ jīng lì de bēi huān kǔ lè zhèng shì wén xué chuàng zuò de cái liào， zhǐ yòu wén xué chuàng zuò cái néng bǎ xī rì shī qù de dōng xī zhǎo huí lái。
zài xiǎo shuō zhōng， xù shù zhě“ wǒ” de shēng huó jīng lì bìng bù zhàn quán shū de zhù yào piān fú。 zuò zhě tōng guò gù shì tào gù shì， gù shì yǔ gù shì jiāo chā zhòng dié de fāng fǎ， miáo xiě liǎo zhòng duō de rén wù shì jiàn， zhǎn shì liǎo yī fú 19 shì jì yǔ 20 shì jì zhī jiāo fǎ guó shàng liú shè huì de shēng huó tú jǐng。 zhè lǐ yòu zī sè mí rén， tán tù gāo yǎ 'ér yòu wú liáo yōng sú de gài 'ěr máng fū rén， yòu dào dé duò luò， xíng wéi chóu 'è de biàn xìng rén chá liú sī nán jué， yòu zòng qíng shēng sè de làng dàng gōng zǐ sī wàn děng děng。 cǐ wài， xiǎo shuō hái miáo xiě liǎo yī xiē yú shàng liú shè huì yòu guān lián de zuò jiā， yì shù jiā， tā men dà dū shēng qián luò bó shī yì， ér zuò pǐn què yǒng shì cháng cún。 xiǎo shuō hái miáo xiě liǎo yī xiē xià céng de láo dòng zhě。《 zhuī yì shì shuǐ nián huá》 zhè bù cháng piān jù zhe tōng guò shàng qiān gè rén wù de huó dòng， lěng jìng， zhēn shí， xì zhì dì zài xiàn liǎo fǎ guó shàng liú shè huì de shēng huó xí sú， rén qíng shì tài。 yīn cǐ yòu xiē xī fāng píng lùn jiā bǎ tā yǔ bā 'ěr zhā kè de《 rén jiān xǐ jù》 xiāng tí bìng lùn， chēng zhī wéi“ fēng liú xǐ jù”。
《 zhuī yì shì shuǐ nián huá》 shì yī bù yòu dú tè fēng gé de cháng piān xiǎo shuō， tā bù jǐn zài xiàn liǎo kè guān shì jiè， tóng shí yě zhǎn xiàn liǎo xù shù zhě de zhù guān shì jiè， jì lù liǎo xù shù zhě duì kè guān shì jiè de nèi xīn gǎn shòu。 zuò zhě gǎn xīng qù de bù shì xù shù gù shì， jiāo dài qíng jié hé kè huà rén wù xíng xiàng， ér shì shū fā zì jǐ duì mǒu yī wèn tí de gǎn xiǎng hé fēn xī。 lì rú， xù shù zhě cān jiā liǎo gài 'ěr máng gōng jué jiā de yī cì wǎn yàn， zhè shǐ tā cháng qī yǐ lái duì guì zú de zhǒng zhǒng huàn xiǎng dùn shí pò miè， tā yì shí dào guò qù duì tā yòu mèi lì de zhǐ shì míng chēng， ér bù shì zhēn shí de shì jiè。 zhěng bù zuò pǐn duì wài bù shì jiè de miáo shù tóng xù shù zhě duì tā de gǎn shòu， sī kǎo， fēn xī hún rán yī tǐ， yòu hù xiāng yǐn fā， hù xiāng chōng shí， cóng 'ér xíng chéng liǎo wù cóng wǒ chū， wù zhōng yòu wǒ， wù wǒ hé yī de yì shù jìng jiè。
《 zhuī yì shì shuǐ nián huá》 zhè bù cháng piān， chú liǎo dì yī bù zhōng guān yú sī wàn de liàn 'ài gù shì cǎi yòng dì sān rén chēng miáo xiě shǒu fǎ wài， qí yú dōushì tōng guò dì yī rén chēng xù shù chū lái de， xù shù zhě“ wǒ” de huí yì shì guàn chuān quán shū de zhòng yào yì shù biǎo xiàn fāng shì。 xiǎo shuō kāi juàn，“ wǒ” cóng chuáng shàng xǐng lái， zài mèng huàn bān de zhuàng tài zhōng qiān sī bǎi xiǎng jí yú xīn tóu。 zhè shí， yóu yú yī bēi chá hé yī kuài diǎn xīn de chù fā， shǐ tā huí yì qǐ xiǎo shí hòu zài gū mā lāi 'ào nī jiā shēng huó de qíng jǐng。 zhè bù jǐn yǐn chū liǎo xù shù zhě de jiā tíng shēn shì hé gè rén jīng lì， hái yǐn chū liǎo gài 'ěr máng hé sī wàn liǎng dà jiā zú， yǐn chū liǎo xíng xíng sè sè de rén wù shì jiàn， zhěng bù xiǎo shuō de nèi róng jiù shì tōng guò xù shù zhě de huí yì xiàng zòng shēn fā jué， zhú bù tuī jìn， zuì hòu wán zhěng dì chéng xiàn chū lái。
《 zhuī yì shì shuǐ nián huá》 gòng 7 bù， 15 juàn， qí zhōng bāo kuò《 zài sī wàng jiā nà biān》（ 1913）、《 zài shàonǚ men shēn bàng》（ 1919）、《 gài 'ěr máng tè jiā nà biān》（ 1921）、《 suǒ duō mǔ yǔ gē mó 'ěr》（ 1922） hé zuò zhě sǐ hòu chū bǎn de《 nǚ qiú》、《 nǚ táo wáng zhě》 hé《 chóngxiàn de shí guāng》。 dì yī bù《 zài sī wàng jiā nà biān》， méi yòu dé dào wén yì jiè de rèn kě， dì 'èr bù《 zài shàonǚ men shēn bàng》（ 1919）， huò gōng gǔ 'ěr wén xué jiǎng， cóng cǐ míng shēng dà zhèn。
《 zhuī yì shì shuǐ nián huá》 shì yī bù bā 'ěr zhā kè《 rén jiān xǐ jù》 nà yàng“ guī mó hóng dà” de zuò pǐn。 xiǎo shuō de xù shù zhě“ wǒ” shì yī gè fù yú cái huá， xǐ 'ài wén xué yì shù 'ér yòu tǐ ruò duō bìng de fù jiā zǐ dì。 zuò pǐn tòu guò zhù rén gōng de zhuī yì， biǎo xiàn liǎo zuò zhě duì jiā tíng、 tóng nián hé chū liàn shí gǎn qíng de huái niàn， duì yōng sú shì wù de yàn 'è， tóng shí yě fǎn yìng liǎo 19 shì jì mò 20 shì jì chū suǒ wèi“ huáng jīn shí dài” de fǎ guó bā lí shàng liú shè huì de zhǒng zhǒng rén qíng shì tài。
xiǎo shuō gù shì tào gù shì， rén wù shì jiàn zhòng duō。 yī fāng miàn shì zūn xún fǎ guó jiù chuán tǒng xí guàn de shèng · rì 'ěr màn guì zú、 gài 'ěr máng tè jiā zú de gōng jué hé gōng jué fū rén、 gài 'ěr máng tè qīn wáng hé wáng fēi、 gōng jué de xiōng dì děng。 lìng yī fāng miàn shì xīn de zī chǎn jiē jí bào fā hù hé huó yuè zài shā lóng lǐ de bāng xián rén wù： sī wàng jí qí qíng fù、 jiāo jì huā 'ào dài tè、 fù yù 'ér yòu wén huà jiào yǎng de fán 'ěr dù lán fū fù、 wài jiāo guān、 yī shēng、 yì shù jiā děng。 liǎng gè duì lì de shè huì， yuán lái bìng bù róng qià， zī chǎn jiē jí hěn nán kuà jìn gǔ lǎo guì zú de mén tīng。 dàn shì suí zhe shí jiān de tuī yí hé fù zá de lián yīn guān xì， hóng gōu zhú jiàn bèi dǎ pò。 sī wàng sǐ hòu， ào dài tè chéng liǎo gài 'ěr máng tè gōng jué de qíng fù。 fán 'ěr dù lán tài tài guò qù bù bèi guì zú jiā suǒ jiē nà， xiàn zài chéng liǎo qīn wáng fū rén。 zuò zhě zài guì zú bìsè hé yōu xián de shì wài táo yuán zhōng kuī shì dào liǎo shuāi bài jǐng xiàng， cóng dà zī chǎn jiē jí yōng sú kuáng wàng zhōng kàn dào liǎo yī zhǒng jī xíng shè huì de huà miàn。 suī rán zuò zhě zài miáo huì zhè zhǒng zhǒng huà miàn shí， bìng méi yòu yòng jiān ruì de qiǎn zé zhī cí， dàn cóng tā bǐ fēng zhuànxiàng xià céng rén mín shí suǒ biǎo xiàn chū de hǎo gǎn zhōng， yòu néng tǐ wèi dào tā de bāo biǎn zhī yì。 nà gè zài shàng céng rén jiā fú wù duō nián de lǎo nǚ pú fú lǎng suǒ wǎ cí， suī rán mǎn kǒu xiāng xià tǔ huà， nǎo zǐ lǐ yòu bù shǎo mí xìn hé jìn jì， dàn tā qín láo、 chún pǔ， yòu zhe xiāng xià rén de cōng míng jī zhì， shì zuò zhě zuì xǐ 'ài de rén wù zhī yī。 xiǎo shuō chú liǎo miáo xiě shàng liú shè huì de shēng huó wài， hái shè jí dào wén xué、 huì huà、 yīnyuè、 jiàn zhù， yǐ jí dì yī cì shì jiè dà zhàn děng zhū duō fāng miàn de nèi róng。
《 zhuī yì shì shuǐ nián huá》 shì yī bù huí yì lù shì de zìzhuàn tǐ xiǎo shuō， dàn méi yòu chuán tǒng huí yì lù nà yàng duì wǎng shì yòu tiáo lǐ de zhěng lǐ hé fēn xī， ér shì tōng guò yī gè“ fēi cháng shén jīng zhì hé guòfèn shòu nì 'ài de hái zǐ” duì zì jǐ“ huǎn màn chéngzhǎng guò chéng” de zhuī yì， jiàn jiàn dì“ yì shí” dào zì jǐ zhōu wéi rén men de“ cún zài”。 zuò zhě zhǐ shì bǔ zhuō zì jǐ xīn tóu liú xià bìng shí shí fú xiàn zài nǎo jì de yìn xiàng， rán hòu jiā yǐ zhǎn xiàn。 duì tā lái shuō， shì qíng fā shēng de xiān hòu méi yòu yì yì， xiàn shí cóng huí yì zhōng xíng chéng， tōng guò huí yì， jì rèn shí dào xiàn shí shì jiè， yě rèn shí dào“ zì wǒ” de cún zài。 ér shí zǎo chén qǐ lái hē rè chá shí yī kuài sú míng jiào“ mǎ dé lāi nà” de tián gāo diǎn pào zài chá lǐ， biān hē biān chī diǎn xīn suǒ gǎn dào de lè chù， zài zuì hòu yī juàn《 chóngxiàn de shí guāng》 chóngtí shí，“ jīn” yǔ“ xī” de huí yì yǐ tóng shí chū xiàn zài zuò zhě nǎo hǎi lǐ。 tōng guò huí yì， tā jiě chú liǎo“ shí jiān” de shù fù， huò dé liǎo guò qù、 xiàn zài de chóngdié hé jiāo chā， xíng chéng liǎo tè shū de huí yì jié gòu。
zuò pǐn de xù shù jiǎo dù míng xiǎn qū bié yú chuán tǒng xiǎo shuō。 zuò zhě shuō：“ zài wǒ men yòu xiǎo shí， wǒ jué dé shèng shū shàng rèn hé rén wù hé mìng yùn dōuméi yòu xiàng nuò yà nà yàng bēi cǎn， tā yīn hóng shuǐ fàn làn， bù dé bù zài fāng zhōu lǐ dù guò sì shí tiān， hòu lái， wǒ shí cháng wò bìng， pò bù dé yǐ chéng nián lěi yuè dì dāi zài fāng zhōu lǐ guò huó。 zhè shí wǒ cái míng bái， jìn guǎn nuò yà fāng zhōu jǐn bì zhe， máng máng hēi yè zhèn zhù dà dì， dàn shì nuò yà cóng fāng zhōu lǐ kàn shì jiè shì zài tòu chè bù guò liǎo。” zuò zhě yě bù shì zhàn zài shì wù de wài bù guān chá shì jiè， ér shì jiāng kè guān shì jiè róng rù nèi xīn， rán hòu zài biǎo xiàn chū lái。 tā tōng guò duì nèi xīn shì jiè de tàn suǒ lái fā xiàn wài bù shì jiè， cóng yì shí hóng liú zhōng rèn shí wài bù shì jiè de jià zhí。 zuò pǐn de rén chēng yě yòu yì yú chuán tǒng xiǎo shuō。 zuò pǐn zhōng de“ wǒ” bìng bù shì chuán tǒng xiǎo shuō zhōng de dì yī rén chēng， tā zhǐ shì yī gè chuān zhēn yǐn xiàn de rén wù， tōng guò“ wǒ” de guān chá、 gǎn shòu yǐn chū qí tā rén wù hé huì chéng xuàn lì duō zī de huà miàn。 pǔ lǔ sī tè suī rán shì xiàn dài pài zuò jiā， dàn tā de yǔ yán fēng gé shēn shòu méng tián、 sài wéi ní fū rén hé shèng · xī méng děng fǎ guó gǔ diǎn zuò jiā de yǐng xiǎng， yòu zhe kuàng dá、 gāo yǎ、 xì nì、 wǎn zhuǎn de tè diǎn。
fǎ guó zhù míng zhuànjì wén xué jiā jiān píng lùn jiā A· mò luó yà（ 1885 héng 1967） zài 1954 nián bā lí gā lǐ mǎ chū bǎn shè chū bǎn de《 qī xīng cóng shū》 běn de《 zhuī yì shì shuǐ nián huá》 xù yán zhōng xiě dào：“ yī jiǔ nián zhì yī jiǔ wǔ nián zhè wǔ shí nián zhōng， chú liǎo《 zhuī yì shì shuǐ nián huá》 zhī wài， méi yòu bié de zhí dé yǒng zhì bù wàng de xiǎo shuō jù zhù。 bù jǐn yóu yú pǔ lǔ sī tè de zuò pǐn hé bā 'ěr zhā kè de zuò pǐn yī yàng piān zhì hào fán， yīn wéi yě yòu rén xiě guò shí wǔ juàn shèn zhì 'èr shí juàn de jù xíng xiǎo shuō， ér qiě yòu shí yě xiěde wén cǎi dòng rén， rán 'ér tā men bìng bù gěi wǒ men fā xiàn ‘ xīn dà lù ’ huò bāo luó wàn xiàng de gǎn jué。 zhè xiē zuò jiā mǎn zú yú wā jué zǎo yǐ wéi rén suǒ zhī de‘ kuàng mài’， ér mǎ sài 'ěr · pǔ lǔ sī tè zé fā xiàn liǎo xīn de‘ kuàng cáng’。” zhè yě shì qiáng diào《 zhuī yì shì shuǐ nián huá》 de yì shù yōu diǎn jiù zài yú yī gè“ xīn” zì。 rán 'ér yì shù fā zhǎn de kè guān guī lǜ bìng bù zài yú dān chún de chuàng xīn， yě bù zài yú wéi chuàng xīn 'ér chuàng xīn， gèng bù zài yú duì yú chuán tǒng de yōu xiù yì shù chuán tǒng cǎi qǔ xū wú zhù yì de tài dù， cóng líng kāi shǐ de chuàng xīn。 chuàng xīn shì yì shù de líng hún， rán 'ér chuàng xīn jué bù shì qīng 'ér yì jǔ de， jué bù shì máng mùdì huàn xiǎng。《 zhuī yì shì shuǐ nián huá》 de chuàng xīn shì zài chuán tǒng de yōu xiù yì shù jī chǔ shàng de fā zhǎn。
fǎ guó shī rén P· wǎ lāi lǐ（ 1871 héng 1945） hé zhù míng píng lùn jiā、 jiào shòu A· dì bó dài（ 1874 héng 1936） dōuzài tā men de píng lùn zhōng kuā jiǎng《 zhuī yì shì shuǐ nián huá》 de yì shù fēng gé jì chéng liǎo fǎ guó wén xué de yōu xiù chuán tǒng。 jì dé hé dì bó dài dū tí dào pǔ lǔ sī tè hé shí liù shì jì de wěi dà sǎnwén zuò jiā méng tián（ 1533 héng 1592） zài wén fēng de kuàng dá hé gāo yǎ fāng miàn， sì hū yòu yī mài xiāng chéng zhī miào。 hái yòu bié de píng lùn jiā shèn zhì tè yì tí dào pǔ lǔ sī tè shòu fǎ guó zhù míng de huí yì lù zuò jiā shèng · xī méng（ 1675 héng 1755） de yǐng xiǎng。
《 zhuī yì shì shuǐ nián huá》 de zuò zhě zhú jiàn gòu sī zhè bù xiǎo shuō dà zhì zài shàng shì jì mò nián hé běn shì jì chū nián。 yī jiǔ qī nián tā xià dìng jué xīn yào chuàng zuò zhè bù xiǎo shuō， yī jiǔ bā nián tā kāi shǐ dòng bǐ， dào yī jiǔ 'èr 'èr nián tā qù shì qián xī， cōng cōng xiě wán zuì hòu yī juàn《 chóngxiàn de shí guāng》。 pǔ lǔ sī tè chuàng zuò《 zhuī yì shì shuǐ nián huá》 de shí yú nián jiān， wán quán jìn bì zài dǒu shì zhōng， yǔ shì gé jué。 tā quán bù jīng lì yǔ shí jiān jí zhōng zài huí yì yǔ xiě zuò shàng， háo bù guān xīn shì shì， suǒ yǐ dì yī cì shì jiè dà zhàn yǐ jí tā duì fǎ guó rén mín shēng huó de qiáng liè yǐng xiǎng， zài《 zhuī yì shì shuǐ nián huá》 zhōng jīhū háo wú fǎn yìng。 zhè bù xiǎo shuō zhōng fǎn yìng de bā lí shì shí jiǔ shì jì bā、 jiǔ shí nián dài de bā lí。 shí jiǔ shì jì mò yè shì fǎ lán xī zī běn zhù yì zhú jiàn yóu lǒng duàn zī běn jìn rù dì guó zhù yì de guò chéng。 èr shí shì jì chū nián， fǎ guó zī běn zhù yì yǐ jīng dá dào zuì gāo jiē duàn， jí dì guó zhù yì jiē duàn。 zài zhè shí qī， fǎ guó shè huì chū xiàn liǎo wù zhì shēng huó fāng miàn de jí dà fán róng。 1900 nián bā lí jǔ bàn zhèn dòng quán qiú de“ shì jiè bó lǎn huì”， jiù biǎo xiàn chū xuǎn hè yī shí de fán róng jǐng xiàng。 fán cǐ zhǒng zhǒng， dōuméi yòu yǐn qǐ zài dǒu shì zhōng mái tóu xiě zuò de pǔ lǔ sī tè zhù yì。 yóu cǐ kě jiàn， jiù qí suǒ fǎn yìng de shè huì shēng huó 'ér yán，《 zhuī yì shì shuǐ nián huá》 shì shí jiǔ shì jì mò nián de xiǎo shuō， shì fǎn yìng lín jìn jù dà de biàn gé yǔ zhuǎn zhé diǎn shí kè de fǎ guó shè huì de xiǎo shuō， yīn cǐ kě yǐ shuō yě shì yī bù fǎn yìng jiù shí dài de xiǎo shuō。《 sì shuǐ nián huá》 shì fǎ guó chuán tǒng xiǎo shuō yì shù de zuì hòu yī kē shuò guǒ， zuì hòu yī duǒ qí pā， zuì hòu yī zuò wěi dà de lǐ chéng bēi。
The novel as we know it began seriously to take shape in 1909, and work continued for the remainder of Proust's life, broken off only by his final illness and death in the autumn of 1922. The main overarching structure was in place at an early stage, and the novel is effectively complete as a work of art and a literary cosmos, but Proust kept adding new material through his final years while editing one time after another for print; the final three volumes actually contain oversights and fragmentary or unpolished passages which only existed in draft form at the death of the author; the publication of these parts was overseen by his brother Robert.
The work was published in France between 1913 and 1927; Proust paid for the publication of the first volume (by the Grasset publishing house) himself after it had been turned down by leading editors who had been offered the manuscript in longhand. Many of its ideas, motifs, and scenes appear in adumbrated form in Proust's unfinished novel, Jean Santeuil (1896–99), though the perspective and treatment there are different, and in his unfinished hybrid of philosophical essay and story, Contre Sainte-Beuve (1908–09). The novel has had a pervasive influence on twentieth-century literature, whether because writers have sought to emulate it, or attempted to parody and discredit some of its traits. In his work, Proust explores the themes of time, space, and memory, but the novel is above all a condensation of innumerable literary, structural, stylistic, and thematic possibilities.
Initial publication
Although different editions divide the work into a varying number of tomes, A la recherche du temps perdu or In Search of Lost Time is a novel consisting of seven volumes.
Vol. French titles Published English titles
1 Du côté de chez Swann 1913 Swann's Way
The Way by Swann's
2 À l'ombre des jeunes filles en fleurs 1919 Within a Budding Grove
In the Shadow of Young Girls in Flower
3 Le Côté de Guermantes
(published in two volumes) 1920/21 The Guermantes Way
4 Sodome et Gomorrhe
(published in two volumes) 1921/22 Cities of the Plain
Sodom and Gomorrah
5 La Prisonnière 1923 The Captive
The Prisoner
6 La Fugitive
Albertine disparue 1925 The Fugitive
The Sweet Cheat Gone
Albertine Gone
7 Le Temps retrouvé 1927 The Past Recaptured
Time Regained
Finding Time Again
Volume 1: Du côté de chez Swann (1913) was rejected by a number of publishers, including Fasquelle, Ollendorf, and the Nouvelle Revue Française (NRF). André Gide famously was given the manuscript to read to advise NRF on publication, and leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic bloopers, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay for the costs of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7).
Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous "Madeleine cookie" episode, introducing the theme of involuntary memory.
In early 1914, André Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life" (Tadié, 611). Gallimard (the publishing arm of NRF) offered to publish the remaining volumes, but Proust chose to stay with Grasset.
Volume 2: À l'ombre des jeunes filles en fleurs (1919), scheduled to be published in 1914, was delayed by the onset of World War I. At the same time, Grasset's firm was closed down when the publisher went into military service. This freed Proust to move to Gallimard, where all the subsequent volumes were published. Meanwhile, the novel kept growing in length and in conception.
À l'ombre des jeunes filles en fleurs was awarded the Prix Goncourt in 1919.
Volume 3: Le Côté de Guermantes originally appeared as Le Côté de Guermantes I (1920) and Le Côté de Guermantes II (1921).
Volume 4: The first forty pages of Sodome et Gomorrhe initially appeared at the end of Le Côté de Guermantes II (Bouillaguet and Rogers, 942), the remainder appearing as Sodome et Gomorrhe I (1921) and Sodome et Gomorrhe II (1922). It was the last volume over which Proust supervised publication before his death in November 1922. The publication of the remaining volumes was carried out by his brother, Robert Proust, and Jacques Rivière.
Volume 5: La Prisonnière (1923), first volume of the section of the novel known as "le Roman d'Albertine" ("the Albertine novel"). The name "Albertine" first appears in Proust's notebooks in 1913. The material in these volumes was developed during the hiatus between the publication of Volumes 1 and 2, and they are a departure from the three-volume series announced by Proust in Du côté de chez Swann.
Volume 6: La Fugitive or Albertine disparue (1925) is the most editorially vexed volume. As noted, the final three volumes of the novel were published posthumously, and without Proust's final corrections and revisions. The first edition, based on Proust's manuscript, was published as Albertine disparue to prevent it from being confused with Rabindranath Tagore's La Fugitive (1921). The first authoritative edition of the novel in French (1954), also based on Proust's manuscript, used the title La Fugitive. The second, even more authoritative French edition (1987–89) uses the title Albertine disparue and is based on an unmarked typescript acquired in 1962 by the Bibliothèque Nationale. To complicate matters, after the death in 1986 of Proust's niece, Suzy Mante-Proust, her son-in-law discovered among her papers a typescript that had been corrected and annotated by Proust. The late changes Proust made include a small, crucial detail and the deletion of approximately 150 pages. This version was published as Albertine disparue in France in 1987.
Volume 7: Much of Le Temps retrouvé (1927) was written at the same time as Du côté de chez Swann, but was revised and expanded during the course of the novel's publication to account for, to a greater or lesser success, the then unforeseen material now contained in the middle volumes (Terdiman, 153n3). This volume includes a noteworthy episode describing Paris during the First World War.
Themes
A la Recherche made a decisive break with the 19th century realist and plot-driven novel, populated by people of action and people representing different social and cultural groups or moral issues. Although parts of the novel could be read as an exploration of snobbism, deceit, jealousy, and suffering and although it contains a multitude of realistic details, the focus is not on the development of a tight plot or of a coherent evolution, but on a multiplicity of perspectives and on the formation of the experience that will serve as the foundation for the novel itself. The leading characters of the first volume (the narrator as a boy and Swann) are, by the standards of 19th century novels of any kind, remarkably introspective and non-prone to decisive actions, or to trigger such actions from other leading characters; to many readers at the time, reared on Balzac, Hugo, and Tolstoy, they would not function as centers of a well-defined plot. And while there is a rich array of symbolism in the work, it is rarely defined through any explicit "keys" leading to moral, romantic or philosophical ideas. The significance of what is happening is often placed within the memory or in the inner contemplation of what is described. This focus on the relationship between experience, memory and writing, and the radical de-emphasizing of the outward plot, have become staples of the modern novel but were almost unheard of in 1913.
The role of memory is central to the novel, introduced with the famous madeleine episode in the first section of the novel, and in the last volume, Time Regained, a flashback similar to that caused by the madeleine is the beginning of the resolution of the story. Throughout the work many similar instances of involuntary memory, triggered by sensory experiences such as sights, sounds, smells, and so on, conjure important memories for the narrator, and sometimes return attention to an earlier episode of the novel. Although Proust wrote contemporaneously with Sigmund Freud, with there being many points of similarity between their thought on the structures and mechanisms of the human mind, neither author read a word of the other's work (Bragg). Gilles Deleuze, by contrast, believed that the main focus of Proust was not memory and the past but the narrator's learning the use of "signs" to understand—and communicate—ultimate reality, and thereby becoming an artist. While Proust was bitterly aware of the experience of loss and exclusion - loss of loved ones, loss of affection, friendship, and innocent joy, which are dramatized in the novel through recurrent jealousy, betrayal and the death of loved persons - his response to this, formulated after he had discovered Ruskin, was that the work of art can recapture the lost and thus save it from destruction, at least in our minds: thus art triumphs over the destructive power of time. This element of his artistic philosophy is clearly inherited from romantic platonism, but Proust crosses it with a new intensity in describing jealousy, desire and self-doubt. (on that matter see the last quatrain of Baudelaire's poem "Une Charogne": "Then, O my beauty! say to the worms who will Devour you with kisses, That I have kept the form and the divine essence Of my decomposed love!")
The nature of art is another recurring topic in the novel, and is often explored at great length. Proust sets forth a theory of art in which we are all capable of producing art, if by this we mean taking the experiences of life and transforming them in a way that shows understanding and maturity. Writing, painting and music are also discussed at great length. Morel the violinist, for example, is examined to give an example of a certain type of "artistic" character, along with other fictional artists, namely the novelist Bergotte and painter Elstir.
Homosexuality is another major theme, particularly in later volumes, most notably in Sodom and Gomorrah, the first part of which consists of a detailed account of a sexual encounter between two of the novel's male characters. Though the narrator himself is heterosexual, he invariably suspects his lovers of liaisons with other women, in a repetition of the suspicions held by Charles Swann in the first volume, with regards to his mistress and eventual wife, Odette. Several characters are forthrightly homosexual, like the Baron de Charlus, while others, such as the narrator's good friend Robert de Saint-Loup, are only later revealed to be far more closeted.
There is much debate as to how great a bearing Proust's own sexual inclination has on understanding these aspects of the novel. Although many of Proust's close family and friends suspected that he was homosexual, Proust never openly admitted this. It was only after Proust's death that André Gide, in his publication of correspondence between himself and Proust, made public Proust's homosexuality. The true nature of Proust's intimate relations with such individuals as Alfred Agostinelli and Reynaldo Hahn are well documented, though Proust was not "out and proud," except perhaps in close knit social circles. In 1949, the critic Justin O'Brien published an article in the PMLA called "Albertine the Ambiguous: Notes on Proust's Transposition of Sexes" which proposed that some female characters are best understood as actually referring to young men. Strip off the feminine ending of the names of the Narrator's lovers—Albertine, Gilberte, Andrée—and one has their masculine counterpart. This theory has become known as the "transposition of sexes theory" in Proust criticism, which in turn has been challenged in Epistemology of the Closet (1992) by Eve Kosofsky Sedgwick.
Critical reception
In Search of Lost Time is considered the definitive Modern novel by many scholars, and it had a profound effect on subsequent writers such as the Bloomsbury Group. "Oh if I could write like that!" marveled Virginia Woolf in 1922 (2:525). Proust's influence on Evelyn Waugh is manifest in A Handful of Dust (1934) in which Waugh entitles Chapter 1 "Du Cote de Chez Beaver" and Chapter 6 "Du Cote de Chez Tod." More recently, literary critic Harold Bloom wrote that In Search of Lost Time is now "widely recognized as the major novel of the twentieth century." Vladimir Nabokov, in a 1965 interview, named the greatest prose works of the 20th century as, in order, "Joyce's Ulysses, Kafka's The Metamorphosis, Biely's Petersburg, and the first half of Proust's fairy tale In Search of Lost Time." J. Peder Zane's book The Top Ten: Writers Pick Their Favorite Books, collates 125 "top 10 greatest books of all time" lists by prominent living writers; In Search of Lost Time places eighth. In the 1960s, Swedish literary critic Bengt Holmqvist dubbed the novel "at once the last great classic of French epic prose tradition and the towering precursor of the 'nouveau roman'", indicating the sixties vogue of new, experimental French prose but also, by extension, other post-war attempts to fuse different planes of location, temporality and fragmented consciousness within the same novel.
Since the publication in 1992 of a revised English translation by The Modern Library, based on a new definitive French edition (1987–89), interest in Proust's novel in the English-speaking world has increased. Two substantial new biographies have appeared in English, by Edmund White and William C. Carter, and at least two books about the experience of reading Proust have appeared, by Alain de Botton and Phyllis Rose. The Proust Society of America, founded in 1997, now has three chapters: at The Mercantile Library of New York City, the Mechanic's Institute Library in San Francisco, and the Boston Athenæum Library. The French phenomenologist, Merleau-Ponty, frequently refers to Swann's Way to help elucidate his own ideas.
Main characters
Proust - Personnages
Main characters - Family tree
The Narrator's household
* The narrator: A sensitive young man who wishes to become a writer, whose identity is explicitly kept vague. In volume 5, The Prisoner, he addresses the reader thus: "Now she began to speak; her first words were 'darling' or 'my darling,' followed by my Christian name, which, if we give the narrator the same name as the author of this book, would produce 'darling Marcel' or 'my darling Marcel.'" (Proust, 64)
* Bathilde Amédée: The narrator's grandmother. Her life and death greatly influence her daughter and grandson.
* Françoise: The narrator's faithful, stubborn maid.
The Guermantes
* Palamède de Guermantes (Baron de Charlus): An aristocratic, decadent aesthete with many antisocial habits.
* Oriane de Guermantes (Duchesse de Guermantes): The toast of Paris' high society. She lives in the fashionable Faubourg St. Germain.
* Robert de Saint-Loup: An army officer and the narrator's best friend. Despite his patrician birth (he is the nephew of M. de Guermantes) and affluent lifestyle, Saint-Loup has no great fortune of his own until he marries Gilberte.
The Swanns
* Charles Swann: A friend of the narrator's family. His political views on the Dreyfus Affair and marriage to Odette ostracize him from much of high society.
* Odette de Crécy: A beautiful Parisian courtesan. Odette is also referred to as Mme Swann, the woman in pink/white, and in the final volume, Mme de Forcheville.
* Gilberte Swann: The daughter of Swann and Odette. She takes the name of her adopted father, M. de Forcheville, after Swann's death, and then becomes Mme de Saint-Loup following her marriage to Robert de Saint-Loup, which joins Swann's Way and the Guermantes Way.
Artists
* Elstir: A famous painter whose renditions of sea and sky echo the novel's theme of the mutability of human life.
* Bergotte: A well-known writer whose works the narrator has admired since childhood.
* Vinteuil: An obscure musician who gains posthumous recognition for composing a beautiful, evocative sonata.
* Berma
Others
* Charles Morel: The son of a former servant of the narrator's uncle and a gifted violinist. He profits greatly from the patronage of the Baron de Charlus and later Robert de Saint-Loup.
* Albertine Simonet: A privileged orphan of average beauty and intelligence. The narrator's romance with her is the subject of much of the novel.
* Sidonie Verdurin: A poseur who rises to the top of society through inheritance, marriage, and sheer single-mindedness. Often referred to simply as Mme. Verdurin.
Publication in English
The first six volumes were first translated into English by the Scotsman C. K. Scott Moncrieff between 1922 and his death in 1930 under the title Remembrance of Things Past, a phrase taken from Shakespeare's Sonnet 30; this was the first translation of the Recherche into another language. The final volume, Le Temps retrouvé, was initially published in English in the UK as Time Regained (1931), translated by Stephen Hudson (a pseudonym of Sydney Schiff), and in the US as The Past Recaptured (1932) in a translation by Frederick Blossom. Although cordial with Scott Moncrieff, Proust grudgingly remarked in a letter that Remembrance eliminated the correspondence between Temps perdu and Temps retrouvé (Painter, 352). Terence Kilmartin revised the Scott Moncrieff translation in 1981, using the new French edition of 1954. An additional revision by D.J. Enright - that is, a revision of a revision - was published by the Modern Library in 1992. It is based on the latest and most authoritative French text (1987–89), and rendered the title of the novel more literally as In Search of Lost Time. In 1995, Penguin undertook a fresh translation of In Search of Lost Time by editor Christopher Prendergast and seven different translators, one Australian, one American, and the others English. Based on the authoritative French text (of 1987-98), it was published in six volumes in Britain under the Allen Lane imprint in 2002. The first four (those which under American copyright law are in the public domain) have since been published in the US under the Viking imprint and in paperback under the Penguin Classics imprint. The remaining volumes are scheduled to come out in 2018.
Both the Modern Library and Penguin translations provide a detailed plot synopsis at the end of each volume. The last volume of the Modern Library edition, Time Regained, also includes Kilmartin's "A Guide to Proust," an index of the novel's characters, persons, places, and themes. The Modern Library volumes include a handful of endnotes, and alternative versions of some of the novel's famous episodes. The Penguin volumes each provide an extensive set of brief, non-scholarly endnotes that help identify cultural references perhaps unfamiliar to contemporary English readers. Reviews which discuss the merits of both translations can be found online at the Observer, the Telegraph, The New York Review of Books (subscription only), The New York Times, TempsPerdu.com, and Reading Proust.
English-language translations in print
* In Search of Lost Time (General Editor: Christopher Prendergast), translated by Lydia Davis, Mark Treharne, James Grieve, John Sturrock, Carol Clark, Peter Collier, & Ian Patterson. London: Allen Lane, 2002 (6 vols). Based on the most recent definitive French edition (1987–89), except The Fugitive, which is based on the 1954 definitive French edition. The first four volumes have been published in New York by Viking, 2003–2004, but the Copyright Term Extension Act will delay the rest of the project until 2018.
o (Volume titles: The Way by Swann's (in the U.S., Swann's Way) ISBN 0-14-243796-4; In the Shadow of Young Girls in Flower ISBN 0-14-303907-5; The Guermantes Way ISBN 0-14-303922-9; Sodom and Gomorrah ISBN 0-14-303931-8; The Prisoner; and The Fugitive — Finding Time Again.)
* In Search of Lost Time, translated by C. K. Scott-Moncrieff, Terence Kilmartin and Andreas Mayor (Vol. 7). Revised by D.J. Enright. London: Chatto and Windus, New York: The Modern Library, 1992. Based on the most recent definitive French edition (1987–89). ISBN 0-8129-6964-2
o (Volume titles: Swann's Way — Within a Budding Grove — The Guermantes Way — Sodom and Gomorrah — The Captive — The Fugitive — Time Regained.)
* A Search for Lost Time: Swann's Way, translated by James Grieve. Canberra: Australian National University, 1982 ISBN 0-7081-1317-6
* Remembrance of Things Past, translated by C. K. Scott Moncrieff, Terence Kilmartin, and Andreas Mayor (Vol. 7). New York: Random House, 1981 (3 vols). ISBN 0-394-71243-9
o (Published in three volumes: Swann's Way — Within a Budding Grove; The Guermantes Way — Cities of the Plain; The Captive — The Fugitive — Time Regained.)
Adaptations
Print
* The Proust Screenplay, a film adaptation by Harold Pinter published in 1978 (never filmed).
* Remembrance of Things Past, Part One: Combray; Part Two: Within a Budding Grove, vol.1; Part Three: Within a Budding Grove, vol.2; and Part Four: Un amour de Swann, vol.1 are graphic novel adaptations by Stéphane Heuet.
* Albertine, a novel based on a rewriting of Albertine by Jacqueline Rose. Vintage UK, 2002.
Screen
* Swann in Love (Un Amour de Swann), a 1984 film by Volker Schlöndorff starring Jeremy Irons and Ornella Muti.
* Time Regained (Le Temps retrouvé), a 1999 film by Raul Ruiz starring Catherine Deneuve, Emmanuelle Béart, and John Malkovich.
* La Captive, a 2000 film by Chantal Akerman.
* Quartetto Basileus (1982) uses segments from Sodom and Gomorrah and Time Regained. Le Intermittenze del cuore (2003) concerns a director working on a movie about Proust's life. Both from Italian director Fabio Capri.
Stage
* A Waste of Time, by Philip Prowse and Robert David MacDonald. A 4 hour long adaptation with a huge cast. Dir. by Philip Prowse at the Glasgow Citizens' Theatre in 1980, revived 1981 plus European tour.
* Remembrance of Things Past, by Harold Pinter and Di Trevis, based on Pinter's The Proust Screenplay. Dir. by Trevis (who had acted in A Waste of Time - see above) at the Royal National Theatre in 2000.
* Eleven Rooms of Proust, adapted and directed by Mary Zimmerman. A series of 11 vignettes from In Search of Lost Time, staged throughout an abandoned factory in Chicago.
* My Life With Albertine, a 2003 Off-Broadway musical with book by Richard Nelson, music by Ricky Ian Gordon, and lyrics by both.
Radio
* In Search of Lost Time dramatised by Michael Butt for the The Classic Serial, broadcast between February 6, 2005 and March 13, 2005. Starring James Wilby, it condensed the entire series into six episodes. Although considerably shortened, it received excellent reviews .
duō juàn jí cháng piān jù zhe《 zhuī yì shì shuǐ nián huá》 shì fǎ guó zuò jiā mǎ sài 'ěr . pǔ lǔ sī tè (1871-1922) de dài biǎo zuò， quán shū gòng qī bù， shí wǔ juàn， cóng 1905 nián kāi shǐ chuàng zuò， zhì zuò zhě shì shì qián quán bù wán chéng。 xiǎo shuō de dì yī bù《 tōng wǎng sī wàn jiā de lù》 yú 1913 nián wèn shì， dàn fǎn yìng lěng dàn， yī xiē yòu míng de chū bǎn shè dōubù yuàn chū bǎn， zuò zhě biàn zì fèi yìn xíng。 hòu lái《 tōng wǎng sī wàn jiā de lù》 zhú jiàn huò dé wén yì jiè de zàn shǎng。 yú shì， gè dà chū bǎn shè jìng xiāng yǔ pǔ lǔ sī tè qiān dìng hé tóng， yǐ qiú qǔ dé chū bǎn zhè bù duō juàn jí de qí yú jǐ bù zuò pǐn de quán lì。 bù jiǔ， dì yī cì shì jiè dà zhàn bào fā， chū bǎn gōng zuò bèi gē zhì xià lái。 zhàn zhēng jié shù hòu， xiǎo shuō de dì 'èr bù《 zài huā zhī zhāo zhǎn de shàonǚ men shēn bàng》 yú 1919 nián chū bǎn， huò gōng gǔ 'ěr wén xué jiǎng， pǔ lǔ sī tè míng shēng dà zhèn。 cǐ hòu， xiǎo shuō de dì sān bù《 gài 'ěr máng jiā》 hé dì sì bù《 suǒ duō mǔ hé guō mù 'ěr》 xiāng jì yú 1921 hé 1922 nián chū bǎn， zuì hòu sān bù《 nǚ qiú fàn》 (1923)，《 táo wáng zhě》 (1925)， hé《 xī rì zài xiàn》 (1927) zé shì pǔ lǔ sī tè shì shì hòu cái chū bǎn de。
mù lù
dì yī bù zài sī wàn jiā nà biān
zhuī yì sì shuǐ nián huá zhuī yì sì shuǐ nián huá
> dì yī juàn gòng bù léi
>> dì yī zhāng
>> dì 'èr zhāng
> dì 'èr juàn sī wàn zhī liàn
> dì sān juǎndì míng： nà gè xìng shì
dì 'èr bù zài shàonǚ men shēn bàng
> dì yī juàn sī wàn fū rén zhōu wéi
> dì 'èr juǎndì míng： dì fāng
dì sān bù gài 'ěr máng tè jiā nà biān
> dì yī juàn
> dì 'èr juàn
>> dì yī zhāng
>> dì 'èr zhāng
dì sì bù
> dì yī juàn
> dì 'èr juàn
>> dì yī zhāng
>> dì 'èr zhāng
>> dì sān zhāng
>> dì sì zhāng
dì wǔ bù nǚ qiú
dì liù bù nǚ táo wáng zhě
dì qī bù chóngxiàn de shí guāng
《 zhuī yì shì shuǐ nián huá》 shì yī bù yǔ chuán tǒng xiǎo shuō bù tóng de cháng piān xiǎo shuō。 quán shū yǐ xù shù zhě “ wǒ ” wéi zhù tǐ， jiāng qí suǒ jiàn suǒ wén suǒ sī suǒ gǎn róng hé yī tǐ， jì yòu duì shè huì shēng huó， rén qíng shì tài de zhēn shí miáo xiě， yòu shì yī fèn zuò zhě zì wǒ zhuī qiú， zì wǒ rèn shí de nèi xīn jīng lì de jì lù。 chú xù shì yǐ wài， hái bāo hán yòu dà liàng de gǎn xiǎng hé yì lùn。 zhěng bù zuò pǐn méi yòu zhōng xīn rén wù， méi yòu wán zhěng de gù shì， méi yòu bō lán qǐ fú， guàn chuān shǐ zhōng de qíng jié xiàn suǒ。 tā dà tǐ yǐ xù shù zhě de shēng huó jīng lì hé nèi xīn huó dòng wéi zhóu xīn， chuān chā miáo xiě liǎo dà liàng de rén wù shì jiàn， yóu rú yī kē zhī yā jiāo cuò de dà shù， kě yǐ shuō shì zài yī bù zhù yào xiǎo shuō shàng pài shēng zhe xǔ duō dú lì chéng piān de qí tā xiǎo shuō， yě kě yǐ shuō shì yī bù jiāo zhì zhe hǎo jǐ gè zhù tí qū de jù dà jiāo xiǎng lè。
xiǎo shuō zhōng de xù shù zhě“ wǒ” shì yī gè jiā jìng fù yù 'ér yòu tǐ ruò duō bìng de qīng nián， cóng xiǎo duì shū huà yòu tè shū de 'àihào， céng jīng cháng shì guò wén xué chuàng zuò， méi yòu chéng gōng。 tā jīng cháng chū rù bā lí de shàng céng shè huì， pín fán wǎng lái yú gè chá huì， wǔ huì， zhāo dài huì jí qí tā shí máo de shè jiāo chǎng hé， bìng zhōng qíng yú yóu tài fù shāng de nǚ 'ér jí 'ěr bó tè， dàn bù jiǔ jiù shī liàn liǎo。 cǐ wài， tā hái dào guò jiā xiāng gòng bǎi lāi xiǎo zhù， dào guò hǎi bīn shèng dì bā péi kè liáo yǎng。 tā jié shí liǎo lìng yī wèi shàonǚ 'ā 'ěr bó dì， fā xiàn 'ā 'ěr bó dì huàn tóng xìng liàn， biàn jué xīn qǔ tā wéi qī， yǐ jiū zhèng tā de biàn tài xīn lǐ。 tā bǎ 'ā 'ěr bó dì jìn bì zài zì jǐ jiā zhōng， ā 'ěr bó dì què shè fǎ táo páo， yú shì， tā duō fāng dǎ tīng tā， xún zhǎo tā， hòu lái dé zhī 'ā 'ěr bó dì qí mǎ shuāi sǐ。 zài bēi tòng zhōng tā rèn shí dào zì jǐ de bǐng fù shì xiě zuò， tā suǒ jīng lì de bēi huān kǔ lè zhèng shì wén xué chuàng zuò de cái liào， zhǐ yòu wén xué chuàng zuò cái néng bǎ xī rì shī qù de dōng xī zhǎo huí lái。
zài xiǎo shuō zhōng， xù shù zhě“ wǒ” de shēng huó jīng lì bìng bù zhàn quán shū de zhù yào piān fú。 zuò zhě tōng guò gù shì tào gù shì， gù shì yǔ gù shì jiāo chā zhòng dié de fāng fǎ， miáo xiě liǎo zhòng duō de rén wù shì jiàn， zhǎn shì liǎo yī fú 19 shì jì yǔ 20 shì jì zhī jiāo fǎ guó shàng liú shè huì de shēng huó tú jǐng。 zhè lǐ yòu zī sè mí rén， tán tù gāo yǎ 'ér yòu wú liáo yōng sú de gài 'ěr máng fū rén， yòu dào dé duò luò， xíng wéi chóu 'è de biàn xìng rén chá liú sī nán jué， yòu zòng qíng shēng sè de làng dàng gōng zǐ sī wàn děng děng。 cǐ wài， xiǎo shuō hái miáo xiě liǎo yī xiē yú shàng liú shè huì yòu guān lián de zuò jiā， yì shù jiā， tā men dà dū shēng qián luò bó shī yì， ér zuò pǐn què yǒng shì cháng cún。 xiǎo shuō hái miáo xiě liǎo yī xiē xià céng de láo dòng zhě。《 zhuī yì shì shuǐ nián huá》 zhè bù cháng piān jù zhe tōng guò shàng qiān gè rén wù de huó dòng， lěng jìng， zhēn shí， xì zhì dì zài xiàn liǎo fǎ guó shàng liú shè huì de shēng huó xí sú， rén qíng shì tài。 yīn cǐ yòu xiē xī fāng píng lùn jiā bǎ tā yǔ bā 'ěr zhā kè de《 rén jiān xǐ jù》 xiāng tí bìng lùn， chēng zhī wéi“ fēng liú xǐ jù”。
《 zhuī yì shì shuǐ nián huá》 shì yī bù yòu dú tè fēng gé de cháng piān xiǎo shuō， tā bù jǐn zài xiàn liǎo kè guān shì jiè， tóng shí yě zhǎn xiàn liǎo xù shù zhě de zhù guān shì jiè， jì lù liǎo xù shù zhě duì kè guān shì jiè de nèi xīn gǎn shòu。 zuò zhě gǎn xīng qù de bù shì xù shù gù shì， jiāo dài qíng jié hé kè huà rén wù xíng xiàng， ér shì shū fā zì jǐ duì mǒu yī wèn tí de gǎn xiǎng hé fēn xī。 lì rú， xù shù zhě cān jiā liǎo gài 'ěr máng gōng jué jiā de yī cì wǎn yàn， zhè shǐ tā cháng qī yǐ lái duì guì zú de zhǒng zhǒng huàn xiǎng dùn shí pò miè， tā yì shí dào guò qù duì tā yòu mèi lì de zhǐ shì míng chēng， ér bù shì zhēn shí de shì jiè。 zhěng bù zuò pǐn duì wài bù shì jiè de miáo shù tóng xù shù zhě duì tā de gǎn shòu， sī kǎo， fēn xī hún rán yī tǐ， yòu hù xiāng yǐn fā， hù xiāng chōng shí， cóng 'ér xíng chéng liǎo wù cóng wǒ chū， wù zhōng yòu wǒ， wù wǒ hé yī de yì shù jìng jiè。
《 zhuī yì shì shuǐ nián huá》 zhè bù cháng piān， chú liǎo dì yī bù zhōng guān yú sī wàn de liàn 'ài gù shì cǎi yòng dì sān rén chēng miáo xiě shǒu fǎ wài， qí yú dōushì tōng guò dì yī rén chēng xù shù chū lái de， xù shù zhě“ wǒ” de huí yì shì guàn chuān quán shū de zhòng yào yì shù biǎo xiàn fāng shì。 xiǎo shuō kāi juàn，“ wǒ” cóng chuáng shàng xǐng lái， zài mèng huàn bān de zhuàng tài zhōng qiān sī bǎi xiǎng jí yú xīn tóu。 zhè shí， yóu yú yī bēi chá hé yī kuài diǎn xīn de chù fā， shǐ tā huí yì qǐ xiǎo shí hòu zài gū mā lāi 'ào nī jiā shēng huó de qíng jǐng。 zhè bù jǐn yǐn chū liǎo xù shù zhě de jiā tíng shēn shì hé gè rén jīng lì， hái yǐn chū liǎo gài 'ěr máng hé sī wàn liǎng dà jiā zú， yǐn chū liǎo xíng xíng sè sè de rén wù shì jiàn， zhěng bù xiǎo shuō de nèi róng jiù shì tōng guò xù shù zhě de huí yì xiàng zòng shēn fā jué， zhú bù tuī jìn， zuì hòu wán zhěng dì chéng xiàn chū lái。
《 zhuī yì shì shuǐ nián huá》 gòng 7 bù， 15 juàn， qí zhōng bāo kuò《 zài sī wàng jiā nà biān》（ 1913）、《 zài shàonǚ men shēn bàng》（ 1919）、《 gài 'ěr máng tè jiā nà biān》（ 1921）、《 suǒ duō mǔ yǔ gē mó 'ěr》（ 1922） hé zuò zhě sǐ hòu chū bǎn de《 nǚ qiú》、《 nǚ táo wáng zhě》 hé《 chóngxiàn de shí guāng》。 dì yī bù《 zài sī wàng jiā nà biān》， méi yòu dé dào wén yì jiè de rèn kě， dì 'èr bù《 zài shàonǚ men shēn bàng》（ 1919）， huò gōng gǔ 'ěr wén xué jiǎng， cóng cǐ míng shēng dà zhèn。
《 zhuī yì shì shuǐ nián huá》 shì yī bù bā 'ěr zhā kè《 rén jiān xǐ jù》 nà yàng“ guī mó hóng dà” de zuò pǐn。 xiǎo shuō de xù shù zhě“ wǒ” shì yī gè fù yú cái huá， xǐ 'ài wén xué yì shù 'ér yòu tǐ ruò duō bìng de fù jiā zǐ dì。 zuò pǐn tòu guò zhù rén gōng de zhuī yì， biǎo xiàn liǎo zuò zhě duì jiā tíng、 tóng nián hé chū liàn shí gǎn qíng de huái niàn， duì yōng sú shì wù de yàn 'è， tóng shí yě fǎn yìng liǎo 19 shì jì mò 20 shì jì chū suǒ wèi“ huáng jīn shí dài” de fǎ guó bā lí shàng liú shè huì de zhǒng zhǒng rén qíng shì tài。
xiǎo shuō gù shì tào gù shì， rén wù shì jiàn zhòng duō。 yī fāng miàn shì zūn xún fǎ guó jiù chuán tǒng xí guàn de shèng · rì 'ěr màn guì zú、 gài 'ěr máng tè jiā zú de gōng jué hé gōng jué fū rén、 gài 'ěr máng tè qīn wáng hé wáng fēi、 gōng jué de xiōng dì děng。 lìng yī fāng miàn shì xīn de zī chǎn jiē jí bào fā hù hé huó yuè zài shā lóng lǐ de bāng xián rén wù： sī wàng jí qí qíng fù、 jiāo jì huā 'ào dài tè、 fù yù 'ér yòu wén huà jiào yǎng de fán 'ěr dù lán fū fù、 wài jiāo guān、 yī shēng、 yì shù jiā děng。 liǎng gè duì lì de shè huì， yuán lái bìng bù róng qià， zī chǎn jiē jí hěn nán kuà jìn gǔ lǎo guì zú de mén tīng。 dàn shì suí zhe shí jiān de tuī yí hé fù zá de lián yīn guān xì， hóng gōu zhú jiàn bèi dǎ pò。 sī wàng sǐ hòu， ào dài tè chéng liǎo gài 'ěr máng tè gōng jué de qíng fù。 fán 'ěr dù lán tài tài guò qù bù bèi guì zú jiā suǒ jiē nà， xiàn zài chéng liǎo qīn wáng fū rén。 zuò zhě zài guì zú bìsè hé yōu xián de shì wài táo yuán zhōng kuī shì dào liǎo shuāi bài jǐng xiàng， cóng dà zī chǎn jiē jí yōng sú kuáng wàng zhōng kàn dào liǎo yī zhǒng jī xíng shè huì de huà miàn。 suī rán zuò zhě zài miáo huì zhè zhǒng zhǒng huà miàn shí， bìng méi yòu yòng jiān ruì de qiǎn zé zhī cí， dàn cóng tā bǐ fēng zhuànxiàng xià céng rén mín shí suǒ biǎo xiàn chū de hǎo gǎn zhōng， yòu néng tǐ wèi dào tā de bāo biǎn zhī yì。 nà gè zài shàng céng rén jiā fú wù duō nián de lǎo nǚ pú fú lǎng suǒ wǎ cí， suī rán mǎn kǒu xiāng xià tǔ huà， nǎo zǐ lǐ yòu bù shǎo mí xìn hé jìn jì， dàn tā qín láo、 chún pǔ， yòu zhe xiāng xià rén de cōng míng jī zhì， shì zuò zhě zuì xǐ 'ài de rén wù zhī yī。 xiǎo shuō chú liǎo miáo xiě shàng liú shè huì de shēng huó wài， hái shè jí dào wén xué、 huì huà、 yīnyuè、 jiàn zhù， yǐ jí dì yī cì shì jiè dà zhàn děng zhū duō fāng miàn de nèi róng。
《 zhuī yì shì shuǐ nián huá》 shì yī bù huí yì lù shì de zìzhuàn tǐ xiǎo shuō， dàn méi yòu chuán tǒng huí yì lù nà yàng duì wǎng shì yòu tiáo lǐ de zhěng lǐ hé fēn xī， ér shì tōng guò yī gè“ fēi cháng shén jīng zhì hé guòfèn shòu nì 'ài de hái zǐ” duì zì jǐ“ huǎn màn chéngzhǎng guò chéng” de zhuī yì， jiàn jiàn dì“ yì shí” dào zì jǐ zhōu wéi rén men de“ cún zài”。 zuò zhě zhǐ shì bǔ zhuō zì jǐ xīn tóu liú xià bìng shí shí fú xiàn zài nǎo jì de yìn xiàng， rán hòu jiā yǐ zhǎn xiàn。 duì tā lái shuō， shì qíng fā shēng de xiān hòu méi yòu yì yì， xiàn shí cóng huí yì zhōng xíng chéng， tōng guò huí yì， jì rèn shí dào xiàn shí shì jiè， yě rèn shí dào“ zì wǒ” de cún zài。 ér shí zǎo chén qǐ lái hē rè chá shí yī kuài sú míng jiào“ mǎ dé lāi nà” de tián gāo diǎn pào zài chá lǐ， biān hē biān chī diǎn xīn suǒ gǎn dào de lè chù， zài zuì hòu yī juàn《 chóngxiàn de shí guāng》 chóngtí shí，“ jīn” yǔ“ xī” de huí yì yǐ tóng shí chū xiàn zài zuò zhě nǎo hǎi lǐ。 tōng guò huí yì， tā jiě chú liǎo“ shí jiān” de shù fù， huò dé liǎo guò qù、 xiàn zài de chóngdié hé jiāo chā， xíng chéng liǎo tè shū de huí yì jié gòu。
zuò pǐn de xù shù jiǎo dù míng xiǎn qū bié yú chuán tǒng xiǎo shuō。 zuò zhě shuō：“ zài wǒ men yòu xiǎo shí， wǒ jué dé shèng shū shàng rèn hé rén wù hé mìng yùn dōuméi yòu xiàng nuò yà nà yàng bēi cǎn， tā yīn hóng shuǐ fàn làn， bù dé bù zài fāng zhōu lǐ dù guò sì shí tiān， hòu lái， wǒ shí cháng wò bìng， pò bù dé yǐ chéng nián lěi yuè dì dāi zài fāng zhōu lǐ guò huó。 zhè shí wǒ cái míng bái， jìn guǎn nuò yà fāng zhōu jǐn bì zhe， máng máng hēi yè zhèn zhù dà dì， dàn shì nuò yà cóng fāng zhōu lǐ kàn shì jiè shì zài tòu chè bù guò liǎo。” zuò zhě yě bù shì zhàn zài shì wù de wài bù guān chá shì jiè， ér shì jiāng kè guān shì jiè róng rù nèi xīn， rán hòu zài biǎo xiàn chū lái。 tā tōng guò duì nèi xīn shì jiè de tàn suǒ lái fā xiàn wài bù shì jiè， cóng yì shí hóng liú zhōng rèn shí wài bù shì jiè de jià zhí。 zuò pǐn de rén chēng yě yòu yì yú chuán tǒng xiǎo shuō。 zuò pǐn zhōng de“ wǒ” bìng bù shì chuán tǒng xiǎo shuō zhōng de dì yī rén chēng， tā zhǐ shì yī gè chuān zhēn yǐn xiàn de rén wù， tōng guò“ wǒ” de guān chá、 gǎn shòu yǐn chū qí tā rén wù hé huì chéng xuàn lì duō zī de huà miàn。 pǔ lǔ sī tè suī rán shì xiàn dài pài zuò jiā， dàn tā de yǔ yán fēng gé shēn shòu méng tián、 sài wéi ní fū rén hé shèng · xī méng děng fǎ guó gǔ diǎn zuò jiā de yǐng xiǎng， yòu zhe kuàng dá、 gāo yǎ、 xì nì、 wǎn zhuǎn de tè diǎn。
fǎ guó zhù míng zhuànjì wén xué jiā jiān píng lùn jiā A· mò luó yà（ 1885 héng 1967） zài 1954 nián bā lí gā lǐ mǎ chū bǎn shè chū bǎn de《 qī xīng cóng shū》 běn de《 zhuī yì shì shuǐ nián huá》 xù yán zhōng xiě dào：“ yī jiǔ nián zhì yī jiǔ wǔ nián zhè wǔ shí nián zhōng， chú liǎo《 zhuī yì shì shuǐ nián huá》 zhī wài， méi yòu bié de zhí dé yǒng zhì bù wàng de xiǎo shuō jù zhù。 bù jǐn yóu yú pǔ lǔ sī tè de zuò pǐn hé bā 'ěr zhā kè de zuò pǐn yī yàng piān zhì hào fán， yīn wéi yě yòu rén xiě guò shí wǔ juàn shèn zhì 'èr shí juàn de jù xíng xiǎo shuō， ér qiě yòu shí yě xiěde wén cǎi dòng rén， rán 'ér tā men bìng bù gěi wǒ men fā xiàn ‘ xīn dà lù ’ huò bāo luó wàn xiàng de gǎn jué。 zhè xiē zuò jiā mǎn zú yú wā jué zǎo yǐ wéi rén suǒ zhī de‘ kuàng mài’， ér mǎ sài 'ěr · pǔ lǔ sī tè zé fā xiàn liǎo xīn de‘ kuàng cáng’。” zhè yě shì qiáng diào《 zhuī yì shì shuǐ nián huá》 de yì shù yōu diǎn jiù zài yú yī gè“ xīn” zì。 rán 'ér yì shù fā zhǎn de kè guān guī lǜ bìng bù zài yú dān chún de chuàng xīn， yě bù zài yú wéi chuàng xīn 'ér chuàng xīn， gèng bù zài yú duì yú chuán tǒng de yōu xiù yì shù chuán tǒng cǎi qǔ xū wú zhù yì de tài dù， cóng líng kāi shǐ de chuàng xīn。 chuàng xīn shì yì shù de líng hún， rán 'ér chuàng xīn jué bù shì qīng 'ér yì jǔ de， jué bù shì máng mùdì huàn xiǎng。《 zhuī yì shì shuǐ nián huá》 de chuàng xīn shì zài chuán tǒng de yōu xiù yì shù jī chǔ shàng de fā zhǎn。
fǎ guó shī rén P· wǎ lāi lǐ（ 1871 héng 1945） hé zhù míng píng lùn jiā、 jiào shòu A· dì bó dài（ 1874 héng 1936） dōuzài tā men de píng lùn zhōng kuā jiǎng《 zhuī yì shì shuǐ nián huá》 de yì shù fēng gé jì chéng liǎo fǎ guó wén xué de yōu xiù chuán tǒng。 jì dé hé dì bó dài dū tí dào pǔ lǔ sī tè hé shí liù shì jì de wěi dà sǎnwén zuò jiā méng tián（ 1533 héng 1592） zài wén fēng de kuàng dá hé gāo yǎ fāng miàn， sì hū yòu yī mài xiāng chéng zhī miào。 hái yòu bié de píng lùn jiā shèn zhì tè yì tí dào pǔ lǔ sī tè shòu fǎ guó zhù míng de huí yì lù zuò jiā shèng · xī méng（ 1675 héng 1755） de yǐng xiǎng。
《 zhuī yì shì shuǐ nián huá》 de zuò zhě zhú jiàn gòu sī zhè bù xiǎo shuō dà zhì zài shàng shì jì mò nián hé běn shì jì chū nián。 yī jiǔ qī nián tā xià dìng jué xīn yào chuàng zuò zhè bù xiǎo shuō， yī jiǔ bā nián tā kāi shǐ dòng bǐ， dào yī jiǔ 'èr 'èr nián tā qù shì qián xī， cōng cōng xiě wán zuì hòu yī juàn《 chóngxiàn de shí guāng》。 pǔ lǔ sī tè chuàng zuò《 zhuī yì shì shuǐ nián huá》 de shí yú nián jiān， wán quán jìn bì zài dǒu shì zhōng， yǔ shì gé jué。 tā quán bù jīng lì yǔ shí jiān jí zhōng zài huí yì yǔ xiě zuò shàng， háo bù guān xīn shì shì， suǒ yǐ dì yī cì shì jiè dà zhàn yǐ jí tā duì fǎ guó rén mín shēng huó de qiáng liè yǐng xiǎng， zài《 zhuī yì shì shuǐ nián huá》 zhōng jīhū háo wú fǎn yìng。 zhè bù xiǎo shuō zhōng fǎn yìng de bā lí shì shí jiǔ shì jì bā、 jiǔ shí nián dài de bā lí。 shí jiǔ shì jì mò yè shì fǎ lán xī zī běn zhù yì zhú jiàn yóu lǒng duàn zī běn jìn rù dì guó zhù yì de guò chéng。 èr shí shì jì chū nián， fǎ guó zī běn zhù yì yǐ jīng dá dào zuì gāo jiē duàn， jí dì guó zhù yì jiē duàn。 zài zhè shí qī， fǎ guó shè huì chū xiàn liǎo wù zhì shēng huó fāng miàn de jí dà fán róng。 1900 nián bā lí jǔ bàn zhèn dòng quán qiú de“ shì jiè bó lǎn huì”， jiù biǎo xiàn chū xuǎn hè yī shí de fán róng jǐng xiàng。 fán cǐ zhǒng zhǒng， dōuméi yòu yǐn qǐ zài dǒu shì zhōng mái tóu xiě zuò de pǔ lǔ sī tè zhù yì。 yóu cǐ kě jiàn， jiù qí suǒ fǎn yìng de shè huì shēng huó 'ér yán，《 zhuī yì shì shuǐ nián huá》 shì shí jiǔ shì jì mò nián de xiǎo shuō， shì fǎn yìng lín jìn jù dà de biàn gé yǔ zhuǎn zhé diǎn shí kè de fǎ guó shè huì de xiǎo shuō， yīn cǐ kě yǐ shuō yě shì yī bù fǎn yìng jiù shí dài de xiǎo shuō。《 sì shuǐ nián huá》 shì fǎ guó chuán tǒng xiǎo shuō yì shù de zuì hòu yī kē shuò guǒ， zuì hòu yī duǒ qí pā， zuì hòu yī zuò wěi dà de lǐ chéng bēi。
The novel as we know it began seriously to take shape in 1909, and work continued for the remainder of Proust's life, broken off only by his final illness and death in the autumn of 1922. The main overarching structure was in place at an early stage, and the novel is effectively complete as a work of art and a literary cosmos, but Proust kept adding new material through his final years while editing one time after another for print; the final three volumes actually contain oversights and fragmentary or unpolished passages which only existed in draft form at the death of the author; the publication of these parts was overseen by his brother Robert.
The work was published in France between 1913 and 1927; Proust paid for the publication of the first volume (by the Grasset publishing house) himself after it had been turned down by leading editors who had been offered the manuscript in longhand. Many of its ideas, motifs, and scenes appear in adumbrated form in Proust's unfinished novel, Jean Santeuil (1896–99), though the perspective and treatment there are different, and in his unfinished hybrid of philosophical essay and story, Contre Sainte-Beuve (1908–09). The novel has had a pervasive influence on twentieth-century literature, whether because writers have sought to emulate it, or attempted to parody and discredit some of its traits. In his work, Proust explores the themes of time, space, and memory, but the novel is above all a condensation of innumerable literary, structural, stylistic, and thematic possibilities.
Initial publication
Although different editions divide the work into a varying number of tomes, A la recherche du temps perdu or In Search of Lost Time is a novel consisting of seven volumes.
Vol. French titles Published English titles
1 Du côté de chez Swann 1913 Swann's Way
The Way by Swann's
2 À l'ombre des jeunes filles en fleurs 1919 Within a Budding Grove
In the Shadow of Young Girls in Flower
3 Le Côté de Guermantes
(published in two volumes) 1920/21 The Guermantes Way
4 Sodome et Gomorrhe
(published in two volumes) 1921/22 Cities of the Plain
Sodom and Gomorrah
5 La Prisonnière 1923 The Captive
The Prisoner
6 La Fugitive
Albertine disparue 1925 The Fugitive
The Sweet Cheat Gone
Albertine Gone
7 Le Temps retrouvé 1927 The Past Recaptured
Time Regained
Finding Time Again
Volume 1: Du côté de chez Swann (1913) was rejected by a number of publishers, including Fasquelle, Ollendorf, and the Nouvelle Revue Française (NRF). André Gide famously was given the manuscript to read to advise NRF on publication, and leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic bloopers, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay for the costs of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7).
Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous "Madeleine cookie" episode, introducing the theme of involuntary memory.
In early 1914, André Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life" (Tadié, 611). Gallimard (the publishing arm of NRF) offered to publish the remaining volumes, but Proust chose to stay with Grasset.
Volume 2: À l'ombre des jeunes filles en fleurs (1919), scheduled to be published in 1914, was delayed by the onset of World War I. At the same time, Grasset's firm was closed down when the publisher went into military service. This freed Proust to move to Gallimard, where all the subsequent volumes were published. Meanwhile, the novel kept growing in length and in conception.
À l'ombre des jeunes filles en fleurs was awarded the Prix Goncourt in 1919.
Volume 3: Le Côté de Guermantes originally appeared as Le Côté de Guermantes I (1920) and Le Côté de Guermantes II (1921).
Volume 4: The first forty pages of Sodome et Gomorrhe initially appeared at the end of Le Côté de Guermantes II (Bouillaguet and Rogers, 942), the remainder appearing as Sodome et Gomorrhe I (1921) and Sodome et Gomorrhe II (1922). It was the last volume over which Proust supervised publication before his death in November 1922. The publication of the remaining volumes was carried out by his brother, Robert Proust, and Jacques Rivière.
Volume 5: La Prisonnière (1923), first volume of the section of the novel known as "le Roman d'Albertine" ("the Albertine novel"). The name "Albertine" first appears in Proust's notebooks in 1913. The material in these volumes was developed during the hiatus between the publication of Volumes 1 and 2, and they are a departure from the three-volume series announced by Proust in Du côté de chez Swann.
Volume 6: La Fugitive or Albertine disparue (1925) is the most editorially vexed volume. As noted, the final three volumes of the novel were published posthumously, and without Proust's final corrections and revisions. The first edition, based on Proust's manuscript, was published as Albertine disparue to prevent it from being confused with Rabindranath Tagore's La Fugitive (1921). The first authoritative edition of the novel in French (1954), also based on Proust's manuscript, used the title La Fugitive. The second, even more authoritative French edition (1987–89) uses the title Albertine disparue and is based on an unmarked typescript acquired in 1962 by the Bibliothèque Nationale. To complicate matters, after the death in 1986 of Proust's niece, Suzy Mante-Proust, her son-in-law discovered among her papers a typescript that had been corrected and annotated by Proust. The late changes Proust made include a small, crucial detail and the deletion of approximately 150 pages. This version was published as Albertine disparue in France in 1987.
Volume 7: Much of Le Temps retrouvé (1927) was written at the same time as Du côté de chez Swann, but was revised and expanded during the course of the novel's publication to account for, to a greater or lesser success, the then unforeseen material now contained in the middle volumes (Terdiman, 153n3). This volume includes a noteworthy episode describing Paris during the First World War.
Themes
A la Recherche made a decisive break with the 19th century realist and plot-driven novel, populated by people of action and people representing different social and cultural groups or moral issues. Although parts of the novel could be read as an exploration of snobbism, deceit, jealousy, and suffering and although it contains a multitude of realistic details, the focus is not on the development of a tight plot or of a coherent evolution, but on a multiplicity of perspectives and on the formation of the experience that will serve as the foundation for the novel itself. The leading characters of the first volume (the narrator as a boy and Swann) are, by the standards of 19th century novels of any kind, remarkably introspective and non-prone to decisive actions, or to trigger such actions from other leading characters; to many readers at the time, reared on Balzac, Hugo, and Tolstoy, they would not function as centers of a well-defined plot. And while there is a rich array of symbolism in the work, it is rarely defined through any explicit "keys" leading to moral, romantic or philosophical ideas. The significance of what is happening is often placed within the memory or in the inner contemplation of what is described. This focus on the relationship between experience, memory and writing, and the radical de-emphasizing of the outward plot, have become staples of the modern novel but were almost unheard of in 1913.
The role of memory is central to the novel, introduced with the famous madeleine episode in the first section of the novel, and in the last volume, Time Regained, a flashback similar to that caused by the madeleine is the beginning of the resolution of the story. Throughout the work many similar instances of involuntary memory, triggered by sensory experiences such as sights, sounds, smells, and so on, conjure important memories for the narrator, and sometimes return attention to an earlier episode of the novel. Although Proust wrote contemporaneously with Sigmund Freud, with there being many points of similarity between their thought on the structures and mechanisms of the human mind, neither author read a word of the other's work (Bragg). Gilles Deleuze, by contrast, believed that the main focus of Proust was not memory and the past but the narrator's learning the use of "signs" to understand—and communicate—ultimate reality, and thereby becoming an artist. While Proust was bitterly aware of the experience of loss and exclusion - loss of loved ones, loss of affection, friendship, and innocent joy, which are dramatized in the novel through recurrent jealousy, betrayal and the death of loved persons - his response to this, formulated after he had discovered Ruskin, was that the work of art can recapture the lost and thus save it from destruction, at least in our minds: thus art triumphs over the destructive power of time. This element of his artistic philosophy is clearly inherited from romantic platonism, but Proust crosses it with a new intensity in describing jealousy, desire and self-doubt. (on that matter see the last quatrain of Baudelaire's poem "Une Charogne": "Then, O my beauty! say to the worms who will Devour you with kisses, That I have kept the form and the divine essence Of my decomposed love!")
The nature of art is another recurring topic in the novel, and is often explored at great length. Proust sets forth a theory of art in which we are all capable of producing art, if by this we mean taking the experiences of life and transforming them in a way that shows understanding and maturity. Writing, painting and music are also discussed at great length. Morel the violinist, for example, is examined to give an example of a certain type of "artistic" character, along with other fictional artists, namely the novelist Bergotte and painter Elstir.
Homosexuality is another major theme, particularly in later volumes, most notably in Sodom and Gomorrah, the first part of which consists of a detailed account of a sexual encounter between two of the novel's male characters. Though the narrator himself is heterosexual, he invariably suspects his lovers of liaisons with other women, in a repetition of the suspicions held by Charles Swann in the first volume, with regards to his mistress and eventual wife, Odette. Several characters are forthrightly homosexual, like the Baron de Charlus, while others, such as the narrator's good friend Robert de Saint-Loup, are only later revealed to be far more closeted.
There is much debate as to how great a bearing Proust's own sexual inclination has on understanding these aspects of the novel. Although many of Proust's close family and friends suspected that he was homosexual, Proust never openly admitted this. It was only after Proust's death that André Gide, in his publication of correspondence between himself and Proust, made public Proust's homosexuality. The true nature of Proust's intimate relations with such individuals as Alfred Agostinelli and Reynaldo Hahn are well documented, though Proust was not "out and proud," except perhaps in close knit social circles. In 1949, the critic Justin O'Brien published an article in the PMLA called "Albertine the Ambiguous: Notes on Proust's Transposition of Sexes" which proposed that some female characters are best understood as actually referring to young men. Strip off the feminine ending of the names of the Narrator's lovers—Albertine, Gilberte, Andrée—and one has their masculine counterpart. This theory has become known as the "transposition of sexes theory" in Proust criticism, which in turn has been challenged in Epistemology of the Closet (1992) by Eve Kosofsky Sedgwick.
Critical reception
In Search of Lost Time is considered the definitive Modern novel by many scholars, and it had a profound effect on subsequent writers such as the Bloomsbury Group. "Oh if I could write like that!" marveled Virginia Woolf in 1922 (2:525). Proust's influence on Evelyn Waugh is manifest in A Handful of Dust (1934) in which Waugh entitles Chapter 1 "Du Cote de Chez Beaver" and Chapter 6 "Du Cote de Chez Tod." More recently, literary critic Harold Bloom wrote that In Search of Lost Time is now "widely recognized as the major novel of the twentieth century." Vladimir Nabokov, in a 1965 interview, named the greatest prose works of the 20th century as, in order, "Joyce's Ulysses, Kafka's The Metamorphosis, Biely's Petersburg, and the first half of Proust's fairy tale In Search of Lost Time." J. Peder Zane's book The Top Ten: Writers Pick Their Favorite Books, collates 125 "top 10 greatest books of all time" lists by prominent living writers; In Search of Lost Time places eighth. In the 1960s, Swedish literary critic Bengt Holmqvist dubbed the novel "at once the last great classic of French epic prose tradition and the towering precursor of the 'nouveau roman'", indicating the sixties vogue of new, experimental French prose but also, by extension, other post-war attempts to fuse different planes of location, temporality and fragmented consciousness within the same novel.
Since the publication in 1992 of a revised English translation by The Modern Library, based on a new definitive French edition (1987–89), interest in Proust's novel in the English-speaking world has increased. Two substantial new biographies have appeared in English, by Edmund White and William C. Carter, and at least two books about the experience of reading Proust have appeared, by Alain de Botton and Phyllis Rose. The Proust Society of America, founded in 1997, now has three chapters: at The Mercantile Library of New York City, the Mechanic's Institute Library in San Francisco, and the Boston Athenæum Library. The French phenomenologist, Merleau-Ponty, frequently refers to Swann's Way to help elucidate his own ideas.
Main characters
Proust - Personnages
Main characters - Family tree
The Narrator's household
* The narrator: A sensitive young man who wishes to become a writer, whose identity is explicitly kept vague. In volume 5, The Prisoner, he addresses the reader thus: "Now she began to speak; her first words were 'darling' or 'my darling,' followed by my Christian name, which, if we give the narrator the same name as the author of this book, would produce 'darling Marcel' or 'my darling Marcel.'" (Proust, 64)
* Bathilde Amédée: The narrator's grandmother. Her life and death greatly influence her daughter and grandson.
* Françoise: The narrator's faithful, stubborn maid.
The Guermantes
* Palamède de Guermantes (Baron de Charlus): An aristocratic, decadent aesthete with many antisocial habits.
* Oriane de Guermantes (Duchesse de Guermantes): The toast of Paris' high society. She lives in the fashionable Faubourg St. Germain.
* Robert de Saint-Loup: An army officer and the narrator's best friend. Despite his patrician birth (he is the nephew of M. de Guermantes) and affluent lifestyle, Saint-Loup has no great fortune of his own until he marries Gilberte.
The Swanns
* Charles Swann: A friend of the narrator's family. His political views on the Dreyfus Affair and marriage to Odette ostracize him from much of high society.
* Odette de Crécy: A beautiful Parisian courtesan. Odette is also referred to as Mme Swann, the woman in pink/white, and in the final volume, Mme de Forcheville.
* Gilberte Swann: The daughter of Swann and Odette. She takes the name of her adopted father, M. de Forcheville, after Swann's death, and then becomes Mme de Saint-Loup following her marriage to Robert de Saint-Loup, which joins Swann's Way and the Guermantes Way.
Artists
* Elstir: A famous painter whose renditions of sea and sky echo the novel's theme of the mutability of human life.
* Bergotte: A well-known writer whose works the narrator has admired since childhood.
* Vinteuil: An obscure musician who gains posthumous recognition for composing a beautiful, evocative sonata.
* Berma
Others
* Charles Morel: The son of a former servant of the narrator's uncle and a gifted violinist. He profits greatly from the patronage of the Baron de Charlus and later Robert de Saint-Loup.
* Albertine Simonet: A privileged orphan of average beauty and intelligence. The narrator's romance with her is the subject of much of the novel.
* Sidonie Verdurin: A poseur who rises to the top of society through inheritance, marriage, and sheer single-mindedness. Often referred to simply as Mme. Verdurin.
Publication in English
The first six volumes were first translated into English by the Scotsman C. K. Scott Moncrieff between 1922 and his death in 1930 under the title Remembrance of Things Past, a phrase taken from Shakespeare's Sonnet 30; this was the first translation of the Recherche into another language. The final volume, Le Temps retrouvé, was initially published in English in the UK as Time Regained (1931), translated by Stephen Hudson (a pseudonym of Sydney Schiff), and in the US as The Past Recaptured (1932) in a translation by Frederick Blossom. Although cordial with Scott Moncrieff, Proust grudgingly remarked in a letter that Remembrance eliminated the correspondence between Temps perdu and Temps retrouvé (Painter, 352). Terence Kilmartin revised the Scott Moncrieff translation in 1981, using the new French edition of 1954. An additional revision by D.J. Enright - that is, a revision of a revision - was published by the Modern Library in 1992. It is based on the latest and most authoritative French text (1987–89), and rendered the title of the novel more literally as In Search of Lost Time. In 1995, Penguin undertook a fresh translation of In Search of Lost Time by editor Christopher Prendergast and seven different translators, one Australian, one American, and the others English. Based on the authoritative French text (of 1987-98), it was published in six volumes in Britain under the Allen Lane imprint in 2002. The first four (those which under American copyright law are in the public domain) have since been published in the US under the Viking imprint and in paperback under the Penguin Classics imprint. The remaining volumes are scheduled to come out in 2018.
Both the Modern Library and Penguin translations provide a detailed plot synopsis at the end of each volume. The last volume of the Modern Library edition, Time Regained, also includes Kilmartin's "A Guide to Proust," an index of the novel's characters, persons, places, and themes. The Modern Library volumes include a handful of endnotes, and alternative versions of some of the novel's famous episodes. The Penguin volumes each provide an extensive set of brief, non-scholarly endnotes that help identify cultural references perhaps unfamiliar to contemporary English readers. Reviews which discuss the merits of both translations can be found online at the Observer, the Telegraph, The New York Review of Books (subscription only), The New York Times, TempsPerdu.com, and Reading Proust.
English-language translations in print
* In Search of Lost Time (General Editor: Christopher Prendergast), translated by Lydia Davis, Mark Treharne, James Grieve, John Sturrock, Carol Clark, Peter Collier, & Ian Patterson. London: Allen Lane, 2002 (6 vols). Based on the most recent definitive French edition (1987–89), except The Fugitive, which is based on the 1954 definitive French edition. The first four volumes have been published in New York by Viking, 2003–2004, but the Copyright Term Extension Act will delay the rest of the project until 2018.
o (Volume titles: The Way by Swann's (in the U.S., Swann's Way) ISBN 0-14-243796-4; In the Shadow of Young Girls in Flower ISBN 0-14-303907-5; The Guermantes Way ISBN 0-14-303922-9; Sodom and Gomorrah ISBN 0-14-303931-8; The Prisoner; and The Fugitive — Finding Time Again.)
* In Search of Lost Time, translated by C. K. Scott-Moncrieff, Terence Kilmartin and Andreas Mayor (Vol. 7). Revised by D.J. Enright. London: Chatto and Windus, New York: The Modern Library, 1992. Based on the most recent definitive French edition (1987–89). ISBN 0-8129-6964-2
o (Volume titles: Swann's Way — Within a Budding Grove — The Guermantes Way — Sodom and Gomorrah — The Captive — The Fugitive — Time Regained.)
* A Search for Lost Time: Swann's Way, translated by James Grieve. Canberra: Australian National University, 1982 ISBN 0-7081-1317-6
* Remembrance of Things Past, translated by C. K. Scott Moncrieff, Terence Kilmartin, and Andreas Mayor (Vol. 7). New York: Random House, 1981 (3 vols). ISBN 0-394-71243-9
o (Published in three volumes: Swann's Way — Within a Budding Grove; The Guermantes Way — Cities of the Plain; The Captive — The Fugitive — Time Regained.)
Adaptations
* The Proust Screenplay, a film adaptation by Harold Pinter published in 1978 (never filmed).
* Remembrance of Things Past, Part One: Combray; Part Two: Within a Budding Grove, vol.1; Part Three: Within a Budding Grove, vol.2; and Part Four: Un amour de Swann, vol.1 are graphic novel adaptations by Stéphane Heuet.
* Albertine, a novel based on a rewriting of Albertine by Jacqueline Rose. Vintage UK, 2002.
Screen
* Swann in Love (Un Amour de Swann), a 1984 film by Volker Schlöndorff starring Jeremy Irons and Ornella Muti.
* Time Regained (Le Temps retrouvé), a 1999 film by Raul Ruiz starring Catherine Deneuve, Emmanuelle Béart, and John Malkovich.
* La Captive, a 2000 film by Chantal Akerman.
* Quartetto Basileus (1982) uses segments from Sodom and Gomorrah and Time Regained. Le Intermittenze del cuore (2003) concerns a director working on a movie about Proust's life. Both from Italian director Fabio Capri.
Stage
* A Waste of Time, by Philip Prowse and Robert David MacDonald. A 4 hour long adaptation with a huge cast. Dir. by Philip Prowse at the Glasgow Citizens' Theatre in 1980, revived 1981 plus European tour.
* Remembrance of Things Past, by Harold Pinter and Di Trevis, based on Pinter's The Proust Screenplay. Dir. by Trevis (who had acted in A Waste of Time - see above) at the Royal National Theatre in 2000.
* Eleven Rooms of Proust, adapted and directed by Mary Zimmerman. A series of 11 vignettes from In Search of Lost Time, staged throughout an abandoned factory in Chicago.
* My Life With Albertine, a 2003 Off-Broadway musical with book by Richard Nelson, music by Ricky Ian Gordon, and lyrics by both.
Radio
* In Search of Lost Time dramatised by Michael Butt for the The Classic Serial, broadcast between February 6, 2005 and March 13, 2005. Starring James Wilby, it condensed the entire series into six episodes. Although considerably shortened, it received excellent reviews .