In Search of Lost Time, Volume V_ The Captive, the Fugitive - Marcel Proust [134]
It was thus that, from each political crisis, from each artistic revival, Mme Verdurin had picked up one by one, like a bird building its nest, the several scraps, temporarily unusable, of what would one day be her salon. The Dreyfus case had passed, Anatole France remained. Mme Verdurin’s strength lay in her genuine love of art, the trouble she took for her faithful, the marvellous dinners that she gave for them alone, without inviting anyone from fashionable society. Each of the faithful was treated at her table as Bergotte had been treated at Mme Swann’s. When a familiar guest of this sort becomes one fine day a famous man whom everyone wants to come and see, his presence in the house of a Mme Verdurin has none of the artificial, adulterated quality of an official banquet or a college feast with a menu by Potel and Chabot,12 but is like a delicious everyday meal which you would have found there in the same perfection on a day when there was no party at all. At Mme Verdurin’s, the cast was trained to perfection, the repertory most select; all that was lacking was an audience. And now that the public taste had begun to turn from the rational Gallic art of Bergotte and was developing a taste for exotic forms of music, Mme Verdurin, a sort of accredited representative in Paris of all foreign artists, would soon be making her appearance, by the side of the exquisite Princess Yourbeletieff, as an aged Fairy Godmother, grim but all-powerful, to the Russian dancers. This charming invasion, against whose seductions only the stupidest of critics protested, infected Paris, as we know, with a fever of curiosity less agonising, more purely aesthetic, but quite as intense perhaps as that aroused by the Dreyfus case. There too Mme Verdurin, but with a very different result socially, was to be in the vanguard. Just as she had been seen by the side of Mme Zola, immediately below the judges’ bench, during the trial in the Assize Court, so when the new generation, in their enthusiasm for the Russian ballet, thronged to the Opera, they invariably saw in a stage box Mme Verdurin, crowned with fantastic aigrettes, by the side of Princess Yourbeletieff. And just as, after the excitements of the law courts, people used to go in the evening to Mme Verdurin’s to meet Picquart or Labori in the flesh, and above all to hear the latest news, to learn what hopes might be placed in Zurlinden, Lou-bet, Colonel Jouaust, so years later, little inclined for sleep after the enthusiasm aroused by Sheherazade or the dances from Prince Igor, they would again repair to Mme Verdurin’s, where, under the auspices of Princess Yourbeletieff and