Madame Swann At Home: Letra traducida en Español y original - Marcel Proust

La Letra y la Traducción al Español de Madame Swann At Home - Marcel Proust
A continuación encontrará letras , video musical y traducción de Madame Swann At Home - Marcel Proust en varios idiomas. El video musical con la pista de audio de la canción comenzará automáticamente en la parte inferior derecha. Para mejorar la traducción, puede seguir este enlace o presionar el botón azul en la parte inferior.

Madame Swann At Home
Letra de Marcel Proust

                                      MADAME SWANN AT HOME


    My mother, when it was a question of our having M. de Norpois to dinner for the first time, having expressed her regret that Professor Cottard was away from home, and that she herself had quite ceased to see anything of Swann, since either of these might have helped to entertain the old Ambassador, my father replied that so eminent a guest, so distinguished a man of science as Cottard could never be out of place at a dinner-table, but that Swann, with his ostentation, his habit of crying aloud from the housetops the name of everyone that he knew, however slightly, was an impossible vulgarian whom the Marquis de Norpois would be sure to dismiss as — to use his own epithet — a ‘pestilent’ fellow. Now, this attitude on my father’s part may be felt to require a few words of explanation, inasmuch as some of us, no doubt, remember a Cottard of distinct mediocrity and a Swann by whom modesty and discretion, in all his social relations, were carried to the utmost refinement of delicacy. But in his case, what had happened was that, to the original ‘young Swann’ and also to the Swann of the Jockey Club, our old friend had added a fresh personality it was a new life that he had begun to lead, in common with his wife, among a new set of people, it was quite intelligible that, in order to estimate the importance of these new friends and thereby the pleasure, the self-esteem that were to be derived from entertaining them, he should have made use, as a standard of comparison, not of the brilliant society in which he himself had moved before his marriage but of the earlier environment of Odette. And yet, even when one knew that it was with unfashionable officials and their faded wives, the wallflowers of ministerial ball-rooms, that he was now anxious to associate, it was still astonishing to hear him, who in the old days, and even still, would so gracefully refrain from mentioning an invitation to Twickenham or to Marlborough House, proclaim with quite unnecessary emphasis that the wife of some Assistant Under-Secretary for Something had returned Mme. Swann’s call. It will perhaps be objected here that what this really implied was that the simplicity of the fashionable Swann had been nothing more than a supreme refinement of vanity, and that, like certain other Israelites, my parents’ old friend had contrived to illustrate in turn all the stages through which his race had passed, from the crudest and coarsest form of snobbishness up to the highest pitch of good manners. But the chief reason — and one which is applicable to humanity as a whole — was that our virtues themselves are not free and floating qualities over which we retain a permanent control and power of disposal; they come to be so closely linked in our minds with the actions in conjunction with which we make it our duty to practise them, that, if we are suddenly called upon to perform some action of a different order, it takes us by surprise, and without our supposing for a moment that it might involve the bringing of those very same virtues into play. Swann, in his intense consciousness of his new social surroundings, and in the pride with which he referred to them, was like those great artists — modest or generous by nature — who, if at the end of their career they take to cooking or to gardening, display a childlike gratification at the compliments that are paid to their dishes or their borders, and will not listen to any of the criticism which they heard unmoved when it was applied to their real achievements; or who, after giving away a canvas, cannot conceal their annoyance if they lose a couple of francs at dominoes

    As for Professor Cottard, we shall meet him again and can study him at our leisure, much later in the course of our story, with the ‘Mistress,’ Mme. Verdurin, in her country house La Raspelière. For the present, the following observations must suffice; first of all, in the case of Swann the alteration might indeed be surprising, since it had been accomplished and yet was not suspected by me when I used to see Gilberte’s father in the Champs-Elysées, where, moreover, as he never spoke to me, he could not very well have made any display of his political relations. It is true that, if he had done so, I might not at once have discerned his vanity, for the idea that one has long held of a person is apt to stop one’s eyes and ears; my mother, for three whole years, had no more noticed the salve with which one of her nieces used to paint her lips than if it had been wholly and invisibly dissolved in some clear liquid; until one day a streak too much, or possibly something else, brought about the phenomenon known as super-saturation; all the paint that had hitherto passed unperceived was now crystallised, and my mother, in the face of this sudden riot of colour, declared, in the best Combray manner, that it was a perfect scandal, and almost severed relations with her niece. With Cottard, on the contrary, the epoch in which we have seen him assisting at the first introduction of Swann to the Verdurins was now buried in the past; whereas honours, offices and titles come with the passage of years; moreover, a man may be illiterate, and make stupid puns, and yet have a special gift, which no amount of general culture can replace — such as the gift of a great strategist or physician. And so it was not merely as an obscure practitioner, who had attained in course of time to European celebrity, that the rest of his profession regarded Cottard. The most intelligent of the younger doctors used to assert — for a year or two, that is to say, for fashions, being themselves begotten of the desire for change, are quick to change also — that if they themselves ever fell ill Cottard was the only one of the leading men to whom they would entrust their lives. No doubt they preferred, socially, to meet certain others who were better read, more artistic, with whom they could discuss Nietzsche and Wagner. When there was a musical party at Mme. Cottard’s, on the evenings when she entertained — in the hope that it might one day make him Dean of the Faculty — the colleagues and pupils of her husband, he, instead of listening, preferred to play cards in another room. Yet everybody praised the quickness, the penetration, the unerring confidence with which, at a glance, he could diagnose disease. Thirdly, in considering the general impression which Professor Cottard must have made on a man like my father, we must bear in mind that the character which a man exhibits in the latter half of his life is not always, even if it is often his original character developed or withered, attenuated or enlarged; it is sometimes the exact opposite, like a garment that has been turned. Except from the Verdurins, who were infatuated with him, Cottard’s hesitating manner, his excessive timidity and affability had, in his young days, called down upon him endless taunts and sneers. What charitable friend counselled that glacial air? The importance of his professional standing made it all the more easy to adopt. Wherever he went, save at the Verdurins’, where he instinctively became himself again, he would assume a repellent coldness, remain silent as long as possible, be peremptory when he was obliged to speak, and not forget to say the most cutting things. He had every opportunity of rehearsing this new attitude before his patients, who, seeing him for the first time, were not in a position to make comparisons, and would have been greatly surprised to learn that he was not at all a rude man by nature. Complete impassivity was what he strove to attain, and even while visiting his hospital wards, when he allowed himself to utter one of those puns which left everyone, from the house physician to the junior student, helpless with laughter, he would always make it without moving a muscle of his face, while even that was no longer recognisable now that he had shaved off his beard and moustache

    But who, the reader has been asking, was the Marquis de Norpois? Well, he had been Minister Plenipotentiary before the War, and was actually an Ambassador on the Sixteenth of May; in spite of which, and to the general astonishment, he had since been several times chosen to represent France on Extraordinary Missions — even as Controller of the Public Debt in Egypt, where, thanks to his great capability as a financier, he had rendered important services — by Radical Cabinets under which a reactionary of the middle classes would have declined to serve, and in whose eyes M. de Norpois, in view of his past, his connexions and his opinions, ought presumably to have been suspect. But these advanced Ministers seemed to consider that, in making such an appointment, they were shewing how broad their own minds were, when the supreme interests of France were at stake, were raising themselves above the general run of politicians, were meriting, from the Journal des Débats itself, the title of ‘Statesmen,’ and were reaping direct advantage from the weight that attaches to an aristocratic name and the dramatic interest always aroused by an unexpected appointment. And they knew also that they could reap these advantages by making an appeal to M. de Norpois, without having to fear any want of political loyalty on his part, a fault against which his noble birth not only need not put them on their guard but offered a positive guarantee. And in this calculation the Government of the Republic were not mistaken. In the first place, because an aristocrat of a certain type, brought up from his cradle to regard his name as an integral part of himself of which no accident can deprive him can advance him in Diplomacy or ‘back’ him in an election, and on the artists or scientists whose patronage can help him to ‘arrive’ in those departments in which they excel, on everyone, in fact, who is in a position to confer a fresh distinction or to ‘bring off’ a rich marriage

    But in the character of M. de Norpois there was this predominant feature, that, in the course of a long career of diplomacy, he had become imbued with that negative, methodical, conservative spirit, called ‘governmental,’ which is common to all Governments and, under every Government, particularly inspires its Foreign Office. He had imbibed, during that career, an aversion, a dread, a contempt for the methods of procedure, more or less revolutionary and in any event quite incorrect, which are those of an Opposition. Save in the case of a few illiterates — high or low, it makes no matter — by whom no difference in quality is perceptible, what attracts men one to another is not a common point of view but a consanguinity of spirit. An Academician of the kind of Legouvé, and therefore an upholder of the classics, would applaud Maxime Ducamp’s or Mezière’s eulogy of Victor Hugo with more fervour than that of Boileau by Claudel. A common Nationalism suffices to endear Barrés to his electors, who scarcely distinguish between him and M. Georges Berry, but does not endear him to those of his brother Academicians who, with a similar outlook on politics but a different type of mind, will prefer to him even such open adversaries as M. Ribot and M. Deschanel, with whom, in turn, the most loyal Monarchists feel themselves more closely allied than with Maurras or Léon Daudet, although these also are living in the hope of a glorious Restoration. Miserly in the use of words, not only from a professional scruple of prudence and reserve, but because words themselves have more value, present more subtleties of definition to men whose efforts, protracted over a decade, to bring two countries to an understanding, are condensed, translated — in a speech or in a protocol — into a single adjective, colourless in all appearance, but to them pregnant with a world of meaning, M. de Norpois was considered very stiff, at the Commission, where he sat next to my father, whom everyone else congratulated on the astonishing way in which the old Ambassador unbent to him. My father was himself more astonished than anyone. For not being, as a rule, very affable, his company was little sought outside his own intimate circle, a limitation which he used modestly and frankly to avow. He realised that these overtures were an outcome, in the diplomat, of that point of view which everyone adopts for himself in making his choice of friends, from which all a man’s intellectual qualities, his refinement, his affection are a far less potent recommendation of him, when at the same time he bores or irritates one, than are the mere straightforwardness and good-humour of another man whom most people would regard as frivolous or even fatuous. “De Norpois has asked me to dinner again; it’s quite extraordinary; everyone on the Commission is amazed, as he never has any personal relations with any of us. I am sure he’s going to tell me something thrilling, again, about the ‘Seventy war.” My father knew that M. de Norpois had warned, had perhaps been alone in warning the Emperor of the growing strength and bellicose designs of Prussia, and that Bismarck rated his intelligence most highly. Only the other day, at the Opera, during the gala performance given for King Theodosius, the newspapers had all drawn attention to the long conversation which that Monarch had held with M. de Norpois. “I must ask him whether the King’s visit had any real significance,” my father went on, for he was keenly interested in foreign politics. “I know old Norpois keeps very close as a rule, but when he’s with me he opens out quite charmingly.”

    As for my mother, perhaps the Ambassador had not the type of mind towards which she felt herself most attracted. I should add that his conversation furnished so exhaustive a glossary of the superannuated forms of speech peculiar to a certain profession, class and period — a period which, for that profession and that class, might be said not to have altogether passed away — that I sometimes regret that I have not kept any literal record simply of the things that I have heard him say. I should thus have obtained an effect of old-fashioned courtesy by the same process and at as little expense as that actor at the Palais-Royal who, when asked where on earth he managed to find his astounding hats, answered, “I do not find my hats. I keep them.” In a word, I suppose that my mother considered M. de Norpois a trifle ‘out-of-date,’ which was by no means a fault in her eyes, so far as manners were concerned, but attracted her less in the region — not, in this instance, of ideas, for those of M. de Norpois were extremely modern — but of idiom. She felt, however, that she was paying a delicate compliment to her husband when she spoke admiringly of the diplomat who had shewn so remarkable a predilection for him. By confirming in my father’s mind the good opinion that he already had of M. de Norpois, and so inducing him to form a good opinion of himself also, she knew that she was carrying out that one of her wifely duties which consisted in making life pleasant and comfortable for her husband, just as when she saw to it that his dinner was perfectly cooked and served in silence. And as she was incapable of deceiving my father, she compelled herself to admire the old Ambassador, so as to be able to praise him with sincerity. Incidentally she could naturally, and did, appreciate his kindness, his somewhat antiquated courtesy it was the same system of habits that enabled M. de Norpois to undertake so many duties and to be so methodical in answering letters, to go everywhere and to be so friendly when he came to us. Moreover she made the mistake which everyone makes who is unduly modest; she rated everything that concerned herself below, and consequently outside the range of, other people’s duties and engagements. The letter which it seemed to her so meritorious in my father’s friend to have written us promptly, since in the course of the day he must have had ever so many letters to write, she excepted from that great number of letters, of which actually it was a unit; in the same way she did not consider that dining with us was, for M. de Norpois, merely one of the innumerable activities of his social life; she never guessed that the Ambassador had trained himself, long ago, to look upon dining-out as one of his diplomatic functions, and to display, at table, an inveterate charm which it would have been too much to have expected him specially to discard when he came to dine with us

    The evening on which M. de Norpois first appeared at our table, in a year when I still went to play in the Champs-Elysées, has remained fixed in my memory because the afternoon of the same day was that upon which I at last went to hear Berma, at a matinée, in Phèdre, and also because in talking to M. de Norpois I realised suddenly, and in a new and different way, how completely the feelings aroused in me by all that concerned Gilberte Swann and her parents differed from any that the same family could inspire in anyone else

    It was no doubt the sight of the depression in which I was plunged by the approach of the New Year holidays, in which, as she herself had informed me, I was to see nothing of Gilberte, that prompted my mother one day, in the hope of distracting my mind, to suggest, “If you are still so anxious to hear Berma, I think that your father would allow you perhaps to go; your grandmother can take you.”

    But it was because M. de Norpois had told him that he ought to let me hear Berma, that it was an experience for a young man to remember in later life, that my father, who had hitherto been so resolutely opposed to my going and wasting my time, with the added risk of my falling ill again, on what he used to shock my grandmother by calling ‘futilities,’ was now not far from regarding this manner of spending an afternoon as included, in some vague way, in the list of precious formulae for success in a brilliant career. My grandmother, who, in renouncing on my behalf the profit which, according to her, I should have derived from hearing Berma, had made a considerable sacrifice in the interests of my health, was surprised to find that this last had become of no account at a mere word from M. de Norpois. Reposing the unconquerable hopes of her rationalist spirit in the strict course of fresh air and early hours which had been prescribed for me, she now deplored, as something disastrous, this infringement that I was to make of my rules, and in a tone of despair protested, “How easily led you are!” to my father, who replied angrily “What! So it’s you that are not for letting him go, now. That is really too much, after your telling us all day and every day that it would be so good for him.”

    M. de Norpois had also brought about a change in my father’s plans in a matter of far greater importance to myself. My father had always meant me to become a diplomat, and I could not endure the thought that, even if I did have to stay for some years, first, at the Ministry, I should run the risk of being sent, later on, as Ambassador, to capitals in which no Gilberte dwelt. I should have preferred to return to the literary career that I had planned for myself, and had been abandoned, years before, in my wanderings along the Guermantes way. But my father had steadily opposed my devoting myself to literature, which he regarded as vastly inferior to diplomacy, refusing even to dignify it with the title of career, until the day when M. de Norpois, who had little love for the more recent generations of diplomatic agents, assured him that it was quite possible, by writing, to attract as much attention, to receive as much consideration, to exercise as much influence, and at the same time to preserve more independence than in the Embassies

    “Well, well, I should never have believed it. Old Norpois doesn’t at all disapprove of your idea of taking up writing,” my father had reported. And as he had a certain amount of influence himself, he imagined that there was nothing that could not be ‘arranged,’ no problem for which a happy solution might not be found in the conversation of people who ‘counted.’ “I shall bring him back to dinner, one of these days, from the Commission. You must talk to him a little, and let him see what he thinks of you. Write something good that you can shew him; he is an intimate friend of the editor of the Deux-Mondes; he will get you in there; he will arrange it all, the cunning old fox; and, upon my soul, he seems to think that diplomacy, nowadays ——!”

    My happiness in the prospect of not being separated from Gilberte made me desirous, but not capable, of writing something good which could be shewn to M. de Norpois. After a few laboured pages, weariness made the pen drop from my fingers; I cried with anger at the thought that I should never have any talent, that I was not ‘gifted,’ that I could not even take advantage of the chance that M. de Norpois’s coming visit was to offer me of spending the rest of my life in Paris. The recollection that I was to be taken to hear Berma alone distracted me from my grief. But just as I did not wish to see any storms except on those coasts where they raged with most violence, so I should not have cared to hear the great actress except in one of those classic parts in which Swann had told me that she touched the sublime. For when it is in the hope of making a priceless discovery that we desire to receive certain impressions from nature or from works of art, we have certain scruples about allowing our soul to gather, instead of these, other, inferior, impressions, which are liable to make us form a false estimate of the value of Beauty. Berma in Andromaque, in Les Caprices de Marianne, in Phèdre, was one of those famous spectacles which my imagination had so long desired. I should enjoy the same rapture as on the day when in a gondola I glided to the foot of the Titian of the Frari or the Carpaccios of San Giorgio dei Schiavoni, were I ever to hear Berma repeat the lines beginning

                         “On dit qu’un prompt départ vous éloigne de
                                 nous, Seigneur — —”

    I was familiar with them from the simple reproduction in black and white which was given of them upon the printed page; but my heart beat furiously at the thought — as of the realisation of a long-planned voyage — that I should at length behold them, bathed and brought to life in the atmosphere and sunshine of the voice of gold. A Carpaccio in Venice, Berma in Phèdre, masterpieces of pictorial or dramatic art which the glamour, the dignity attaching to them made so living to me, that is to say so indivisible, that if I had been taken to see Carpaccios in one of the galleries of the Louvre, or Berma in some piece of which I had never heard, I should not have experienced the same delicious amazement at finding myself at length, with wide-open eyes, before the unique and inconceivable object of so many thousand dreams. Then, while I waited, expecting to derive from Berma’s playing the revelation of certain aspects of nobility and tragic grief, it would seem to me that whatever greatness, whatever truth there might be in her playing must be enhanced if the actress imposed it upon a work of real value, instead of what would, after all, be but embroidering a pattern of truth and beauty upon a commonplace and vulgar web

    Finally, if I went to hear Berma in a new piece, it would not be easy for me to judge of her art, of her diction, since I should not be able to differentiate between a text which was not already familiar and what she added to it by her intonations and gestures, an addition which would seem to me to be embodied in the play itself; whereas the old plays, the classics which I knew by heart, presented themselves to me as vast and empty walls, reserved and made ready for my inspection, on which I should be able to appreciate without restriction the devices by which Berma would cover them, as with frescoes, with the perpetually fresh treasures of her inspiration. Unfortunately, for some years now, since she had retired from the great theatres, to make the fortune of one on the boulevards where she was the ‘star,’ she had ceased to appear in classic parts; and in vain did I scan the hoardings; they never advertised any but the newest pieces, written specially for her by authors in fashion at the moment. When, one morning, as I stood searching the column of announcements to find the afternoon performances for the week of the New Year holidays, I saw there for the first time — at the foot of the bill, after some probably insignificant curtain-raiser, whose title was opaque to me because it had latent in it all the details of an action of which I was ignorant — two acts ofPhèdre with Mme. Berma, and, on the following afternoons, Le Demi-Monde, Les Caprices de Marianne, names which, like that of Phèdre, were for me transparent, filled with light only, so familiar were those works to me, illuminated to their very depths by the revealing smile of art. They seemed to me to invest with a fresh nobility Mme. Berma herself when I read in the newspapers, after the programme of these performances, that it was she who had decided to shew herself once more to the public in some of her early creations. She was conscious, then, that certain stage-parts have an interest which survives the novelty of their first production or the success of a revival; she regarded them, when interpreted by herself, as museum pieces which it might be instructive to set before the eyes of the generation which had admired her in them long ago, or of that which had never yet seen her in them. In thus advertising, in the middle of a column of plays intended only to while away an evening, this Phèdre, a title no longer than any of the rest, nor set in different type, she added something indescribable, as though a hostess, introducing you, before you all go in to dinner, to her other guests, were to mention, casually, amid the string of names which are the names of guests and nothing more, and without any change of tone:—“M. Anatole France.”

    The doctor who was attending me — the same who had forbidden me to travel — advised my parents not to let me go to the theatre; I should only be ill again afterwards, perhaps for weeks, and should in the long run derive more pain than pleasure from the experience. The fear of this might have availed to stop me, if what I had anticipated from such a spectacle had been only a pleasure for which a subsequent pain could so compensate as to cancel it. But what I demanded from this performance — just as from the visit to Balbec, the visit to Venice for which I had so intensely longed — was something quite different from pleasure; a series of verities pertaining to a world more real than that in which I lived, which, once acquired, could never be taken from me again by any of the trivial incidents — even though it were the cause of bodily suffering — of my otiose existence. At best, the pleasure which I was to feel during the performance appeared to me as the perhaps inevitable form of the perception of these truths; and I hoped only that the illness which had been forecast for me would not begin until the play was finished, so that my pleasure should not be in any way compromised or spoiled. I implored my parents, who, after the doctor’s visit, were no longer inclined to let me go to Phèdre. I repeated, all day long, to myself, the speech beginning

                   “On dit qu’un prompt départ vous éloigne de nous                                    — —”

    seeking out every intonation that could be put into it, so as to be able better to measure my surprise at the way which Berma would have found of uttering the lines. Concealed, like the Holy of Holies, beneath the veil that screened her from my gaze, behind which I invested her, every moment, with a fresh aspect, according to which of the words of Bergotte — in the pamphlet that Gilberte had found for me — was passing through my mind; “plastic nobility,” “Christian austerity” or “Jansenist pallor,” “Princess of Troezen and of Cleves” or “Mycenean drama,” “Delphic symbol,” “Solar myth”; that divine Beauty, whom Berma’s acting was to reveal to me, night and day, upon an altar perpetually illumined, sat enthroned hi the sanctuary of my mind, my mind for which not itself but my stern, my fickle parents were to decide whether or not it was to enshrine, and for all time, the perfections of the Deity unveiled, in the same spot where was now her invisible form. And with my eyes fixed upon that inconceivable image, I strove from morning to night to overcome the barriers which my family were putting in my way. But when those had at last fallen, when my mother — albeit this matinée was actually to coincide with the meeting of the Commission from which my father had promised to bring M. de Norpois home to dinner — had said to me, “Very well, we don’t wish you to be unhappy; — if you think that you will enjoy it so very much, you must go; that’s all;” when this day of theatre-going, hitherto forbidden and unattainable, depended now only upon myself, then for the first time, being no longer troubled by the wish that it might cease to be impossible, I asked myself if it were desirable, if there were not other reasons than my parents’ prohibition which should make me abandon my design. In the first place, whereas I had been detesting them for their cruelty, their consent made them now so dear to me that the thought of causing them pain stabbed me also with a pain through which the purpose of life shewed itself as the pursuit not of truth but of loving-kindness, and life itself seemed good or evil only as my parents were happy or sad. “I would rather not go, if it hurts you,” I told my mother, who, on the contrary, strove hard to expel from my mind any lurking fear that she might regret my going, since that, she said, would spoil the pleasure that I should otherwise derive fromPhèdre, and it was the thought of my pleasure that had induced my father and her to reverse their earlier decision. But then this sort of obligation to find a pleasure in the performance seemed to me very burdensome. Besides, if I returned home ill, should I be well again in time to be able to go to the Champs-Elysées as soon as the holidays were over and Gilberte returned? Against all these arguments I set, so as to decide which course I should take, the idea, invisible there behind its veil, of the perfections of Berma. I cast into one pan of the scales “Making Mamma unhappy,” “risking not being able to go on the Champs-Elysées,” and the other, “Jansenist pallor,” “Solar myth,” until the words themselves grew dark and clouded in my mind’s vision, ceased to say anything to me, lost all their force; and gradually my hesitations became so painful that if I had now decided upon the theatre it would have been only that I might bring them to an end, and be delivered from them once and for all. It would have been to fix a term to my sufferings, and no longer in the expectation of an intellectual benediction, yielding to the attractions of perfection, that I would let myself be taken, not now to the Wise Goddess, but to the stern, implacable Divinity, featureless and unnamed, who had been secretly substituted for her behind the veil. But suddenly everything was altered. My desire to go and hear Berma received a fresh stimulus which enabled me to await the coming of the matinée with impatience and with joy; having gone to take up, in front of the column on which the playbills were, my daily station, as excruciating, of late, as that of a stylite saint, I had seen there, still moist and wrinkled, the complete bill of Phèdre, which had just been pasted up for the first time . But it gave to one of the points between which my indecision wavered a form at once more concrete and — inasmuch as the bill was dated not from the day on which I read it but from that on which the performance would take place, and from the very hour at which the curtain would rise — almost imminent, well on the way, already, to its realisation, so that I jumped for joy before the column at the thought that on that day, and at that hour precisely, I should be sitting there in my place, ready to hear the voice of Berma; and for fear lest my parents might not now be in time to secure two good seats for my grandmother and myself, I raced back to the house, whipped on by the magic words which had now taken the place, in my mind, of “Jansenist pallor” and “Solar myth”; —“Ladies will not be admitted to the stalls in hats. The doors will be closed at two o’clock.”

    Alas! that first matinée was to prove a bitter disappointment. My father offered to drop my grandmother and me at the theatre, on his way to the Commission. Before leaving the house he said to my mother: “See that you have a good dinner for us to-night; you remember, I’m bringing de Norpois back with me.” My mother had not forgotten. And all that day, and overnight, Françoise, rejoicing in the opportunity to devote herself to that art of the kitchen — of which she was indeed a past-master, stimulated, moreover, by the prospect of having a new guest to feed, the consciousness that she would have to compose, by methods known to her alone, a dish of beef in jelly — had been living in the effervescence of creation; since she attached the utmost importance to the intrinsic quality of the materials which were to enter into the fabric of her work, she had gone herself to the Halles to procure the best cuts of rump-steak, shin of beef, calves’-feet, as Michelangelo passed eight months in the mountains of Carrara choosing the most perfect blocks of marble for the monument of Julius II— Françoise expended on these comings and goings so much ardour that Mamma, at the sight of her flaming cheeks, was alarmed lest our old servant should make herself ill with overwork, like the sculptor of the Tombs of the Medici in the quarries of Pietrasanta. And overnight Françoise had sent to be cooked in the baker’s oven, shielded with breadcrumbs, like a block of pink marble packed in sawdust, what she called a “Nev’-York ham.” Believing the language to be less rich than it actually was in words, and her own ears less trustworthy, the first time that she heard anyone mention York ham she had thought, no doubt — feeling it to be hardly conceivable that the dictionary could be so prodigal as to include at once a ‘York’ and a ‘New York’— that she had misheard what was said, and that the ham was really called by the name already familiar to her. And so, ever since, the word York was preceded in her ears, or before her eyes when she read it in an advertisement, by the affix ‘New’ which she pronounced ‘Nev’.’ And it was with the most perfect faith that she would say to her kitchen-maid: “Go and fetch me a ham from Olida’s. Madame told me especially to get a Nev’-York.” On that particular day, if Françoise was consumed by the burning certainty of creative genius, my lot was the cruel anxiety of the seeker after truth. No doubt, so long as I had not yet heard Berma speak, I still felt some pleasure. I felt it in the little square that lay in front of the theatre, in which, in two hours’ time, the bare boughs of the chestnut trees would gleam with a metallic lustre as the lighted gas-lamps shewed up every detail of their structure; before the attendants in the box-office, the selection of whom, their promotion, all their destiny depended upon the great artist — for she alone held power in the theatre, where ephemeral managers followed one after the other in an obscure succession — who took our tickets without even glancing at us, so preoccupied were they with their anxiety lest any of Mme. Berma’s instructions had not been duly transmitted to the new members of the staff, lest it was not clearly, everywhere, understood that the hired applause must never sound for her, that the windows must all be kept open so long as she was not on the stage, and every door closed tight, the moment that she appeared; that a bowl of hot water must be concealed somewhere close to her, to make the dust settle: and, for that matter, at any moment now her carriage, drawn by a pair of horses with flowing manes, would be stopping outside the theatre, she would alight from it muffled in furs, and, crossly acknowledging everyone’s salute, would send one of her attendants to find out whether a stage box had been kept for her friends, what the temperature was ‘in front,’ who were in the other boxes, if the programme sellers were looking smart; theatre and public being to her no more than a second, an outermost cloak which she would put on, and the medium, the more or less ‘good’ conductor through which her talent would have to pass. I was happy, too, in the theatre itself; since I had made the discovery that — in contradiction of the picture so long entertained by my childish imagination — there was but one stage for everybody, I had supposed that I should be prevented from seeing it properly by the presence of the other spectators, as one is when in the thick of a crowd; now I registered the fact that, on the contrary, thanks to an arrangement which is, so to speak, symbolical of all spectatorship, everyone feels himself to be the centre of the theatre; which explained to me why, when Françoise had been sent once to see some melodrama from the top gallery, she had assured us on her return that her seat had been the best in the house, and that instead of finding herself too far from the stage she had been positively frightened by the mysterious and living proximity of the curtain. My pleasure increased further when I began to distinguish behind the said lowered curtain such confused rappings as one hears through the shell of an egg before the chicken emerges, sounds which speedily grew louder and suddenly, from that world which, impenetrable by our eyes, yet scrutinised us with its own, addressed themselves, and to us indubitably, in the imperious form of three consecutive hammer-blows as moving as any signals from the planet Mars. And — once this curtain had risen — when on the stage a writing-table and a fireplace, in no way out of the ordinary, had indicated that the persons who were about to enter would be, not actors come to recite, as I had seen them once and heard them at an evening party, but real people, just living their lives at home, on whom I was thus able to spy without their seeing me — my pleasure still endured; it was broken by a momentary uneasiness; just as I was straining my ears in readiness before the piece began, two men entered the theatre from the side of the stage, who must have been very angry with each other, for they were talking so loud that in the auditorium, where there were at least a thousand people, we could hear every word, whereas in quite a small café one is obliged to call the waiter and ask what it is that two men, who appear to be quarrelling, are saying; but at that moment, while I sat astonished to find that the audience was listening to them without protest, drowned as it was in a universal silence upon which broke, presently, a laugh here and there, I understood that these insolent fellows were the actors and that the short piece known as the ‘curtain-raiser’ had now begun. It was followed by an interval so long that the audience, who had returned to their places, grew impatient and began to stamp their feet. I was terrified at this; for just as in the report of a criminal trial, when I read that some noble-minded person was coming, against his own interests, to testify on behalf of an innocent prisoner, I was always afraid that they would not be nice enough to him, would not shew enough gratitude, would not recompense him lavishly, and that he, in disgust, would then range himself on the side of injustice; so now attributing to genius, in this respect, the same qualities as to virtue, I was afraid lest Berma, annoyed by the bad behaviour of so ill-bred an audience — in which, on the other hand, I should have liked her to recognise, with satisfaction, a few celebrities to whose judgment she would be bound to attach importance — should express her discontent and disdain by acting badly. And I gazed appealingly round me at these stamping brutes who were about to shatter, in their insensate rage, the rare and fragile impression which I had come to seek. The last moments of my pleasure were during the opening scenes of Phèdre. The heroine herself does not appear in these first scenes of the second act; and yet, as soon as the curtain rose, and another curtain, of red velvet this time, was parted in the middle , an actress entered from the back who had the face and voice which, I had been told, were those of Berma. The cast must therefore have been changed; all the trouble that I had taken in studying the part of the wife of Theseus was wasted. But a second actress now responded to the first. I must, then, have been mistaken in supposing that the first was Berma, for the second even more closely resembled her, and, more than the other, had her diction. Both of them, moreover, enriched their parts with noble gestures — which I could vividly distinguish, and could appreciate in their relation to the text, while they raised and let fall the lovely folds of their tunics — and also with skilful changes of tone, now passionate, now ironical, which made me realise the significance of lines that I had read to myself at home without paying sufficient attention to what they really meant. But all of a sudden, in the cleft of the red curtain that veiled her sanctuary, as in a frame, appeared a woman, and simultaneously with the fear that seized me, far more vexing than Berma’s fear could be, lest someone should upset her by opening a window, or drown one of her lines by rustling a programme, or annoy her by applauding the others and by not applauding her enough; — in my own fashion, still more absolute than Berma’s, of considering from that moment theatre, audience, play and my own body only as an acoustic medium of no importance, save in the degree to which it was favourable to the inflexions of that voice — I realised that the two actresses whom I had been for some minutes admiring bore not the least resemblance to her whom I had come to hear. But at the same time all my pleasure had ceased; in vain might I strain towards Berma’s eyes, ears, mind, so as not to let one morsel escape me of the reasons which she would furnish for my admiring her, I did not succeed in gathering a single one. I could not even, as I could with her companions, distinguish in her diction and in her playing intelligent intonations, beautiful gestures. I listened to her as though I were readingPhèdre, or as though Phaedra herself had at that moment uttered the words that I was hearing, without its appearing that Berma’s talent had added anything at all to them. I could have wished, so as to be able to explore them fully, so as to attempt to discover what it was in them that was beautiful, to arrest, to immobilise for a time before my senses every intonation of the artist’s voice, every expression of her features; at least I did attempt, by dint of my mental agility in having, before a line came, my attention ready and tuned to catch it, not to waste upon preparations any morsel of the precious time that each word, each gesture occupied, and, thanks to the intensity of my observation, to manage to penetrate as far into them as if I had had whole hours to spend upon them, by myself. But how short their duration was! Scarcely had a sound been received by my ear than it was displaced there by another. In one scene, where Berma stands motionless for a moment, her arm raised to the level of a face bathed, by some piece of stagecraft, in a greenish light, before a back-cloth painted to represent the sea, the whole house broke out in applause; but already the actress had moved, and the picture that I should have liked to study existed no longer. I told my grandmother that I could not see very well; she handed me her glasses. Only, when one believes in the reality of a thing, making it visible by artificial means is not quite the same as feeling that it is close at hand. I thought now that it was no longer Berma at whom I was looking, but her image in a magnifying glass. I put the glasses down, but then possibly the image that my eye received of her, diminished by distance, was no more exact; which of the two Bermas was the real? As for her speech to Hippolyte, I had counted enormously upon that, since, to judge by the ingenious significance which her companions were disclosing to me at every moment in less beautiful parts, she would certainly render it with intonations more surprising than any which, when reading the play at home, I had contrived to imagine; but she did not attain to the heights which Œnone or Aricie would naturally have reached, she planed down into a uniform flow of melody the whole of a passage in which there were mingled together contradictions so striking that the least intelligent of tragic actresses, even the pupils of an academy, could not have missed their effect; besides which, she ran through the speech so rapidly that it was only when she had come to the last line that my mind became aware of the deliberate monotony which she had imposed on it throughout

    Then, at last, a sense of admiration did possess me, provoked by the frenzied applause of the audience. I mingled my own with theirs, endeavouring to prolong the general sound so that Berma, in her gratitude, should surpass herself, and I be certain of having heard her on one of her great days. A curious thing, by the way, was that the moment when this storm of public enthusiasm broke loose was, as I afterwards learned, that in which Berma reveals one of her richest treasures. It would appear that certain transcendent realities emit all around them a radiance to which the crowd is sensitive. So it is that when any great event occurs, when on a distant frontier an army is in jeopardy, or defeated, or victorious, the vague and conflicting reports which we receive, from which an educated man can derive little enlightenment, stimulate in the crowd an emotion by which that man is surprised, and in which, once expert criticism has informed him of the actual military situation, he recognises the popular perception of that ‘aura’ which surrounds momentous happenings, and which may be visible hundreds of miles away. One learns of a victory either after the war is over, or at once, from the hilarious joy of one’s hall porter. One discovers the touch of genius in Berma’s acting a week after one has heard her, in the criticism of some review, or else on the spot, from the thundering acclamation of the stalls. But this immediate recognition by the crowd was mingled with a hundred others, all quite erroneous; the applause came, most often, at wrong moments, apart from the fact that it was mechanically produced by the effect of the applause that had gone before, just as in a storm, once the sea is sufficiently disturbed, it will continue to swell, even after the wind has begun to subside. No matter; the more I applauded, the better, it seemed to me, did Berma act. “I say,” came from a woman sitting near me, of no great social pretensions, “she fairly gives it you, she does; you’d think she’d do herself an injury, the way she runs about. I call that acting, don’t you?” And happy to find these reasons for Berma’s superiority, though not without a suspicion that they no more accounted for it than would for that of the Gioconda or of Benvenuto’s Perseus a peasant’s gaping “That’s a good bit of work. It’s all gold, look! Fine, ain’t it?”, I greedily imbibed the strong wine of this popular enthusiasm. I felt, all the same, when the curtain had fallen fer the last time, disappointed that the pleasure for which I had so longed had been no greater, but at the same time I felt the need to prolong it, not to depart for ever, when I left the theatre, from this strange life of the stage which had, for a few hours, been my own, from which I should be tearing myself away, as though I were going into exile, when I returned to my; own home, had I not hoped there to learn a great deal more about Berma from her admirer, to whom I was indebted already for the permission to go to Phèdre, M. de Norpois. I was introduced to him before dinner by my father, who summoned me into his study for the purpose. As I entered, the Ambassador rose, held out his hand, bowed his tall figure and fixed his blue eyes attentively on my face. As the foreign visitors who used to be presented to him, in the days when he still represented France abroad, were all more or less persons of note, with regard to whom he could tell, when he met them, that he would be able to say, later on, when he heard then — names mentioned in Paris or in Petersburg, that he remembered perfectly the evening he had spent with them at Munich or Sofia, he had formed the habit of impressing upon them, by his affability, the pleasure with which he was making their acquaintance; but in addition to this, being convinced that in the life of European capitals, in contact at once with all the interesting personalities that passed through them and with the manners and customs of the native populations, one acquired a deeper insight than could be gained from books into the intellectual movement throughout Europe, he would exercise upon each newcomer his keen power of observation, so as to decide at once with what manner of man he had to deal. The Government had not for some time now entrusted to him a post abroad, but still, as soon as anyone was introduced to him, his eyes, as though they had not yet been informed of their master’s retirement, began their fruitful observation, while by his whole attitude he endeavoured to convey that the stranger’s name was not unknown to him. And so, all the time, while he spoke to me kindly and with the air of importance of a man who is conscious of the vastness of his own experience, he never ceased to examine me with a sagacious curiosity, and to his own profit, as though I had been some exotic custom, some historic and instruct tive building or some ‘star’ upon his course. And in this way he gave proof at once, in his attitude towards me, of the majestic benevolence of the sage Mentor and of the zealous curiosity of the young Anacharsis

    He offered me absolutely no opening to the Revue des Deux-Mondes, but put a number of questions to me on what I had been doing and reading; asked what were my own inclinations, which I heard thus spoken of for the first time as though it might be a quite reasonable thing to obey their promptings, whereas hitherto I had always supposed it to be my duty to suppress them. Since they attracted me towards Literature, he did not dissuade me from that course; on the contrary, he spoke of it with deference, as of some venerable personage whose select circle, in Rome or at Dresden, one remembers with pleasure, and regrets only that one’s multifarious duties in life enable one to revisit it so seldom. He appeared to be envying me, with an almost jovial smile, the delightful hours which, more fortunate than himself and more free, I should be able to spend with such a Mistress. But the very terms that he employed shewed me Literature as something entirely different from the image that I had formed of it at Combray, and I realised that I had been doubly right in abandoning my intention. Until now, I had reckoned only that I had not the ‘gift’ for writing; now M. de Norpois took from me the ambition also. I wanted to express to him what had been my dreams; trembling with emotion, I was painfully apprehensive that all the words which I could utter would not be the sincerest possible equivalent of what I had felt, what I had never yet attempted to formulate; that is to say that my words had no clear significance. Perhaps by a professional habit, perhaps by virtue of the calm that is acquired by every important personage whose advice is commonly sought, and who, knowing that he will keep the control of the conversation in his own hands, allows the other party to fret, to struggle, to take his time; perhaps also to emphasize the dignity of his head , M. de Norpois, while anything was being explained to him, would preserve a facial immobility as absolute as if you had been addressing some ancient and unhearing bust in a museum. Until suddenly, falling upon you like an auctioneer’s hammer, or a Delphic oracle, the Ambassador’s voice, as he replied to you, would be all the more impressive, in that nothing in his face had allowed you to guess what sort of impression you had made on him, or what opinion he was about to express

    “Precisely;” he suddenly began, as though the case were now heard and judged, and after allowing me to writhe in increasing helplessness beneath those motionless eyes which never for an instant left my face. “There is the case of the son of one of my friends, which, mutatis mutandis, is very much like yours.” He adopted in speaking of our common tendency the same reassuring tone as if it had been a tendency not to literature but to rheumatics, and he had wished to assure me that it would not necessarily prove fatal. “He too has chosen to leave the Quai d’Orsay, although the way had been paved for him there by his father, and without caring what people might say, he has settled down to write. And certainly, he’s had no reason to regret it. He published two years ago — of course, he’s much older than you, you understand — a book dealing with the Sense of the Infinite on the Western Shore of Victoria Nyanza, and this year he has brought out a little thing, not so important as the other, but very brightly, in places perhaps almost too pointedly written, on the Repeating Rifle in the Bulgarian Army; and these have put him quite in a class by himself. He’s gone pretty far already, and he’s not the sort of man to stop half way; I happen to know that his name has been mentioned several times, in conversation, and not at all unfavourably, at the Academy of Moral Sciences. And so, one can’t say yet, of course, that he has reached the pinnacle of fame, still he has made his way, by sheer industry, to a very fine position indeed, and success — which doesn’t always come only to agitators and mischief-makers and men who make trouble which is usually more than they are prepared to take — success has crowned his efforts.”

    My father, seeing me already, in a few years’ time, an Academician, was tasting a contentment which M. de Norpois raised to the supreme pitch when, after a momentary hesitation in which he appeared to be calculating the possible consequences of so rash an act, he handed me his card and said: “Why not go and see him yourself? Tell him I sent you. He may be able to give you some good advice,” plunging me by his words into as painful a state of anxiety as if he had told me that, next morning, I was to embark as cabin-boy on board a sailing ship, and to go round the world

    My Aunt Léonie had bequeathed to me, together with all sorts of other things and much of her furniture, with which it was difficult to know what to do, almost all her unsettled estate — revealing thus after her death an affection for me which I had hardly suspected in her lifetime. My father, who was trustee of this estate until I came of age, now consulted M. de Norpois with regard to several of the investments. He recommended certain stocks bearing a low rate of interest, which he considered particularly sound, notably English consols and Russian four per cents. “With absolutely first class securities such as those,” said M. de Norpois, “even if your income from them is nothing very great, you may be certain of never losing any of your capital.” My father then told him, roughly, what else he had bought. M. de Norpois gave a just perceptible smile of congratulation; like all capitalists, he regarded wealth as an enviable thing, but thought it more delicate to compliment people upon their possessions only by a half-indicated sign of intelligent sympathy; on the other hand, as he was himself immensely rich, he felt that he shewed his good taste by seeming to regard as considerable the meagre revenues of his friends, with a happy and comforting resilience to the superiority of his own. He made amends for this by congratulating my father, without hesitation, on the “composition” of his list of investments, selected “with so sure, so delicate, so fine a taste.” You would have supposed, to hear him, that he attributed to the relative values of investments, and even to investments themselves, something akin to aesthetic merit. Of one, comparatively recent and still little known, which my father mentioned, M. de Norpois, like the people who have always read the books of which, you imagine, you yourself alone have ever heard, said at once, “Ah, yes, I used to amuse myself for some time with watching it in the papers; it was quite interesting,” with the retrospective smile of a regular subscriber who has read the latest novel already, in monthly instalments, in his magazine. “It would not be at all a bad idea to apply for some of this new issue. It is distinctly attractive; they are offering it at a most tempting discount.” But when he came to some of the older investments, my father, who could not remember their exact names, which it was easy to confuse with others of the same kind, opened a drawer and shewed the securities themselves to the Ambassador. The sight of them enchanted me. They were ornamented with cathedral spires and allegorical figures, like the old, romantic editions that I had pored over as a child. All the products of one period have something in common; the artists who illustrate the poetry of their generation are the same artists who are employed by the big financial houses. And nothing reminds me so much of the monthly parts of Notre-Dame de Paris, and of various books by Gérard de Nerval, that used to hang outside the grocer’s door at Combray, than does, in its rectangular and flowery border, supported by recumbent river-gods, a ‘personal share’ in the Water Company

    The contempt which my father had for my kind of intelligence was so far tempered by his natural affection for me that, in practice, his attitude towards anything that I might do was one of blind indulgence. And so he had no qualm about telling me to fetch a little ‘prose poem’ which I had made up, years before, at Combray, while coming home from a walk. I had written it down in a state of exaltation which must, I felt certain, infect everyone who read it. But it was not destined to captivate M. de Norpois, for he handed it back to me without a word

    My mother, who had the most profound respect for all my father’s occupations, came in now, timidly, to ask whether dinner might be served. She was afraid to interrupt a conversation in which she herself could have no part. And indeed my father was continually reminding the Marquis of some useful suggestion which they had decided to make at the next meeting of the Commission; speaking in the peculiar tone always adopted, when in a strange environment by a pair of colleagues — as exclusive, in this respect, as two young men from the same college — whose professional routine has furnished them with a common fund of memories to which the others present have no access, and to which they are unwilling to refer before an audience

    But the absolute control over his facial muscles to which M. de Norpois had attained allowed him to listen without seeming to hear a word. At last my father became uneasy. “I had thought,” he ventured, after an endless preamble, “of asking the advice of the Commission . . . ” Then from the face of the noble virtuoso, who had been sitting inert as a player in an orchestra sits until the moment comes for him to begin his part, were uttered, with an even delivery, on a sharp note, and as though they were no more than the completion of the phrase that my father had begun, the words: “of which you will not hesitate, of course, to call a meeting; more especially as the present members are all known to you personally, and there may be a change any day.” This was not in itself a very remarkable ending. But the immobility that had preceded it made it detach itself with the crystal clarity, the almost malicious unexpectedness of those phrases in which the piano, silent until then,‘takes up at a given moment, the violoncello to which one has just been listening, in a Mozart concerto

    “Well, did you enjoy your matinée?” asked my father, as we moved to the dining-room; meaning me to ‘shew off,’ and with the idea that my enthusiasm would give M. de Norpois a good opinion of me. “He has just been to hear Berma. You remember, we were talking about it the other day,” he went on, turning towards the diplomat, in the same tone of retrospective, technical, mysterious allusiveness as if he had been referring to a meeting of the Commission

    “You must have been enchanted, especially if you had never heard her before. Your father was alarmed at the effect that the little jaunt might have upon your health, which is none too good, I am told, none too robust. But I soon set his mind at rest. Theatres to-day are not what they were even twenty years ago. You have more or less comfortable seats now, and a certain amount of ventilation, although we have still a long way to go before we come up to Germany or England, which in that respect as in many others are immeasurably ahead of us. I have never seen Mme. Berma in Phèdre, but I have always heard that she is excellent in the part. You were charmed with her, of course?”

    M. de Norpois, a man a thousand times more intelligent than myself, must know that hidden truth which I had failed to extract from Berma’s playing; he knew, and would reveal it to me; in answering his question I would implore him to let me know in what that truth consisted; and he would tell me, and so justify me in the longing that I had felt to see and hear the actress. I had only a moment, I must make what use I could of it and bring my cross-examination to bear upon the essential points. But what were they? Fastening my whole attention upon my own so confused impressions, with no thought of making M. de Norpois admire me, but only that of learning from him the truth that I had still to discover, I made no attempt to substitute ready-made phrases for the words that failed me — I stood there stammering, until finally, in the hope of provoking him into declaring what there was in Berma that was admirable, I confessed that I had been disappointed

    “What’s that?” cried my father, annoyed at the bad impression which this admission of my failure to appreciate the performance must make on M. de Norpois, “What on earth do you mean; you didn’t enjoy it? Why, your grandmother has been telling us that you sat there hanging on every word that Berma uttered, with your eyes starting out of your head; that everyone else in the theatre seemed quite bored, beside you.”

    “Oh, yes, I was listening as hard as I could, trying to find out what it was that was supposed to be so wonderful about her. Of course, she’s frightfully good, and all that . . . ”

    “If she is ‘frightfully good,’ what more do you want?”

    “One of the things that have undoubtedly contributed to the success of Mme. Berma,” resumed M. de Norpois, turning with elaborate courtesy towards my mother, so as not to let her be left out of the conversation, and in conscientious fulfilment of his duty of politeness to the lady of the house, “is the perfect taste that she shews in selecting her parts; thus she can always be assured of success, and success of the right sort. She hardly ever appears in anything trivial. Look how she has thrown herself into the part of Phèdre. And then, she brings the same good taste to the choice of her costumes, and to her acting. In spite of her frequent and lucrative tours in England and America, the vulgarity — I will not say of John Bull; that would be un

Madame Swann At Home
Traducción de Marcel Proust en Español

Mejorar esta traducción

Debido a la falta de tiempo y de personas, muchas traducciones se realizan con el traductor automático.
Sabemos que no es lo mejor, pero es suficiente para dejarlo claro a quienes nos visitan. de la canción.
Con su ayuda y la de los demás visitantes, podemos hacer de este sitio una referencia para las traducciones de canciones.
Usted desea dar su contribución a la canción Madame Swann At Home Estamos felices!

Marcel Proust

Madame Swann At Home: letra traducida en español y original - Marcel Proust

Madame Swann At Home

Os presentamos el texto y la traducción de Madame Swann At Home, una nueva canción creada por Marcel Proust extraído por el álbum 'Within a Budding Grove'

Las 3 canciones que constituyen el álbum son las siguientes:

Estos son unos de los éxitos cantados por . Entre paréntesis encontraréis el nombre del álbum:”;

Otros álbumes de Marcel Proust

Este álbum no es seguramente el primero de su carrera, queremos recordar álbumes como The Guermantes Way / The Captive / Time Regained.

Ultimas Traducciónes y Textos Inseridos Marcel Proust

Ultimas Traducciónes y Textos Inseridos

Traducciones más vistas esta semana

Hasta ahora habeis mejorado
traducciones de canciones