too deep-rooted for him to seek to give expression to it. And his good-natured silence when anyone broached these topics moved the profane heart as a proof of the same delicacy that a priest shews in avoiding any reference to your religious duties, a financier when he takes care not to recommend your investing in the companies which he himself controls, a strong man when he behaves with lamblike gentleness and does not 260hit you in the jaw. “I know you’re related to Admiral Jurien de la Gravière,” was murmured to me with an air of connivance by Mme. de Varambon, the lady in waiting to the Princesse de Parme, an excellent but limited woman, procured for the Princess in the past by the Duke’s mother. She had not previously uttered a word to me, and I could never afterwards, despite the admonitions of the Princess and my own protestations, get out of her mind the idea that I was in some way connected with the Academician Admiral, who was a complete stranger to me. The obstinate persistence of the Princesse de Parme’s lady in waiting in seeing in me a nephew of Admiral Jurien de la Gravière was in itself quite an ordinary form of silliness. But the mistake she made was only a crowning instance of all the other mistakes, less serious, more elaborate, unconscious or deliberate, which accompany one’s name on the label which society writes out and attaches to one. I remember that a friend of the Guermantes who had expressed a keen desire to meet me gave me as the reason that I was a great friend of his cousin, Mme. de Chaussegros. “She is a charming person, she’s so fond of you.” I scrupulously, though quite vainly, insisted on the fact that there must be some mistake, as I did not know Mme. de Chaussegros. “Then it’s her sister you know; it comes to the same thing. She met you in Scotland.” I had never been in Scotland, and took the futile precaution, in my honesty, of letting my informant know this. It was Mme. de Chaussegros herself who had said that she knew me, and no doubt sincerely believed it, as a result of some initial confusion, for from that time onwards she never failed to hold out her hand to me whenever she saw me. And as, after all, the world in 261which I moved was precisely that in which Mme. de Chaussegros moved my modesty had neither rhyme nor reason. To say that I was intimate with the Chaussegros was, literally, a mistake, but from the social point of view was to state an equivalent of my position, if one can speak of the social position of so young a man as I then was. It therefore mattered not in the least that this friend of the Guermantes should tell me only things that were false about myself, he neither lowered nor exalted me (from the worldly point of view) in the idea which he continued to hold of me. And when all is said, for those of us who are not professional actors the tedium of living always in the same character is removed for a moment, as if we were to go on the boards, when another person forms a false idea of us, imagines that we are friends with a lady whom we do not know and are reported to have met in the course of a delightful tour of a foreign country which we have never made. Errors that multiply themselves and are harmless when they have not the inflexible rigidity of this one which had been committed, and continued for the rest of her life to be committed, in spite of my denials, by the imbecile lady in waiting to Mme. de Parme, rooted for all time in the belief that I was related to the tiresome Admiral Jurien de la Gravière. “She is not very strong in her head,” the Duke confided to me, “and besides, she ought not to indulge in too many libations. I fancy, she’s slightly under the influence of Bacchus.” As a matter of fact Mme. de Varambon had drunk nothing but water, but the Duke liked to find scope for his favourite figures of speech. “But Zola is not a realist, Ma’am, he’s a poet!” said Mme. de Guermantes, drawing inspiration from the critical essays which she had 262read in recent years and adapting them to her own personal genius. Agreeably buffeted hitherto, in the course of this bath of wit, a bath stirred for herself, which she was taking this evening and which, she considered, must be particularly good for her health, letting herself be swept away by the waves of paradox which curled and broke one after another, before this, the most enormous of them all, the Princesse de Parme jumped for fear of being knocked over. And it was in a choking voice, as though she were quite out of breath, that she now gasped: “Zola a poet!” “Why, yes,” answered the Duchess with a laugh, entranced by this display of suffocation. “Your Highness must have remarked how he magnifies everything he touches. You will tell me that he touches just what—perish the thought! But he makes it into something colossal. His is the epic dungheap. He is the Homer of the sewers! He has not enough capitals to print Cambronne’s word.” Despite the extreme exhaustion which she was beginning to feel, the Princess was enchanted; never had she felt better. She would not have exchanged for an invitation to Schönbrunn, albeit that was the one thing that really flattered her, these divine dinner-parties at Mme. de Guermantes’s, made invigorating by so liberal a dose of attic salt. “He writes it with a big ‘C’,” cried Mme. d’Arpajon. “Surely with a big ‘M’, I think, my dear,” replied Mme. de Guermantes, exchanging first with her husband a merry glance which implied: “Did you ever hear such an idiot?” “Wait a minute, now,” Mme. de Guermantes turned to me, fixing on me a tender, smiling gaze, because, as an accomplished hostess, she was anxious to display her own knowledge of the artist who interested me specially, to give me, if I required it, 263an opportunity for exhibiting mine. “Wait,” she urged me, gently waving her feather fan, so conscious was she at this moment that she was performing in full the duties of hospitality, and, that she might be found wanting in none of them, making a sign also to the servants to help me to more of the asparagus and mousseline sauce: “wait, now, I do believe that Zola has actually written an essay on Elstir, the painter whose things you were looking at just now—the only ones of his, really, that I care for,” she concluded. As a matter of fact she hated Elstir’s work, but found a unique quality in anything that was in her own house. I asked M. de Guermantes if he knew the name of the gentleman in the tall hat who figured in the picture of the crowd and whom I recognised as the same person whose portrait the Guermantes also had and had hung beside the other, both dating more or less from the same early period in which Elstir’s personality was not yet completely established and he derived a certain inspiration from Manet. “Good Lord, yes,” he replied, “I know it’s a fellow who is quite well-known and no fool either, in his own line, but I have no head for names. I have it on the tip of my tongue, Monsieur … Monsieur … oh, well, it doesn’t matter, I can’t remember it. Swann would be able to tell you, it was he who made Mme. de Guermantes buy all that stuff; she is always too good-natured, afraid of hurting people’s feelings if she refuses to do things; between ourselves, I believe he’s landed us with a lot of rubbish. What I can tell you is that the gentleman you mean has been a sort of Maecenas to M. Elstir, he started him and has often helped him out of tight places by ordering pictures from him. As a compliment to this man—if you can call that sort of thing a 264compliment—he has painted him standing about among that crowd, where with his Sunday-go-to-meeting look he creates a distinctly odd effect. He may be a big gun in his own way but he is evidently not aware of the proper time and place for a top hat. With that thing on his head, among all those bare-headed girls, he looks like a little country lawyer on the razzle-dazzle. But tell me, you seem quite gone on his pictures. If I had only known, I should have got up the subject properly. Not that there’s any need to rack one’s brains over the meaning of M. Elstir’s work, as one would for Ingres’s Source or the Princes in the Tower by Paul Delaroche. What one appreciates in his work is that it’s shrewdly observed, amusing, Parisian, and then one passes on to the next thing. One doesn’t need to be an expert to look at that sort of thing. I know of course that they’re merely sketches, still, I don’t feel myself that he puts enough work into them. Swann was determined that we should buy a Bundle of Asparagus. In fact it was in the house for several days. There was nothing else in the picture, a bundle of asparagus exactly like what you’re eating now. But I