Abstract

Deliberately employing rather vague terms, let us postulate a literature of the past and a literature of today.Two very simple ways of bringing them into relation are conceivable. One might adopt a prospective attitude, which would consider today's literature in the light of the past's. Or one might adopt a retrospective attitude, which would consider the literature of the past in the light of today's. The two positions are not equivalent. The prospective attitude is threatened with sterility: it may well find itself mainly seeking in today's literature the trace of that which was active in the literature of the past, that is, the persistence of something which is now perhaps fading away. The retrospective attitude, on the other hand, has a good chance of proving fruitful: what it tends to seek in the literature of the past is a foreshadowing of that which is alive in the modern text, that is, the beginnings of what is now in effect. In short, the former tends to minimize the innovations of today's text; the latter tends to stress the innovations in the text of the past.Clearly, this does not mean that today's text has a metaphysical role—that of containing a truth which would illuminate its inarticulate beginnings in the text of the past. Rather, today's text has an operative role—that of an instrument with which to analyze the text of the past. And this retrospective analysis is threefold: it detects the way the text works; it explains the way the text works; it specifies the way the text works. In the first two operations, detection and explanation, the resemblances between a highly active process in a recent text and a less intense one in an old text are turned to account. In the third operation, specification, the differences between the two are stressed.If we subject Proust's Remembrance of Things Past to a retrospective analysis in the light of the recent literary movement that has been named the New Novel, we immediately perceive, in Proust's work, a highly significant process. We are, in fact, witness to the beginnings of a monumental metamorphosis: a famous linguistic operation, metaphor, undergoes a radical change in function. It used to be mainly expressive or representative; with Proust, it becomes productive. Let's see how.Jean Ricardou is the author of many works of fiction and criticism. His most recent critical works are Nouveau problèmes du roman and the forthcoming Le théâtre des métamorphoses. His previous contributions to Critical Inquiry are "Birth of a Fiction" and "Composition Discomposed" . Erica Freiberg regularly translates Jean Ricardou's works. She holds degrees in French and Italian, philosophy, and modern literature from the University of Paris and the University of Geneva