In Search Of Lost Time. Volumes 1 to 7. Marcel Proust

not to say that, for once that she had consented to spend a few minutes in Mme. de Saint-Euverte’s house, the Princesse des Laumes would not have wished (so that the act of politeness to her hostess which she had performed by coming might, so to speak, ‘count double’) to shew herself as friendly and obliging as possible. But she had a natural horror of what she called ‘exaggerating,’ and always made a point of letting people see that she ‘simply must not’ indulge in any display of emotion that was not in keeping with the tone of the circle in which she moved, although such displays never failed to make an impression upon her, by virtue of that spirit of imitation, akin to timidity, which is developed in the most self-confident persons, by contact with an unfamiliar environment, even though it be inferior to their own. She began to ask herself whether these gesticulations might not, perhaps, be a necessary concomitant of the piece of music that was being played, a piece which, it might be, was in a different category from all the music that she had ever heard before; and whether to abstain from them was not a sign of her own inability to understand the music, and of discourtesy towards the lady of the house; with the result that, in order to express by a compromise both of her contradictory inclinations in turn, at one moment she would merely straighten her shoulder-straps or feel in her golden hair for the little balls of coral or of pink enamel, frosted with tiny diamonds, which formed its simple but effective ornament, studying, with a cold interest, her impassioned neighbour, while at another she would beat time for a few bars with her fan, but, so as not to forfeit her independence, she would beat a different time from the pianist’s. When he had finished the Liszt Intermezzo and had begun a Prelude by Chopin, Mme. de Cambremer turned to Mme. de Franquetot with a tender smile, full of intimate reminiscence, as well as of satisfaction (that of a competent judge) with the performance. She had been taught in her girlhood to fondle and cherish those long-necked, sinuous creatures, the phrases of Chopin, so free, so flexible, so tactile, which begin by seeking their ultimate resting-place somewhere beyond and far wide of the direction in which they started, the point which one might have expected them to reach, phrases which divert themselves in those fantastic bypaths only to return more deliberately—with a more premeditated reaction, with more precision, as on a crystal bowl which, if you strike it, will ring and throb until you cry aloud in anguish—to clutch at one’s heart.

      Brought up in a provincial household with few friends or visitors, hardly ever invited to a ball, she had fuddled her mind, in the solitude of her old manor-house, over setting the pace, now crawling-slow, now passionate, whirling, breathless, for all those imaginary waltzing couples, gathering them like flowers, leaving the ball-room for a moment to listen, where the wind sighed among the pine-trees, on the shore of the lake, and seeing of a sudden advancing towards her, more different from anything one had ever dreamed of than earthly lovers are, a slender young man, whose voice was resonant and strange and false, in white gloves. But nowadays the old-fashioned beauty of this music seemed to have become a trifle stale. Having forfeited, some years back, the esteem of ‘really musical’ people, it had lost its distinction and its charm, and even those whose taste was frankly bad had ceased to find in it more than a moderate pleasure to which they hardly liked to confess. Mme. de Cambremer cast a furtive glance behind her. She knew that her young daughter-in-law (full of respect for her new and noble family, except in such matters as related to the intellect, upon which, having ‘got as far’ as Harmony and the Greek alphabet, she was specially enlightened) despised Chopin, and fell quite ill when she heard him played. But finding herself free from the scrutiny of this Wagnerian, who was sitting, at some distance, in a group of her own contemporaries, Mme. de Cambremer let herself drift upon a stream of exquisite memories and sensations. The Princesse des Laumes was touched also. Though without any natural gift for music, she had received, some fifteen years earlier, the instruction which a music-mistress of the Faubourg Saint-Germain, a woman of genius who had been, towards the end of her life, reduced to penury, had started, at seventy, to give to the daughters and granddaughters of her old pupils. This lady was now dead. But her method, an echo of her charming touch, came to life now and then in the fingers of her pupils, even of those who had been in other respects quite mediocre, had given up music, and hardly ever opened a piano. And so Mme. des Laumes could let her head sway to and fro, fully aware of the cause, with a perfect appreciation of the manner in which the pianist was rendering this Prelude, since she knew it by heart. The closing notes of the phrase that he had begun sounded already on her lips. And she murmured “How charming it is!” with a stress on the opening consonants of the adjective, a token of her refinement by which she felt her lips so romantically compressed, like the petals of a beautiful, budding flower, that she instinctively brought her eyes into harmony, illuminating them for a moment with a vague and sentimental gaze. Meanwhile Mme. de Gallardon had arrived at the point of saying to herself how annoying it was that she had so few opportunities of meeting the Princesse des Laumes, for she meant to teach her a lesson by not acknowledging her bow. She did not know that her cousin was in the room. A movement of Mme. Franquetot’s head disclosed the Princess. At once Mme. de Gallardon dashed towards her, upsetting all her neighbours; although determined to preserve a distant and glacial manner which should remind everyone present that she had no desire to remain on friendly terms with a person in whose house one might find oneself, any day, cheek by jowl with the Princesse Mathilde, and to whom it was not her duty to make advances since she was not ‘of her generation,’ she felt bound to modify this air of dignity and reserve by some non-committal remark which would justify her overture and would force the Princess to engage in conversation; and so, when she reached her cousin, Mme. de Gallardon, with a stern countenance and one hand thrust out as though she were trying to ‘force’ a card, began with: “How is your husband?” in the same anxious tone that she would have used if the Prince had been seriously ill. The Princess, breaking into a laugh which was one of her characteristics, and was intended at once to shew the rest of an assembly that she was making fun of some one and also to enhance her own beauty by concentrating her features around her animated lips and sparkling eyes, answered: “Why; he’s never been better in his life!” And she went on laughing.

      Mme. de Gallardon then drew herself up and, chilling her expression still further, perhaps because she was still uneasy about the Prince’s health, said to her cousin:

      “Oriane,” (at once Mme. des Laumes looked with amused astonishment towards an invisible third, whom she seemed to call to witness that she had never authorised Mme. de Gallardon to use her Christian name) “I should be so pleased if you would look in, just for a minute, to-morrow evening, to hear a quintet, with the clarinet, by Mozart. I should like to have your opinion of it.”

      She seemed not so much to be issuing an invitation as to be asking favour, and to want the Princess’s opinion of the Mozart quintet just though it had been a dish invented by a new cook, whose talent it was most important that an epicure should come to judge.

      “But I know that quintet quite well. I can tell you now—that I adore it.”

      “You know, my husband isn’t at all well; it’s his liver. He would like so much to see you,” Mme. de Gallardon resumed, making it now a corporal work of charity for the Princess to appear at her party.

      The Princess never liked to tell people that she would not go to their houses. Every day she would write to express her regret at having been kept away—by the sudden arrival of her husband’s mother, by an invitation from his brother, by the Opera, by some excursion to the country—from some party to which she had never for a moment dreamed of going. In this way she gave many people the satisfaction of feeling that she was on intimate terms with them, that she would gladly have come to their houses, and that she had been prevented from doing so only by some princely occurrence which they were flattered to find competing with their own humble entertainment. And then, as she belonged to that witty ‘Guermantes set’—in which there survived something of the alert mentality, stripped of all commonplace phrases and conventional sentiments, which dated from Mérimée, and found its final expression in the plays of Meilhac and Halévy—she adapted its formula so as to suit even her social engagements, transposed it into the courtesy which was always struggling to be positive and precise, to approximate itself to the plain truth. She would never develop at any length to a hostess the expression of her anxiety to be present at her party; she found it more pleasant to disclose to her all the various little incidents on which it would depend whether it was or was not possible for her to come.

      “Listen,