Translations:CP 02902/16/en: Difference between revisions

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<ref name="n6"> Since the beginning of the First World War, when mobilization in mid summer had interrupted society life, Mme Edwards had remained a very active hostess, her connections with prominent government figures as much as with the advanced musical and literary circles made her salon a politico-artistic hotspot. According to her biography by Arthur Gold and Robert Fizdale (Misia: The Life of Misia Sert, New York, Vintage Books, 1992, p. 162-212), she had organized a network of ambulances from the beginning of the conflict, several leading couturiers whose premises had been closed having agreed to place their delivery wagons and motor vehicles at her disposal for use as ambulances, and she herself went to the front to bring back the wounded along with Sert and Cocteau (for whom the couturier Poiré had designed costumes that were appropriate in the context of the war). During the aerial bombardments over Paris, she went outdoors or onto her balcony with her guests to watch the spectacle, having an aesthetic and exalted vision of the unprecedented events. Her soirées brought together a number of artists, including Cocteau, Satie, Gide, Jacques-Émile Blanche, or the musicians and artists of the Ballets Russes whose careers she watched over. Due to the restrictions on coal, she entertained most often in her private apartment at the Hôtel Meurice, being unable to heat her apartment in 29, Quai Voltaire. - Even though Proust doesn't comment here in his letter to Lucien Daudet on this first society soirée he attended since mobilization ("too much to say"), he must have drawn from it a train of reflections which, augmented by those from numerous other soirées (notably in 1916-1917), enriched his depictions of Parisian social life during the war, and in particular the mutation of Mme Verdurin's "artistic" salon into one of the foremost politico-artistic salons (see RTP, IV, p. 301-313). [FL]</ref>
<ref name="n6"> Since the beginning of the First World War, when mobilization in mid summer had interrupted society life, Mme Edwards had remained a very active hostess, her connections with prominent government figures as much as with the advanced musical and literary circles made her salon a politico-artistic hotspot. According to her biography by Arthur Gold and Robert Fizdale (Misia: The Life of Misia Sert, New York, Vintage Books, 1992, p. 162-212), she had organized a network of ambulances from the beginning of the conflict, several leading couturiers whose premises had been closed having agreed to place their delivery wagons and motor vehicles at her disposal for use as ambulances, and she herself went to the front to bring back the wounded along with Sert and Cocteau (for whom the couturier Poiré had designed costumes that were appropriate in the context of the war). During the aerial bombardments over Paris, she went outdoors or onto her balcony with her guests to watch the spectacle, having an aesthetic and exalted vision of these unprecedented events. Her soirées brought together a number of artists, including Cocteau, Satie, Gide, Jacques-Émile Blanche, or the musicians and artists of the Ballets Russes whose careers she watched over. Due to the restrictions on coal, she entertained most often in her private apartment at the Hôtel Meurice, being unable to heat her apartment in 29, Quai Voltaire. - Even though Proust doesn't comment here in his letter to Lucien Daudet on this first society soirée he attended since mobilization ("too much to say"), he must have drawn from it a train of reflections which, augmented by those from numerous other soirées (notably in 1916-1917), enriched his depictions of Parisian social life during the war, and in particular the mutation of Mme Verdurin's "artistic" salon into one of the foremost politico-artistic salons (see RTP, IV, p. 301-313). [FL]</ref>

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<ref name="n6"> Dès le début de la Première Guerre mondiale, alors que la mobilisation au cœur de l'été avait interrompu la vie mondaine, Mme Edwards était restée une hôtesse très active, ses relations avec de hautes personnalités du gouvernement autant qu'avec les milieux musicaux et littéraires avancés faisant de son salon un haut-lieu politico-artistique. Selon sa biographie par Arthur Gold et Robert Fizdale (Misia: The Life of Misia Sert, New York, Vintage Books, 1992, p. 162-212), elle avait organisé un réseau d'ambulances dès le début du conflit, plusieurs grands couturiers dont les maisons avaient fermé ayant accepté de mettre à sa disposition leurs camionnettes et voitures pour en faire des ambulances, et elle se rendait elle-même sur le front pour ramener des blessés en compagnie de Sert et de Cocteau (pour qui le couturier Poiré avait élaboré des costumes appropriés au contexte de la guerre). Pendant les attaques aériennes sur Paris, elle restait dehors ou à son balcon avec ses hôtes pour observer le spectacle, ayant une vision esthétisante et exaltée de ces événements insolites. Ses soirées réunissaient de nombreux artistes, dont Cocteau, Satie, Gide, Jacques-Émile Blanche, ou des musiciens et artistes des Ballets russes sur le destin desquels elle veillait. Du fait des restrictions sur le charbon, elle recevait le plus souvent dans son appartement privé à l'Hôtel Meurice, ne pouvant chauffer son appartement du 29, quai Voltaire. — Bien que Proust ne commente pas ici dans sa lettre à Lucien Daudet cette première soirée mondaine à laquelle il a assisté depuis la mobilisation (« trop à dire »), il a dû en tirer un train de réflexions qui, enrichies par de nombreuses autres soirées (notamment en 1916-1917), ont alimenté le récit des mondanités parisiennes pendant la guerre, et en particulier la mutation du salon « artiste » de Mme Verdurin en un salon politico-artistique de premier plan (voir RTP, IV, p. 301-313). [FL] </ref>

[1]

  1. ↑ Since the beginning of the First World War, when mobilization in mid summer had interrupted society life, Mme Edwards had remained a very active hostess, her connections with prominent government figures as much as with the advanced musical and literary circles made her salon a politico-artistic hotspot. According to her biography by Arthur Gold and Robert Fizdale (Misia: The Life of Misia Sert, New York, Vintage Books, 1992, p. 162-212), she had organized a network of ambulances from the beginning of the conflict, several leading couturiers whose premises had been closed having agreed to place their delivery wagons and motor vehicles at her disposal for use as ambulances, and she herself went to the front to bring back the wounded along with Sert and Cocteau (for whom the couturier Poiré had designed costumes that were appropriate in the context of the war). During the aerial bombardments over Paris, she went outdoors or onto her balcony with her guests to watch the spectacle, having an aesthetic and exalted vision of these unprecedented events. Her soirées brought together a number of artists, including Cocteau, Satie, Gide, Jacques-Émile Blanche, or the musicians and artists of the Ballets Russes whose careers she watched over. Due to the restrictions on coal, she entertained most often in her private apartment at the Hôtel Meurice, being unable to heat her apartment in 29, Quai Voltaire. - Even though Proust doesn't comment here in his letter to Lucien Daudet on this first society soirée he attended since mobilization ("too much to say"), he must have drawn from it a train of reflections which, augmented by those from numerous other soirées (notably in 1916-1917), enriched his depictions of Parisian social life during the war, and in particular the mutation of Mme Verdurin's "artistic" salon into one of the foremost politico-artistic salons (see RTP, IV, p. 301-313). [FL]
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