To a certain extent social manifestations (vastly less important than artistic movements, political crises, the evolution that sweeps the public taste in the direction of the theatre of ideas, then of impressionist painting, then of music that is German and complicated, then of music that is Russian and simple, or of ideas of social service, justice, religious reaction, patriotic outbursts) are nevertheless an echo of them, remote, broken, uncertain, disturbed, changing. So that even drawing-rooms cannot be portrayed in a static immobility which has been conventionally employed up to this point for the study of characters, though these too must be carried along in an almost historical flow. The thirst for novelty that leads men of the world who are more or less sincere in their eagerness for information as to intellectual evolution to frequent the circles in which they can trace its development makes them prefer as a rule some hostess as yet undiscovered, who represents still in their first freshness the hopes of a superior culture so faded and tarnished in the women who for long years have wielded the social sceptre and who, having no secrets from these men, no longer appeal to their imagination.