So in each case, whether we are dealing with impressions such as that made on me by the sight of the steeples of Martinville, or recollections like that of the unevenness of the two steps or the taste of the madeleine, I had to try to interpret the sensations as the signs of so many laws and ideas, at the same time as trying to think, that is to draw out from the penumbra what I had felt, and convert it into a spiritual equivalent. And what was this method, which seemed to me to be the only one, but the making of a work of art?
