Posts Tagged ‘Proust and anti-Semitism’

Was Marcel Proust an Anti-Semite?

June 3, 2010

Proust’s mother was Jewish, which makes him Jewish in the eyes of Jews, but he was raised in the Catholic church of his father. He moved comfortably in both worlds, having good relations with the maternal side of the family as well as with the overwhelmingly Catholic high society in which he moved. One index of moral scorn he felt for a character in the novel was the identification of that person as an anti-Semite. His most sympathetic character, Swann, was Jewish. And Proust was a militant Dreyfusard who lead a petition campaign for a retrial. With these credentials it would appear foolish to accuse him of anti-Semitism. Yet there is another side to Proust.

Proust’s sense of justice is outraged whenever discrimination is leveled at a Jew who is in every sense a member of French society, culturally, artistically, linguistically. Swann, until the Dreyfus affair, is accepted in Parisian society because he is truly a member of that society. At the hysterical height of the affair, Swann is isolated by  his former friends, simply because he is a Jew and that is the kind of anti-Semitism that enraged Proust.

[Mme de Guermantes was] dreading the prospect of having to shake hands with Swann in these anti-semitic surroundings. With regard to this, her mind was soon set at rest, for she learned that the Prince had refused to have Swann in the house and had had “a sort of an altercation” with him. There was no risk of her having to converse in public with “poor Charles,” whom she preferred to cherish in private. (IV,98)

“Don’t you see,” M. de Guermantes went on, “even from the point of view of his beloved Jews, since he is absolutely determined to stand by them, Swann has made a bloomer of incalculable significance. He has proved that  they’re all secretly united and are somehow forced to give their support to anyone of their own race, even if they don’t know him personally.  It’s a public menace. We’ve obviously been too easy-going, and the mistake Swann is making will create all the more stir since he was respected, not to say received, and was almost the only Jew that anyone knew.” (IV,107-108)

All these expressions Mme Bontemps had imparted to her at the same time as a hatred of the Jews and a respect for black because it is always suitable and becoming… (III,485-487)

But, if a Jew is not fully assimilated in French society, Proust is vicious in the language he uses to describe him. Bloch is such a person. He is very slow to learn how to move gracefully in society. He knocks over vases, is rude, arrives muddy and late to dinner, with no apology. Here is Proust on Bloch and his family.

They repelled–the Jews among them principally, the unassimilated Jews, that is to say, for with the other kind we are not concerned–those who could not endure any oddity or eccentricity of appearance (as Bloch repelled Albertine). (III,559)

… a Jew, making his entry as though he were emerging from the desert, his body crouching like a hyena’s, his neck thrust forward, offering profound “salaams,” completely satisfies a certain taste for the oriental. (III,253)

Personally, I was not particularly anxious that Bloch should come to the hotel. He was at Balbec, not by himself, unfortunately, but with his sisters, and they in turn had innumerable relatives and friends staying there. Now this Jewish colony was more picturesque than pleasing….they formed a solid troop, homogenous within itself, and utterly dissimilar to the people who watched them go by and found them there again every year without ever exchanging a word or a greeting…(II,434)

However, if the failing of his son, that is to say the failing which his son believed to be invisible to other people, was coarseness, the father’s was avarice. And so it was in a decanter that we were served, under the name of champagne, with a light sparkling wine, while under that of orchestra stalls he had taken three in the pit, which cost half as much, miraculously persuaded by the divine intervention of his failing that neither at table nor in the theatre (where the boxes were all empty) would the difference be noticed. (II,487)

And thanks to the way in which he brushed his hair, to the suppression of his moustache, to the elegance of his whole figure–thanks, that is to say, to his determination–his Jewish nose was now scarcely more visible than is the deformity of a hunchbacked woman who skilfully arranges her appearance. (VI,384)

It struck me that if in the light of Mme de Villeparisis’s drawing-room I had taken some photographs of Bloch, they would have given an image of Israel identical  with those we find in spirit photographs–so disturbing because it does not appear to emanate from humanity, so deceptive because it none the less resembles humanity all too closely. (III,255)

Even Swann, when he is portrayed as a Jew, gets the Jewish caricature.

Whether because of the absence of those cheeks, no longer there to modify it, or because of arteriosclerosis, which is also a form of intoxication, had reddened it as would drunkenness, or deformed it as would morphine, Swann’s punchinello nose, absorbed for long years into an agreeable face, seemed now enormous, tumid, crimson, the nose of an old Hebrew rather than of a dilettante Valois.  (IV,121)

This is the language of the anti-Semite; there is no other term for it. He has a contempt for “the unassimilated Jews.” Here is a passage from Céleste Albaret’s memoir.

He was scathing enough about some kinds of Jew, though never out of racial or religious prejudice. “Have you ever been to the Marais,” he said, “–the Jewish commercial district?” “No, monsieur.” “You haven’t missed anything, Celeste. The ugliness and meanness! On the other hand, it would have been an interesting experience for you. Fortunately they are not all like that–far from it. You don’t have to be a Jew to have those faults, or many others. But those merchants! It is not surprising Christ drove them from the Temple!” (206)

Is Proust an anti-Semite? By our current standards, his unflattering charicature of Jews is not acceptable. Allowing for a different sensibility a hundred years ago, that had no knowledge of just how evil anti-Semitism could become, I have to refrain from a too harsh judgement.

Who is Proust in ISOLT?

November 25, 2009

The problem with a roman a clef reading of any novel is that when you identify the real life model of a character, what you know of the real life person can supplant what the text says about the character. For example:

Charlus? Robert de Montesquiou!

Odette? Laure Heyman!

Marcel? Marcel!

The last identification, though, I don’t find completely obvious or least complete. Marcel and Proust certainly share a life mission to find themselves as writers. But a comment by Malcolm Bowie in his Proust Among the Stars has led me to ask in which other characters Proust represents himself.

Bowie sees something of Proust in the character Bloch. The Block character is problematic for just about everyone. He is the apotheosis of the socially crude Jew, cluelessly clawing for recognition in high society. And his family is worse. This character has opened Proust up to charges of anti-Semitism, a charge that is completely out of keeping with what we know of his personal life, his devotion to his Jewish mother and her family, his activism in the fight to release Dreyfus. Bowie sees in Bloch as a parody of the young Proust trying to gain acceptance in the Parisian tout-monde. Block is forever knocking over vases, wearing muddy clothes and lacking graces. Might Proust himself have been expressing his exaggerated fears of being judged badly by society when portraying Bloch? This sounds much more reasonable than interpreting Bloch as an anti-Semitic outburst.

And isn’t Proust very much in Swann? Swann’s knowledge and love of art is bottomless, but without issue. He cannot finish his book on Vermeer. He wastes his time advising society, who respect his taste, about art that will just be adornments on a mansion wall. Proust had a similarly encyclopedic knowledge of painting, as evidenced in the always perfect  choice of a painting to help visualize a scene in the novel. And until his breakthrough at mid-life, he was a commentator, as in his Ruskin translations, rather than an artist. Proust succeeds where Swann failed, thankfully.

The arrogant Charlus could not be more unlike the charming, gentle Proust. Except in one respect. They share similar sexual inclinations. Both are drawn to rough trade and violence as a sexual stimulant. Charlus’ choice of arousal in a male brothel is chains and whipping. Proust’s is the sight of rats fighting to the death. Proust knew firsthand how to lead Charlus to understand the power of cruelty to release sexual frenzy.

Proust famously advised his readers to understand that his characters came from real life, but that each of them was formed from numerous examples. This perception can be turned around. At least some of the characters can be understood as one aspect of Proust’s complex character.

Jim Everett


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