IN SEARCH OF LOST TIME - Complete 7 Book Collection (Modern Classics Series). Marcel Proust

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СКАЧАТЬ since Mme. Swann had picked up from a friend whose opinion she valued the word 'dowdy'—which had opened to her a new horizon because it denoted precisely those things which a few years earlier she had considered 'smart'—all those things had, one after another, followed into retirement the gilded trellis that had served as background to her chrysanthemums, innumerable boxes of sweets from Giroux's, and the coroneted note-paper (not to mention the coins of gilt pasteboard littered about on the mantelpieces, which, even before she had come to know Swann, a man of taste had advised her to sacrifice). Moreover in the artistic disorder, the studio-like confusion of the rooms, whose walls were still painted in sombre colours which made them as different as possible from the white-enamelled drawing-rooms in which, a little later, you were to find Mme. Swann installed, the Far East recoiled more and more before the invading forces of the eighteenth century; and the cushions which, to make me 'comfortable,' Mme. Swann heaped up and buffeted into position behind my back were sprinkled with Louis XV garlands and not, as of old, with Chinese dragons. In the room in which she was usually to be found, and of which she would say, "Yes, I like this room; I use it a great deal. I couldn't live with a lot of horrid vulgar things swearing at me all the time; this is where I do my work——" though she never stated precisely at what she was working. Was it a picture? A book, perhaps, for the hobby of writing was beginning to become common among women who liked to 'do something,' not to be quite useless. She was surrounded by Dresden pieces (having a fancy for that sort of porcelain, which she would name with an English accent, saying in any connexion: "How pretty that is; it reminds me of Dresden flowers,"), and dreaded for them even more than in the old days for her grotesque figures and her flower-pots the ignorant handling of her servants who must expiate, every now and then, the anxiety that they had caused her by submitting to outbursts of rage at which Swann, the most courteous and considerate of masters, looked on without being shocked. Not that the clear perception of certain weaknesses in those whom we love in any way diminishes our affection for them; rather that affection makes us find those weaknesses charming. Rarely nowadays was it in one of those Japanese wrappers that Odette received her familiars, but rather in the bright and billowing silk of a Watteau gown whose flowering foam she made as though to caress where it covered her bosom, and in which she immersed herself, looked solemn, splashed and sported, with such an air of comfort, of a cool skin and long-drawn breath, that she seemed to look on these garments not as something decorative, a mere setting for herself, but as necessary, in the same way as her 'tub' or her daily 'outing,' to satisfy the requirements of her style of beauty and the niceties of hygiene. She used often to say that she would go without bread rather than give up 'art' and 'having nice things about her,' and that the burning of the 'Gioconda' would distress her infinitely more than the destruction, by the same element, of 'millions' of the people she knew. Theories which seemed paradoxical to her friends, but made her pass among them as a superior woman, and qualified her to receive a visit once a week from the Belgian Minister, so that in the little world whose sun she was everyone would have been greatly astonished to learn that elsewhere—at the Verdurins', for instance—she was reckoned a fool. It was this vivacity of expression that made Mme. Swann prefer men's society to women's. But when she criticised the latter it was always from the courtesan's standpoint, singling out the blemishes that might lower them in the esteem of men, a lumpy figure, a bad complexion, inability to spell, hairy legs, foul breath, pencilled eyebrows. But towards a woman who had shewn her kindness or indulgence in the past she was more lenient, especially if this woman were now in trouble. She would defend her warmly, saying: "People are not fair to her. I assure you, she's quite a nice woman really."

      It was not only the furniture of Odette's drawing-room, it was Odette herself that Mme. Cottard and all those who had frequented the society of Mme. de Crécy would have found it difficult, if they had not seen her for some little time, to recognise. She seemed to be so much younger. No doubt this was partly because she had grown stouter, was in better condition, seemed at once calmer, more cool, more restful, and also because the new way in which she braided her hair gave more breadth to a face which was animated by an application of pink powder, and into which her eyes and profile, formerly too prominent, seemed now to have been reabsorbed. But another reason for this change lay in the fact that, having reached the turning-point of life, Odette had at length discovered, or invented, a physiognomy of her own, an unalterable 'character,' a 'style of beauty' and on her incoherent features—which for so long, exposed to every hazard, every weakness of the flesh, borrowing for a moment, at the slightest fatigue, from the years to come, a sort of flickering shadow of anility, had furnished her, well or ill, according to how she was feeling, how she was looking, with a countenance dishevelled, inconstant, formless and attractive—had now set this fixed type, as it were an immortal youthfulness.

      Swann had in his room, instead of the handsome photographs that were now taken of his wife, in all of which the same cryptic, victorious expression enabled one to recognise, in whatever dress and hat, her triumphant face and figure, a little old daguerreotype of her, quite plain, taken long before the appearance of this new type, so that the youth and beauty of Odette, which she had not yet discovered when it was taken, appeared to be missing from it. But it is probable that Swann, having remained constant, or having reverted to a different conception of her, enjoyed in the slender young woman with pensive eyes and tired features, caught in a pose between rest and motion, a more Botticellian charm. For he still liked to recognise in his wife one of Botticelli's figures. Odette, who on the other hand sought not to bring out but to make up for, to cover and conceal the points in herself that did not please her, what might perhaps to an artist express her 'character' but in her woman's eyes were merely blemishes, would not have that painter mentioned in her presence. Swann had a wonderful scarf of oriental silk, blue and pink, which he had bought because it was exactly that worn by Our Lady in the Magnificat. But Mme. Swann refused to wear it. Once only she allowed her husband to order her a dress covered all over with daisies, cornflowers, forget-me-nots and campanulas, like that of the Primavera. And sometimes in the evening, when she was tired, he would quietly draw my attention to the way in which she was giving, quite unconsciously, to her pensive hands the uncontrolled, almost distraught movement of the Virgin who dips her pen into the inkpot that the angel holds out to her, before writing upon the sacred page on which is already traced the word "Magnificat." But he added, "Whatever you do, don't say anything about it to her; if she knew she was doing it, she would change her pose at once."

      Save at these moments of involuntary relaxation, in which Swann essayed to recapture the melancholy cadence of Botticelli, Odette seemed now to be cut out in a single figure, wholly confined within a line which, following the contours of the woman, had abandoned the winding paths, the capricious re-entrants and salients, the radial points, the elaborate dispersions of the fashions of former days, but also, where it was her anatomy that went wrong by making unnecessary digressions within or without the ideal circumference traced for it, was able to rectify, by a bold stroke, the errors of nature, to make up, along a whole section of its course, for the failure as well of the human as of the textile element. The pads, the preposterous 'bustle' had disappeared, as well as those tailed corsets which, projecting under the skirt and stiffened by rods of whalebone, had so long amplified Odette with an artificial stomach and had given her the appearance of being composed of several incongruous pieces which there was no individuality to bind together. The vertical fall of fringes, the curve of trimmings had made way for the inflexion of a body which made silk palpitate as a siren stirs the waves, gave to cambric a human expression now that it had been liberated, like a creature that had taken shape and drawn breath, from the long chaos and nebulous envelopment of fashions at length dethroned. But Mme. Swann had chosen, had contrived to preserve some vestiges of certain of these, in the very thick of the more recent fashions that had supplanted them. When in the evening, finding myself unable to work and feeling certain that Gilberte had gone to the theatre with friends, I paid a surprise visit to her parents, I used often to find Mme. Swann in an elegant dishabille the skirt of which, of one of those rich dark colours, blood-red or orange, which seemed always as though they meant something very special, because they were no longer the fashion, was crossed diagonally, though not concealed, by a broad band of black lace which recalled the flounces of an earlier day. When on a still chilly afternoon in Spring she had taken me (before my rupture with her daughter) to the Jardin d'Acclimatation, under her coat, which she opened or buttoned up according as the exercise СКАЧАТЬ