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