他在書桌上放上一張《耶斯羅的女兒》的複製品，權當是奧黛特的相片。他欣賞她的大眼睛，隱約顯示出皮膚有些缺陷的那張纖細的臉龐，沿著略現倦容的面頰上的其妙無比的髮髻；他把從美學觀點所體會的美運用到一個女人身上，把這美化為他樂於在他可能佔有的女人身上全都體現出來的體態上的優點。有那麼一種模糊的同感力，它會把我們吸引到我們所觀賞的藝術傑作上去，現在他既然認識了《耶斯羅的女兒》有血有肉的原型，這種同感就變成一種欲念，從此填補了奧黛特的肉體以前從沒有在他身上激起的欲念。當他長時間注視波堤切利這幅作品以後，他就想起了他自己的“波堤切利”，覺得比畫上的還美，因此，當他把塞福拉的相片拿到身邊的時候，他仿佛是把奧黛特緊緊摟在胸前。

(p.245 追憶似水年華 I 在斯萬家那邊 聯經版 1992)  

On his study table, at which he worked, he had placed, as it were a photograph of Odette, a reproduction of Jethro’s Daughter. He would gaze in admiration at the large eyes, the delicate features in which the imperfection of her skin might be surmised, the marvellous locks of hair that fell along her tired cheeks; and, adapting what he had already felt to be beautiful, on aesthetic grounds, to the idea of a living woman, he converted it into a series of physical merits which he congratulated himself on finding assembled in the person of one whom he might, ultimately, possess. The vague feeling of sympathy which attracts a spectator to a work of art, now that he knew the type, in warm flesh and blood, of Jethro’s Daughter, became a desire which more than compensated, thenceforward, for that with which Odette’s physical charms had at first failed to inspire him. When he had sat for a long time gazing at the Botticelli, he would think of his own living Botticelli, who seemed all the lovelier in contrast, and as he drew towards him the photograph of Zipporah he would imagine that he was holding Odette against his heart.

(Translated by C. K. Scott Moncrieff ) 

Il plaça sur sa table de travail, comme une photographie d’Odette, une reproduction de la fille de Jéthro. Il admirait les grands yeux, le délicat visage qui laissait deviner la peau imparfaite, les boucles merveilleuses des cheveux le long des joues fatiguées, et adaptant ce qu’il trouvait beau jusque-là d’une façon esthétique à l’idée d’une femme vivante, il le transformait en mérites physiques qu’il se félicitait de trouver réunis dans un être qu’il pourrait posséder. Cette vague sympathie qui nous porte vers un chef-d’oeuvre que nous regardons, maintenant qu’il connaissait l’original charnel de la fille de Jéthro, elle devenait un désir qui suppléa désormais à celui que le corps d’Odette ne lui avait pas d’abord inspiré. Quand il avait regardé longtemps ce Botticelli, il pensait à son Botticelli à lui qu’il trouvait plus beau encore et, approchant de lui la photographie de Zéphora, il croyait serrer Odette contre son coeur.

(l’édition Gallimard, Paris, 1946-47 )