In Search of Lost Time

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 easygoing 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 show, 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 Henri II style, in the gown of black satin a slight swelling which, if it was in the sleeves, just below the shoulders, made one think of the “leg of mutton” sleeves of 1830, or if, on the other hand, it was beneath the skirt, with its Louis XV paniers, gave the dress a just perceptible air of being “fancy dress” and at all events, by insinuating beneath the life of the present day a vague reminiscence of the past, blended with the person of Mme. Swann the charm of certain heroines of history or romance. And if I were to draw her attention to this: “I don’t play golf,” she would answer, “like so many of my friends. So I should have no excuse for going about, as they do, in sweaters.”

In the confusion of her drawing-room, on her way from showing out one visitor, or with a plateful of cakes to “tempt” another, Mme. Swann as she passed by me would take me aside for a moment: “I have special instructions from Gilberte that you are to come to luncheon the day after tomorrow. As I wasn’t sure of seeing you here, I was going to write to you if you hadn’t come.” I continued to resist. And this resistance was costing me steadily less and less, because, however much one may love the poison that is destroying one, when one has compulsorily to do without it, and has had to do without it for some time past, one cannot help attaching a certain value to the peace of mind which one had ceased to know, to the absence of emotion and suffering. If one is not altogether sincere in assuring oneself that one does not wish ever to see again her whom one loves, one would not be a whit more sincere in saying that one would like to see her. For no doubt one can endure her absence only when one promises oneself that it shall not be for long, and thinks of the day on which one shall see her again, but at the same time one feels how much less painful are those daily recurring dreams of a meeting immediate and incessantly postponed than would be an interview which might be followed by a spasm of jealousy, with the result that the news that one is shortly to see her whom one loves would cause a disturbance which would be none too pleasant. What one procrastinates now from day to day is no