“The thing is, I believe M. de Saint-Loup is in a place that is not very safe,” said the Princess.
“It can’t be helped,” replied the Duchess, “he’s in the same boat as everybody else, the only difference being that it was he who asked to be sent there. Besides, no, it’s not really dangerous; if it was, you can imagine how anxious I should be to help. I’d have spoken to Saint-Joseph about it during dinner. He has far more influence, and he’s a real worker. But, as you see, he’s gone now. Besides, it would be less awkward than going to this one, who has three of his sons in Morocco just now and has refused to apply for them to be transferred; he might raise that as an objection. Since your Highness insists, I shall speak to Saint-Joseph—if I see him again, or to Beautreillis. But if I don’t see either of them, you mustn’t waste your pity on Robert. It was explained to us the other day where he is. I don’t think he could be anywhere better.”
“What a pretty flower, I’ve never seen one like it; there’s no one like you, Oriane, for having such marvellous things in your house,” said the Princesse de Parme, who, fearing that General de Monserfeuil might have overheard the Duchess, sought now to change the subject. I looked and recognised a plant of the sort that I had watched Elstir painting.
“I’m so glad you like them; they are charming, do look at their little purple velvet collars; the only thing against them is—as may happen with people who are very pretty and very nicely dressed—they have a hideous name and a horrid smell. In spite of which I’m very fond of them. But what is rather sad is that they’re going to die.”
“But they’re growing in a pot, they aren’t cut flowers,” said the Princess.
“No,” answered the Duchess with a smile, “but it comes to the same thing, as they’re all ladies. It’s a kind of plant where the ladies and the gentlemen don’t both grow on the same stalk. I’m like the people who keep a lady dog. I have to find a husband for my flowers. Otherwise I shan’t have any young ones!”
“How very strange. Do you mean to say that in nature . . . ?”
“Yes, there are certain insects whose duty it is to bring about the marriage, as with sovereigns, by proxy, without the bride and bridegroom ever having set eyes on one another. And so, I assure you, I always tell my man to put my plant at the open window as often as possible, on the courtyard side and the garden side turn about, in the hope that the necessary insect will arrive. But the odds are so enormous! Just think, he would need to have just visited a person of the same species and the opposite sex, and he must then have taken it into his head to come and leave cards at the house. He hasn’t appeared so far—I believe my plant still deserves the name of virgin, but I must say a little more shamelessness would please me better. It’s just the same with that fine tree we have in the courtyard—it will die childless because it belongs to a species that’s very rare in these latitudes. In its case, it’s the wind that’s responsible for bringing about the union, but the wall is a trifle high.”
“Yes, indeed,” said M. de Bréauté, “you ought to have taken just a couple of inches off the top, that would have been quite enough. You have to know all the tricks of the trade. The flavour of vanilla we tasted in the excellent ice you gave us this evening, Duchess, comes from the plant of that name. It produces flowers which are both male and female, but a sort of partition between them prevents any communication. And so one could never get any fruit from them until a young negro, a native of Réunion, by the name of Albins, which by the way is rather a comic name for a black since it means ‘white,’ had the happy thought of using the point of a needle to bring the separate organs into contact.”
“Babal, you’re divine, you know everything,” cried the Duchess.
“But you yourself, Oriane, have taught me things I had no idea of,” the Princesse de Parme assured her.
“I must explain to your Highness that it’s Swann who has always talked to me a great deal about botany. Sometimes when we thought it would be too boring to go to an afternoon party we would set off for the country, and he would show me extraordinary marriages between flowers, which was far more amusing than going to human marriages—no wedding-breakfast and no crowd in the sacristy. We never had time to go very far. Now that motor-cars have come in, it would be delightful. Unfortunately, in the meantime he himself has made an even more astonishing marriage, which makes everything very difficult. Ah, Ma’am, life is a dreadful business, we spend our whole time doing things that bore us, and when by chance we come across somebody with whom we could go and look at something really interesting, he has to make a marriage like Swann’s. Faced with the alternatives of giving up my botanical expeditions and being obliged to call upon a degrading person, I chose the first of these two calamities. Actually, though, there’s no need to go quite so far. It seems that even here, in my own little bit of garden, more improper things happen in broad daylight than at midnight . . . in the Bois de Boulogne! Only they attract no attention, because between flowers it’s all done quite simply—you see a little orange shower, or else a very dusty fly coming to wipe its feet or take a bath before crawling into a flower. And that does the trick!”
“The cabinet the plant is standing on is splendid, too; it’s Empire, I believe,” said the Princess, who, not being familiar with the works of Darwin and his followers, was unable to grasp the point of the Duchess’s pleasantries.
“It’s lovely, isn’t it? I’m so glad your Highness likes it,” replied the Duchess, “it’s a magnificent piece. I must tell you that I’ve always adored the Empire style, even when it wasn’t in fashion. I remember at Guermantes I got into terrible disgrace with my mother-in-law because I told them to bring down from the attics all the splendid Empire furniture Basin had inherited from the Montesquious, and used it to furnish the wing we lived in.”
M. de Guermantes smiled. He must nevertheless have remembered that the course of events had been very different. But, the witticisms of the Princesse des Laumes on the subject of her mother-in-law’s bad taste having been a tradition during the short time in which the Prince had been in love with his wife, his love for the latter had been outlasted by a certain contempt for the intellectual inferiority of the former, a contempt which, however, went hand in hand with considerable attachment and respect.
“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 h
ad 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 sor
t 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.”
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