In Search of Lost Time, Volume IV_ Sodom and Gomorrah - Marcel Proust [202]
Observing that Morel was listening, M. de Charlus proceeded to develop the reasons for his claim. “I have pointed out to my brother that it is not in the third part of the Gotha, but in the second, not to say the first, that the account of our family ought to be included,” he said, without stopping to think that Morel did not know what the “Gotha” was. “But that is his affair, he is the head of our house, and so long as he raises no objection and allows the matter to pass, I can only shut my eyes.”
“I found M. Brichot most interesting,” I said to Mme Verdurin as she joined me, and I slipped Mme de Cambremer’s letter into my pocket.
“He has a cultured mind and is an excellent man,” she replied coldly. “Of course what he lacks is originality and taste, and he has a fearsome memory. They used to say of the ‘forebears’ of the people we have here this evening, the émigrés, that they had forgotten nothing. But they had at least the excuse,” she said, borrowing one of Swann’s epigrams, “that they had learned nothing. Whereas Brichot knows everything, and hurls chunks of dictionary at our heads during dinner. I’m sure there’s nothing you don’t know now about the names of all the towns and villages.”
While Mme Verdurin was speaking, it occurred to me that I had intended to ask her something, but I could not remember what it was.
“I’m sure you are talking about Brichot,” said Ski. “Eh, Chantepie, and Freycinet, he didn’t spare you anything. I was watching you, little Mistress.”
“Oh yes, I saw you, I nearly burst.”
I could not say today what Mme Verdurin was wearing that evening. Perhaps even at the time I was no more able to, for I do not have an observant mind. But feeling that her dress was not unambitious, I said to her something polite and even admiring. She was like almost all women, who imagine that a compliment that is paid to them is a literal statement of the truth, a judgment impartially, irresistibly pronounced as though it referred to a work of art that has no connexion with a person. And so it was with an earnestness which made me blush for my own hypocrisy that she replied with the proud and artless question that is habitual in such circumstances: “Do you like it?”
“You’re talking about Chantepie, I’m sure,” said M. Verdurin as he came towards us.
I had been alone, as I thought of my strip of green lustre and of a scent of wood, in failing to notice