LITMIR.BIZ

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was lined from end to end by a long rectangular box in which bloomed, as though in a hothouse, a row of large chrysanthemums, at that time still uncommon, though by no means so large as the mammoth blossoms which horticulturists have since succeeded in making grow. Swann was irritated, as a rule, by the sight of these flowers, which had then been ‘the rage’ in Paris for about a year, but it had pleased him, on this occasion, to see the gloom of the little lobby shot with rays of pink and gold and white by the fragrant petals of these ephemeral stars, which kindle their cold fires in the murky atmosphere of winter afternoons. Odette had received him in a tea-gown of pink silk, which left her neck and arms bare. She had made him sit down beside her in one of the many mysterious little retreats which had been contrived in the various recesses of the room, sheltered by enormous palmtrees growing out of pots of Chinese porcelain, or by screens upon which were fastened photographs and fans and bows of ribbon. She had said at once, “You’re not comfortable there; wait a minute, I’ll arrange things for you,” and with a titter of laughter, the complacency of which implied that some little invention of her own was being brought into play, she had installed behind his head and beneath his feet great cushions of Japanese silk, which she pummelled and buffeted as though determined to lavish on him all her riches, and regardless of their value. But when her footman began to come into the room, bringing, one after another, the innumerable lamps which (contained, mostly, in porcelain vases) burned singly or in pairs upon the different pieces of furniture as upon so many altars, rekindling in the twilight, already almost nocturnal, of this winter afternoon, the glow of a sunset more lasting, more roseate, more human—filling, perhaps, with romantic wonder the thoughts of some solitary lover, wandering in the street below and brought to a standstill before the mystery of the human presence which those lighted windows at once revealed and screened from sight—she had kept an eye sharply fixed on the servant, to see whether he set each of the lamps down in the place appointed it. She felt that, if he were to put even one of them where it ought not to be, the general effect of her drawing-room would be destroyed, and that her portrait, which rested upon a sloping easel draped with plush, would not catch the light. And so, with feverish impatience, she followed the man’s clumsy movements, scolding him severely when he passed too close to a pair of beaupots, which she made a point of always tidying herself, in case the plants should be knocked over—and went across to them now to make sure that he had not broken off any of the flowers. She found something ‘quaint’ in the shape of each of her Chinese ornaments, and also in her orchids, the cattleyas especially (these being, with chrysanthemums, her favourite flowers), because they had the supreme merit of not looking in the least like other flowers, but of being made, apparently, out of scraps of silk or satin. “It looks just as though it had been cut out of the lining of my cloak,” she said to Swann, pointing to an orchid, with a shade of respect in her voice for so ‘smart’ a flower, for this distinguished, unexpected sister whom nature had suddenly bestowed upon her, so far removed from her in the scale of existence, and yet so delicate, so refined, so much more worthy than many real women of admission to her drawing-room. As she drew his attention, now to the fiery-tongued dragons painted upon a bowl or stitched upon a fire-screen, now to a fleshy cluster of orchids, now to a dromedary of inlaid silver-work with ruby eyes, which kept company, upon her mantelpiece, with a toad carved in jade, she would pretend now to be shrinking from the ferocity of the monsters or laughing at their absurdity, now blushing at the indecency of the flowers, now carried away by an irresistible desire to run across and kiss the toad and dromedary, calling them ‘darlings.’ And these affectations were in sharp contrast to the sincerity of some of her attitudes, notably her devotion to Our Lady of the Laghetto who had once, when Odette was living at Nice, cured her of a mortal illness, and whose medal, in gold, she always carried on her person, attributing to it unlimited powers. She poured out Swann’s tea, inquired “Lemon or cream?” and, on his answering “Cream, please,” went on, smiling, “A cloud!” And as he pronounced it excellent, “You see, I know just how you like it.” This tea had indeed seemed to Swann, just as it seemed to her, something precious, and love is so far obliged to find some justification for itself, some guarantee of its duration in pleasures which, on the contrary, would have no existence apart from love and must cease with its passing, that when he left her, at seven o’clock, to go and dress for the evening, all the way home, sitting bolt upright in his brougham, unable to repress the happiness with which the afternoon’s adventure had filled him, he kept on repeating to himself: “What fun it would be to have a little woman like that in a place where one could always be certain of finding, what one never can be certain of finding, a really good cup of tea.” An hour or so later he received a note from Odette, and at once recognised that florid handwriting, in which an affectation of British stiffness imposed an apparent discipline upon its shapeless characters, significant, perhaps, to less intimate eyes than his, of an untidiness of mind, a fragmentary education, a want of sincerity and decision. Swann had left his cigarette-case at her house. “Why,” she wrote, “did you not forget your heart also? I should never have let you have that back.”

      More important, perhaps, was a second visit which he paid her, a little later. On his way to the house, as always when he knew that they were to meet, he formed a picture of her in his mind; and the necessity, if he was to find any beauty in her face, of fixing his eyes on the fresh and rosy protuberance of her cheekbones, and of shutting out all the rest of those cheeks which were so often languorous and sallow, except when they were punctuated with little fiery spots, plunged him in acute depression, as proving that one’s ideal is always unattainable, and one’s actual happiness mediocre. He was taking her an engraving which she had asked to see. She was not very well; she received him, wearing a wrapper of mauve crêpe de Chine, which draped her bosom, like a mantle, with a richly embroidered web. As she stood there beside him, brushing his cheek with the loosened tresses of her hair, bending one knee in what was almost a dancer’s pose, so that she could lean without tiring herself over the picture, at which she was gazing, with bended head, out of those great eyes, which seemed so weary and so sullen when there was nothing to animate her, Swann was struck by her resemblance to the figure of Zipporah, Jethro’s Daughter, which is to be seen in one of the Sixtine frescoes. He had always found a peculiar fascination in tracing in the paintings of the Old Masters, not merely the general characteristics of the people whom he encountered in his daily life, but rather what seems least susceptible of generalisation, the individual features of men and women whom he knew, as, for instance, in a bust of the Doge Loredan by Antonio Rizzo, the prominent cheekbones, the slanting eyebrows, in short, a speaking likeness to his own coachman Rémi; in the colouring of a Ghirlandaio, the nose of M. de Palancy; in a portrait by Tintoretto, the invasion of the plumpness of the cheek by an outcrop of whisker, the broken nose, the penetrating stare, the swollen eyelids of Dr. du Boulbon. Perhaps because he had always regretted, in his heart, that he had confined his attention to the social side of life, had talked, always, rather than acted, he felt that he might find a sort of indulgence bestowed upon him by those great artists, in his perception of the fact that they also had regarded with pleasure and had admitted into the canon of their works such types of physiognomy as give those works the strongest possible certificate of reality and trueness to life; a modern, almost a topical savour; perhaps, also, he had so far succumbed to the prevailing frivolity of the world of fashion that he felt the necessity of finding in an old masterpiece some such obvious and refreshing allusion to a person about whom jokes could be made and repeated and enjoyed to-day. Perhaps, on the other hand, he had retained enough of the artistic temperament to be able to find a genuine satisfaction in watching these individual features take on a more general significance when he saw them, uprooted and disembodied, in the abstract idea of similarity between an historic portrait and a modern original, whom it was not intended to represent. However that might be, and perhaps because the abundance of impressions which he, for some time past, had been receiving—though, indeed, they had come to him rather through the channel of his appreciation of music—had enriched his appetite for painting as well, it was with an unusual intensity of pleasure, a pleasure destined to have a lasting effect upon his character and conduct, that Swann remarked Odette’s resemblance to the Zipporah of that Alessandro de Mariano, to whom one shrinks from giving his more popular surname, now that ‘Botticelli’ suggests not so much the actual work of the Master as that false and banal conception of it which has of late obtained common currency. He no longer based his estimate of the merit of Odette’s face on the more or less good quality of her cheeks, and the softness and sweetness—as

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