The wisest thing, in view of the historical interest of such an object, would be to steal the fan. But that would be awkward for her—since it is probable that she does not possess another!” he added, with a shout of laughter. “Anyhow, you see that for my sake she came. And that is not the only miracle that I have performed. I do not believe that anyone at the present day has the power to move the people whom I have brought here. However, everyone must be given his due. Charlie and the rest of the musicians played divinely. And, my dear Mistress,” he added condescendingly, “you yourself have played your part on this occasion. Your name will not be unrecorded. History has preserved that of the page who armed Joan of Arc when she set out for battle; indeed you have served as a connecting link, you have made possible the fusion between Vinteuil’s music and its inspired interpreter, you have had the intelligence to appreciate the capital importance of the whole chain of circumstances which would enable the interpreter to benefit by the whole weight of a considerable—if I were not referring to myself, I would say providential—personage, whom you were clever enough to ask to ensure the success of the gathering, to bring before Morel’s violin the ears directly attached to the tongues that have the widest hearing; no, no, it is not a small matter.
There can be no small matter in so complete a realisation. Everything has its part. The Duras was marvellous. In fact, everything; that is why,” he concluded, for he loved to administer a rebuke, “I set my face against your inviting those persons—divisors who, among the overwhelming people whom I brought you would have played the part of the decimal points in a sum, reducing the others to a merely fractional value. I have a very exact appreciation of that sort of thing. You understand, we must avoid blunders when we are giving a party which ought to be worthy of Vinteuil, of his inspired interpreter, of yourself, and, I venture to say, of me. You were prepared to invite the Molé, and everything would have been spoiled. It would have been the little contrary, neutralising drop which deprives a potion of its virtue. The electric lights would have fused, the pastry would not have come in time, the orangeade would have given everybody a stomachache. She was the one person not to invite.
At the mere sound of her name, as in a fairy-tale, not a note would have issued from the brass; the flute and the hautboy would have been stricken with a sudden silence. Morel himself, even if he had succeeded in playing a few bars, would not have been in tune, and instead of Vinteuil’s septet you would have had a parody of it by Beckmesser, ending amid catcalls. I, who believe strongly in personal influence, could feel quite plainly in the expansion of a certain largo, which opened itself right out like a flower, in the supreme satisfaction of the finale, which was not merely allegro but incomparably allegro, that the absence of the Molé was inspiring the musicians and was diffusing joy among the very instruments themselves. In any case, when one is at home to Queens one does not invite one’s hall-portress.” In calling her ‘the Molé’ (as for that matter he said quite affectionately ‘the Duras’) M. de Charlus was doing the lady justice. For all these women were the actresses of society and it is true also that, even regarding her from this point of view, Comtesse Molé did not justify the extraordinary reputation for intelligence that she had acquired, which made one think of those mediocre actors or novelists who, at certain periods, are hailed as men of genius, either because of the mediocrity of their competitors, among whom there is no artist capable of revealing what is meant by true talent, or because of the mediocrity of the public, which, did there exist an extraordinary individuality, would be incapable of understanding it.
In Mme. Molé’s case it is preferable, if not absolutely fair, to stop at the former explanation. The social world being the realm of nullity, there exist between the merits of women in society only insignificant degrees, which are at best capable of rousing to madness the rancours or the imagination of M. de Charlus. And certainly, if he spoke as he had just been speaking in this language which was a precious alloy of artistic and social elements, it was because his old-womanly anger and his culture as a man of the world furnished the genuine eloquence that he possessed with none but insignificant themes.
Since the world of differences does not exist on the surface of the earth, among all the countries which our perception renders uniform, all the more reason why it should not exist in the social ‘world.’ Does it exist anywhere else? Vinteuil’s septet had seemed to tell me that it did. But where? As M. de Charlus also enjoyed repeating what one person had said of another, seeking to stir up quarrels, to divide and reign, he added: “You have, by not inviting her, deprived Mme. Molé of the opportunity of saying:
‘I can’t think why this Mme. Verdurin should invite me. I can’t imagine who these people are, I don’t know them.’ She was saying a year ago that you were boring her with your advances. She’s a fool, never invite her again. After all, she’s nothing so very wonderful. She can come to your house without making a fuss about it, seeing that I come here. In short,” he concluded, “it seems to me that you have every reason to thank me, for, so far as it went, everything has been perfect.
The Duchesse de Guermantes did not come, but one can’t tell, it was better perhaps that she didn’t. We shan’t bear her any grudge, and we shall remember her all the same another time, not that one can help remembering her, her very eyes say to us ‘Forget me not!’, for they are a pair of myosotes” (here I thought to myself how strong the Guermantes spirit—the decision to go to one house and not to another—must be, to have outweighed in the Duchess’s mind her fear of Palamède). “In the face of so complete a success, one is tempted like Bernardin de Saint-Pierre to see everywhere the hand of Providence. The Duchesse de Duras was enchanted. She even asked me to tell you so,” added M. de Charlus, dwelling upon the words as though Mme. Verdurin must regard this as a sufficient honour. Sufficient and indeed barely credible, for he found it necessary, if he was to be believed, to add, completely carried away by the madness of those whom Jupiter has decided to ruin: “She has engaged Morel to come to her house, where the same programme will be repeated, and I even think of asking her for an invitation for M. Verdurin.” This civility to the husband alone was, although no such idea even occurred to M. de Charlus, the most wounding outrage to the wife who, believing herself to possess, with regard to the violinist, by virtue of a sort of ukase which prevailed in the little clan, the right to forbid him to perform elsewhere without her express authorisation, was fully determined to forbid his appearance at Mme. de Duras’s party.
The Baron’s volubility was in itself an irritation to Mme. Verdurin who did not like people to form independent groups within their little clan. How often, even at la Raspelière, hearing M. de Charlus talking incessantly to Charlie instead of being content with taking his part in the so harmonious chorus of the clan, she had pointed to him and exclaimed: “What a rattle [Mme. Verdurin uses here the word tapette, being probably unaware of its popular meaning. C. K. S. M.] he is! What a rattle! Oh, if it comes to rattles, he’s a famous rattle!” But this time it was far worse. Inebriated with the sound of his own voice, M. de Charlus failed to realise that by cutting down the part assigned to Mme. Verdurin and confining it within narrow limits, he was calling forth that feeling of hatred which was in her only a special, social form of jealousy. Mme. Verdurin was genuinely fond of her regular visitors, the faithful of the little clan, but wished them to be entirely devoted to their Mistress.
Willing to make some sacrifice,
