The Modern Library In Search of Lost Time, Complete and Unabridged : 6-Book Bundle (222 page)

“The Iénas have the same armchair with Wedgwood medallions. It’s a fine piece, but I prefer mine,” said the Duchess, with the same air of impartiality as if she had not been the owner of either of these two pieces of furniture. “I admit, of course, that they’ve got some marvellous things which I haven’t.”

The Princesse de Parme remained silent.

“But it’s quite true; your Highness hasn’t seen their collection. Oh, you ought really to come there one day with me, it’s one of the most magnificent things in Paris. You’d say it was a museum come to life.”

And since this suggestion was one of the most “Guermantes” of the Duchess’s audacities, inasmuch as the Iénas were for the Princesse de Parme rank usurpers, their son bearing like her own the title of Duc de Guastalla, Mme de Guermantes in thus launching it could not refrain (so much did the love that she bore her own originality prevail over the deference due to the Princesse de Parme) from glancing round at her other guests with an amused smile. They too made an effort to smile, at once alarmed, amazed and above all delighted to think that they were being witnesses of Oriane’s very “latest” and could serve it up “piping hot.” They were only half shocked, knowing that the Duchess had the knack of throwing all the Courvoisier prejudices to the wind for the sake of a more striking and enjoyable triumph. Had she not, within the last few years, brought together Princesse Mathilde and the Duc d’Aumale, who had written to the Princess’s own brother the famous letter: “In my family all the men are brave and the women chaste”? And inasmuch as princes remain princely even at those moments when they appear anxious to forget that they are, the Duc d’Aumale and the Princesse Mathilde had enjoyed themselves so greatly at Mme de Guermantes’s that they had afterwards exchanged visits, with that faculty for forgetting the past which Louis XVIII showed when he appointed as a minister Fouché, who had voted the death of his brother. Mme de Guermantes was now nursing a similar project of arranging a reconciliation between the Princesse Murat and the Queen of Naples. In the meantime, the Princesse de Parme appeared as embarrassed as might have been the heirsapparent to the thrones of the Netherlands and Belgium, styled respectively Prince of Orange and Duke of Brabant, had one offered to present to them M. de Mailly-Nesle, Prince d’Orange, and M. de Charlus, Duc de Brabant. But, before anything further could happen, the Duchess, in whom Swann and M. de Charlus between them (albeit the latter was resolute in ignoring the Iénas’ existence) had with great difficulty succeeded in inculcating a taste for the Empire style, exclaimed:

“Honestly, Ma’am, I can’t tell you how beautiful you’ll find it! I must confess that the Empire style has always had a fascination for me. But at the Iénas’ it really is hallucinating. That sort of—what shall I say—reflux from the Egyptian expedition, and then, too, the sort of upsurge into our own times from Antiquity, all those things invading our houses, the Sphinxes crouching at the feet of the armchairs, the snakes coiled round candelabra, a huge Muse who holds out a little torch for you to play cards under, or has quietly climbed on to the mantelpiece and is leaning against your clock; and then all the Pompeian lamps, the little boat-shaped beds which look as if they had been found floating on the Nile so that you expect to see Moses climb out of them, the classical chariots galloping along the bedside tables …”

“They’re not very comfortable to sit in, those Empire chairs,” the Princess ventured.

“No,” the Duchess agreed, “but I love,” she at once added, stressing the point with a smile, “I love being uncomfortable on those mahogany seats covered with ruby velvet or green silk. I love that discomfort of warriors who understand nothing but the curule chair and weave their fasces and stack their laurels in the middle of their main living-room. I can assure you that at the Iénas’ one doesn’t stop to think for a moment of how comfortable one is, when one sees in front of one a great strapping wench of a Victory painted in fresco on the wall. My husband is going to say that I’m a very bad royalist, but I’m terribly wrong-thinking, you know, I can assure you that in those people’s house one comes to love all the big N’s and all the Napoleonic bees. Good heavens, after all, since we hadn’t been exactly surfeited with glory for a good many years under our kings, those warriors who brought home so many crowns that they stuck them even on the arms of the chairs, I must say I think it’s all rather fetching! Your Highness really must.”

“Why, my dear, if you think so,” said the Princess, “but it seems to me that it won’t be easy.”

“But Your Highness will find that it will all go quite smoothly. They are very kind people, and no fools. We took Mme de Chevreuse there,” added the Duchess, knowing the force of this example, “and she was enchanted. The son is really very pleasant … I’m going to tell you something that’s not quite proper,” she went on, “but he has a bedroom, and more especially a bed, in which I should love to sleep—without him! What is even less proper is that I went to see him once when he was ill and lying in it. By his side, on the frame of the bed, there was a sculpted Siren, stretched out at full length, absolutely ravishing, with a mother-of-pearl tail and some sort of lotus flowers in her hand. I assure you,” went on Mme de Guermantes, reducing the speed of her delivery to bring into even bolder relief the words which she seemed to be modelling with the pout of her fine lips, drawing them out with her long expressive hands, directing on the Princess as she spoke a soft, intent, profound gaze, “that with the palm-leaves and the golden crown on one side, it was most moving, it was precisely the same composition as Gustave Moreau’s
Death and the Young Man
(Your Highness must know that masterpiece, of course).”

The Princesse de Parme, who did not know so much as the painter’s name, nodded her head vehemently and smiled ardently, in order to manifest her admiration for this picture. But the intensity of her mimicry could not fill the place of that light which is absent from our eyes so long as we do not understand what people are talking to us about.

“A good-looking boy, I believe?” she asked.

“No, he’s just like a tapir. The eyes are a little those of a Queen Hortense on a lamp-shade. But he probably came to the conclusion that it would be rather absurd for a man to develop such a resemblance, and so it’s lost in the encaustic surface of his cheeks which give him really rather a Mameluke appearance. You feel that the polisher must call round every morning. Swann,” she went on, reverting to the young duke’s bed, “was struck by the resemblance between that Siren and Gustave Moreau’s
Death
. But in fact,” she added, in a more rapid but still serious tone of voice, in order to provoke more laughter, “there was nothing really to get worked up about, for it was only a cold in the head, and the young man is now as fit as a fiddle.”

“They say he’s a snob?” put in M. de Bréauté, with a malicious twinkle, expecting to be answered with the same precision as though he had said: “They tell me that he has only four fingers on his right hand; is that so?”

“G—ood g—racious, n—o,” replied Mme de Guermantes with a smile of benign tolerance. “Perhaps just the least little bit of a snob in appearance, because he’s extremely young, but I should be surprised to hear that he was in reality, for he’s intelligent,” she added, as though there were to her mind some absolute incompatibility between snobbishness and intelligence. “He has wit, too, I’ve known him to be quite amusing,” she said again, laughing with the air of an epicure and expert, as though the act of declaring that a person could be amusing demanded a certain expression of merriment from the speaker, or as though the Duc de Guastalla’s sallies were recurring to her mind as she spoke. “Anyway, as he is never invited anywhere, he can’t have much scope for his snobbishness,” she wound up, oblivious of the fact that this was hardly an encouragement to the Princesse de Parme.

“I cannot help wondering what the Prince de Guermantes, who calls her Mme Iéna, will say if he hears that I’ve been to see her.”

“What!” cried the Duchess with extraordinary vivacity. “Don’t you know that it was we who gave up to Gilbert” (she bitterly regretted that surrender now) “a complete card-room done in the Empire style which came to us from Quiou-Quiou and is an absolute marvel! There was no room for it here, though I think it would look better here than it does in his house. It’s a thing of sheer beauty, half Etruscan, half Egyptian …”

“Egyptian?” queried the Princess, to whom the word Etruscan conveyed little.

“Well, you know, a little of both. Swann told us that, he explained it all to me, only you know I’m such a dunce. But then, Ma’am, what one has to bear in mind is that the Egypt of the Empire cabinet-makers has nothing to do with the historical Egypt, nor their Romans with the Romans nor their Etruria …”

“Indeed,” said the Princess.

“No, it’s like what they used to call a Louis XV costume under the Second Empire, when Anna de Mouchy and dear Brigode’s mother were girls. Basin was talking to you just now about Beethoven. We heard a thing of his played the other day which was really rather fine, though a little stiff, with a Russian theme in it. It’s pathetic to think that he believed it to be Russian. In the same way as the Chinese painters believed they were copying Bellini. Besides, even in the same country, whenever anybody begins to look at things in a slightly new way, nine hundred and ninety-nine people out of a thousand are totally incapable of seeing what he puts before them. It takes at least forty years before they can manage to make it out.”

“Forty years!” the Princess cried in alarm.

“Why, yes,” went on the Duchess, adding more and more to her words (which were practically my own, for I had just been expressing a similar idea to her), thanks to her way of pronouncing them, the equivalent of what on the printed page are called italics, “it’s like a sort of first isolated individual of a species which does not yet exist but is going to multiply in the future, an individual endowed with a kind of
sense
which the human race of his generation does not possess. I can hardly give myself as an instance because I, on the contrary, have always loved any interesting artistic offering from the very start, however novel it might be. But anyway the other day I was with the Grand Duchess in the Louvre and we happened to pass Manet’s
Olympia
. Nowadays nobody is in the least surprised by it. It looks just like an Ingres! And yet, heaven knows how I had to take up the cudgels on behalf of that picture, which I don’t altogether like but which is unquestionably the work of
somebody
. Perhaps the Louvre isn’t quite the place for it.”

“And is the Grand Duchess well?” inquired the Princesse de Parme, to whom the Tsar’s aunt was infinitely more familiar than Manet’s model.

“Yes; we talked about you. After all,” she resumed, clinging to her idea, “the fact of the matter is, as my brother-in-law Palamède always says, that one has between oneself and the rest of the world the barrier of a strange language. Though I admit that there’s no one it’s quite so true of as Gilbert. If it amuses you to go to the Iénas’, you have far too much sense to let your actions be governed by what that poor fellow may think—he’s a dear, innocent creature, but he really lives in another world. I feel nearer, more akin to my coachman, my horses even, than to a man who keeps on harking back to what people would have thought under Philip the Bold or Louis the Fat. Just fancy, when he goes for a walk in the country, he waves the peasants out of his way with his stick, quite affably, saying ‘Get along there, churls!’ In fact I’m as amazed when he speaks to me as if I heard myself addressed by a recumbent figure on an old Gothic tomb. It’s all very well that animated gravestone’s being my cousin; he frightens me, and the only idea that comes into my head is to let him stay in his Middle Ages. Apart from that, I quite admit that he’s never murdered anyone.”

“I’ve just been seeing him at dinner at Mme de Villeparisis’s,” said the General, but without either smiling at or endorsing the Duchess’s pleasantries.

“Was M. de Norpois there?” asked Prince Von, whose mind still ran on the Academy of Moral Sciences.

“Yes,” said the General. “In fact he was talking about your Emperor.”

“It seems the Emperor William is highly intelligent, but he doesn’t care for Elstir’s painting. Not that that’s anything against him,” said the Duchess, “I quite share his point of view. Although Elstir has done a fine portrait of me. You don’t know it? It’s not in the least like me, but it’s an intriguing piece of work. He’s most interesting while one’s sitting to him. He has made me like a little old woman. It’s modelled on
The Women Regents of the Hospice
, by Hals. I expect you know those sublimities, to borrow one of my nephew’s favourite expressions,” the Duchess turned to me, gently flapping her black feather fan. More than erect on her chair, she flung her head nobly backwards, for, while always a great lady, she was a trifle inclined to act the part of the great lady too. I said that I had been once to Amsterdam and The Hague, but that to avoid getting everything muddled up, since my time was limited, I had left out Haarlem.

“Ah! The Hague! What a gallery!” cried M. de Guermantes. I said to him that he had doubtless admired Vermeer’s
View of Delft
. But the Duke was less erudite than arrogant. Accordingly he contented himself with replying in a self-complacent tone, as was his habit whenever anyone spoke to him of a picture in a gallery, or in the Salon, which he did not remember having seen: “If it’s to be seen, I saw it!”

“What? You’ve been to Holland, and you never visited Haarlem!” cried the Duchess. “Why, even if you had only a quarter of an hour to spend in the place, they’re an extraordinary thing to have seen, those Halses. I don’t mind saying that a person who only caught a passing glimpse of them from the top of a tram without stopping, supposing they were hung out to view in the street, would open his eyes pretty wide.”

This remark shocked me as indicating a misconception of the way in which artistic impressions are formed in our minds, and because it seemed to imply that our eye is in that case simply a recording machine which takes snapshots.

M. de Guermantes, rejoicing that she should be speaking to me with so competent a knowledge of the subjects that interested me, appraised his wife’s illustrious presence, listened to what she was saying about Franz Hals, and thought: “She’s thoroughly at home in everything. Our young friend can go home and say that he’s had before his eyes a great lady of the old school, in the full sense of the word, the like of whom couldn’t be found anywhere else today.” Thus I beheld the pair of them, divorced from that name Guermantes in which long ago I had imagined them leading an unimaginable life, now just like other men and other women, merely lagging a little behind their contemporaries, and that not evenly, as in so many households of the Faubourg Saint-Germain where the wife has had the good taste to stop at the golden, the husband the misfortune to come down to the pinchbeck age of the past, she remaining still Louis XV while her partner is pompously Louis-Philippe. That Mme de Guermantes should be like other women had been for me at first a disappointment; it was now, by a natural reaction, and with the help of so many good wines, almost a miracle. A Don John of Austria, an Isabella d’Este, situated for us in the world of names, have as little communication with the great pages of history as the Méséglise way had with the Guermantes. Isabella d’Este was no doubt in reality a very minor princess, similar to those who under Louis XIV obtained no special place at Court. But because she seems to us to be of a unique and therefore incomparable essence, we cannot conceive of her as being any less great than he, so that a supper-party with Louis XIV would appear to us only to be rather interesting, whereas with Isabella d’Este we should find ourselves miraculously transported into the presence of a heroine of romance. Then, after having studied Isabella d’Este, after having transplanted her patiently from that magic world into the world of history, and discovered that her life, her thought, contained nothing of that mysterious strangeness which had been suggested to us by her name, once we have recovered from our disappointment we feel a boundless gratitude to that princess for having had a knowledge of Mantegna’s paintings almost equal to that, hitherto despised by us and put, as Françoise would have said, “lower than the dirt,” of M. Lafenestre. After having scaled the inaccessible heights of the name Guermantes, on descending the inner slope of the life of the Duchess, I felt on finding there the names, familiar elsewhere, of Victor Hugo, Franz Hals and, I regret to say, Vibert, the same astonishment that an explorer, after having taken into account, in order to visualise the singularity of the native customs in some wild valley of Central America or Northern Africa, its geographical remoteness, the strangeness of its place-names and its flora, feels on discovering, once he has made his way through a screen of giant aloes or manchineels, inhabitants who (sometimes indeed among the ruins of a Roman theatre and beneath a column dedicated to Venus) are engaged in reading Voltaire’s
Mérope
or
Alzire
. And, so remote, so distinct from, so superior to the educated women of the middle classes whom I had known, the similar culture by which Mme de Guermantes had made herself, with no ulterior motive, to gratify no ambition, descend to the level of people whom she would never know, had the praiseworthy character, almost touching in its uselessness, of a knowledge of Phoenician antiquities in a politician or a doctor.