Publishers considered thinner or 厚い 容積／容量s with evident repulsion. Two 容積／容量s they looked on as a personal 侮辱. Selected and 完全にする 作品 were, 自然に, broken up into 容積／容量-部隊s of this same size.

When the young Romain Rolland, a 革命の in every sense of the word, began, on the one 手渡す, to publish his novels in the form of cahiers  and, on the other, to drag out his ジーンズ Christophe  over a dozen or more 容積／容量s this was considered a freakish trick, 証拠 of the author's 証拠不十分 in 事柄s of composition and a sure 調印する that his work would not be a success.

It cannot be said that this 復活 of the long novel (A la recherche du temps perdu)  was an 即座の success. にもかかわらず, there can be no 否定するing that this novel, so incredibly serious in content, so very long ("Not French at all," the critics exclaimed; "surely it can't be 本気で regarded as literature?"), enjoyed 十分な 人気 to 論証する やめる unmistakably to all and sundry that it 設立するd a dangerous literary precedent.

The 井戸／弁護士席-known critic Paul Souday 発言／述べるing on a long 一連の novels from the pen of a hitherto unknown writer Marcel Proust, pointed out that, in this, Proust was に引き続いて in the footsteps of Rolland. Let us hope Monsieur Souday will not be 感情を害する／違反するd but, on the first 外見 of Romain Rolland's work, he やめる failed to しっかり掴む all its gigantic literary and cultural significance. On the other 手渡す, it must be 認める that, even after reading only the first 容積／容量, he did have some 肉親，親類d of premonition of the significance of Proust's 広大な 事業／計画（する）.

French literary 批評 had not yet anything like しっかり掴むd the importance of Proust's colossal reminiscences, had not yet understood that their very "prolixity" was their 必須の characteristic and a 条件 of their 控訴，上告. However, through Monsieur Souday, it had already put the question: Might not this be a new 肉親，親類d of literature? And is not this terrible fault, this "prolixity", in this particular 事例／患者, something in the nature of a virtue? And might not Proust be a new 肉親，親類d of writer in the style of Rolland? And do not these two 令状 for some new type of reader? The very fact that this 肉親，親類d of question was put at all is to Souday's credit, even if it was still all rather vague.

It is impossible to understand Proust's socio-literary character without going into 確かな 面s of his personality.

Proust was a member - let us say a passive member - of an 極端に 豊富な ユダヤ人の bourgeois family, closely connected with the Rothschilds.

Having become a chronic 無効の at an 早期に age he was constrained to lead a strange, almost 完全に nocturnal 存在. All his life he kept up with his social and literary 知識s but, of course, in his own eccentric way. Literary and cultural 追跡s 占領するd a 広大な／多数の／重要な place in the sick man's life, but to no greater extent than the snobbish 追跡s of the polite world.

Although Proust always remained a man of incredible, morbid sensitivity and more or いっそう少なく paralysed activity, the first part of his life is にもかかわらず by far the most fresh - above all because of his astonishingly strong reaction to "all the impressions of his earliest days", and to every 公式文書，認める in the 規模s of feeling and of thought. As he approached forty, Proust felt that new impressions became いっそう少なく and いっそう少なく vivid. The 現在の paled before his memories. These memories were distinguished by an 驚くべき／特命の／臨時の vitality: it was as though, after the abundant 後継の wave of life which once, long ago, had come 泡，激怒することing inshore from the boundless sea of 適切な時期, there had followed another wave, this time an imaginary one, an exact repetition of the first wave of impressions, but, this time, already familiar to the senses, analysed through and through 負かす／撃墜する to the last nuance, 全く and exhaustively relived. This astonishing wave of memories which, of course, plays a 広大な／多数の／重要な part in all creative 令状ing is, in Proust's 調書をとる／予約するs, both 圧倒的な and 悲劇の. Not only does he love his temps perdus,  he knows that for him they are not "perdus"  at all, that he can roll them out at will again and again like 広大な／多数の／重要な carpets, like shawls, that again and again he can finger over these torments and delights, these flights and 落ちるs.

Like the Covetous Knight he sits の中で the treasurechests of his memories, and a 楽しみ very 類似の in type to that experienced by Pushkin's hero takes 所有／入手 of his whole 存在. The treasure-house of his memories is in fact his oeuvre.  Here, he is all-powerful. This is a world which he can bring to a stop, shuffle, dissect, so as to get to the 底（に届く） of its every 詳細（に述べる）, grossly magnify, put under a microscope, refashion as it seems good to him. Here he is a god, 限られた／立憲的な only by the very richness of this enchanted stream of memory.

This monstrous reworking of the first half of his life becomes the second half. Proust the writer is no longer living, he is 令状ing. The music and light of the true wave of life have no importance for Proust in his later years. The important thing is this astonishing chewing the cud of the past which is going on in all his 77 stomachs and which 絶えず 新たにするs this past and seems to 深くする its 関わりあい／含蓄s.

How could such an epopee be anything but rambling? It is as though Proust had suddenly said to his 同時代のs: "I shall 嘘（をつく） 支援する - artistically, comfortably, 自由に, in a 広大な brocade dressing-gown on a 広大な velvet sofa - and remember my life in the gently 回転／交替ing convolutions of a 穏やかな sedative, I shall not drink off my life as a man 投げ上げる／ボディチェックするs off a glass of water, I shall savour it with the concentrated attention one （許可，名誉などを）与えるs the コンビナート／複合体 bouquet of a uniquely rich ワイン."

Such was the character of Proust the author from the point of 見解（をとる） of form. Such was the basic determinant of his famous lyrical epic.

徐々に, the incomparable refinement of Proust's gift became evident. A respectful and, as it were, ecstatically compassionate veneration 取って代わるd the 初めの bewilderment of the critics.

Let us then take a closer look at Proust's literary, philosophical, social and moral message; at what he teaches and whither he is going.

納得させるd Proustians will, of course, shrug their shoulders over such questions: "He teaches nothing, leads nowhere and nothing like that is of the least 利益／興味 to him. Really, these Marxists!"

To which we reply: "He both leads, and teaches, to some extent even deliberately. Really, these foxy formalists!''

What we have just been trying to put into words - what 構成するs the charm, the 力／強力にする, the essence and the 原則 of the Proustian school - is the culture of memory. More than once the most gifted 代表者／国会議員s of さまざまな literatures have 主張するd the immensely の近くに 関係 between art and memory (特に 利益／興味ing in this 尊敬（する）・点 are Hoffmann and Kleist), and have 設立する support の中で the theoreticians. Here, it is possible to distinguish two features. The first is the artist's 勧める to 征服する／打ち勝つ time, to 命令（する） the moment: "がまんする, you are so fair!" Or, more 概して speaking: "You are meaningful, you are worthy of a life outside Heraclitus's river where nothing remains equal to itself for so much as one moment, you are worthy to be fished out of this river by the divine 手渡す of art and to be 始める，決める apart in another world - the world of immutable aesthetic values." The second feature is the 願望（する） to refashion reality with the 援助（する） of art, or, as the 説 goes, to create a new world.

To be gifted with excellent taste, to select those events from the general stream which are worthy of immortality and to have the ability to transform the particular and temporal into the general and eternal - such is the essence of art (a 鮮明度／定義 の近くに to that 申し込む／申し出d by Hegel). Art is not only the perpetuation of the 反対する 設立する in reality and afterwards, perhaps, stylised; it is also an 行為／法令／行動する of 創造. This is not the place to go into the 複雑にするd interrelationship of artistic realism and artistic imagination. We will 簡単に say that, in our opinion, artistic imagination is a derivative of the artist's experience of reality, and is indeed the 重要な factor to that refashioning to which reality must be 支配するd if it is to 達成する immortality in the 注目する，もくろむs of the author.

自然に, there is more than one type of artist. ln the correspondence between Goethe and Schiller it became （疑いを）晴らす how important is the 分割 between those who go from the reality to the generalisation, and those who begin with generalisations and 捜し出す to breathe real life into them.

Of course, in Proust's work, imagination, stylisation and, occasionally, pure 発明 do play a large part. にもかかわらず he is, on the whole, a realist.

As we have already said, the charm and the very essence of his creative 行為／法令／行動する is memory.

Like every other element of man's psychological 構成, memory is a live and slippery 商売／仕事. Even in the sphere of scholarship, 特に in history, this brings us 直面する to 直面する with a 広大な／多数の／重要な number of most 利益／興味ing problems. Leaving these aside for the moment, let us take something more or いっそう少なく 客観的な as our point of 出発: the 証拠 of an 目撃者, a life history 収集するd from memory for a 法廷，裁判所 deposition.

Everybody knows that the 証拠 of an 目撃者, a life history, or any other 肉親，親類d of 文書 are 誤って導くing and inclined to be subjective. For any work of history with pretensions to the "設立 of 最終的な truth", dependable reminiscences are an 必須の 創立／基礎; for instance, 確かな historical memoirs are only of value from this point of 見解（をとる） if they are written by an unbiassed 証言，証人／目撃する while the events are still fresh in his memory. In this field, .scholarship 需要・要求するs that a comparison should be made with other 目撃者 accounts and, from time to time we are afflicted by the diabolically 懐疑的な 仮定／引き受けること that, even by comparing 証拠 and even on the basis of 文書の 構成要素, it is still not possible to 再建する what really happened, but only to give an approximate 描写 of it.

Literary reminiscences are something やめる different. They can afford to 小衝突 aside the scholarly sediment of the 記念の genre and to associate themselves with that wide stratum of 令状ing which Goethe so felicitously defined as Dichtung und Wahrheit. 

The 肩書を与える of this, the greatest 調書をとる／予約する of organised reminiscences which, thanks to Goethe, humanity 所有するs, has been the 支配する of some argument. It has been 持続するd that the word Dichtung  in the 肩書を与える meant all that part of the 調書をとる／予約する in which the author was 令状ing about his work, 反して Wahrheit  covered that 充てるd to a straightforward account of events. But this is not altogether so. Goethe does not 否定する that in his memoirs his creative life has been given a 明確な／細部 解釈／通訳 or that he is not always 正確な in his 扱うing of facts because, very often, the inner logic and the meaning behind his reminiscences were more important to him than the 成果／努力 to 再建する the exact truth through the misty patches of memory. That was how that 広大な／多数の／重要な work which might also have borne the 肩書を与える A la recherche du temps perdu  （機の）カム into 存在.

It is hardly necessary to say that the 非常に長い literary reminiscences of Marcel Proust which really were published under that 肩書を与える cannot compare with Goethe's classic edifice either in content or in method and technique.

Proust is an impressionist, Proust loves his "living ego" which is not 特に whole and 井戸／弁護士席 建設するd in itself but, on the contrary, 転換ing, capricious and occasionally morbid. This is why, for Proust, the whole, finished structure only has meaning in so far as it brings order to a 一連の 孤立するd moments, or, occasionally, to whole systems of moments, but it has no 目的（とする） in itself.

Proust is dead. His reminiscences were finished but have not all been printed. We are still not in a position to 調査する the whole structure of which we have been speaking. However, it is already possible to 予測（する） with the 最大の 信用／信任 that Proust's memoirs will astonish by the palpitating richness of their content rather than by any general 結論 to which they may lead.

This is not to say that Proust's memoirs are formless, are nothing but a 広大な／多数の／重要な, gleaming heap of exceptionally beautiful things. No! In the first place, this remarkable artist sought to give the whole thing a 確かな まとまり of style, to make us feel that the whole enormous work is にもかかわらず a 描写 of "live personalities". In the second, he introduced a 確かな system of subdividing the whole into large parts - true, not altogether 首尾よく from the artistic point of 見解（をとる）. This point, however, is the last calculated to 保持する our attention here.

For Proust, in his life as in his philosophy, the most important thing is the human personality and, above all, his own personality.

Life is, first and 真っ先の, my  life.

In just the same way, 客観的な social life, any 客観的な life, the life of the whole world - is a 肉親，親類d of interweaving of "my lives". As a disciple of Bergson, an 忠誠 which he has never finally thought out in his own mind (Proust, although 所有するd of a formidable philosophic talent, is not a philosopher), the author sees life as a splendid tapestry woven from subjective lives 連合させるing to form an eternal and, taken by and large, harmonious whole. For him, 存在 has a somewhat Leibnitzian flavour. Of course, Proust's 関係 with Leibnitz is by way of Descartes and Pascal, but this makes little or no difference. What we have here is the exquisite, 高度に rationalist and 極端に sensual, 現実主義の subjectivism of the seventeenth century, a 精製するd 見解／翻訳／版 of which we find in Frenchmen of a later age - 特に in Henri Bergson. From the very 手始め, Marcel Proust approaches his 追求（する），探索（する） for lost times not ーするために recreate an 時代 (that is a 第２位 目的（とする） for him) but ーするために relive his life once again on a 特に 深遠な and savourous level and, at the same time, so to speak, to take the reader along with him; therefore, if we are to しっかり掴む the whole meaning of this work, the question of the basic 持参人払いの of the whole 過程, of the personality and, in particular, of "my personality", becomes one of the first importance.

Let it be 公式文書，認めるd here and now that Proust, although, as an intellectualist, he was far from foreign to problem, of cognition, did not make such problems the 反対する of his work and, on the whole, they remain in the background The foreground is given over to the 楽しみ  afforded by the creative 行為／法令／行動する of art, that is, to the 楽しみ of this new, artistically reworked, second experience of life, and to the 楽しみ of the work itself which, in its turn, is undertaken so as to resurrect the past in all its freshness and fulness so as to make sense of it aesthetically - a 過程 of tasting and trying by the mind and the senses.

This is why Proust's favourite 面 of his own wonderful 調書をとる／予約するs is a 肉親，親類d of cinematograph of his own memories. Here, Proust is without equal. Lying in bed, pen in 手渡す he really does 降伏する himself to a 肉親，親類d of creative cinematographic 過程 which 控訴，上告s 平等に powerfully to the 注目する，もくろむ, the ear, the intellect and the emotions. He plays the part of himself and this film, My Life,  is produced with unheard-of lavishness, profundity and love. Such reproaches as are levelled at him even by benevolently 性質の／したい気がして critics - the leisurely 速度, the wealth of 詳細（に述べる）, the いつかs un-Gallic length of 宣告，判決, 延長するd so as to 含む everything he needs to tell us, etc. - all these flow 自然に from this cinematographic 面 of his work.

Proust really did spoil the French language a little. His 信奉者s 始める，決める いっそう少なく 蓄える／店 by laconism, brilliance, logic. But his 反対する as a writer was different and so, therefore, was his style. Proust's style - with its cloudy, colloidal, honeyed consistency and extraordinarily aromatic sweetness - is the only medium fitted to induce tens of thousands of readers to join you enthusiastically in reliving your not 特に 重要な life, recognising therein some peculiar significance and 降伏するing themselves to this long drawn out 楽しみ with undisguised delight.

公式文書，認める: Anatoly Lunacharsky (1873-1933). This text is taken from the 調書をとる／予約する "On Literature and Art" (進歩, Moscow, 1973).