to someone of the utmost grandeur, let me try to remember, yes, married to Sidonie, Duchesse de Duras, née des Baux.” This was correct. Mme Verdurin, shortly after the death of her husband, had married the aged and impoverished Duc de Duras, who had made her a cousin of the Prince de Guermantes and had died after two years of marriage. He had served as a useful transition for Mme Verdurin, who now, by a third marriage, had become Princesse de Guermantes and occupied in the Faubourg Saint-Germain a lofty position which would have caused much astonishment at Combray, where the ladies of the Rue de l’Oiseau, Mme Goupil’s daughter and Mme Sazerat’s step-daughter, had during these last years, before she married for the third time, spoken with a sneer of “the Duchesse de Duras” as though this were a role which had been allotted to Mme Verdurin in a play. In fact, the Combray principle of caste requiring that she should die, as she had lived, as Mme Verdurin, her title, which was not deemed to confer upon her any new power in society, did not so much enhance as damage her reputation. For “to make tongues wag,” that phrase which in every sphere of life is applied to a woman who has a lover, could be used also in the Faubourg Saint-Germain of women who write books and in the respectable society of Combray of those who make marriages which, for better or for worse, are “unsuitable.” After the twice-widowed lady had married the Prince de Guermantes, the only possible comment was that he was a false Guermantes, an impostor. For me, in this purely nominal identity, in the fact that there was once again a Princesse de Guermantes and that she had absolutely nothing in common with the one who had cast her spell upon me, who now no longer existed and had been robbed of name and title like a defenceless woman of her jewels, there was something as profoundly sad as in seeing the material objects which the Princess Hedwige had once possessed—her country house and everything that had been hers—pass into the possession and enjoyment of another woman. The succession of a new individual to a name is melancholy, as is all succession, all usurpation of property; and yet for ever and ever, without interruption, there would come, sweeping on, a flood of new Princesses de Guermantes—or rather, centuries old, replaced from age to age by a series of different women, of different actresses playing the same part and then each in her turn sinking from sight beneath the unvarying and immemorial placidity of the name, one single Princesse de Guermantes, ignorant of death and indifferent to all that changes and wounds our mortal hearts.
Of course, even these external changes in the figures whom I had known were no more than symbols of an internal change which had been effected day by day. Perhaps these people had continued to perform the same actions, but gradually the idea which they entertained both of their own activities and of their acquaintances had slightly altered its shape, so that at the end of a few years, though the names were unchanged, the activities that they enjoyed and the people whom they loved had become different and, as they themselves had become different individuals, it was hardly surprising that they should have new faces.
But there were also guests whom I failed to recognise for the reason that I had never known them, for in this drawing-room, as well as upon individuals the chemistry of Time had been at work upon society. This coterie, within the specific nature of which, delimited as it was by certain affinities that attracted to it all the great princely names of Europe and by forces of an opposite kind which repelled from it anything that was not aristocratic, I had found, I thought, a sort of corporeal refuge for the name of Guermantes, this coterie, which had seemed to confer upon that name its ultimate reality, had itself, in its innermost and as I had thought stable constitution, undergone a profound transformation. The presence of people whom I had seen in quite different social settings and whom I would never have expected