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In Search of Lost Time, Volume V_ The Captive, the Fugitive - Marcel Proust [22]

By Root 1795 0
’s case, in others a sincere tenderness). Thus, at about this time M. de Charlus received a letter worded as follows: “My dear Palamède, when am I going to see you again? I miss you terribly and think of you often … etc. Ever yours, PIERRE.” M. de Charlus racked his brains to discover which of his relatives it could be who took the liberty of addressing him so familiarly, and must consequently know him intimately, although he failed to recognise the handwriting. All the princes to whom the Almanach de Gotha accords a few lines passed in procession through his mind for a few days. And then, all of a sudden, an address written on the back of the letter enlightened him: the writer was the doorman at a gambling club to which M. de Charlus sometimes went. This doorman had not felt that he was being discourteous in writing in this tone to M. de Charlus, for whom on the contrary he felt the deepest respect. But he felt that it would be uncivil not to address by his Christian name a gentleman who had kissed one several times, and thereby—he naively imagined—bestowed his affection on one. M. de Charlus was secretly delighted by this familiarity. He even brought M. de Vaugoubert away from an afternoon party in order to show him the letter. And yet, heaven knows M. de Charlus did not care to go about with M. de Vaugoubert. For the latter, his monocle stuck in his eye, would keep looking round at every passing youth. What was worse, shedding all restraint when he was with M. de Charlus, he adopted a form of speech which the Baron detested. He referred to everything male in the feminine, and, being intensely stupid, imagined this pleasantry to be extremely witty, and was continually in fits of laughter. As at the same time he attached enormous importance to his position in the diplomatic service, these deplorable sniggering exhibitions in the street were constantly interrupted by sudden fits of terror at the simultaneous appearance of some society person or, worse still, of some civil servant. “That little telegraph messenger,” he said, nudging the scowling Baron with his elbow, “I used to know her, but she’s turned respectable, the wretch! Oh, that messenger from the Galeries Lafayette, what a dream! Good God, there’s the head of the Commercial Department. I hope he didn’t notice anything. He’s quite capable of mentioning it to the Minister, who would put me on the retired list, all the more so because it appears he’s one himself.” M. de Charlus was speechless with rage. At length, to bring this infuriating walk to an end, he decided to produce the letter and give it to the Ambassador to read, but warned him to be discreet, for he liked to pretend that Charlie was jealous, in order to be able to persuade people that he was loving. “And,” he added with a priceless expression of benevolence, “we ought always to try to cause as little pain as possible.”

Before we come back to Jupien’s shop, the author would like to say how grieved he would be if the reader were to be offended by his portrayal of such weird characters. On the one hand (and this is the less important aspect of the matter), it may be felt that the aristocracy is, in these pages, disproportionately accused of degeneracy in comparison with the other classes of society. Were this true, it would be in no way surprising. The oldest families end by displaying, in a red and bulbous nose, or a misshapen chin, characteristic signs in which everyone recognises “blood.” But among these persistent and increasingly pronounced features, there are others that are not visible, to wit tendencies and tastes. It would be a more serious objection, were there any foundation for it, to say that all this is alien to us, and that we ought to extract poetry from the truth that is close at hand. Art extracted from the most familiar reality does indeed exist and its domain is perhaps the largest of any. But it is none the less true that considerable interest, not to say beauty, may be found in actions inspired by a cast of mind so remote from anything we feel, from anything we believe, that they remain

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