Autobiographical fiction; France -- Social life and customs -- 19th century -- Fiction; Villages -- France -- Fiction
from supplementing that ignorance by imagination. He was not jealous, at
first, of the whole of Odette's life, but of those moments only in which
an incident, which he had perhaps misinterpreted, had led him to suppose
that Odette might have played him false. His jealousy, like an octopus
which throws out a first, then a second, and finally a third tentacle,
fastened itself irremovably first to that moment, five o'clock in
the afternoon, then to another, then to another again. But Swann was
incapable of inventing his sufferings. They were only the memory, the
perpetuation of a suffering that had come to him from without.
From without, however, everything brought him fresh suffering. He
decided to separate Odette from Forcheville, by taking her away for a
few days to the south. But he imagined that she was coveted by every
male person in the hotel, and that she coveted them in return. And so
he, who, in old days, when he travelled, used always to seek out new
people and crowded places, might now be seen fleeing savagely from human
society as if it had cruelly injured him. And how could he not have
turned misanthrope, when in every man he saw a potential lover for
Odette? Thus his jealousy did even more than the happy, passionate
desire which he had originally felt for Odette had done to alter Swann's
character, completely changing, in the eyes of the world, even the
outward signs by which that character had been intelligible.
A month after the evening on which he had intercepted and read Odette's
letter to Forcheville, Swann went to a dinner which the Verdurins were
giving in the Bois. As the party was breaking up he noticed a series of
whispered discussions between Mme. Verdurin and several of her guests,
and thought that he heard the pianist being reminded to come next day to
a party at Chatou; now he, Swann, had not been invited to any party.
The Verdurins had spoken only in whispers, and in vague terms, but the
painter, perhaps without thinking, shouted out: "There must be no lights
of any sort, and he must play the Moonlight Sonata in the dark, for us
to see by."
Public-domain text, read in full here on John Shaqi.
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