“But what about Mme Verdurin?”
“Oh, that’s quite simple. I need only say that my dress wasn’t ready, or that my cab came late. There’s always some excuse.”
“How sweet of you.”
But Swann told himself that if he could make Odette feel (by consenting to meet her only after dinner) that there were other pleasures which he preferred to that of her company, then the desire that she felt for his would be all the longer in reaching the point of satiety. Besides, as he infinitely preferred to Odette’s style of beauty that of a young seamstress, as fresh and plump as a rose, with whom he was smitten, he preferred to spend the first part of the evening with her, knowing that he was sure to see Odette later on. It was for the same reason that he never allowed Odette to call for him at his house, to take him on to the Verdurins’. The little seamstress would wait for him at a street corner which Rémi, his coachman, knew; she would jump in beside him, and remain in his arms until the carriage drew up at the Verdurins’. He would enter the drawing-room; and there, while Mme Verdurin, pointing to the roses which he had sent her that morning, said: “I’m furious with you,” and sent him to the place kept for him beside Odette, the pianist would play to them—for their two selves—the little phrase by Vinteuil which was, so to speak, the national anthem of their love. He would begin with the sustained tremolos of the violin part which for several bars were heard alone, filling the whole foreground; until suddenly they seemed to draw aside, and—as in those interiors by Pieter de Hooch which are deepened by the narrow frame of a half-opened door, in the far distance, of a different colour, velvety with the radiance of some intervening light—the little phrase appeared, dancing, pastoral, interpolated, episodic, belonging to another world. It rippled past, simple and immortal, scattering on every side the bounties of its grace, with the same ineffable smile; but Swann thought that he could now discern in it some disenchantment. It seemed to be aware how vain, how hollow was the happiness to which it showed the way. In its airy grace there was the sense of something over and done with, like the mood of philosophic detachment which follows an outburst of vain regret. But all this mattered little to him; he contemplated the little phrase less in its own light—in what it might express to a musician who knew nothing of the existence of him and Odette when he had composed it, and to all those who would hear it in centuries to come—than as a pledge, a token of his love, which made even the Verdurins and their young pianist think of Odette at the same time as himself—which bound her to him by a lasting tie; so much so that (whimsically entreated by Odette) he had abandoned the idea of getting some professional to play over to him the whole sonata, of which he still knew no more than this one passage. “Why do you want the rest?” she had asked him. “Our little bit; that’s all we need.” Indeed, agonised by the reflection, as it floated by, so near and yet so infinitely remote, that while it was addressed to them it did not know them, he almost regretted that it had a meaning of its own, an intrinsic and unalterable beauty, extraneous to themselves, just as in the jewels given to us, or even in the letters written to us by a woman we love, we find fault with the water of the stone, or with the words of the message, because they are not fashioned exclusively from the essence of a transient liaison and a particular person.
Often it would happen that he had stayed so long with the young seamstress before going to the Verdurins’ that, as soon as the little phrase had been rendered by the pianist, Swann realised that it was almost time for Odette to go home. He used to take her back as far as the door of her little house in the Rue La Pérouse, behind the Arc de Triomphe. And it was perhaps on this account, and so as not to demand the monopoly of her favours, that he sacrificed the pleasure (not so essential to his well-being) of seeing her earlier in the evening, of arriving with her at the Verdurins’, to the exercise of this other privilege which she accorded him of their leaving together; a privilege he valued all the more because it gave him the feeling that no one else would see her, no one would thrust himself between them, no one could prevent him from remaining with her in spirit, after he had left her for the night.
And so, night after night, she would return home in Swann’s carriage. Once, after she had got down, and while he stood at the gate murmuring “Till tomorrow, then,” she turned impulsively from him, plucked a last lingering chrysanthemum from the little garden in front of the house, and gave it to him before he left. He held it pressed to his lips during the drive home, and when in due course the flower withered, he put it away carefully in a drawer of his desk.
But he never went into her house. Twice only, in the daytime, had he done so, to take part in the ceremony—of such vital importance in her life—of “afternoon tea.” The loneliness and emptiness of those short streets (consisting almost entirely of low-roofed houses, self-contained but not detached, their monotony interrupted here and there by the dark intrusion of some sinister workshop, at once an historical witness to and a sordid survival from the days when the district was still one of ill repute), the snow which still clung to the garden-beds and the branches of the trees, the unkemptness of the season, the proximity of nature, had all combined to add an element of mystery to the warmth, the flowers, the luxury which he had found inside.
From the ground floor, somewhat raised above street level, leaving on the left Odette’s bedroom, which looked out to the back over another little street running parallel with her own, he had climbed a staircase that went straight up between dark painted walls hung with Oriental draperies, strings of Turkish beads, and a huge Japanese lantern suspended by a silken cord (which last, however, so that her visitors should not be deprived of the latest comforts of Western civilisation, was lighted by a gas-jet inside), to the two drawing-rooms, large and small. These were entered through a narrow vestibule, the wall of which, chequered with the lozenges of a wooden trellis such as you see on garden walls, only gilded, was lined from end to end by a long rectangular box in which bloomed, as in a hothouse, a row of large chrysanthemums, at that time still uncommon though by no means so large as the mammoth specimens which horticulturists have since succeeded in producing. Swann was irritated, as a rule, by the sight of these flowers, which had then been fashionable in Paris for about a year, but it had pleased him, on this occasion, to see the gloom of the vestibule shot with rays of pink and gold and white by the fragrant petals of these ephemeral stars, which kindle their cold fires in the murky atmosphere of winter afternoons. Odette had received him in a pink silk dressing-gown, which left her neck and arms bare. She had made him sit down beside her in one of the many mysterious little alcoves which had been contrived in the various recesses of the room, sheltered by enormous palms growing out of pots of Chinese porcelain, or by screens upon which were fastened photographs and fans and bows of ribbon. She had said at once, “You’re not comfortable there; wait a minute, I’ll arrange things for you,” and with a little simpering laugh which implied that some special invention of her own was being brought into play, she had installed behind his head and beneath his feet great cushions of Japanese silk which she pummelled and buffeted as though to prove that she was prodigal of these riches, regardless of their value. But when her footman came into the room bringing, one after another, the innumerable lamps which (contained, mostly, in porcelain vases) burned singly or in pairs upon the different pieces of furniture as upon so many altars, rekindling in the twilight, already almost nocturnal, of this winter afternoon the glow of a sunset more lasting, more roseate, more human—filling, perhaps, with romantic wonder the thoughts of some solitary lover wandering in the street below and brought to a standstill before the mystery of the human presence which those lighted windows at once revealed and screened from sight—she had kept a sharp eye on the servant, to see that he set them down in their appointed places. She felt that if he were to put even one of them where it ought not to be the general effect of her drawing-room would be destroyed, and her portrait, which rested upon a sloping easel draped with plush, inadequately lit. And so
she followed the man’s clumsy movements with feverish impatience, scolding him severely when he passed too close to a pair of jardinières, which she made a point of always cleaning herself for fear that they might be damaged, and went across to examine now to make sure he had not chipped them. She found something “quaint” in the shape of each of her Chinese ornaments, and also in her orchids, the cattleyas especially—these being, with chrysanthemums, her favourite flowers, because they had the supreme merit of not looking like flowers, but of being made, apparently, of silk or satin. “This one looks just as though it had been cut out of the lining of my cloak,” she said to Swann, pointing to an orchid, with a shade of respect in her voice for so “chic” a flower, for this elegant, unexpected sister whom nature had bestowed upon her, so far removed from her in the scale of existence, and yet so delicate, so refined, so much more worthy than many real women of admission to her drawing-room. As she drew his attention, now to the fiery-tongued dragons painted on a bowl or stitched on a screen, now to a fleshy cluster of orchids, now to a dromedary of inlaid silverwork with ruby eyes which kept company, upon her mantelpiece, with a toad carved in jade, she would pretend now to be shrinking from the ferocity of the monsters or laughing at their absurdity, now blushing at the indecency of the flowers, now carried away by an irresistible desire to run across and kiss the toad and dromedary, calling them “darlings.” And these affectations were in sharp contrast to the sincerity of some of her attitudes, notably her devotion to Our Lady of Laghet, who had once, when Odette was living at Nice, cured her of a mortal illness, and whose medal, in gold, she always carried on her person, attributing to it unlimited powers. She poured out Swann’s tea, inquired “Lemon or cream?” and, on his answering “Cream, please,” said to him with a laugh: “A cloud!” And as he pronounced it excellent, “You see, I know just how you like it.” This tea had indeed seemed to Swann, just as it seemed to her, something precious, and love has such a need to find some justification for itself, some guarantee of duration, in pleasures which without it would have no existence and must cease with its passing, that when he left her at seven o’clock to go and dress for the evening, all the way home in his brougham, unable to repress the happiness with which the afternoon’s adventure had filled him, he kept repeating to himself: “How nice it would be to have a little woman like that in whose house one could always be certain of finding, what one never can be certain of finding, a really good cup of tea.” An hour or so later he received a note from Odette, and at once recognised that large handwriting in which an affectation of British stiffness imposed an apparent discipline upon ill-formed characters, suggestive, perhaps, to less biased eyes than his, of an untidiness of mind, a fragmentary education, a want of sincerity and will-power. Swann had left his cigarette-case at her house. “If only,” she wrote, “you had also forgotten your heart! I should never have let you have that back.”
More important, perhaps, was a second visit which he paid her a little later. On his way to the house, as always when he knew that they were to meet, he formed a picture of her in his mind; and the necessity, if he was to find any beauty in her face, of concentrating on the fresh and rosy cheekbones to the exclusion of the rest of her cheeks which were so often drawn and sallow, and sometimes mottled with little red spots, distressed him as proving that the ideal is unattainable and happiness mediocre. He was bringing her an engraving which she had asked to see. She was not very well, and received him in a dressing-gown of mauve crêpe de Chine, drawing its richly embroidered material over her bosom like a cloak. Standing there beside him, her loosened hair flowing down her cheeks, bending one knee in a slightly balletic pose in order to be able to lean without effort over the picture at which she was gazing, her head on one side, with those great eyes of hers which seemed so tired and sullen when there was nothing to animate her, she struck Swann by her resemblance to the figure of Zipporah, Jethro’s daughter, which is to be seen in one of the Sistine frescoes. He had always found a peculiar fascination in tracing in the paintings of the old masters not merely the general characteristics of the people whom he encountered in his daily life, but rather what seems least susceptible of generalisation, the individual features of men and women whom he knew: as, for instance, in a bust of the Doge Loredan by Antonio Rizzo, the prominent cheekbones, the slanting eyebrows, in short, a speaking likeness to his own coachman Rémi; in the colouring of a Ghirlandaio, the nose of M. de Palancy; in a portrait by Tintoretto, the invasion of the cheek by an outcrop of whisker, the broken nose, the penetrating stare, the swollen eyelids of Dr du Boulbon. Perhaps, having always regretted, in his heart, that he had confined his attention to the social side of life, had talked, always, rather than acted, he imagined a sort of indulgence bestowed upon him by those great artists in the fact that they also had regarded with pleasure and had introduced into their works such types of physiognomy as give those works the strongest possible certificate of reality and truth to life, a modern, almost a topical savour; perhaps, also, he had so far succumbed to the prevailing frivolity of the world of fashion that he felt the need to find in an old masterpiece some such anticipatory and rejuvenating allusion to personalities of today. Perhaps, on the other hand, he had retained enough of the artistic temperament to be able to find a genuine satisfaction in watching these individual characteristics take on a more general significance when he saw them, uprooted and disembodied, in the resemblance between an historic portrait and a modern original whom it was not intended to represent. However that might be—and perhaps because the abundance of impressions which he had been receiving for some time past, even though they had come to him rather through the channel of his appreciation of music, had enriched his appetite for painting as well—it was with an unusual intensity of pleasure, a pleasure destined to have a lasting effect upon him, that Swann remarked Odette’s resemblance to the Zipporah of that Alessandro de Mariano to whom people more willingly give his popular surname, Botticelli, now that it suggests not so much the actual work of the Master as that false and banal conception of it which has of late obtained common currency. He no longer based his estimate of the merit of Odette’s face on the doubtful quality of her cheeks and the purely fleshy softness which he supposed would greet his lips there should he ever hazard a kiss, but regarded it rather as a skein of beautiful, delicate lines which his eyes unravelled, following their curves and convolutions, relating the rhythm of the neck to the effusion of the hair and the droop of the eyelids, as though in a portrait of her in which her type was made clearly intelligible.
He stood gazing at her; traces of the old fresco were apparent in her face and her body, and these he tried incessantly to recapture thereafter, both when he was with Odette and when he was only thinking of her in her absence; and, although his admiration for the Florentine masterpiece was doubtless based upon his discovery that it had been reproduced in her, the similarity enhanced her beauty also, and made her more precious. Swann reproached himself with his failure, hitherto, to estimate at her true worth a creature whom the great Sandro would have adored, and was gratified that his pleasure in seeing Odette should have found a justification in his own aesthetic culture. He told himself that in associating the thought of Odette with his dreams of ideal happiness he had not resigned himself to a stopgap as inadequate as he had hitherto supposed, since she satisfied his most refined predilections in matters of art. He failed to observe that this quality would not naturally avail to bring Odette into the category of women whom he found desirable, since, as it happened, his desires had always run counter to his aesthetic taste. The words “Florentine painting” were invaluable to Swann. They enabled him, like a title, to introduce the image of Odette into a world of dreams and fancies which, until then, she had been debarred from entering, and where she assumed a new and nobler form. And whereas the mere sight of her in the flesh, by perpetually reviving his misgivings as to the quality of her face, her body, the whole of her beauty, cooled the ardour of his love, those misgivings were swept away and
that love confirmed now that he could re-erect his estimate of her on the sure foundations of aesthetic principle; while the kiss, the physical possession which would have seemed natural and but moderately attractive had they been granted him by a creature of somewhat blemished flesh and sluggish blood, coming, as they now came, to crown his adoration of a masterpiece in a gallery, must, it seemed, prove supernaturally delicious.
And when he was tempted to regret that, for months past, he had done nothing but see Odette, he would assure himself that he was not unreasonable in giving up much of his time to an inestimably precious work of art, cast for once in a new, a different, an especially delectable metal, in an unmatched exemplar which he would contemplate at one moment with the humble, spiritual, disinterested mind of an artist, at another with the pride, the selfishness, the sensual thrill of a collector.
He placed on his study table, as if it were a photograph of Odette, a reproduction of Jethro’s daughter. He would gaze in admiration at the large eyes, the delicate features in which the imperfection of the skin might be surmised, the marvellous locks of hair that fell along the tired cheeks; and, adapting to the idea of a living woman what he had until then felt to be beautiful on aesthetic grounds, he converted it into a series of physical merits which he was gratified to find assembled in the person of one whom he might ultimately possess. The vague feeling of sympathy which attracts one to a work of art, now that he knew the original in flesh and blood of Jethro’s daughter, became a desire which more than compensated, thenceforward, for the desire which Odette’s physical charms had at first failed to inspire in him. When he had sat for a long time gazing at the Botticelli, he would think of his own living Botticelli, who seemed even lovelier still, and as he drew towards him the photograph of Zipporah he would imagine that he was holding Odette against his heart.
In Search of Lost Time, Volume I Page 30
