The 2 "ways" in Swann's Way and what they meant to Proust

I think every one of us can identify with the "ways" (cotes) in Proust - established in "Swann's Way" as the Meseglise Ways (or Swann's Way) and the Geurmantes way, the first being, if I can capture this, faster, more aggressive, brighter, a shorter route, but, paradoxically, because it's the shorter it's the one the family generally took during threatening weather so it's associated with rain and downpours; the G way longer, more meandering, more serious and mature and aristocratic - and these two ways obviously represent for the narrator, Marcel, two course in life, one the more artistic and unconventional and the other more traditional - and through the course of the entire A la Recherche he has a choice between the two "ways," the life of an artist or the life of a boulevardier - and we see that as he alternates between his passions and the social conventions, the witticisms of social gatherings. Obviously, in Proust's life and art he drew on both, the G way is as much his materials as Swann's Way. We see through the narrative of Swann's way that this "way" is full of sexuality and eroticism - long passage in which he thinks about meeting a girl along the way, who this would be is entirely uncertain, some peasant girl maybe?, and then the very strange passage in which he sits unobserved and spies through a window on Vinteul's daughter and her "sadism," as Proust calls it - but really it seems much more of a homoeroticism and a strange a violent disrespect for her recently dead father - one of the weirdest scenes in all of Proust in that it's absolutely impossible that Marcel could have sat outside and observed this entire episode through a window.