Throughout Swann’s Way the reader is compelled to view a number of seemingly mundane events and circumstances through the peculiar lens of a complex and often baffling character. The author manages to present such a convincing psychological portrait of Swann which is so complete in its nuances and minutia that it is as if the author has created an independent entity with thoughts of his own. Throughout the section describing Swann’s unfortunate love affair the reader is exposed to a mélange of Swann’s sentiments, some of which reflect the author’s sentiments, some are universal to the human condition, and still other appear to originate out of the depths of Swann’s own eccentricities. One paragraph, beginning on the bottom of page 458 and extending to the top of 460, is a fine example of the layers of complexity interwoven into the narrative. It is at once a social commentary, a moment of absurdity in the mind of Swann, and from a different perspective a sentiment which is easy to relate to despite all the time which has elapsed since the era of this novel.

Without entering Swann’s innermost thoughts, this passage would appear underwhelming. Swann entrusts his friend to care for Odette and then goes alone to a social engagement. He enters a lavish estate complete with a stable, which has guards posted around the property. He is introduced to two men at the party. That description summarizes all of the concrete events that occur within those two pages. Internally, however, there are volumes waiting to unfold. Swann is relieved to be leaving Odette in “good company”, yet seems unable to enjoy his night without her. He generally takes no pleasure in events not related to Odette, and particularly detests his obligation to make appearances at high society functions such as these. He views the presentation of such parties as artificial, and scorns the hosts of such events for falsely glorifying their own lives by meticulously cultivating a social setting. He feels totally disconnected from the social scene, and inwardly amuses himself by dramatizing the people he meets and comparing them visually in his mind to portraits or imaginary figures.

Swann arrives late, and finds himself ensnared in a conversation which he would normally have avoided. Perhaps due to their severe nature or even military background, Swann paints a picture in his mind of what kind of characters he’s speaking with based on their general demeanor and a cursory first impression. The omission of any dialogue between the characters may indicate that Swann was not interested in what they had to say. He repeatedly describes the men in the room as fierce and even war-like, and suggests that something in the body language on one man that he meets strikes him as so hostile that he questions the man’s intentions despite his friendly words. Swann seems to feel as though he is in a room full of hostile soldiers and everyone is against him.

Whether or not this passage offers us a glimpse into the thoughts of the author himself, it evokes a clear sense of disillusionment with bourgeois superficiality. Swann is put off by the idea of hosting a party as a means of not only achieving social standing, but more specifically the idea of essentially attempting to create a fictitious version of one’s personal life to present publicly. He discusses with almost palpable boredom the frivolity of displaying one’s clothes for status as he describes his usual grand entrance. He would normally arrive conspicuously dressed in an overcoat, only to reveal the “tails” underneath, all the while so wrapped up in his own thoughts so as not to give any but the most superficial notice of his surroundings.

As Swann enters the party he has an amusing exchange with the first people he meets. He describes the partygoers as “tall, magnificent, idle footmen who were drowsing here and there upon benches and chests and who, pointing their noble greyhound profiles, now rose to their feet and gathered in a circle round about him” (Proust 459). Unless we are to believe that a group of princely lackeys revived themselves from suspended animation and rose up at the sight of him, then this section clearly indicates that we have entered the realm of Swann’s imagination. Here Swann’s fantasies reveal more about his character than even his thoughts. He shows himself to be self-centered as he imagines himself the life of the party to the extent that others rise into reanimation the moment he walks into the room. As Swann is approached and greeted by someone at the party, Swann sizes him up and immediately associates him with some brutal torturer from the Renaissance, although it is not clear what about his appearance inspires such imaginings other than a “ferocious aspect” and an “implacable air to take his things”. Swann imagines this man’s pleasant demeanor and gentleness towards himself to be in such contrast with the man’s apparent strength and capacity for savagery that Swann seems to think he must be merely pretending to be nice to him.

If one was to psychoanalyze Swann’s character as if he were a living person, it would appear as though Swann’s paranoia is a projection of his own misgivings onto others around him. It’s difficult to know whether the author could have intentionally woven that much subtlety into his character at the time the novel was written, however being a contemporary of Freud it is a possibility that this was intended. Since Swann himself puts on “airs” and often pretends to engage in a social scene for which he has contempt, it is natural for him to assume the same type of false intent in others. He also describes the man he meets’ lackey as a displaying “all the dumb agitation of a wild animal in the first hours of its captivity.” (Proust 460). The projection that this man is somehow subservient to the other may indicate part of Swann’s motivation for moving through the social ranks despite any conventional sense of ambition. Perhaps he would simply rather be the one who appears strong and conceals his disdain beneath a mask of cordiality than remain vulnerable at as one who is perceived as farther down the ranks. So far in the reading it’s impossible to determine whether Swann always views gatherings with such paranoia as to assume that people are out to get him or if it is only because of some aspect specific to this gathering. In a sense this interaction could be seen as foreshadowing, because whether or not Swann’s mistrust of these people says anything about himself has no bearing on the legitimacy of his worries.

To take a broader view, Swann’s paranoia and inner conflict serve as a commentary on bourgeois society which still holds true to this day. Inwardly Swann is openly scornful of the falsities of society life, while he ironically perpetuates this behavior through his own attendance. The interface between public and private life, as best seen in this passage by Swann’s opinion of people that host such parties as a form of false self promotion, creates a sense of insecurity in Swann. He is obliged to keep up with society for fear of the consequences of falling down the social ladder. In modern times, middle class Americans still value to a great extent keeping up appearances and presenting displays of wealth and status outwardly to society. This obsession with superficial appearances is intended to present an image of middle class people as even wealthier or happier than they actually are through displaying material possessions or appearing publicly to garner social status. Swann’s character is at times so realistic that in a sense his motivations appear to hold true to those of many of the middle class in the present day. His disillusionment and somewhat pathetic attempts to find solace with Odette are the natural reaction to a quite “unnatural” and artificial society that he is compelled to participate in, just as many people of the middle class in modern times have sensed a void in their ability to derive happiness from their day-to-day conduct and have sought many avenues to add meaning to their lives. We commonly speak of angst when describing any number of situations where frustration with society takes hold, just as Swann exhibits throughout this novel.

At times In Search of Lost Time has the dense richness of poetry, and just like any other art it often takes on a life of its own and can assume meaning that may not have even been intended by the artist. This single paragraph from a voluminous work was crafted with enough detail that it offers a window of insight into a character so real that it’s as if the reader has entered the thoughts of a living person. To delve into the layers of Swann’s internal monologue reveals much about his character, his views on French society at that time, and also voices a commentary about the middle class so universal that it appears to hold true in modern times.