She observed the dumb-show by which her neighbour was expressing her passion for music, but she refrained from copying it. This was not to say that, for once that she had consented to spend a few minutes in Mme. de Saint-Euverte's house, the Princesse des Laumes would not have wished (so that the act of politeness to her hostess which she had performed by coming might, so to speak, 'count double') to shew herself as friendly and obliging as possible. But she had a natural horror of what she called 'exaggerating,' and always made a point of letting people see that she 'simply must not' indulge in any display of emotion that was not in keeping with the tone of the circle in which she moved, although such displays never failed to make an impression upon her, by virtue of that spirit of imitation, akin to timidity, which is developed in the most self-confident persons, by contact with an unfamiliar environment, even though it be inferior to their own. She began to ask herself whether these gesticulations might not, perhaps, be a necessary concomitant of the piece of music that was being played, a piece which, it might be, was in a different category from all the music that she had ever heard before; and whether to abstain from them was not a sign of her own inability to understand the music, and of discourtesy towards the lady of the house; with the result that, in order to express by a compromise both of her contradictory inclinations in turn, at one moment she would merely straighten her shoulder-straps or feel in her golden hair for the little balls of coral or of pink enamel, frosted with tiny diamonds, which formed its simple but effective ornament, studying, with a cold interest, her impassioned neighbour, while at another she would beat time for a few bars with her fan, but, so as not to forfeit her independence, she would beat a different time from the pianist's.
Marcel Proust, Swann's Way
class, music, rhythm, society