The Year of Reading Proust discussion
This topic is about
Swann’s Way
Swann's Way, vol. 1
>
Through Sunday, 20 Jan.: Swann's Way
Kalliope wrote: "The way "Monsieur le Curé" discusses the Church is just the opposite from the way the Narrator did. All magic is gone. With the exception of the etymological comments, which add humor and color, ..."His retelling of history was hilarious though, or should I say (sanctus) Hilarious, with his Charles le Bègue and his Pépin l'Insensé...
Fionnuala wrote: "Kalliope wrote: "The way "Monsieur le Curé" discusses the Church is just the opposite from the way the Narrator did. All magic is gone. With the exception of the etymological comments, which add ..."Yes..!!!.. to me the greatest surprise in reading Proust is his humour. Everyone talks about the memory, the long and subtle descriptions, the imagery.. etc.. but I have burst out laughing several times already. He is so sharp also observing people's social games...
Kalliope wrote: ". He is so sharp also observing people's social games... "I agree. The description of Legrandin's ridiculous posturing outside the church is such good satire.
Nick wrote: "I like that Thurman quote. I had not seen it before. Thanks Reem! Reminded me a bit of: http://en.wikipedia.org/wiki/Saudade for which English doesn't quite have a word for :)"Did you notice that when the woman was looking at the photo yearning for whomever/whatever was in the photo, she had a black scarf/veil draped around her shoulders? Did you also notice that right by her side was a book with a white scarf over it? Very telling.
I am not even close to finishing this week's reading, but I am finding this section to be the funniest yet, and I wanted to share a few thoughts.Such as how the asymmetrical Saturday lunches "would have provided the ready made kernel for a legendary cycle, had any of us had an epic turn of mind" (153 ML) I see what you did there, Proust. Very funny. It is precisely such a meal (albeit a private one shared with Leonie) that sparks this entire book.
I also found Leonie's nightmare about Octave to be hilarious.
Still loving this.
On the description of M. Legrandin outside the church:"...et il avait l'air,...., d'être le jouet inerte et mécanique du bonheur".
Proust is aware of Henri Bergson's discussion, of what makes something comical, in "Le rire", 1900.
On Bergson and Proust:
It is said that for Marcel Proust, whose cousin Louise Neuberger the philosopher married in 1891, he gave the idea for the great novel of reminiscence, À la recherche de temps perdu (1913-27). Proust attended Bergson's lectures given at the Sorbonne from 1891 to 1893. However, there is only one recorded conversation between Proust and Bergson – the subject was the nature of sleep. Proust brought Bergson an excellent box of earplugs.
http://www.kirjasto.sci.fi/bergson.htm
Kalliope wrote: "On the description of M. Legrandin outside the church:"...et il avait l'air,...., d'être le jouet inerte et mécanique du bonheur".
Proust is aware of Henri Bergson's discussion, of what makes so..."
Ah, revelation.... Thank you!
"Philosophers have pointed out that Bergson did not satisfactorily show how intuition could work apart from intellect. Russell argued in his analysis of the doctrine of intuition that "instinct is seen at its best in ants, bees, and Bergson."
And...in the character of Francoise, who Proust compares to a wasp.
Kalliope wrote: "The way "Monsieur le Curé" discusses the Church is just the opposite from the way the Narrator did. All magic is gone. With the exception of the etymological comments, which add humor and color, ..."The Curé's descriptions:
Has anyone discussed/analyzed the view from the belfry?
I have tried to visualize "the two ways" from that viewpoint.
Then, switched to the idea that you need to be in two places at once....atop the belfry and on the ground.
I wonder if they let people up the belfry anymore at Illiers Combray?
Marcelita wrote: "Kalliope wrote: "The way "Monsieur le Curé" discusses the Church is just the opposite from the way the Narrator did. All magic is gone. With the exception of the etymological comments, which add ..."You are too far away from me Marcelita... For the moment I am keeping, like the Narrator, a divided brain for the deux côtés...!!!
Something else that struck me:When in analyzing the behavior and motives of any one character, and the Narrator wants to give us either some hidden thoughts or hidden behavior that are not accessible to an observer, he then resorts to theatrical devices. These consist of putting the Narrator in a sort of hidden position, from the situation of the observed person, so that he can record the scene for us. We see him listening/watching the others.
One sample is when he is in the second room of the aunt and hears her showing more concern for her fear that her husband may come back from the dead to tell her to go out (recent nightmare), than for the dangers that the kitchen maid has to face when giving birth.
The other is when from a side slope he can observe how M. Vinteuil puts a score of his own compositions on top of the piano so that he can take it away when the visitors (the Narrator’s parents) come into the music room, with the hope that they will ask him to play it.
These are wonderful scenes. Like on a stage.
It is hard for me to come here and skim the comments when I could be reading Proust instead. However, I do come and read because I so enjoy seeing what others are discovering and enjoying. Wonderful insights that help me deepen my own pleasure in the text. . . This week's section is really marvelous, isn't it? Certainly the hawthorns are incredible. And I noticed once again that he is focusing on trying to capture the scent, the feeling, in prose that is itself a remarkable model of trying to capture the scent and the feeling. I don't have my copy with me (I am reading the 4-volume Pléiade) but the paragraph that ends with the exclamation "The Sea! La Mer!" is a great example of how he builds to a climax -- such anticipation, and such teasing along the way, moving in, moving out, until . . . Always the playfulness of desire, even with hawthorns!
And the humor in these pages: the Saturdays, the farewell to the hawthorns, Francoise and Giotto's Charity, so much is funny here. I am wondering how much of the whole goodnight kiss episode I will find funny should I re-read it now. There are so many levels of self here: the narrator is not Proust, and neither is the narrator experiencing the things he is describing, he is describing experiences he had as a child based on adult insight into what these experiences mean. (I hope this makes a little sense.)
Kalliope wrote: "On the description of M. Legrandin outside the church:"...et il avait l'air,...., d'être le jouet inerte et mécanique du bonheur".
Proust is aware of Henri Bergson's discussion, of what makes something comical, in "Le rire", 1900.
On Bergson and Proust:..."
From John Porter Houston's The Shape & Style of Proust's Novel
"My emphasis in chapter 1, which deals with the intellectual armature of Proust's novel, is somewhat different from the usual one. The clichéd version of literary history, however often confuted, holds that Proust's work has something to do with that of Henri Bergson. The reader will find that I make reference rather to German Idealism. This was the kind of modern philosophy students in Proust's day became acquainted with in their last year at the lycée and which, if often in a simplistic form, French literary men claimed to espouse. Proust's occasional precise references to Immanuel Kant suggest a more fastidious examination of German philosophy than his contemporaries' allusions often do."
Anyway, Nick recommended Houston to me & I recommend it to you--some of our secondary or "Auxiliary" readings, as long as they don't dominate, are part of this discussion as if the authors were Goodreaders themselves--for chapter 3, Verbal Texture, where he goes into a study of Proust's syntax comparing it with the syntax of Chateaubriand, Flaubert, etc.
And,
Legrandin, comedy & Proust's perceptions, Houston from Chapter 2:
"The eye is the most important feature in Proust's descriptions of faces. Remembering that another person is noumenal, a thing-in-itself, we see that the eye is a kind of window through which we may catch a glimpse of what is hidden in the person's mind.
'But, at the sound of the word Guermantes, I saw in the middle of each of our friend's [Legrandin's] blue eyes a little brown dimple appear, as though they had been stabbed by some invisible pin-point, while the rest of his pupils, re-acting from the shock, received and secreted the azure over-flow. His fringed eyelids darkened, and drooped. His mouth, which had been stiffened and seared with bitter lines, was the first to recover, and smiled, while his eyes still seemed full of pain, like the eyes of a handsome martyr whose body bristles with arrows.
"No, I do not know them,"' he said [1:127]. (Moncrieff)
These are superperceptions, going well beyond what one can actually see in another person's eyes. Proust effaces the one between description and metaphor when he presents characters; they often, for example, undergo metamorphosis or reflect their heredity…'Mme de Guermantes had sat down. Her name, accompanied as it was by her title, added to her corporeal dimensions the duchy which projected itself round about her and brought the shadowy, sun-splashed coolness of the woods of Guermantes into this drawing room, to surround the ottoman on which she was sitting' (2:204)."
I'm sure the ancestors, of whoever the real life model for Legrandin was, still curse under their breath whenever the name Proust is brought up.
Jason wrote: "Also, not to be all weird with genealogy, but I do the family tree for my extended peeps, and I can tell you that Léonie is not his aunt. She's the daughter of his grandparent's sibling, which make..."
I was certainly thrown when suddenly Leonie was referred to as the daughter of the great-aunt. I had assumed she was the most elderly of the bunch.
As far as referring to her as Aunt, I also think it is common for a family member to be referred to as one surname by many. For instance, Grampy becomes Grampy to even his own children because it is easier to refer to him to the kids that way rather than say Dad, well, my father your Grampy. So it does make sense to me that everyone refers to her as Aunt even though I am not sure whose Aunt in Combray she really is!
I was certainly thrown when suddenly Leonie was referred to as the daughter of the great-aunt. I had assumed she was the most elderly of the bunch.
As far as referring to her as Aunt, I also think it is common for a family member to be referred to as one surname by many. For instance, Grampy becomes Grampy to even his own children because it is easier to refer to him to the kids that way rather than say Dad, well, my father your Grampy. So it does make sense to me that everyone refers to her as Aunt even though I am not sure whose Aunt in Combray she really is!
Proustitute wrote: "Eugene wrote: "The passage from the hawthorns to Gilberte is a part of what defines Proust for me. What comment could I have on it, it is simply what it is. ."
I know! I feel the same, and I know ..."
I appreciated the hawthorn scene but I am more caught up by descriptions of the psychology of charcters or socialogy of the community. For instance when the Narrator is describing the human need to create emotion when everything in life starts feeling too normal. That was one of the few times in literature where I was reading along thinking that it could be a poem. The way he sets apart his phrases with commas and how a number of phrases are banded together comparing a certain aspect of thinking to a string of a musical instrument. This is the way I would express my feelings on paper.
I know! I feel the same, and I know ..."
I appreciated the hawthorn scene but I am more caught up by descriptions of the psychology of charcters or socialogy of the community. For instance when the Narrator is describing the human need to create emotion when everything in life starts feeling too normal. That was one of the few times in literature where I was reading along thinking that it could be a poem. The way he sets apart his phrases with commas and how a number of phrases are banded together comparing a certain aspect of thinking to a string of a musical instrument. This is the way I would express my feelings on paper.
I can now see why (I believe Kalliope) made a fore-telling comment in regards to M. Legrandin. However, in all M. Legrandin thus far the image that is now sticking with me is the ripple of his bum muscles! Something I do not believe that I have ever observed!! Well, unless you count when I walk by the TV when the kids are watching VH1.
One thing that has confused me thus far is when the Narrator originally starts describing the relationship between Francoise and Leonie I am under the impression that Leonie is making up things about her. But now recently it is blatantly stated that Francoise is extremely manipulative. Perhaps they are both so?
One thing that has confused me thus far is when the Narrator originally starts describing the relationship between Francoise and Leonie I am under the impression that Leonie is making up things about her. But now recently it is blatantly stated that Francoise is extremely manipulative. Perhaps they are both so?
Jeremy wrote: "I can now see why (I believe Kalliope) made a fore-telling comment in regards to M. Legrandin. However, in all M. Legrandin thus far the image that is now sticking with me is the ripple of his bum..."No, it was Aloha, who I think has read the full novel. I am reading it at the scheduled pace.
But I think that it is too early to state what each character is like. We will probably see a development for all of them.
But like you, I was really struck by the way Françoise is being presented. More than her games with Léonie, I was really struck by her cruelty, not just with the chicken, but with the Kitchen maid.
Earlier on in the text he says "L'année où nous mangeâmes tant d'asperge.. (my translation: "the year in which we ate so many asparagus") and then further on he states that years later they were to learn why on that one year they had eaten asparagus almost every day.... Françoise was making the maid peel them because they would provoke in her asthma attacks....!!!!
Well, if that is not being nasty...!!
If you like psychology, Jeremy, you will LOVE the Captive and The Fugitive!
I can't even pretend to be following these threads very closely 'cause whoah, but I notice now we are talking about characters which is something I love to talk about.That image of Legrandin had me on the floor, if not for any other reason than that the description of him bowing:
He made a deep bow, with a subsidiary backward movement which brought his shoulders sharply up into a position behind their starting-point...is just about the perfect Proustian description of the bend-and-snap.
For Legrandin, though, it may not have an 83% rate of return on a dinner invitation.
Also, Françoise is totally manipulative and I love it!
ReemK10 (Got Proust?) wrote: "http://www.flickr.com/photos/34977978...They speak for themselves."
I visualise the pink hawthorn as more delicate than that - around here (southern England) they are more like the picture on this site (you have to scroll down):
http://diaryofamadgardener.blogspot.c...
ETA: but then it is in a garden, and French gardens do go for a more cultivated look than English ones ...
A few thoughts relating to recent posts:Françoise. Nasty? Manipulative? Maybe not.
The Narrator is careful when he describes her not to judge and the parallels he draws with the wasp are interesting: it is as if he is telling us that Françoise has no moral code, only a natural one: the survival of the fittest. Leonie is her 'paralysed source of food' and anyone who might become more necessary to Leonie than Françoise herself becomes a threat.
As to Françoises's lack of charity, people who have had a hard life themselves often have little sympathy to spare for others; I think this is what the Narrator is subtly telling us with these anecdotes.
The grand-tante, i.e. the mother of the bedridden Leonie and cousin of the Narrator's grandfather, and who may or may not live permanently at Combray, is conveniently forgotten most of the time but nevertheless pops up regularly to punctuate the narrative with a sharp note of discord: in the discussions about Swann; in the commentary about reading being a waste of time; when Françoise has been embellishing her account of a visitor's amazement at the Saturday lunch hour; at Leonie's bedside when she is prostrated after the curé's visit. This grand-tante is like an instrument in an orchestra which stays silent most of the time but is called on at particular moments to change the atmosphere, to sound an alarm perhaps. I think of her as a bassoon or a French horn...
Rosemary wrote: "ReemK10 (Got Proust?) wrote: "http://www.flickr.com/photos/34977978...They speak for themselves."
I visualise the pink hawthorn as more delicate than that - around here (so..."
Rosemary,you got me there. I actually thought Proust meant for them to look like this:
http://www.flickr.com/photos/reddrago...
but that didn't do anything for me. To me they were magical, as:
http://www.flickr.com/photos/34977978...
Can a reader take a little creative license in interpretation? And look how gorgeous they look here:
http://www.flickr.com/photos/10909491...
I beleive come Spring, I'm going to plant some pink hawthornes in my garden to serve as remembrance of 2013: the year of reading Proust.
Fionnuala wrote: "A few thoughts relating to recent posts:Françoise. Nasty? Manipulative? Maybe not.
The Narrator is careful when he describes her not to judge and the parallels he draws with the wasp are interest..."
I agree with you that most probably all the characters are too complex to be judged with one word. I just found the episode of making the Kitchen maid peel the asparagus almost every day so as to prompt the asthma attack was going a bit too far... When the Narrator first introduces the Maid refers to her as "maladive", and we later know why.
As for the importance of Léonie I agree with you... She, and her personality is a major theme... but I will not spoil things... I like the analogy with the French horn..., because it feels like a calling...
Eugene wrote: "Kalliope wrote: "On the description of M. Legrandin outside the church:"...et il avait l'air,...., d'être le jouet inerte et mécanique du bonheur".
Proust is aware of Henri Bergson's discussion,..."
Yes, the eyes, and the gaze are major major running themes....
And I have marked that amazing description of Legrandin's eye movements when he meets the father and the narrator.. another wonderful passage...!!!
Proustitute wrote: " Rarely does Proust judge, even when he jabs."I like this. I get a similar impression, that he shows humanity for what it is, not for what needs to be improved upon it.
Many have commented on the Hawthorns/Aubépines section, but Proust’s garden is just so rich of different types of flowers. I have been keeping track, and these I have found so far (may be Aloha can help me with the English) :Jasmins
Coquelicots
Eglantines
Aubépines
Cinéraires
Bluets
Lilas
Capucines
Myosotis
Glaïeuls
Fleurs de Lis
Violettes
Marguerite
Pensées
Verveines
Giroflées
Iris
Cassis
Roses
Fuchsias
Oeillets
Hydrangeas
Boutons d'or
Pensées
Nénuphars/nymphéas
Géraniums
Quenouilles
And then there is the passage which has baffled even the French (Legrandin talking):
« Venez avec la primevère, la barbe de chanoine, le bassin d’or, avec le sédum dont est fait le bouquet de dilection de la flore balzacienne, avec la fleur du jour de la Résurrection, la pâquerette et la boule de neige des jardins qui commence à embaumer dans les allées de votre grand’tante, quand ne sont pas encore fondues les dernières boules de neige des giboulées de Pâques. »
So, he has studied Balzac’s flowers, and he is growing his own in his novel also… What a garden… !!!
There is actually an entire monograph devoted to Proust's mention of flowers, which doesn't surprise me! primevère = Primavera/Primrose
Also Daisy is mentioned.
Google says snowball (boule de neige) might be either Hydrangea or "European Cranberry" (I'd go with hydrangea, it probably being fashionable at the time.)
(Most of those are guesses :) )
Nick wrote: "There is actually an entire monograph devoted to Proust's mention of flowers, which doesn't surprise me! primevère = Primavera/Primrose
Also Daisy is mentioned.
The Jour de la ressurection I have..."
Yes, Daisy - marguerite. There will be more, but we can keep track.
He mentions both the boule de neige and the hydrangea... Can someone put the English (Davis) section of the paragraph above.. because I think he is playing with both senses of boules de neige... first the flowers and then the snowballs.
I think you are right, there's both senses at work there.
Proustitute wrote: "Here's the Davis translation of that:"Come with the primrose, the monk's beard, the buttercup, come with the sedum that makes the bouquet of love in Balzac's flora, come with the flower of Resurr..."
Thank you. Davis is certainly very good.
I thought the boules de neige were viburnum which is also called guilder rose. I don't know if it has a smell.
Nick wrote: "I wonder if they let people up the belfry anymore at Illiers Combray?"If they do, I will pull the Curé's passage from my pocket.
"But what is unquestionable the most remarkable thing about our church is the view from the belfry, with is full of grandeur.
…the course of the Vivonne and the irrigation ditches at Saint-Assie-les-Combray, which are separated by a screen of tall trees or again, the various canals at Jouy-le-Vicomte… To get it all quite perfect you would have to be in both places at once; up at the top of the steeple at Saint-Hilaire and down there at Jouy-le-Vicomte."
Nick wrote: "If you like psychology, Jeremy, you will LOVE the Captive and The Fugitive!"
adding it to TBR!
edit: ok, so foolish me did not realize this is one of the upcoming titles and thought you were referring to an auxiliary read! Thanks for not pointing this out to me in haha fashion!
adding it to TBR!
edit: ok, so foolish me did not realize this is one of the upcoming titles and thought you were referring to an auxiliary read! Thanks for not pointing this out to me in haha fashion!
Kalliope, thanks for pointing that out about the asparagus (post #80). I had forgotten (or not picked up on) the foreshadowing.
You are probably correct Fionnuala! I was just guessing.I think the MKE translation captures some of the uh...flowery...verbose and preposterously grandiose way of speaking that Legrandin has, but almost to the point if caricature. Davis is a little more believable (ie we can imagine someone saying it.)
Marcelita, I guess there are ditches around (the "Hawthorn Walk" behind the Pre-Catalan at the edge of town is sort of a sunken path. I never made it to fully walk the "Guermantes" path there but I wonder if there are canals. There's a weird reservoir hut thing nearby though :p Regardless we must think in terms of fictional purpose: without including ditches and canals, Proust's landscape would just be of the typical countryside of the Beauce; a flat plain with some trees, if you are lucky (and nowadays lots of pylons striding across the countryside their structures titanically vast to an Englishman such as I.)
Adding canals and ditches creates movement in the mind (up and down) as does viewing from above. As well as creating imagined variation and interest P is also demarcating a circumscribing Combray, emphasising once more its isolated-ness, it's smallness, and by extension it's provincialism, and more, he is drawing it from above so we might, a bit like some fin de siècle, slightly puffed out Cortez, gaze on his tiny village with a feeling that feels like its merging nostalgia with judgement.
Height (up in the belfry) becomes distance, the distance of memory. Combray and environs can become bounded in that single sweeping glance. We are thus being readied for it all to be left behind, for the Narrator to put away childish things (might houses look like dollhouse toys that high up?) for him to move to Paris, Doncieres, Balbec. I don't recall that such a bird's eye conspectus/panorama isn't undertaken anywhere again in the book but I haven't read it all for a long time. The distancing, this symbolic presentation that Combray is so very past (and so small) is not necessary for these other places. The mature Narrating mind is only concerned with what went on in those places, after having shown us his small town origins. We get Paris and other places by immersion.
(Yes, this was all very speculative and pseudo-critic.)
Nick wrote: "You are probably correct Fionnuala! I was just guessing.I think the MKE translation captures some of the uh...flowery...verbose and preposterously grandiose way of speaking that Legrandin has, bu..."
Ah..."Height (up in the belfry) becomes distance, the distance of memory." I just flashed to the stilts: "...living stilts which never stop growing, sometimes becoming taller than church steeples,..."
Nick wrote: "There is actually an entire monograph devoted to Proust's mention of flowers, which doesn't surprise me! primevère = Primavera/Primrose
Also Daisy is mentioned.
Google says snowball (boule de nei..."
Edited the list and added the Daisy
Jeremy wrote: "Proustitute wrote: "Eugene wrote: "The passage from the hawthorns to Gilberte is a part of what defines Proust for me. What comment could I have on it, it is simply what it is. ."I know! I feel t..."
Jeremy I'm with you! The Hawthorns is lovely but I am so fascinated by his insights into the human psyche, the different masks we wear and (someone else said in this conversation, can't remember who) the social games we play. And how he does this somehow, as Proustitute said, while refraining from judgement and, by implication, imploring us to do the same. It's so artfully done and just amazing to read.
Kristina wrote:" And how he does this somehow, as Proustitute said, while refraining from judgement and, by implication, imploring us to do the same."Sounds Jungian to me, are you J judging or P perceiving?
ReemK10 (Got Proust?) wrote: "Kristina wrote:" And how he does this somehow, as Proustitute said, while refraining from judgement and, by implication, imploring us to do the same."Sounds Jungian to me, are you J judging or P ..."
Definitely P perceiving...
Marcelita wrote: Definitely P perceiving... ."
Same here :)INFP
Kalliope wrote: "Many have commented on the Hawthorns/Aubépines section, but Proust’s garden is just so rich of different types of flowers. I have been keeping track, and these I have found so far (may be Aloha ca..."Adding Cinéraire to the above list...!
On Proust and Colors:Colors are notoriously difficult to render in language.
Words for color often have to have recourse to objects or to the sources of the pygments before synthetic processes were developed.
Proust’s color words, (apart from vert, bleu, rouge, jaune, brun, blanc et noir) so far:
Écarlate
Porphyre
L’outre-mer
Azur
Pourpre
Violet
Rougeâtre
Irisé
Rousse
Céleste
Soufré
Saphir
Argenté
Mordoré
Lin-de-vin
The scarcity of terms for colors forces the recourse to objects when trying to identify a tone. Proust’s samples:
Couleur d’aurore, d’arc en ciel, d’opale, d’or, bleu de cinéraire,
Mauve occurs with White often (uncle’s robe, landscapes…)
Some scenes in which I found color elements stand out:
* the stained glass in the Combray church;
* the beautiful eulogy of “rose” in the hawthornes/aubépines episode;
* the azur effect of Mlle Swann’s Black eyes, due to the effect of her blond hair to call on its complementary color;
Rose appears a great deal, and blue also but it is less noticeable since he uses more terms (bleu, azur, outre-mer, céleste, bleu de cinéraire, saphir), suprisingly no lapis lazuli and also no bleu cobalte which was synthesized and available to painters at the end of the 19th Century and which is also known as the Bleu de Chartres.
He is very aware of the theory of complementary colors, and their interplay when they are next to each other (as the example above of Mlle Swann’s eyes). This was very much a concern for the Impressionists, but also for earlier painters such as Delacroix, the “grand coloriste”.
There are also many terms for light, shine, reflections, illuminations etc… I may start tracking those.
Proustitute wrote: "Kalliope, you with these lists: I love it. Keep them coming."next will be my grocery list...!!! (with madeleines, massepain, brioche, and tilleul, of course...!). But no asperges... they are bad for asthma...!
LOL
ReemK10 (Got Proust?) wrote: "Kristina wrote:" And how he does this somehow, as Proustitute said, while refraining from judgement and, by implication, imploring us to do the same."Sounds Jungian to me, are you J judging or P ..."
INFJ!
ReemK10 (Got Proust?) wrote: "Marcelita wrote: Definitely P perceiving... ."
Same here :)INFP"
ReemK10 (Got Proust?) wrote: "Marcelita wrote:
Definitely P perceiving... ."
Curious...wonder how many NFs are reading Proust?
Someone earlier on made the comment that few animals are mentioned. So far this seems true with the exception of birds.
The Year of Reading Proust
Books mentioned in this topic
Anglo Guide to Survival in Quebec (other topics)Proust in Love (other topics)
Georgiana: Duchess of Devonshire (other topics)
Marcel Proust: Biographie (other topics)
House of Leaves (other topics)
More...
Yes, I am aware. That is why I am tracing the examples as they appear... but so far it is women who look like men.