“Good heavens!” exclaimed M. de Norpois, inspiring me with
doubts of my own intelligence far more serious than those that ordinarily
distracted me, when I saw that what I valued a thousand thousand times more
than myself, what I regarded as the most exalted thing in the world, was for
him at the very foot of the scale of admiration. “I do not share your son’s
point of view. Bergotte is what I call a flute-player: one must admit that he
plays on it very agreeably, although with a great deal of mannerism, of
affectation. But when all is said, it is no more than that, and that is nothing
very great. Nowhere does one find in his enervated writings anything that could
be called construction. No action — or very little — but above all no range.
His books fail at the foundation, or rather they have no foundation at all. At
a time like the present, when the ever-increasing complexity of life leaves one
scarcely a moment for reading, when the map of Europe has undergone radical
alterations, and is on the eve, very probably, of undergoing others more
drastic still, when so many new and threatening problems are arising on every
side, you will allow me to suggest that one is entitled to ask that a writer
should be something else than a fine intellect which makes us forget, amid
otiose and byzantine discussions of the merits of pure form, that we may be
overwhelmed at any moment by a double tide of barbarians, those from without
and those from within our borders. I am aware that this is a blasphemy against
the sacrosanct school of what these gentlemen term ‘Art for Art’s sake,’ but at
this period of history there are tasks more urgent than the manipulation of
words in a harmonious manner.
From "Swann at Home"