So that even drawing-rooms cannot be portrayed in a static immobility which has been conventionally employed up to this point for the study of characters, though these too must be carried along in an almost historical flow. The thirst for novelty that leads men of the world who are more or less sincere in their eagerness for information as to intellectual evolution to frequent the circles in which they can trace its development makes them prefer as a rule some hostess as yet undiscovered, who represents still in their first freshness the hopes of a superior culture so faded and tarnished in the women who for long years have wielded the social sceptre and who, having no secrets from these men, no longer appeal to their imagination.
And every age finds itself personified thus in fresh women, in a fresh group of women, who, closely adhering to whatever may at that moment be the latest object of interest, seem, in their attire, to be at that moment making their first public appearance, like an unknown species, born of the last deluge, irresistible beauties of each new Consulate, each new Directory. But very often the new hostess is simply like certain statesmen who may be in office for the first time but have for the last forty years been knocking at every door without seeing any open, women who were not known in society but who nevertheless had been receiving, for years past, and failing anything better, a few ‘chosen friends’ from its ranks.
To be sure, this is not always the case, and when, with the prodigious flowering of the Russian Ballet, revealing one after another Bakst, Nijinski, Benoist, the genius of Stravinski, Princess Yourbeletieff, the youthful sponsor of all these new great men, appeared bearing on her head an immense, quivering egret, unknown to the women of Paris, which they all sought to copy, one might have supposed that this marvellous creature had been imported in their innumerable baggage, and as their most priceless treasure, by the Russian dancers; but when presently, by her side, in her stage box, we see, at every performance of the ‘Russians,’ seated like a true fairy godmother, unknown until that moment to the aristocracy, Mme. Verdurin, we shall be able to tell the society people who naturally supposed that Mme. Verdurin had recently entered the country with Diaghileff’s troupe, that this lady had already existed in different periods, and had passed through various avatars of which this is remarkable only in being the first that is bringing to pass at last, assured henceforth, and at an increasingly rapid pace, the success so long awaited by the Mistress.
In Mme. Swann’s case, it is true, the novelty she represented had not the same collective character. Her drawing-room was crystallised round a man, a dying man, who had almost in an instant passed, at the moment when his talent was exhausted, from obscurity to a blaze of glory. The passion for Bergotte’s works was unbounded. He spent the whole day, on show, at Mme. Swann’s, who would whisper to some influential man: “I shall say a word to him, he will write an article for you.” He was, for that matter, quite capable of doing so and even of writing a little play for Mme. Swann. A stage nearer to death, he was not quite so feeble as at the time when he used to come and inquire after my grandmother. This was because intense physical suffering had enforced a regime on him. Illness is the doctor to whom we pay most heed: to kindness, to knowledge we make promises only; pain we obey.
It is true that the Verdurins and their little clan had at this time a far more vital interest than the drawing-room, faintly nationalist, more markedly literary, and pre-eminently Bergottic, of Mme. Swann. The little clan was in fact the active centre of a long political crisis which had reached its maximum of intensity: Dreyfusism. But society people were for the most part so violently opposed to the appeal that a Dreyfusian house seemed to them as inconceivable a thing as, at an earlier period, a Communard house.
The Principessa di Caprarola, who had made Mme. Verdurin’s acquaintance over a big exhibition which she had organised, had indeed been to pay her a long call, in the hope of seducing a few interesting specimens of the little clan and incorporating them in her own drawing-room, a call in the course of which the Princess (playing the Duchesse de Guermantes in miniature) had made a stand against current ideas, declared that the people in her world were idiots, all of which, thought Mme. Verdurin, shewed great courage. But this courage was not, in the sequel, to go the length of venturing, under fire of the gaze of nationalist ladies, to bow to Mme. Verdurin at the Balbec races.
With Mme. Swann, on the contrary, the anti-Dreyfusards gave her credit for being ‘sound,’ which, in a woman married to a Jew, was doubly meritorious. Nevertheless, the people who had never been to her house imagined her as visited only by a few obscure Israelites and disciples of Bergotte. In this way we place women far more outstanding than Mme. Swann on the lowest rung of the social ladder, whether on account of their origin, or because they do not care about dinner parties and receptions at which we never see them, and suppose this, erroneously, to be due to their not having been invited, or because they never speak of their social connexions, but only of literature and art, or because people conceal the fact that they go to their houses, or they, to avoid impoliteness to yet other people, conceal the fact that they open their doors to these, in short for a thousand reasons which, added together, make of one or other of them in certain people’s eyes, the sort of woman whom one does not know.
So it was with Odette. Mme. d’Epinoy, when busy collecting some subscription for the ‘Patrie Française,’ having been obliged to go and see her, as she would have gone to her dressmaker, convinced moreover that she would find only a lot of faces that were not so much impossible as completely unknown, stood rooted to the ground when the door opened not upon the drawing-room she imagined but upon a magic hall in which, as in the transformation scene of a pantomime, she recognised in the dazzling chorus, half reclining upon divans, seated in armchairs, addressing their hostess by her Christian name, the royalties, the duchesses, whom she, the Princesse d’Epinoy, had the greatest difficulty in enticing into her own drawing-room, and to whom at that moment, beneath the benevolent eyes of Odette, the Marquis du Lau, Comte Louis de Turenne, Prince Borghese, the Duc d’Estrées, carrying orangeade and cakes, were acting as cupbearers and henchmen. The Princesse d’Epinoy, as she instinctively made people’s social value inherent in themselves, was obliged to disincarnate Mme. Swann and reincarnate her in a fashionable woman.
Our ignorance of the real existence led by the women who do not advertise it in the newspapers draws thus over certain situations (thereby helping to differentiate one house from another) a veil of mystery. In Odette’s case, at the start, a few men of the highest society, anxious to meet Bergotte, had gone to dine, quite quietly, at her house. She had had the tact, recently acquired, not to advertise their presence, they found when they went there, a memory perhaps of the little nucleus, whose traditions Odette had preserved in spite of the schism, a place laid for them at table, and so forth.
Odette took them with Bergotte (whom these excursions, incidentally, finished off) to interesting first nights. They spoke of her to various women of their own world who were capable of taking an interest in such a novelty. These women were convinced that Odette, an intimate friend of Bergotte, had more or less collaborated in his works, and believed her to be a thousand times more intelligent than the most outstanding women of the Faubourg, for the same reason that made them pin all their political faith to certain Republicans of the right shade such as M. Doumer and M. Deschanel, whereas they saw France doomed to destruction were her destinies entrusted to the Monarchy men who were in the habit of dining with them, men like Charette or Doudeauville.
This change in Odette’s status was carried out, so far as she was concerned, with a discretion that made it more secure and more rapid but allowed no suspicion to filter through to the public that is prone to refer to the social columns of the Gaulois for evidence as to the advance or decline of a house, with the result that one day, at the dress rehearsal of a play by Bergotte, given in one of the most fashionable theatres in aid of a charity, the really dramatic moment was when people saw enter the box opposite, which was that reserved for the author, and sit down by the side of Mme. Swann, Mme. de Marsantes and her who, by the gradual self-effacement of the Duchesse de Guermantes (glutted with fame, and retiring to save the trouble of going on), was on the way to becoming the lion, the queen of the age, Comtesse Mole. “We never even supposed that she had begun to climb,” people said of Odette as they saw Comtesse Molé enter her box, “and look, she has reached the top of the ladder.”
So that Mme. Swann might suppose that it
