“In theory one is aware that the earth revolves, but in practice one does not perceive it, the ground upon which one treads seems not to move, and one can live undisturbed. So it is with Time in one’s life. And to make its flight perceptible novelists are obliged, by wildly accelerating the beat of the pendulum, to transport the reader in a couple of minutes over ten, or twenty, or even thirty years. At the top of one page we have left a lover full of hope; at the foot of the next we meet him again, a bowed old man of eighty, painfully dragging himself on his daily walk about the courtyard of an almshouse, scarcely replying to what is said to him, oblivious of the past.”

“For, like desire, regret seeks not to be analysed but to be satisfied. When one begins to love, one spends one’s time, not in getting to know what one’s love really is, but in making it possible to meet next day. When one abandons love one seeks not to know one’s grief but to offer to her who is causing it that expression of it which seems to one the most moving. One says the things which one feels the need of saying, and which the other will not understand, one speaks for oneself alone. I wrote: 'I had thought that it would not be possible. Alas, I see now that it is not so difficult.' I said also: 'I shall probably not see you again;' I said it while I continued to avoid shewing a coldness which she might think affected, and the words, as I wrote them, made me weep because I felt that they expressed not what I should have liked to believe but what was probably going to happen.”

“But none of the feeling which the joys or misfortunes of a real person arouse in us can be awakened except through a mental picture of those joys or misfortunes; and the ingenuity of the first novelist lay in his understanding that, as the image was the one essential element in the complicated structure of our emotions, so that simplification of it which consisted in the suppression, pure and simple, of real people would be a decided improvement. A real person, profoundly as we may sympathise with him, is in a great measure perceptible only through our senses, that is to say, remains opaque, presents a dead weight which our sensibilities have not the strength to lift. If some misfortune comes to him, it is only in one small section of the complete idea we have of him that we are capable of feeling any emotion; indeed it is only in one small section of the complete idea he has of himself that he is capable of feeling any emotion either. The novelist's happy discovery was to think of substituting for those opaque sections, impenetrable to the human soul, their equivalent in immaterial sections, things, that is, which one's soul can assimilate. After which it matters not that the actions, the feelings of this new order of creatures appear to us in the guise of truth, since we have made them our own, since it is in ourselves that they are happening.”

“I was so much in the habit of having Albertine with me, and now I suddenly saw a new aspect of Habit. Hitherto I had regarded it chiefly as an annihilating force which suppresses the originality and even the awareness of one's perceptions; now I saw it as a dread deity, so riveted to one's being, its insignificant face so incrusted in one's heart, that if it detaches itself, if it turns away from one, this deity that one had barely distinguished inflicts on one sufferings more terrible than any other and is then as cruel as death itself.”

“But then, even in the most significant details of our daily life, none of us can be said to constitute a material whole, which is the same for everyone, and need only be turned up like a page in an account-book or the record of a will; our social personality is a creation of the thoughts of other people. Even the simple act which we describe as “seeing someone we know” is to some extent an intellectual process. We pack the physical outline of the person we see with all the notions we have already formed about him, and in the total picture of him which we compose in our minds those notions have certainly the principal place. In the end they come to fill out so completely the curve of his cheeks, to follow so exactly the line of his nose, they blend so harmoniously in the sound of his voice as if it were no more than a transparent envelope, that each time we see the face or hear the voice it us these notions which we recognise and to which we listen.”

“Our slightest desire, though unique as a chord, nevertheless includes the fundamental notes on which the whole of our life is built. And sometimes, if we were to eliminate one of them, even one that we do not hear, that we are not aware of, one that has no connexion with the object of our quest, we would nevertheless see our whole desire for that object disappear.”

“In reality every reader is, while he is reading, the reader of his own self. The writer's work is merely a kind of optical instrument which he offers to the reader to enable him to discern what, without this book, he would perhaps never have perceived in himself.”