In Search of Lost Time, Volume IV (58 page)

What unfortunately I did not know at that moment and did not learn until more than two years later was that one of the chauffeur’s customers was M. de Charlus, and that Morel, instructed to pay him and keeping part of the money for himself (making the chauffeur triple and quintuple the mileage), had become very friendly with him (while pretending not to know him in front of other people) and made use of his car for long journeys. If I had known this at the time, and that the confidence which the Verdurins were presently to feel in this chauffeur came, unknown to them perhaps, from that source, many of the sorrows of my life in Paris in the following year, much of my trouble over Albertine, would have been avoided; but I had not the slightest suspicion of it. In themselves, M. de Charlus’s excursions by motor-car with Morel were of no direct interest to me. They were confined as a rule to a lunch or dinner in some restaurant along the coast where M. de Charlus was taken for an old and penniless servant and Morel, whose duty it was to pay the bill, for a too kind-hearted gentleman. I report the conversation at one of these meals, which may give an idea of the others. It was in a restaurant of elongated shape at Saint-Mars-le-Vêtu.

“Can’t you get them to remove this thing?” M. de Charlus asked Morel, as though appealing to an intermediary without having to address the staff directly. “This thing” was a vase containing three withered roses with which a well-meaning head waiter had seen fit to decorate the table.

“Yes . . .” said Morel, embarrassed. “Don’t you like roses?”

“My request ought on the contrary to prove that I do like them, since there are no roses here” (Morel appeared surprised) “but as a matter of fact I do not care much for them. I am rather susceptible to names; and whenever a rose is at all beautiful, one learns that it is called Baronne de Rothschild or Maréchale Niel, which casts a chill. Do you like names? Have you found pretty titles for your little concert numbers?”

“There is one that’s called
Poème triste
.”

“That’s hideous,” replied M. de Charlus in a shrill voice that rang out like a slap in the face. “But I ordered champagne,” he said to the head waiter, who had supposed he was obeying the order by placing by the diners two glasses of sparkling liquid.

“Yes, sir.”

“Take away that filth, which has no connexion with the worst champagne in the world. It is the emetic known as cup, which consists, as a rule, of three rotten strawberries swimming in a mixture of vinegar and soda-water . . . Yes,” he went on, turning again to Morel, “you don’t seem to know what a title is. And even in the interpretation of the things you play best, you seem not to be aware of the mediumistic side.”

“What’s that you say?” asked Morel, who, not having understood one word of what the Baron had said, was afraid that he might be missing something of importance, such as an invitation to lunch. M. de Charlus not having deigned to consider “What’s that you say?” as a question, Morel in consequence received no answer, and thought it best to change the subject and give the conversation a sensual turn.

“I say, look at the little blonde selling the flowers you don’t like; I bet she’s got a little girlfriend. And the old woman dining at the table at the end, too.”

“But how do you know all that?” asked M. de Charlus, amazed at Morel’s intuition.

“Oh! I can spot them in an instant. If we walked together through a crowd, you’d see that I never make a mistake.” And anyone looking at Morel at that moment, with his girlish air enshrined in his masculine beauty, would have understood the obscure divination which marked him out to certain women no less than them to him. He was anxious to supplant Jupien, vaguely desirous of adding to his regular salary the income which, he supposed, the tailor derived from the Baron. “And with gigolos I’m surer still. I could save you from making mistakes. They’ll be having the fair at Balbec soon. We’ll find lots of things there. And in Paris too, you’ll see, you’ll have a fine time.” But the inherited caution of a servant made him give a different turn to the sentence on which he had already embarked. So that M. de Charlus supposed that he was still referring to girls. “Do you know,” said Morel, anxious to excite the Baron’s senses in a fashion which he considered less compromising for himself (although it was actually more immoral), “what I’d like would be to find a girl who was absolutely pure, make her fall in love with me, and take her virginity.”

M. de Charlus could not refrain from pinching Morel’s ear affectionately, but added ingenuously: “What good would that do you? If you took her maidenhead, you would be obliged to marry her.”

“Marry her?” cried Morel, feeling that the Baron must be tipsy, or else giving no thought to the sort of man, more scrupulous in reality than he supposed, to whom he was speaking. “Marry her? No fear! I’d promise, but once the little operation was performed, I’d ditch her that very evening.”

M. de Charlus was in the habit, when a fiction was capable of causing him a momentary sensual pleasure, of giving it his support and then withdrawing it a few minutes later, when his pleasure was at an end. “Would you really do that?” he said to Morel with a laugh, squeezing him more tightly still.

“Wouldn’t I half!” said Morel, seeing that he was not displeasing the Baron by continuing to expound to him what was indeed one of his desires.

“It’s dangerous,” said M. de Charlus.

“I should have my kit packed and ready, and buzz off without leaving an address.”

“And what about me?” asked M. de Charlus.

“I should take you with me, of course,” Morel made haste to add, never having thought of what would become of the Baron, who was the least of his worries. “I say, there’s a kid I should love to try that game on, she’s a little seamstress who keeps a shop in M. le Duc’s house.”

“Jupien’s girl,” the Baron exclaimed as the wine-waiter entered the room. “Oh! never,” he added, whether because the presence of a third person had cooled him down, or because even in this sort of black mass in which he took pleasure in defiling the most sacred things, he could not bring himself to allow the mention of people to whom he was bound by ties of friendship. “Jupien is a good man, and the child is charming. It would be terrible to cause them distress.”

Morel felt that he had gone too far and was silent, but his eyes continued to gaze into space at the girl for whose benefit he had once begged me to address him as “
cher maître
” and from whom he had ordered a waistcoat. An industrious worker, the child had not taken any holiday, but I learned afterwards that while the violinist was in the neighbourhood of Balbec she never ceased to think of his handsome face, ennobled by the fact that having seen Morel in my company she had taken him for a “gentleman.”

“I never heard Chopin play,” said the Baron, “and yet I might have done so. I took lessons from Stamati, but he forbade me to go and hear the Master of the Nocturnes at my aunt Chimay’s.”

“That was damned silly of him,” exclaimed Morel.

“On the contrary,” M. de Charlus retorted warmly, in a shrill voice. “It was a proof of his intelligence. He had realised that I was a ‘natural’ and that I would succumb to Chopin’s influence. It’s of no importance, since I gave up music when I was quite young, and everything else, for that matter. Besides, one can more or less imagine him,” he added in a slow, nasal, drawling voice, “there are still people who did hear him, who can give you an idea. However, Chopin was only an excuse to come back to the mediumistic aspect which you are neglecting.”

The reader will observe that, after an interpolation of common parlance, M. de Charlus had suddenly become once more as precious and haughty in his speech as he normally was. The idea of Morel’s “ditching” without compunction a girl whom he had outraged had enabled him to enjoy an abrupt and consummate pleasure. From that moment his sensual appetites were satisfied for a time and the sadist (a true medium, he) who had for a few moments taken the place of M. de Charlus had fled, handing over to the real M. de Charlus, full of artistic refinement, sensibility and kindness. “You were playing the other day the piano transcription of the Fifteenth Quartet, which in itself is absurd because nothing could be less pianistic. It is meant for people whose ears are offended by the overtaut strings of the glorious Deaf One. Whereas it is precisely that almost sour mysticism that is divine. In any case you played it very badly and altered all the
tempi
.You ought to play it as though you were composing it: the young Morel, afflicted with a momentary deafness and with a non-existent genius, stands motionless for an instant; then, seized by the divine frenzy, he plays, he composes the opening bars; after which, exhausted by this trance-like effort, he collapses, letting his pretty forelock drop to please Mme Verdurin, and, moreover, giving himself time to restore the prodigious quantity of grey matter which he has drawn upon for the Pythian objectivation; then, having regained his strength, seized by a fresh and overmastering inspiration, he flings himself upon the sublime, imperishable phrase which the virtuoso of Berlin” (we suppose M. de Charlus to have meant Mendelssohn) “was to imitate unceasingly. It is in this, the only truly dynamic and transcendent fashion, that I shall make you play in Paris.”

When M. de Charlus gave him advice of this sort, Morel was far more alarmed than when he saw the head waiter remove his spurned roses and “cup,” for he wondered anxiously what effect it would create at his classes. But he was unable to dwell upon these reflexions, for M. de Charlus said to him imperiously: “Ask the head waiter if he has a Bon Chrétien.”

“A good Christian, I don’t understand.”

“Can’t you see we’ve reached the dessert. It’s a pear. You may be sure Mme de Cambremer has them in her garden, for the Comtesse d’Escarbagnas, whose double she is, had them. M. Thibaudier sends them to her and she says: ‘Here is a Bon Chrétien which is worth tasting.’ ”

“No, I didn’t know.”

“I can see that you know nothing. If you have never even read Molière . . . Oh, well, since you are no more capable of ordering food than of anything else, just ask for a pear which happens to be grown in this neighbourhood, the Louise-Bonne d’Avranches.”

“The what?”

“Wait a minute, since you’re so stupid, I shall ask him myself for others, which I prefer. Waiter, have you any Doyenné des Comices? Charlie, you must read the exquisite passage written about that pear by the Duchesse Emilie de Clermont-Tonnerre.”

“No, sir, I haven’t.”

“Have you any Triomphe de Jodoigne?”

“No, sir.”

“Any Virginie-Baltet? Or Passe-Colmar? No? Very well, since you’ve nothing, we may as well go. The Duchesse d’Angoulême is not in season yet. Come along, Charlie.”

Unfortunately for M. de Charlus, his lack of common sense, and perhaps, too, the probable chastity of his relations with Morel, made him go out of his way at this period to shower upon the violinist strange bounties which the other was incapable of understanding, and to which his nature, impulsive in its own way, but mean and ungrateful, could respond only by an ever-increasing coldness or violence which plunged M. de Charlus—formerly so proud, now quite timid—into fits of genuine despair. We shall see how, in the smallest matters, Morel, who now fancied himself an infinitely more important M. de Charlus, completely misunderstood, by taking them literally, the Baron’s arrogant teachings with regard to the aristocracy. Let us for the moment simply say, while Albertine waits for me at Saint-Jean-de-la-Haise, that if there was one thing which Morel set above the nobility (and this was in itself fairly noble, especially in a person whose pleasure was to pursue little girls—on the sly—with the chauffeur), it was his artistic reputation and what the others might think of him in the violin class. No doubt it was an ugly trait in his character that, because he felt M. de Charlus to be entirely devoted to him, he appeared to disown him, to make fun of him, in the same way as, once I had promised not to reveal the secret of his father’s position with my great-uncle, he treated me with contempt. But on the other hand his name as that of a qualified artist, Morel, appeared to him superior to a “name.” And when M. de Charlus, in his dreams of platonic affection, wanted to make him adopt one of his family titles, Morel stoutly refused.

When Albertine thought it more sensible to remain at Saint-Jean-de-la-Haise and paint, I would take the car, and it was not merely to Gourville and Féterne, but to Saint-Mars-le-Vieux and as far as Criquetot that I was able to penetrate before returning to fetch her. While pretending to be occupied with something else besides her, and to be obliged to forsake her for other pleasures, I thought only of her. As often as not I went no further than the great plain which overlooks Gourville, and as it resembles slightly the plain that begins above Combray, in the direction of Méséglise, even at a considerable distance from Albertine I had the joy of thinking that, even if my eyes could not reach her, the powerful, soft sea breeze that was flowing past me, carrying further than they, must sweep down, with nothing to arrest it, as far as Quetteholme, until it stirred the branches of the trees that bury Saint-Jean-de-la-Haise in their foliage, caressing my beloved’s face, and thus create a double link between us in this retreat indefinitely enlarged but free of dangers, as in those games in which two children find themselves momentarily out of sight and earshot of one another, and yet while far apart remain together. I returned by those roads from which there is a view of the sea, and where in the past, before it appeared among the branches, I used to shut my eyes to reflect that what I was about to see was indeed the plaintive ancestress of the earth, pursuing, as in the days when no living creature yet existed, her insane and immemorial agitation. Now, these roads were simply the means of rejoining Albertine; when I recognised them, completely unchanged, knowing how far they would run in a straight line, where they would turn, I remembered that I had followed them while thinking of Mlle de Stermaria, and also that this impatience to be back with Albertine was the same feeling as I had had when I walked the streets along which Mme de Guermantes might pass; they assumed for me the profound monotony, the moral significance of a sort of ruled line that my character must follow. It was natural, and yet it was not without importance; they reminded me that it was my fate to pursue only phantoms, creatures whose reality existed to a great extent in my imagination; for there are people—and this had been my case since youth—for whom all the things that have a fixed value, assessable by others, fortune, success, high positions, do not count; what they must have is phantoms. They sacrifice all the rest, devote all their efforts, make everything else subservient to the pursuit of some phantom. But this soon fades away; then they run after another only to return later on to the first. It was not the first time that I had gone in quest of Albertine, the girl I had seen that first year silhouetted against the sea. Other women, it is true, had been interposed between the Albertine whom I had first loved and the one whom I rarely left now; other women, notably the Duchesse de Guermantes. But, the reader will say, why torment yourself so much with regard to Gilberte, why take such trouble over Mme de Guermantes, if, having become the friend of the latter, it is with the sole result of thinking no more of her, but only of Albertine? Swann, before his death, might have answered the question, he who had been a connoisseur of phantoms. Of phantoms pursued, forgotten, sought anew, sometimes for a single meeting, in order to establish contact with an unreal life which at once faded away, these Balbec roads were full. When I reflected that their trees—pear-trees, apple-trees, tamarisks—would outlive me, I seemed to be receiving from them a silent counsel to set myself to work at last, before the hour of eternal rest had yet struck.