Proust's Ruskinian Reveries on Dante and Florence
2013; Routledge; Volume: 35; Issue: 4 Linguagem: Inglês
10.1080/08905495.2013.823753
ISSN1477-2663
Autores Tópico(s)Translation Studies and Practices
ResumoClick to increase image sizeClick to decrease image size Notes Vladimir Nabokov, Look at the Harlequins! (London: Penguin, 2011), pp. 88-89. See Janine R. Dakyns, The Middle Ages in French Literature 1851-1900 (Oxford: Oxford University Press, 1973) and Michael Alexander, Medievalism: The Middle Ages in Modern England (New Haven and London: Yale University Press, 2007). Key French figures of this movement include Eugène Emmanuel Viollet-le-Duc, author of the Dictionnaire raisonné de l'architecture française du XI e au XVI e siècle, 10 vols (Paris: Banc, 1854-1868) and Emile Mâle, author of L'art religieux du XIII e siècle en France: Étude sur l'iconographie du moyen âge (Paris: E. Leroux, 1898). Its literary repercussions can be felt, for instance, in Victor Hugo's Notre-Dame de Paris, 4 vols (Paris: Charles Gosselin, 1831), and J.-K. Huysmans's La Cathédrale (Paris: P.V. Stock, 1898). See Luc Fraisse, L'Œuvre cathédrale : Proust et l'architecture médiévale (Paris : Corti, 1990), and Richard Bales, Proust and the Middle Ages (Geneva: Librairie Droz, 1975). Bales addresses, albeit understandably briefly, both the relationship between Proust and Ruskin (pp. 24-31) and that between Proust and Dante (pp. 112-126, 132-137). Essential critical reading on the relationship between Proust and Ruskin includes: Jean Autret, L'Influence de Ruskin sur la vie, les idées et l'œuvre de Marcel Proust (Paris: Droz, 1955); Philip Kolb, 'Proust et Ruskin : Nouvelles perspectives', Cahiers de l'Association internationale des études françaises, 12 (1960), 259-273; and Cynthia Gamble, Proust as Interpreter of Ruskin: The Seven Lamps of Translation (Birmingham, Alabama: Summa Publications, Inc., 2002). Cited from A la recherche du temps perdu (subsequently ALR), ed. by Jean-Yves Tadié, 4 vols (Paris: Gallimard, 1987-1989); Remembrance of Things Past (subsequently RTP), trans. by C. K. Scott Moncrieff and Terence Kilmartin, 3 vols (London: Chatto & Windus, 1981); Marcel Proust, Correspondance, ed. by Philip Kolb, 21 vols (Paris: Plon, 1970-1993), subsequently Corr.; Contre Sainte-Beuve précédé de Pastiches et Mélanges et suivi de Essais et articles (Paris: Gallimard, 1971), subsequently CSB; The Works of John Ruskin, ed. by E. T. Cook and Alexander Wedderburn, 39 vols (London: George Allen, 1903-1912), subsequently Library Edition. For all six of the references to the Commedia, see Gemma Pappot, 'L'Inferno de Proust à la lumière de Dante: Remarques sur les renvois à La Divina Commedia de Dante dans À la recherche du temps perdu', Marcel Proust aujourd'hui, 1 (2003), 91-118. See Dante in the Long Nineteenth Century: Nationality, Identity, and Appropriation, ed. by Aida Audeh and Nick Havely (Oxford: Oxford University Press, 2012). In their introduction the editors define the 'long nineteenth century' as 'the period between 1789 and 1914' (p. 1 of pp. 1-9). As in the title of Antoine Compagnon's Proust entre deux siècles (Paris: Éditions du Seuil, 1989), Proust between two centuries, trans. by Richard E. Goodkin (New York: Columbia University Press, 1992). B. G. Rogers, '6. Proust and the Nineteenth Century', in Marcel Proust 1871-1922: A Centenary Volume, ed. by Peter Quennell (London: Weidenfeld and Nicolson, 1971), p. 130 of pp. 129-145. See Jean Autret, Ruskin and the French before Marcel Proust: with the collected fragmentary translations (Geneva: Droz, 1965). It is widely agreed that works such as Robert de La Sizeranne's Ruskin et la religion de la beauté (Paris: Librairie Hachette, 1897), J. Milsand's L'Esthétique anglaise: Étude sur M. John Ruskin (Paris: Germer Baillière, 1864), and Jacques Bardoux's Le Mouvement idéaliste et social dans la littérature anglaise au XIXe siècle: John Ruskin (Paris: Coulomniers, 1900) were instrumental in introducing Proust to Ruskin. 'John Ruskin', CSB, pp. 439-440. First published in La Chronique des arts et de la curiosité, 27 January 1900. CSB, pp. 105-141, originally 'John Ruskin (premier/deuxième article)', La Gazette des Beaux-Arts, 1st April and 1st August 1900; CSB, pp. 441-444, originally 'Pèlerinages ruskiniens en France', Le Figaro, 13 February 1900; and 'Journées de pèlerinage', CSB, pp. 69-105, originally 'Ruskin à Notre-Dame d'Amiens', Mercure de France, April 1900. John Ruskin, La Bible d'Amiens, trans. by Marcel Proust (Paris: Mercure de France, 1947 [originally 1904]), including Proust's preface, 'Notre-Dame d'Amiens selon Ruskin', pp. 15-95. John Ruskin, Sésame et les Lys, trans. by Marcel Proust (Paris: Mercure de France, [n.d., originally 1906]), including Proust's preface, 'Sur la lecture', pp. 7-58. For the two prefaces to Ruskin in English, with a selection of Proust's notes, see Marcel Proust, On Reading Ruskin, trans. and ed. by Jean Autret, William Burford, and Phillip J. Wolfe (New Haven and London: Yale University Press, 1987). This list of publications would not be complete without reference to Proust's reviews of translations and studies of Ruskin, for which see CSB, pp. 455-56 ('John Ruskin, sa vie et son oeuvre, étude critique par Marie de Bunsen', originally La Chronique des arts et de la curiosité, 7 March 1903), and pp. 520-523 ('John Ruskin : Les pierres de Venise. Trad. par Mme Mathilde P. Crémieux. Préface de M. Robert de La Sizeranne', originally La Chronique des arts et de la curiosité, 5 May 1906). Also intriguing is Proust's pastiche of Ruskin, which survives in manuscript form and was published posthumously: 'La Bénédiction du sanglier: Étude des Fresques de Giotto représentant l'Affaire Lemoine à l'usage des Jeunes Étudiants et Étudiantes du Corpus Christi qui se soucient encore d'elle, par John Ruskin', CSB 201-205. On this pastiche, see Emily Eells, 'Ruskin, Proust et l'homotextualité', Études anglaises, 52:1 (January/March 1999), 18-27. See, however, Daniel Karlin, Proust's English (Oxford: Oxford University Press, 2005) on the fashion for English words evident in the Recherche, and P.-E. Robert, Marcel Proust, lecteur des Anglo-Saxons (Paris: A.-G. Nizet, 1976), for Proust's relationship to English literature. Jean-Yves Tadié, 'Note sur Proust et Dante', Adam International Review, 40, nos. 394-396 (1976), pp. 61-62, has argued that in such works Proust moves from citing Ruskin to citing a French translation of Dante directly, thereby displaying a degree of independence, although I would contend that the guiding hand of Ruskin remains omnipresent throughout in Proust's use of quotations from Dante. Proust, as he himself indicates (Sésame et les Lys, p. 114), cites from a translation of La Divine Comédie de Dante Alighieri by Auguste Brizeux, of which the first edition was published in 1841 by Charpentier, Paris. Proust's protagonist's travels to Venice with his mother are recounted in the third chapter of Albertine disparue, 'Séjour de Venise' (ALR IV: 202-235; RTP III: 637-676). See, especially, Peter Collier, Proust and Venice (Cambridge: Cambridge University Press, 1989), and Edward Bizub, La Venise intérieure: Proust et la poétique de la traduction (Neuchâtel: La Baconnière, 1991). ALR I:381; RTP I:421. Such language is consistently used by Proust to describe Florence; it recurs, for instance, in his letters, where Florence is again called '"la cité des lys"' and connected with springtime. See Corr. iii, p. 460, letter 268, to Georges Goyau [décembre 1903]. See Carla Marcato, Nomi di persona, nomi di luogo: Introduzione all'onomastica italiana (Bologna: Il Mulino, 2009), p. 110, which draws on Federigo Fantozzi, Nuova guida, ovvero descrizione storico-artistico-critica della città e contorni di Firenze (Florence: Per Gius. e Fratelli Ducci, 1856), pp. 9-10. Paradiso, canto xxiii, v. 88. Dante also puns on the etymology of Florence in the phrase 'fiorian Fiorenza', Paradiso, canto xvi, v.111. I cite throughout from La Commedia secondo l'antica vulgata, ed. by Giorgio Petrocchi (Turin: Einaudi, 1975). Val d'Arno: Ten Lectures on the Tuscan Art directly antecedent to the Florentine year of victories (delivered 1873, first published 1874), Library Edition, 23, pp. 1-178 (p. 164). This same sentence is quoted by Proust (CSB, pp. 123-24). La Bible d'Amiens, p. 227 n. 1; On Reading Ruskin, p. 78. Proust is translating and citing from 'Giotto and his Works in Padua', Library Edition 24 (1906), p. 18 of pp. 13-123. On Reading Ruskin, pp. 86-87; La Bible d'Amiens, p. 285 n. 1. Proust also refers to this same passage elliptically in his notes to Sésame et les Lys, p. 81, thereby suggesting the continuing appeal it held for him. Library Edition 19 (1905), p. 373. Robert de La Sizeranne cites and translates this passage in his Ruskin et la religion de la beauté (Paris: Librairie Hachette, 1897), p. 106; in English, Ruskin and the Religion of Beauty, trans. by the Countess of Galloway (London: George Allen: 1899), p. 84. In the opening page of this same work La Sizeranne also emphasises the Ruskinian connexion between Florence as 'la ville des lys' (p. 1; 'the "city of lilies"', p. ix), and subsequently conflates 'les têtes des lys de Fiesole' and the 'lys blancs de l'Angelico' (p. 161; the 'lily heads at Fiesole' and 'white lilies for Fra Angelico', p. 135). ALR I:379. RTP I:419. See, in general, Eric Karpeles, Proust in Painting: A Visual Companion to 'In Search of Lost Time' (London: Thames & Hudson, 2008). Library Edition 7 (1905). It is interesting, in relation to Proust's specification of lilies and anemones, that Ruskin admires H. R. Newman's water-colours of Florentine anemones in 'The Guild and Museum of St. George: Reports, Catalogues, and Other Papers', Library Edition, 30, pp. 240-41. 'The Aesthetic and Mathematic Schools of Art in Florence: Lectures given before the University of Oxford in Michaelmas Term, 1874', Library Edition, 23, pp. 181-279 (p. 253). In Val d'Arno in the same volume, Ruskin describes Fra Angelico as 'exclusively Florentine' (p. 157). Ruskin does also give credit to Giotto as the most eminent Florentine painter in Mornings in Florence, Library Edition, 23, p. 295. Proust, however, more often associates Giotto with Padua and the Scrovegni Chapel. See Karlheinz Stierle, 'Proust, Giotto und das Imaginäre', in Modernität und Tradition, Festschrift für Max Imdahl zum 60. Geburtstag, ed. by G. Boehm, K. Stierle, and G. Winter (Munich: Wilhelm Fink Verlag, 1985), pp. 219-49, his subsequent 'Marcel à la Chapelle de l'Arena', in Marcel Proust: Écrire sans fin, ed. by Rainer Warning and Jean Milly (Paris: CNRS Éditions, 1996), pp. 181-204, and Walter A. Strauss, 'Proust – Giotto – Dante', Dante Studies, 96 (1978), 163-185. ALR I:219. Odette is also, once, Botticelli's Primavera: 'Une fois seulement elle laissa son mari lui commander une toilette toute criblée de pâquerettes, de bluets, de myosotis et de campanules d'après la Primavera du Printemps' (ALR I:607); 'Only once she allowed her husband to order her a dress covered all over with daisies, cornflowers, forget-me-nots and bluebells, like that of the Primavera' (RTP I:665). RTP I:243. RTP I:245. ALR I:221-222. ALR I:221. RTP I:244. Library Edition, vol. 23 (1906), introduced as such by the editors, p. xix of pp. xix-lxviii. See Cynthia Gamble, 'Zipporah: A Ruskinian Enigma appropriated by Marcel Proust', Word and Image, 15:4 (October-December 1999), 381-94. Jean Autret has also noted that, besides this frontispiece, 'dans Swann on remarque de nombreuses illusions à des reproductions, gravures, photographies et planches de tableaux ou de fresques dont nous retrouverons les planches dans la Library Edition', L'Influence de Ruskin sur la vie, les idées et l'œuvre de Marcel Proust, p. 120. 'The Aesthetic and Mathematic Schools of Art in Florence', Library Edition 23 (1906), p. 275. It is perhaps from this description that Proust takes his image of the lily's 'lacustrine sceptre' (RTP I:149; ALR I:135, 'sceptre lacustre'). Proust does, however, admire the appropriateness of Maurice Maeterlinck's description of the lily's sceptre in his notes to Sésame et les Lys, p. 80, perhaps suggesting an alternative source. Corr. vi:1906 (1980), letter 41 to Madame Catusse [peu après le 6 mai 1906], p. 75; Letters of Marcel Proust, trans. and ed. by Mina Curtiss (London: Chatto & Windus, 1950), letter 86, to Madame Catusse [May, 1906], p. 121. Library Edition 31 (1907), Bibliotheca pastorum, ed. by Ruskin, editor's preface, p. 22 of pp. 7-30. On Ruskin and Dante, see, for instance: Martin Bidney, 'Dante Retailored for the Nineteenth Century: His Place in Ruskin's Thought', Studies in Medievalism, 1:1 (Spring, 1979), 33-44; Alison Milbank, Dante and the Victorians (Manchester: Manchester University Press, 1998), pp. 29-44; and, even more relevant for this paper, Alison Milbank, 'Dante, Ruskin and Rossetti: Grotesque Realism', in Dante and the Nineteenth Century: Reception, Canonicity, Popularization, ed. by Nick Havely (Bern: Peter Lang, 2011), pp. 139-158. For a summary of references to Dante in all of Proust's works, see A. Beretta Anguissola's entry for 'Dante' in Dictionnaire Marcel Proust, ed. by Annick Bouillaguet and Brian G. Rogers (Paris: Honoré Champion, 2004), pp. 283-84; and, Anne Teulade, 'Proust et l'épopée de Dante', in Proust, l'étranger, ed. by Karen Haddad-Wotling and Vincent Ferré (Amsterdam and New York: Rodopi, 2010), pp. 15-36. The first full-length comparative article on the two authors is Samuel Borton's 'A Tentative Essay on Dante and Proust', Delaware Notes, 31 (1958), 33-42. ALR I:166-167. RTP I:184-85. As noted by Richard Bales, Proust and the Middle Ages, p. 113. Samuel Beckett comments that 'It is significant that the majority of his images are botanical', Proust; Three Dialogues (London: Calder & Boyars, 1970), pp. 88-89, while C. G. H. Mann highlights that in Proust, flowers are most often the tenor rather than the vehicle of comparisons, 'Aubépines et arrosoirs: les fleurs et l'eau dans A la recherche du temps perdu', Romanic Review, 75:3 (May, 1984), 356-365 (p. 356). See, in general, Claude Meunier, Le jardin d'hiver de Madame Swann: Proust et les fleurs (Paris: Bernard Grasset, 1995). A comparable volume on Dante is Rosemary A. Cotes, Dante's Garden, with Legends of the Flowers (London: Methuen & Co., 1898), which focuses on the lily, pp. 36-40. It is worth noting that Proust particularly asks a friend for information on typical Florentine flowers and whether there are flower-sellers on the Ponte Vecchio. See Corr. xi:1912 (1984), letter 2 to Albert Henraux [premiers jours de janvier 1912], p. 21: 'A propos de parfums, pourriez-vous me dire quelles fleurs il y a au début de printemps autour de Florence, si les marchandes en vendent en plein vent sur le Ponte Vecchio, en quoi elles diffèrent de celles de Paris et de la province française (Beauce) et s'il y a des fresques à Sainte-Marie des fleurs ?'. The notes to the Pléiade edition also recommend to the reader Maurice Maeterlinck's L'Intelligence des fleurs (Paris: Bibliothèque-Charpentier, 1907), translated by Philip Mosley into English, The Intelligence of Flowers (Albany: State University of New York Press, 2008), although this example of anthropomorphic botanical language still does not account for the reference to Dante (see ALR I:1176-1177). On Fra Angelico and the Pre-Raphaelites, see Helene Roberts, 'The Medieval Spirit of Pre-Raphaelitism', in Pre-Raphaelitism and Medievalism in the Arts, ed. by Liana De Girolami Cheney (Lewiston/Queenston/Lampeter: The Edwin Mellen Press, 1992), pp. 15-27. 'Appendix 2: List of Immortals', in The P.R.B. Journal: William Michael Rossetti's Diary of the Pre-Raphaelite Brotherhood 1849-1853, together with other Pre-Raphaelite documents, ed. by William E. Fredeman (Oxford: Clarendon Press, 1975), pp. 106-7. See the exhibition catalogue, The Pre-Raphaelites and Italy, ed. by Colin Harrison and Christopher Newall (Oxford: Ashmolean, 2010). 'The Three Colours of Pre-Raphaelitism (1878)', Library Edition, 34 (1908), pp. 145-174 (p. 154). Charles Allston Collins, brother of Wilkie Collins, and first husband of Charles Dickens's daughter Rose, was closely associated with the PRB although he was never officially a member. For a brief biography, see S. M. Ellis, Wilkie Collins, Le Fanu and Others (London: Constable & Co. Ltd, 1931), pp. 54-73. It is perhaps significant that La Sizeranne does describe Collins as 'un des premiers P. R. B.' in La Peinture anglaise contemporaine (Paris: Librairie Hachette, 1895), p. 262, and also alludes to his botanically admirable Alisma plantago, p. 50. 'The Pre-Raphaelite Artists', letter May 13 1851 to the Times, Library Edition, 12 (1904), p. 321 of pp. 319-323. Punch, or The London Charivari, 20 (1851), p. 219. As noted by Martin Meisel, '"Half Sick of Shadows": The Aesthetic Dialogue in Pre-Raphaelite Painting', in Nature and the Victorian Imagination, ed. by U. C. Knoepflmacher and G. B. Tennyson (Berkeley, Los Angeles, and London: University of California Press, 1977), p. 328 of pp. 309-340. The Biblical verse is 'sicut lilium inter spinas sic amica mea inter filias' (Vulgate, Canticum Canticorum 2:2), 'As the lily among thorns, so is my love among the daughters' (Douay-Rheims, Song of Solomon 2:2). See Julian Treuherz, 'The Pre-Raphaelites and Medieval Illuminated Manuscripts', in Pre-Raphaelite Papers, ed. by Leslie Parris (London: The Tate Gallery, 1984), p. 157 of pp. 153-169. Library Edition, 5 (1904), 'Chapter XIV' of Modern Painters: Volume 3, p. 250 of pp. 248-293. Library Edition, 5 (1904), p. 276. Ruskin cites Purgatorio xxviii, 40-63. Sésame et les Lys, p. 221, n. 2. The whereabouts of the final watercolour of 'Dante's Vision of Matilda gathering flowers' is not known, but the pen and brown ink preparatory drawing is in the Ashmolean Museum. See Virginia Surtees, The Paintings and Drawings of Dante Gabriel Rossetti (1828-1882): A Catalogue raisonné, 2 vols (Oxford: Clarendon Press, 1971), I, p. 34, entries 72 and 72A. Library Edition, 5 (1904), p. 272. Plate eight, figure three. Proust might also have seen a black-and-white plate of Convent Thoughts in W. Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, 2 vols (London: Macmillan, 1905), ii, p. 315. On the French exposure and reaction to the Pre-Raphaelite movement more generally, see William Hauptman, 'The Pre-Raphaelites, Modernism, and Fin-de-Siècle France', in Twenty-First-Century Perspectives on Nineteenth-Century Art: Essays in Honor of Gabriel P. Weisberg, ed. by Petra ten-Doesschate Chu and Laurinda S. Dixon (Newark: University of Delaware Press, 2008), pp. 249-253, and Jacques Lethève, 'La connaissance des peintres préraphaélites anglais en France (1855-1900)', Gazette des Beaux-Arts, 6e période, vol. 53, 101e année (1959), 315-328. Notable works by Millais and Hunt were on display in Paris at the Exposition Universelle of 1855 and in subsequent years, as charted in Béatrice Crespon-Halotier, Les Peintres britanniques dans les salons parisiens des origines à 1939: Répertoire (Dijon: L'Échelle de Jacob, 2002). But Collins's Convent Thoughts would not have travelled to France since it was bought by Thomas Combe, in whose garden at the Clarendon Press the painter undertook his close floral studies for the painting, as noted by Albert Boime, 'Chapter Four. The Pre-Raphaelites and the 1848 Revolutions', from his Art in an Age of Civil Struggle (Chicago and London: The University of Chicago Press, 2007), p. 245 of pp. 225-364. On Proust and the PRB, see Emily Eells, 'Proust et les Préraphaélites', Bulletin Marcel Proust, 45 (1995), 19-31, and Elizabeth R. Jackson, 'Proust et les Préraphaëlites', Revue des Sciences humaines, 117 (1965), 93-102. First appeared 15 August 1905, in Les Arts de la vie. See CSB, 'Un professeur de beauté', pp. 506-520. CSB, p. 514 (translation mine). CSB, p. 515 (translation mine). A helpful book for translating floral terminology is John J. Wells's Dictionary of common names of garden and wild plants: French-English-Latin, with a list of plants that rabbits do not eat readily, and list of words used in the garden (Mereworth, Maidstone, Kent: [n. pub.], 2005 Wells, John J. 2005. Dictionary of common names of garden and wild plants: French-English-Latin, with a list of plants that rabbits do not eat readily, and list of words used in the garden, Mereworth, Maidstone, Kent: [n. pub.]. [Google Scholar]). In this reading of the water lily passage as modern, I disagree with the assessment of J. Theodore Johnson, Jr., that the passage on the single nénuphar is deliberately old-fashioned and Ptolemaic/Dantean in contrast to the subsequent paragraph describing several nymphéas and which is, for Johnson, truly modern and Proustian. See his 'Proust's "Impressionism" Reconsidered in the Light of the Visual Arts of the Twentieth Century', in Twentieth Century French Fiction: Essays for Germaine Brée, ed. by George Stambolian (New Brunswick, New Jersey: Rutgers University Press, 1975), pp. 27-56. The fuller simile is: 'Come d'autunno si levan le foglie / l'una appresso de l'altra, fin che 'l ramo / vede a la terra tutte le sue spoglie, / similemente il mal seme d'Adamo / gittansi di quel lito ad una ad una, per cenni come augel per suo richiamo.' Inferno, canto III, vv. 112-117. Ruskin is not, here, citing from the Revd H. F. Cary's translation of Dante's Commedia, which he does often read and use, but perhaps translates these lines himself. From S. T. Coleridge Christabel; Kubla Khan, a vision; The Pains of Sleep (London: John Murray, 1816), 'Christabel', part I, p. 6, vv. 49-50. 'Chapter XII. Of the pathetic fallacy', Library Edition, 5 (1904), pp. 206-207 of pp. 201-220. Gérard Genette would use the term '"métaphore réciproque"' – Proust's 'allitération' – to designate this interpenetration of object and comparison or metaphorical reciprocity. 'Métonymie dans Proust', Figures III (Paris: Éditions du Seuil, 1972), p. 54 of pp. 41-63, translated into English by Jane E. Lewin as Narrative Discourse (Oxford: Basil Blackwell, 1980). 'Chapter XI: General inferences respecting typical beauty', in Modern Painters vol. II, Library Edition 4 p. 142. In contrast, Carolyn Clark Breen reads the passage from Proust as structured according to a Virgilian epic simile, and with Virgilian undertones, in 'Proust, Dante, and Vergil: An Incident of Intertextuality along the Vivonne', Classical and Modern Literature: A Quarterly, 9:1 (Fall, 1988), 73-78. Since its first reviews, Convent Thoughts has been characterised by its ambivalence: see Max F. Schulz, 'Chapter 13. Pre-Raphaelite Tainted Gardens, Lost Ladies, and Intruders on the Green', in Paradise Preserved: Recreations of Eden in Eighteenth- and Nineteenth-Century England (Cambridge: Cambridge University Press, 1985), pp. 249-274 (on Convent Thoughts, see particularly, pp. 254-257). The viewer wonders whether the nun is distracted from devotional reading to earthly thoughts, or if the flowers are meant to be interpreted as an extension of her meditation on the divine. It is worth noting that this identification is present outside of the Recherche, in a review of Lucien Daudet's Le Chemin mort (originally published in L'Intransigeant, 8 September 1908, reprinted in CSB, pp. 550-52), which Proust chose to sign with the intriguing pseudonym Marc el Dante (unfortunately misprinted as Marc Éodonte). Corr. ii, p. 396, letter 247, to Marie Nordlinger, from May 1900 (translation mine).
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