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In Search of Lost Time, Volume IV_ Sodom and Gomorrah - Marcel Proust [198]

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woman whom, rightly or wrongly, Mme Verdurin considered a goose, and this, in her opinion, was not the conduct of an intelligent man. “No,” she observed judiciously, “I consider that his wife and he are made for one another. Heaven knows, there isn’t a more boring creature on the face of the earth, and I should go mad if I had to spend a couple of hours with her. But people say that he finds her very intelligent. There’s no use denying it, our Tiche was extremely stupid. I’ve seen him bowled over by women you can’t conceive, amiable idiots we’d never have allowed into our little clan. Well, he used to write to them, and argue with them, he, Elstir! That doesn’t prevent his having charming qualities, oh, charming, and deliciously absurd, naturally.” For Mme Verdurin was convinced that men who are truly remarkable are capable of all sorts of follies. A false idea in which there is nevertheless a grain of truth. Certainly, people’s “follies” are insupportable. But a want of balance which we discover only in course of time is the consequence of the entering into a human brain of refinements for which it is not normally adapted. So that the oddities of charming people exasperate us, but there are few if any charming people who are not, at the same time, odd. “There, I shall be able to show you his flowers now,” she said to me, seeing that her husband was making signals to her to rise. And she took M. de Cambremer’s arm again. M. Verdurin wanted to apologise for this to M. de Charlus, as soon as he had got rid of Mme de Cambremer, and to give him his reasons, chiefly for the pleasure of discussing these social distinctions with a man of title, momentarily the inferior of those who assigned to him the place to which they considered him entitled. But first of all he was anxious to make it clear to M. de Charlus that intellectually he esteemed him too highly to suppose that he could pay any attention to these trivialities.

“Forgive my mentioning these trifles,” he began, “for I can well imagine how little importance you attach to them. Middle-class minds take them seriously, but the others, the artists, the people who are really of our sort, don’t give a rap for them. Now, from the first words we exchanged, I realised that you were one of us!” M. de Charlus, who attached a very different meaning to this expression, gave a start. After the Doctor’s oglings, his host’s insulting frankness took his breath away. “Don’t protest, my dear sir, you are one of us, it’s as clear as daylight,” M. Verdurin went on. “Mind you, I don’t know whether you practise any of the arts, but that’s not necessary. Nor is it always sufficient. Dechambre, who has just died, played exquisitely, with the most vigorous execution, but he wasn’t one of us, you felt at once that he wasn’t. Brichot isn’t one of us. Morel is, my wife is, I can feel that you are . . .”

“What were you going to say to me?” interrupted M. de Charlus, who was beginning to feel reassured as to M. Verdurin’s meaning, but preferred that he should not utter these equivocal remarks quite so loud.

“Only that we put you on the left,” replied M. Verdurin.

M. de Charlus, with a tolerant, genial, insolent smile, replied: “Why, that’s not of the slightest importance, here!” And he gave a little laugh that was all his own—a laugh that came down to him probably from some Bavarian or Lorraine grandmother, who herself had inherited it, in identical form, from an ancestress, so that it had tinkled now, unchanged, for a good many centuries in little old-fashioned European courts, and one could appreciate its precious quality, like that of certain old musical instruments that have become very rare. There are times when, to paint a complete portrait of someone, we should have to add a phonetic imitation to our verbal description, and our portrait of the figure that M. de Charlus presented is liable to remain incomplete in the absence of that little laugh, so delicate, so light, just as certain works of Bach are never accurately rendered because our orchestras lack those small, high trumpets, with a sound

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