The Duke felt no compunction in speaking thus of his wife’s ailments and his own to a dying man, for the former interested him more and therefore appeared to him more important. And so, after gently showing us out, it was simply from breeding and jollity that in a stentorian voice, as if addressing someone off-stage, he shouted from the gate to Swann, who was already in the courtyard: “You, now, don’t let yourself be alarmed by the nonsense of those damned doctors. They’re fools. You’re as sound as a bell. You’ll bury us all!”
NOTES · ADDENDA · SYNOPSIS
Notes
The French is s’ennuyer de, which can mean to miss, to suffer from the absence of.
Françoise says avoir d’argent instead of avoir de l’argent.
Ce n’est pas mon père: celebrated remark by the môme Crevette in Feydeau’s La Dame de chez Maxim’s. It became a popular all-purpose catch-phrase. John Mortimer translated it as “How’s your father?” in his adaptation of the Feydeau play for the National Theatre.
The French is plaindre, to pity, which used also to mean to deplore or regret. The sense here is that Mme Octave did not regret her expenditure on rich fare.
A somewhat inaccurate quotation from Pascal’s famous “memorial.”
The allusion is to the Romanian-born Comtesse Anna de Noailles (née Brancovan), friend and correspondent of Proust, who was an extravagant admirer of her verse.
Popular abbreviation of the newspaper l’Intransigeant.
The Academy in question is l’Académie des Sciences morales et politiques, one of the five (including the Académie Française) which comprise the Institut de France.
Jules Méline, Prime Minister for two years during the Dreyfus Case.
Bernard de Jussieu (1699-1777), the best-known member of an illustrious family of botanists.
La barbe has the colloquial meaning “tedious” or “boring.”
Duc Decazes: minister and favourite of Louis XVIII.
Carmen Sylva was the pen-name of Elizabeth, Queen of Romania (1843-1916).
“Qu’importe le flacon pourvu qu’on ait l’ivresse!”—the line is in fact by Alfred de Musset.
Le Syndicat was the term used by anti-semites to describe the secret power of the Jews.
Prince Henri d’Orléans, son of the Duc de Chartres, publicly embraced the notorious Esterhazy after he had given evidence at the Zola trial.
“Quand on parle du Saint-Loup!” is what the Duchess says. The French for “Talk of the devil” is “Quand on parle du loup.” The pun doesn’t work in English.
Paraphrase of a famous line from Molière’s Le Misanthrope: “Ah, qu’en termes galants ces choses-là sont mises!”
A word introduced by Pierre Loti from the Japanese musume, meaning girl or young woman.
There is a complicated pun here, impossible to convey in English. Françoise says: “Faut-il que j’éteinde?” instead of “éteigne.” Albertine’s “Teigne?” is not only a tentative correction of Françoise’s faulty subjunctive; it also suggests that she is an old shrew (a secondary meaning of teigne = tinea, moth).
i.e., Venice. For an elucidation of this passage, see “Place-names: the Name”: Swann’s Way pp. 554-59.
A Proustian joke here: Edouard Detaille was a mediocre academic painter known especially for his paintings of military life. Alexandre Ribot was a familiar middle-of-the-road political figure, twice Prime Minister under the Third Republic. Suzanne Reichenberg was for thirty years the principal ingénue at the Comédie-Française.
Ventre affamé—from the expression “Ventre affamé n’a pas d’oreilles,” meaning “Words are wasted on a starving man.”
A riverside restaurant/cabaret with “tree-houses” where, the notion was, patrons could imagine themselves the Swiss Family Robinson. It gave its name to the spot where it was situated, now incorporated in the Paris suburb of Le Plessis-Robinson.
La Fille de Roland was a popular verse drama by Henri de Bornier. The Duchess’s joke refers to Princess Marie, daughter of Prince Roland Bonaparte, who married Prince George, second son of King George I of Greece.
An aria from Hérold’s Le Pré-aux-Clercs.
A seventeenth-century poetess noted for rather mawkish verses.
A reference to the playwright Edouard Pailleron, noted for his quick, sharp-witted, rather shallow comedies.
Euphemism for merde (shit), hence the joke about capital C or M.
A reference to La Fontaine’s fable The Miller and His Son, in which the third party is an ass.
A well-known French opera singer, who had little connexion with Wagner.
Addenda
This passage continues as follows in Proust’s manuscript:
And the legendary scenes depicted in this landscape gave it the curious grandeur of having become contemporaneous with them. The myth dated the landscape; it swept the sky, the sun, the mountains which were its witnesses back with it to a past in the depths of which they already appeared to me to be identical to what they are today. It pushed back through endless time the unfurling of the waves which I had seen at Balbec. I said to myself: that sunset, that ocean which I can contemplate once again, whenever I wish, from the hotel or from the cliff, those identical waves, constitute a setting analogous, especially in the summer when the light orientalises it, to that in which Hercules killed the Hydra of Lerna, in which Orpheus was torn to pieces by the Bacchantes. Already, in those immemorial days of kings whose palaces are unearthed by archaeologists and of whom mythology has made its demi-gods, the sea at evening washed against the shore with that plaint which so often aroused in me a similar vague disquiet. And when I walked along the esplanade at the close of day, the sea which formed such a large part of the picture before my eyes, made up of so many contemporary images such as the band-stand and the casino, was the sea that the Argonauts saw, the sea of pre-history, and it was only by the alien elements I introduced into it that it was of today, it was only because I adjusted it to the hour of my quotidian vision that I found a familiar echo in the melancholy murmur which Theseus heard.
The following development appears in the original manuscript:
“That is why life is so horrible, since nobody can understand anybody else,” Mme de Guermantes concluded with a self-consciously pessimistic air, but also with the animation induced by the pleasure of shining before the Princesse de Parme. And when I saw this woman who was so difficult to please, who had claimed to be bored to death by M. and Mme Ribot [changed to: with an extremely impressive minister-academician], going to so much trouble for this uninspiring princess, I understood how a man of such refinement as Swann could have enjoyed the company of M. Bontemps [changed to: Mme Bontemps]. Indeed if she had had reasons for adopting the latter, the Duchess might have preferred him to the celebrated statesman, for, outside the ranks of the princely families, only charm and distinction, either proved or imaginary but in the latter case its existence having been decreed in the same way as a monarch ennobles people, counted in the Guermantes circle. Political or professional hierarchies meant nothing. And if Cottard, a professor and an academician, who was not received there, had been called in as a consultant, he might have found there a complete unknown, Dr Percepied, whom for purely self-interested motives it was convenient for the Duchess to have to lunch now and then and whom she declared to be rather distinguished because she received him.
“Really?” replied the Princess, astonished by the assertion that life is horrible. “At least,” she added, “one can do a great deal of good.”
“Not even that, when you come down to it,” said the Duchess, fearful lest the conversation should turn to philanthropy, which she found boring. “How can one do good to people one doesn’t understand? And besides, one doesn’t know which people to do good to—one tries to do good to the wrong people. That’s what is so frightful. But to get back to Gilbert and his being shocked at your visiting the Iénas, Your Highness has far too much sense to let her actions be governed . . .”
Additional passa
ge of dialogue in the manuscript:
“I think he’s mainly preoccupied by a Villeparisis-Norpois rapprochement,” said the Duchess, in order to change the subject.
“But is there any room for a closer rapprochement in that direction?” asked the Prince. “I thought they were already very close.”
“Good heavens!” said the Duchess with a gesture of alarm at the image of coupling which the Prince conjured up for her, “I believe at any rate that they have been. But I’m told, ridiculous though it may seem, that my aunt would like to marry him. No, seriously, it seems incredible, but I gather she’s the one who wants it, and he doesn’t because she already bores him enough as it is. Really, she can’t have any sense of the ridiculous. Why, I wonder, when one has so seldom ‘resisted’ in the course of one’s life, should one suddenly feel the need to sanction a liaison with matrimony, after dispensing with it on so many other occasions? There really isn’t much point in having caused every door to be closed to one if one cannot bear the idea of a union remaining illicit, especially when it’s as respectable as this one, and, we all hope, as platonic.”
Synopsis
PART ONE
Move into a new apartment in a wing of the Hôtel de Guermantes. Poetic dreams conjured up by the name Guermantes dispelled one by one.
Françoise holds court at lunch-time below stairs. Jupien; his niece.
The name Guermantes, having shed its feudal connotations, now offers my imagination a new mystery, that of the Faubourg Saint-Germain. The Guermantes’ doormat: threshold of the Faubourg.
A gala evening at the Opéra. Berma in Phèdre once more. The Prince of Saxony?. The Faubourg Saint-Germain in their boxes. The Princesse de Guermantes’s baignoire: the water-goddesses and the bearded tritons. Berma in a modern piece. Berma and Elstir. The Princesse and the Duchesse de Guermantes. Mme de Cambremer.
My stratagems for seeing the Duchesse de Guermantes out walking; her different faces. Françoise’s impenetrable feelings. I decide to visit Saint-Loup in his garrison, hoping to approach the Duchess through him.
Doncières. The cavalry barracks. The Captain, the Prince de Borodino. Saint-Loup’s room. Noises and silence. My Doncières hotel. The world of sleep. Field manoeuvres. Saint-Loup’s popularity. The streets of Doncières in the evening. Dinner at Saint-Loup’s pension. I ask him to speak to his aunt about me. He wants me to shine in front of his friends. He denies the rumour of his engagement to Mlle d’Ambresac. Major Duroc. The Army and the Dreyfus case. Aesthetics of the military art. Saint-Loup and his mistress. Captain deBorodino and his barber. My grandmother’s voice on the telephone. Saint-Loup’s strange salute.
Return to Paris. I discover how much my grandmother has changed as a result of her illness. End of winter. Mme de Guermantes in lighter dresses. Work-plans, constantly postponed. Mme Sazerat a Dreyfusard. Legrandin’s professed hatred of society. Visit to the suburbs to meet Saint-Loup’s mistress. I recognise her as “Rachel when from the Lord”. Pear-trees in blossom. Jealous scenes in the restaurant. In the theatre after lunch. Rachel’s cruelty. Her transformation on stage. Rachel and the dancer. Saint-Loup and the journalist. Saint-Loup and the passionate stranger.
An afternoon party at Mme de Villeparisis’s. Her social decline; her literary qualities. The social kaleidoscope and the Dreyfus case. Mme de Villeparisis’s Memoirs. The three Parcae. The portrait of the Duchesse de Montmorency. Legrandin in society. Mme de Guermantes’s face and her conversation lack the mysterious glamour of her name. Mme de Guermantes’s luncheons; the Mérimée and Meilhac and Halévy type of mind. Bloch’s bad manners. Entry of M. de Norpois. Entry of the Duc de Guermantes. Norpois and my father’s candidature for the Academy. Generality of psychological laws. Various opinions on Rachel, on Odette, on Mme de Cambremer. Norpois and the Dreyfus case. The laws of the imagination and of language. Mme de Villeparisis’s by-play with Bloch. The Comtesse de Marsantes. Entry of Robert de Saint-Loup. Mme de Guermantes’s amiability towards me. Norpois and Prince von Faffenheim. Oriane refuses to meet Mme Swann. Charles Morel pays me a visit; Mme Swann and the “Lady in pink”. Charlus and Odette. Charlus’s strange behaviour to his aunt. Mme de Marsantes and her son. I learn that Charlus is the Duc de Guermantes’s brother. The affair of the necklace. Mme de Villeparisis tries to prevent me from going home with M. de Charlus. Charlus offers to guide my life. “Terrible, almost insane” remarks about the Bloch family. M. d’Argencourt’s coldness towards me. Strange choice of a cab.
The Dreyfus case below-stairs. My grandmother’s illness. The thermometer. Dr du Boulbon’s diagnosis. Expedition to the Champs-Elysées with my grandmother. The “Marquise”. My grandmother has a slight stroke.
PART TWO
Chapter One
My grandmother’s illness and death. Professor E——. “Your grandmother is doomed”. Cottard. The specialist X——. My grandmother’s sisters remain at Combray. Visits from Bergotte, himself ill. Time and the work of art. The Grand Duke of Luxembourg. The leeches. The Duc de Guermantes. My grandmother’s brother-in-law the monk. Professor Dieulafoy. My grandmother’s death.
Chapter Two
Morning visits. The water-heater. Saint-Loup breaks with Rachel. Mme de Stermaria’s divorce. Visit from Albertine. New words in her vocabulary. Françoise. Successive images of Albertine. Her kiss. My mother cures me of my infatuation with Mme de Guermantes. Indiscreet behaviour of a “tall woman” whom I shall later discover to be the Princesse d’Orvillers. Reception at Mme de Villeparisis’s: conversation with Mme de Guermantes; she invites me to dinner, speaks to me about her brother-in-law. Charlus’s strange attitude towards Bloch. Albertine accompanies me to the Bois, where I am to dine next day with Mme de Stermaria. Mme de Stermaria cancels our appointment. Visit from Saint-Loup. Reflections on friendship. Memory of Doncières. Night and fog. The Prince de Foix and his coterie: the hunt for “money-bags”. The Jews. A pure Frenchman. Saint-Loup’s acrobatics. An invitation from M. de Charlus.
Dinner with the Guermantes. The Elstirs. The flowermaidens. The Princesse de Parme. The family genie. The Courvoisiers. The Duke a bad husband but a social ally to Mme de Guermantes. The Princesse de Parme’s receptions. The Guermantes salon. The Duchess’s mimicry. “Teaser Augustus”. Oriane’s “latest”. The handsome supernumeries. Disillusionment with the Faubourg Saint-Germain. The charm of the historic name of Guermantes detectable only in the Duchess’s vocal mannerisms: traces of her country childhood. Misunderstanding between a young dreamer and a society woman. Why Saint-Loup will return to a dangerous post in Morocco. The ritual orangeade. The Duchess praises the Empire style. The Guermantes divorced from the name Guermantes. Norpois at once malicious and obliging. The Turkish Ambassadress. The poetry of genealogy. Exaltation in the carriage on the way to M. de Charlus.
Waiting in M. de Charlus’s drawing-room. His strange welcome. Gentleness succeeding rage. He accompanies me home in his carriage.
Letter from the young footman to his cousin. Invitation from the Princesse de Guermantes. Diversity of society people in spite of their apparently monotonous insignificance. Visit to the Duke and Duchess: view of the neighbouring houses. Remarkable discovery which will be described later. The Duc de Bouillon. The coins of the Order of Malta. The Duc de Guermantes’s “Philippe de Champaigne”. Swann greatly “changed”. His Dreyfusism. The Duke’s ball and Amanien’s illness. Swann’s illness. The Duchess’s red shoes.
THE MODERN LIBRARY EDITORIAL BOARD
Daniel J. Boorstin
·
Christopher Cerf
·
Shelby Foote
·
Vartan Gregorian
·
Larry McMurtry
·
Edmund Morris
·
John Richardson
·
Arthur Schlesinger, Jr.
·
Susan Sontag
·
William Styron
·
Gore Vidal
The principal text of this Modern Library edition was composed in a digitized version of Horley Old Style, a typeface issued by the English type foundry Monotype in 1925. It has such distinctive features as lightly cupped serifs and an oblique horizontal bar on the lowercase “e.”
Table of Contents
PART I
PART II
Chapter One
Chapter Two
Notes
Addenda
Synopsis
The Guermantes Way Page 74