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