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 that, while he enumerated these etymological derivations, Brichot had been provoking derision. And since the impressions that for me gave things their value were of the sort which other people either do not feel or unthinkingly reject as insignificant, and which consequently (had I managed to communicate them) would have been misunderstood or else scorned, they were entirely useless to me and had the additional drawback of making me appear stupid in the eyes of Mme Verdurin who saw that I had “swallowed” Brichot, as I had already appeared stupid to Mme de Guermantes because I had enjoyed myself at Mme d’Arpajon’s. With Brichot, however, there was another reason. I was not one of the little clan. And in every clan, whether it be social, political, or literary, one contracts a perverse facility for discovering in a conversation, in an official speech, in a story, in a sonnet, everything that the plain reader would never have dreamed of finding there. How often have I found myself, after reading with a certain excitement a tale skilfully told by a fluent and slightly old-fashioned Academician, on the point of saying to Bloch or to Mme de Guermantes: “How charming this is!” when before I had opened my mouth they exclaimed, each in a different language: “If you want to be really amused, read a story by So-and-so. Human stupidity has never sunk to greater depths.” Bloch’s scorn derived mainly from the fact that certain effects of style, pleasing enough in themselves, were slightly faded; that of Mme de Guermantes from the notion that the story seemed to prove the direct opposite of what the author meant, for reasons of fact which she had the ingenuity to deduce but which would never have occurred to me. I was no less surprised to discover the irony that underlay the Verdurins’ apparent friendliness for Brichot than to hear some days later, at Féterne, the Cambremers say to me, on hearing my enthusiastic praise of La Raspelière: “You can’t be sincere, after what they’ve done to it.” It is true that they admitted that the china was good. Like the shocking draught-curtains, it had escaped my notice. “Anyhow, when you go back to Balbec, you’ll now know what Balbec means,” said M. Verdurin sarcastically. It was precisely the things Brichot had taught me that interested me. As for what was called his wit, it was exactly the same as had at one time been so highly appreciated by the little clan. He talked with the same irritating fluency, but his words no longer struck a chord, having to overcome a hostile silence or disagreeable echoes; what had changed was not what he said but the acoustics of the room and the attitude of his audience. “Take care,” Mme Verdurin murmured, pointing to Brichot. The latter, whose hearing remained keener than his vision, darted at the Mistress a short-sighted and philosophical glance which he hastily withdrew. If his outward eyes had deteriorated, those of his mind had on the contrary begun to take a larger view of things. He saw how little was to be expected of human affection, and had resigned himself to the fact. Undoubtedly the discovery pained him. It may happen that even the man who on one evening only, in a circle where he is usually greeted with pleasure, realises that the others have found him too frivolous or too pedantic or too clumsy or too cavalier, or whatever it may be, returns home miserable. Often it is a difference of opinion, or of approach, that has made him appear to other people absurd or old-fashioned. Often he is perfectly well aware that those others are inferior to himself. He could easily dissect the sophistries with which he has been tacitly condemned, and is tempted to pay a call, to write a letter: on second thoughts, he does nothing, and awaits the invitation for the following week. Sometimes, too, these falls from grace, instead of ending with the evening, last for months. Arising from the instability of social judgments, they increase that instability further. For the man who knows that Mme X despises him, feeling that he is respected at Mme Y’s, pronounces her far superior to the other and migrates to her salon. This, however, is not the proper place to describe those men, superior to the life of society but lacking the capacity to realise themselves outside it, glad to be invited, embittered at being underrated, discovering annually the defects of the hostess to whom they have been offering incense and the genius of the other whom they have never properly appreciated, ready to return to the old love when they have experienced the drawbacks to be found equally in the new, and when they have begun to forget those of the old. We may judge by such temporary falls from grace of the chagrin that Brichot felt at this one, which he knew to be final. He was not unaware that Mme Verdurin sometimes laughed at him publicly, even at his infirmities, and knowing how little was to be expected of human affection, he continued nevertheless to regard the Mistress as his best friend. But, from the blush that crept over the scholar’s face, Mme Verdurin realised that he had heard her, and made up her mind to be kind to him for the rest of the evening. I could not help remarking to her that she had not been very kind to Saniette. “What! Not kind to him! Why, he adores us, you’ve no idea what we are to him. My husband is sometimes a little irritated by his stupidity, and you must admit with some reason, but when that happens why doesn’t he hit back instead of cringing like a whipped dog? It’s so unmanly. I can’t bear it. That doesn’t mean that I don’t always try to calm my husband, because if he went too far, all that would happen would be that Saniette would stay away; and I don’t want that because I may tell you that he hasn’t a penny in the world, he needs his dinners. But after all, if he takes offence, he can stay away, it’s nothing to do with me. When you rely on other people you should try not to be such an idiot.”
“The Duchy of Aumale was in our family for years before passing to the House of France,” M. de Charlus was explaining to M. de Cambremer in front of a flabber-gasted Morel, for whose benefit the whole dissertation was intended, if it was not actually addressed to him. “We took precedence over all foreign
princes; I could give you a hundred examples. The Princesse de Croy having attempted, at the burial of Monsieur, to fall on her knees after my great-great-grandmother, the latter reminded her sharply that she had no right to the hassock, made the officer on duty remove it, and reported the matter to the King, who ordered Mme de Croy to call upon Mme de Guermantes and offer her apologies. The Duc de Bourgogne having come to us with ushers with raised batons, we obtained the King’s authority to have them lowered. I know it is not good form to speak of the merits of one’s own family. But it is well known that our people were always to the fore in the hour of danger. Our battle-cry, after we abandoned that of the Dukes of Brabant, was Passavant! So that it is not unjust on the whole that this right to be everywhere the first, which we had established for so many centuries in war, should afterwards have been granted to us at Court. And, to be sure, it was always acknowledged there. I may give you a further instance, that of the Princess of Baden. As she had so far forgotten herself as to attempt to challenge the precedence of that same Duchesse de Guermantes of whom I was speaking just now, and had attempted to go in first to the King’s presence by taking advantage of a momentary hesitation which my ancestress may perhaps have shown (although there was no reason for it), the King called out: ‘Come in, cousin, come in; Mme de Baden knows very well what her duty is to you.’ And it was as Duchesse de Guermantes that she held this rank, albeit she was of no mean family herself, since she was through her mother niece to the Queen of Poland, the Queen of Hungary, the Elector Palatine, the Prince of Savoy-Carignano and the Elector of Hanover, afterwards King of England.”
“Maecenas atavis edite regibus!” said Brichot, addressing M. de Charlus, who acknowledged the compliment with a slight nod.
“What did you say?” Mme Verdurin asked Brichot, anxious to make amends to him for her earlier words.
“I was referring, Heaven forgive me, to a dandy who was the flower of the nobility” (Mme Verdurin winced) “about the time of Augustus” (Mme Verdurin, reassured by the remoteness in time of this nobility, assumed a more serene expression), “to a friend of Virgil and Horace who carried their sycophancy to the extent of proclaiming to his face his more than aristocratic, his royal descent. In a word, I was referring to Maecenas, a bookworm who was the friend of Horace, Virgil, Augustus. I am sure that M. de Charlus knows all about Maecenas.”
With a gracious sidelong glance at Mme Verdurin, because he had heard her make a rendezvous with Morel for the day after next and was afraid that she might not invite him also, “I should say,” said M. de Charlus, “that Maecenas was more or less the Verdurin of antiquity.”
Mme Verdurin could not altogether suppress a smile of self-satisfaction. She went over to Morel. “He’s nice, your father’s friend,” she said to him. “One can see that he’s an educated man, and well bred. He will get on well in our little nucleus. Where does he live in Paris?”
Morel preserved a haughty silence and merely proposed a game of cards. Mme Verdurin demanded a little violin music first. To the general astonishment, M. de Charlus, who never spoke of his own considerable gifts, accompanied, in the purest style, the closing passage (uneasy, tormented, Schumannesque, but, for all that, earlier than Franck’s sonata) of the sonata for piano and violin by Fauré. I felt that he would provide Morel, marvellously endowed as to tone and virtuosity, with just those qualities that he lacked, culture and style. But I thought with curiosity of this combination in a single person of a physical blemish and a spiritual gift. M. de Charlus was not very different from his brother, the Duc de Guermantes. Indeed, a moment ago (though this was rare), he had spoken as bad a French as his brother. He having reproached me (doubtless in order that I might speak in glowing terms of Morel to Mme Verdurin) with never coming to see him, and I having pleaded discretion, he had replied: “But, since it is I who ask, there’s no one but me who could possibly take huff.” This might have been said by the Duc de Guermantes. M. de Charlus was only a Guermantes when all was said. But it had sufficed that nature should have upset the balance of his nervous system enough to make him prefer, to the woman that his brother the Duke would have chosen, one of Virgil’s shepherds or Plato’s disciples, and at once qualities unknown to the Duc de Guermantes and often combined with this lack of equilibrium had made M. de Charlus an exquisite pianist, an amateur painter who was not devoid of taste, and an eloquent talker. Who would ever have detected that the rapid, nervous, charming style with which M, de Charlus played the Schumannesque passage of Fauré’s sonata had its equivalent—one dare not say its cause—in elements entirely physical, in the Baron’s nervous weaknesses? We shall explain later on what we mean by nervous weaknesses, and why it is that a Greek of the time of Socrates, a Roman of the time of Augustus, might be what we know them to have been and yet remain absolutely normal, not men-women such as we see around us today. Just as he had real artistic aptitudes which had never come to fruition, so M. de Charlus, far more than the Duke, had loved their mother and loved his own wife, and indeed, years afterwards, if anyone spoke of them to him, would shed tears, but superficial tears, like the perspiration of an over-stout man, whose forehead will glisten with sweat at the slightest exertion. With this difference, that to the latter one says: “How hot you are,” whereas one pretends not to notice other people’s tears. One, that is to say, society; for simple people are as distressed by the sight of tears as if a sob were more serious than a haemorrhage. Thanks to the habit of lying, his sorrow after the death of his wife did not debar M. de Charlus from a life which was not in conformity with it. Indeed later on, he was ignominious enough to let it be known that, during the funeral ceremony, he had found an opportunity of asking the acolyte for his name and address. And it may have been true.
When the piece came to an end, I ventured to ask for some Franck, which appeared to cause Mme de Cambremer such acute pain that I did not insist. “You can’t admire that sort of thing,” she said to me. Instead she asked for Debussy’s Fêtes, which made her exclaim: “Ah! how sublime!” from the first note. But Morel discovered that he could remember only the opening bars, and in a spirit of mischief, without any intention to deceive, began a March by Meyerbeer. Unfortunately, as he left little interval and made no announcement, everybody supposed that he was still playing Debussy, and continued to exclaim “Sublime!” Morel, by revealing that the composer was that not of Pelléas but of Robert le Diable, created a certain chill. Mme de Cambremer had scarcely time to feel it for herself, for she had just discovered a volume of Scarlatti and had flung herself upon it with an hysterical shriek. “Oh! play this, look, this piece, it’s divine,” she cried. And yet, of this composer long despised but recently promoted to the highest honours, what she had selected in her feverish impatience was one of those infernal pieces which have so often kept us from sleeping, while a merciless pupil repeats them ad infinitum on the next floor. But Morel had had enough music, and as he insisted upon cards, M. de Charlus, to be able to join in, proposed a game of whist.
“He was telling the Boss just now that he’s a prince,” said Ski to Mme Verdurin, “but it’s not true, they’re quite a humble family of architects.”
“I want to know what it was you were saying about Maecenas. It interests me, don’t you know!” Mme Verdurin repeated to Brichot, with an affability that carried him off his feet. And so, in order to shine in the Mistress’s eyes, and possibly in mine: “Why, to tell you the truth, Madame, Maecenas interests me chiefly because he is the earliest apostle of note of that oriental god who numbers more followers in France today than Brahma, than Christ himself, the all-powerful god, Dun Gifa Hoot.” Mme Verdurin was no longer content, on these occasions, with burying her head in her hands. She would descend with the suddenness of the insects called ephemerids upon Princess Sherbatoff; were the latter within reach the Mistress would cling to her shoulder, dig her nails into it, and hide her face against it for a few moments like a child playing hide and seek. Concealed by this protecting screen, she was understood to be laughing
until she cried, but could as well have been thinking of nothing at all as the people who, while saying a longish prayer, take the wise precaution of burying their faces in their hands. Mme Verdurin imitated them when she listened to Beethoven quartets, in order at the same time to show that she regarded them as a prayer and not to let it be seen that she was asleep. “I speak quite seriously, Madame,” said Brichot. “Too numerous, I consider, today are the persons who spend their time gazing at their navels as though they were the hub of the universe. As a matter of doctrine, I have no objection to offer to any Nirvana which will dissolve us in the great Whole (which, like Munich and Oxford, is considerably nearer to Paris than Asnières or Bois-Colombes), but it is unworthy either of a true Frenchman, or of a true European even, when the Japanese are possibly at the gates of our Byzantium, that socialised anti-militarists should be gravely discussing the cardinal virtues of free verse.” Mme Verdurin felt that she might dispense with the Princess’s mangled shoulder, and allowed her face to become once more visible, not without pretending to wipe her eyes and gasping two or three times for breath. But Brichot was determined that I should have my share in the entertainment, and having learned, from those oral examinations which he conducted like nobody else, that the best way to flatter the young is to lecture them, to make them feel important, to make them regard you as a reactionary: “I have no wish to blaspheme against the Gods of Youth,” he said, with that furtive glance at myself which an orator turns upon a member of his audience when he mentions him by name, “I have no wish to be damned as a heretic and renegade in the Mallarméan chapel in which our new friend, like all the young men of his age, must have served the esoteric mass, at least as an acolyte, and have shown himself deliquescent or Rosicrucian. But really, we have seen more than enough of these intellectuals worshipping art with a capital A, who, when they can no longer intoxicate themselves upon Zola, inject themselves with Verlaine. Having become etheromaniacs out of Baudelairean devotion, they would no longer be capable of the virile effort which the country may one day or another demand of them, anaesthetised as they are by the great literary neurosis in the heated, enervating atmosphere, heavy with unwholesome vapours, of a symbolism of the opium den.”
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