Bildungsromans; France -- Social life and customs -- 19th century -- Fiction; Villages -- France -- Fiction
might, seeing more than one strange face in the room, be led to believe
that she was mixing with the cream of the aristocracy, a device which
proved so far successful that Mme. Verdurin said to her husband, that
evening, with profound contempt: "Charming people, her friends! I met
all the fine flower of the Reaction!" Odette was living, with respect to
Mme. Verdurin, under a converse illusion. Not that the latter's salon
had ever begun, at that time, to develop into what we shall one day see
it to have become. Mme. Verdurin had not yet reached the period of
incubation in which one dispenses with one's big parties, where the few
brilliant specimens recently acquired would be lost in too numerous a
crowd, and prefers to wait until the generative force of the ten
righteous whom one has succeeded in attracting shall have multiplied
those ten seventy-fold. As Odette was not to be long now in doing, Mme.
Verdurin did indeed entertain the idea of "Society" as her final
objective, but her zone of attack was as yet so restricted, and moreover
so remote from that in which Odette had some chance of arriving at an
identical goal, of breaking the line of defence, that the latter
remained absolutely ignorant of the strategic plans which the "Mistress"
was elaborating. And it was with the most perfect sincerity that Odette,
when anyone spoke to her of Mme. Verdurin as a snob, would answer,
laughing, "Oh, no, quite the opposite! For one thing, she never gets a
chance of being a snob; she doesn't know anyone. And then, to do her
justice, I must say that she seems quite pleased not to know anyone. No,
what she likes are her Wednesdays, and people who talk well." And in her
hearts of hearts she envied Mme. Verdurin (for all that she did not
despair of having herself, in so eminent a school, succeeded in
acquiring them) those arts to which the "Mistress" attached such
paramount importance, albeit they did but discriminate between shades of
the Non-existent, sculpture the void, and were, properly speaking, the
Arts of Nonentity: to wit those, in the lady of a house, of knowing how
to "bring people together", how to "group", to "draw out", to "keep in
the background", to act as a "connecting link".
Public-domain text, read in full here on John Shaqi.
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