LITMIR.BIZ

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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 made her feel warm, the dog-toothed border of her blouse suggested a glimpse of the lapel of some non-existent waistcoat such as she had been accustomed to wear, some years earlier, when she had liked their edges to have the same slight indentations; and her scarf—of that same 'Scotch tartan' to which she had remained faithful, but whose tones she had so far softened, red becoming pink and blue lilac, that one might almost have taken it for one of those pigeon's-breast taffetas which were the latest novelty—was knotted in such a way under her chin, without one's being able to make out where it was fastened, that one could not help being reminded of those bonnet-strings which were—now no longer worn. She need only 'hold out' like this for a little longer and young men attempting to understand her theory of dress would say: "Mme. Swann is quite a period in herself, isn't she?" As in a fine literary style which overlays with its different forms and so strengthens a tradition which lies concealed among them, so in Mme. Swann's attire those half-hinted memories of waistcoats or of ringlets, sometimes a tendency, at once repressed, towards the 'all aboard,' or even a distant and vague allusion to the 'chase me' kept alive beneath the concrete form the unfinished likeness of other, older forms which you would not have succeeded, now, in making a tailor or a dressmaker reproduce, but about which your thoughts incessantly hovered, and enwrapped Mme. Swann in a cloak of nobility—perhaps because the sheer uselessness of these fripperies made them seem meant to serve some more than utilitarian purpose, perhaps because of the traces they preserved of vanished years, or else because there was a sort of personality permeating this lady's wardrobe, which gave to the most dissimilar of her costumes a distinct family likeness. One felt that she did not dress simply for the comfort or the adornment of her body; she was surrounded by her garments as by the delicate and spiritualised machinery of a whole form of civilisation.

      When Gilberte, who, as a rule, gave her tea-parties on the days when her mother was "at home," had for some reason to go out, and I was therefore free to attend Mme. Swann's 'kettledrum,' I would find her dressed in one of her lovely gowns, some of which were of taffeta, others of grosgrain, or of velvet, or of crêpe-de-Chine, or satin or silk, gowns which, not being loose like those that she generally wore in the house but buttoned up tight as though she were just going out in them, gave to her stay-at-home laziness on those afternoons something alert and energetic. And no doubt the daring simplicity of their cut was singularly appropriate to her figure and to her movements, which her sleeves appeared to be symbolising in colours that varied from day to day: one would have said that there was a sudden determination in the blue velvet, an easy-going good humour in the white taffeta, and that a sort of supreme discretion full of dignity in her way of holding out her arm had, in order to become visible, put on the appearance, dazzling with the smile of one who had made great sacrifices, of the black crêpe-de-Chine. But at the same time these animated gowns took from the complication of their trimmings, none of which had any practical value or served any conceivable purpose, something detached, pensive, secret, in harmony with the melancholy which Mme. Swann never failed to shew, at least in the shadows under her eyes and the drooping arches of her hands. Beneath the profusion of sapphire charms, enamelled four-leaf clovers, silver medals, gold medallions, turquoise amulets, ruby chains and topaz chestnuts there would be, on the dress itself, some design carried out in colour which pursued across the surface of an inserted panel a preconceived existence of its own, some row of little satin buttons, which buttoned nothing and could not be unbuttoned, a strip of braid that sought to please the eye with the minuteness, the discretion of a delicate reminder; and these, as well as the trinkets, had the effect—for otherwise there would have been no possible justification of their presence—of disclosing a secret intention, being a pledge of affection, keeping a secret, ministering to a superstition, commemorating a recovery from sickness, a granted wish, a love affair or a 'philippine.' And now and then in the blue velvet of the bodice a hint of 'slashes,' in the

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