Time Regained. Marcel Proust
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with the colours of the country, speaks to us with overflowing enthusiasm of that Normandy where they have lived, a Normandy which must be like an enormous English park, with the fragrance of its high woodlands à la Lawrence, with its velvet cryptomeria in their enamelled borders of pink hortensia, with its natural lawns diversified by sulphur-coloured roses falling over a rustic gateway flanked by two intertwined pear-trees resembling with its free-falling and flowering branches the highly ornamental insignia of a bronze applique by Gauthier, a Normandy which must be absolutely unsuspected by Parisians on holiday, protected as it is by the barrier of each of its enclosures, barriers which the Verdurins confess to me they did not commit the crime of removing. At the close of day, as the riot of colour was sleepily extinguished and light only came from the sea curdled almost to a skim-milk blue. 'Ah! Not the sea you know—' protests my hostess energetically in answer to my remark that Flaubert had taken my brother and me to Trouville, 'That is nothing, absolutely nothing. You must come with me, without that you will never know'—they would go back through real forests of pink-tulle flowers of the rhododendrons, intoxicated with the scent of the gardens, which gave her husband abominable attacks of asthma. 'Yes,' she insisted, 'it is true, real crises of asthma.' Afterwards, the following summer, they returned, housing a whole colony of artists in an admirable dwelling of the Middle Ages, an ancient cloister leased by them for nothing, and ma foi, listening to this woman who after moving in so many distinguished circles, had yet kept some of that freedom of speech of a woman of the people, a speech which shows you things with the colour imagination gives to them, my mouth watered at the thought of the life which she confessed to living down there, each one working in his cell or in the salon which was so large that it had two fireplaces. Everyone came in before luncheon for altogether superior conversation interspersed with parlour games, reminding me of those evoked by that masterpiece of Diderot, his letters to Mlle. Volland. Then after luncheon everyone went out, even on days of sunny showers, when the sparkling of the raindrops luminously filtering through the knots of a magnificent avenue of centenarian beechtrees which offered in front of the gates the vista of growth dear to the eighteenth century, and shrubs bearing drops of rain on their flowering buds suspended on their boughs, lingering to watch the delicate dabbling of a bullfinch enamoured of coolness, bathing itself in the tiny nymphembourg basin shaped like the corolla of a white rose. And as I talk to Mme. Verdurin of the landscapes and of the flowers down there, so delicately pastelled by Elstir: 'But it is I who made all that known to him,' she exclaims with an indignant lifting of the head, 'everything, you understand; wonder-provoking nooks, all his themes; I threw them in his face when he left us, didn't I, Auguste? All those themes he has painted. Objects he always knew, to be fair, one must admit that. But flowers he had never seen; no, he did not know the difference between a marsh-mallow and a hollyhock. It was I who taught him, you will hardly believe me, to recognise the jasmine.' And it is, one must admit, a strange reflection that the painter of flowers, whom the connoisseurs of to-day cite to us as the greatest, superior even to Fantin-Latour, would perhaps never have known how to paint jasmine without the woman who was beside me. 'Yes, upon my word, the jasmine; all the roses he produced were painted while he was staying with me, if I did not bring them to him myself. At our house we just called him "M. Tiche". Ask Cottard or Brichot or any of them if he was ever treated here as a great man. He would have laughed at it himself. I taught him how to arrange his flowers; at the beginning he had no idea of it. He never knew how to make a bouquet. He had no natural taste for selection. I had to say to him, "No, do not paint that; it is not worth while, paint this." Oh! If he had listened to us for the arrangement of his life as he did for the arrangement of his flowers, and if he had not made that horrible marriage!' And abruptly, with eyes fevered by their absorption in a reverie of the past, with a nerve-racked gesture, she stretched forth her arms with a frenzied cracking of the joints from the silk sleeves of her bodice, and twisted her body into a suffering pose like some admirable picture which I believe has never been painted, wherein all the pent-up revolt, all the enraged susceptibilities of a friend outraged in her delicacy and in her womanly modesty can be read. Upon that she talks to us about the admirable portrait which Elstir made for her, a portrait of the Collard family, a portrait given by her to the Luxembourg when she quarrelled with the painter, confessing that it was she who had given him the idea of painting the man in evening dress in order to obtain that beautiful expanse of linen, and she who chose the velvet dress of the woman, a dress offering support in the midst of all the fluttering of the light shades of the curtains, of the flowers, of the fruit, of the gauze dresses of the little girls like ballet-dancers' skirts. It was she, too, who gave him the idea of painting her in the act of arranging her hair, an idea for which the artist was afterwards honoured, which consisted, in short, in painting the woman, not as though on show, but surprised in the intimacy of her everyday life. 'I said to him, "When a woman is doing her hair or wiping her face, or warming her feet, she knows she is not being seen, she executes a number of interesting movements, movements of an altogether Leonardo-like grace."' But upon a sign from Verdurin, indicating that the arousing of this state of indignation was unhealthy for that highly-strung creature which his wife was, Swann drew my admiring attention to the necklace of black pearls worn by the mistress of the house and bought by her quite white at the sale of a descendant of Mme. de La Fayette to whom they had been given by Henrietta of England, pearls which had become black as the result of a fire which destroyed part of the house in which the Verdurins were living in a street the name of which I can no longer remember, a fire after which the casket containing the pearls was found but they had become entirely black. 'And I know the portrait of those pearls on the very shoulders of Mme. de La Fayette, yes, exactly so, their portrait,' insisted Swann in the face of the somewhat wonderstruck exclamations of the guests. 'Their authentic portrait, in the collection of the Duc de Guermantes. A collection which has not its equal in the world,' he asserts and that I ought to go and see it, a collection inherited by the celebrated Duc who was the favourite nephew of Mme. de Beausergent his aunt, of that Mme. de Beausergent who afterwards became Mme. d'Hayfeld, sister of the Marquise de Villeparisis and of the Princess of Hanover. My brother and I used to be so fond of him in old days when he was a charming boy called Basin, which as a matter of fact, is the first name of the Duc. Upon that, Doctor Cottard, with that delicacy which reveals the man of distinction, returns to the history of the pearls and informs us that catastrophes of that kind produce in the mind of people distortions similar to those one remarks in organic matter and relates in really more philosophical terms than most physicians can command, how the footman of Mme. Verdurin herself, through the horror of this fire where he nearly perished, had become a different man, his hand-writing having so changed that on seeing the first letter which his masters, then in Normandy, received from him, announcing the event, they believed it was the invention of a practical joker. And not only was his handwriting different, Cottard asserts that from having been a completely sober man he had become an abominable drunkard whom Mme. Verdurin had been obliged to discharge. This suggestive dissertation continued, on a gracious sign from the mistress of the house, from the dining-room into the Venetian smoking-room where Cottard told me he had witnessed actual duplications of personality, giving as example the case of one of his patients whom he amiably offers to bring to see me, in whose case Cottard has merely to touch his temples to usher him into a second life, a life in which he remembers nothing of the other, so much so that, a very honest man in this one, he had actually been arrested several times for thefts committed in the other during which he had been nothing less than a disgraceful scamp. Upon which Mme. Verdurin acutely remarks that medicine could furnish subjects truer than a theatre where the humour of an imbroglio is founded upon pathological mistakes, which from thread to needle brought Mme. Cottard to relate that a similar notion had been made use of by an amateur who is the prime favourite at her children's evening parties, the Scotchman Stevenson, a name which forced from Swann the peremptory affirmation: 'But Stevenson is a great writer, I can assure you, M. de Goncourt, a very great one, equal to the greatest.' And upon my marvelling at the escutcheoned panels of the ceiling in the room where we are smoking, panels which came from the ancient Palazzo Barberini, I express my regret at the progressive darkening of a certain vase through the ashes of our londrès, Swann having recounted that similar stains on the leaves of certain books attest their having belonged to Napoleon I, books owned, despite his anti-Bonapartist opinions by the Duc de Guermantes, owing to the fact that the Emperor chewed tobacco, Cottard, who reveals himself as a man of penetrating curiosity in all matters, declares that these stains do not come at all from that: 'Believe me, not at all,' he insists with authority,