In Search of Lost Time · Chapter
II (Continued) explained
The chapter continues with a musical evening at the Verdurins', where M.
What happens
The chapter continues with a musical evening at the Verdurins', where M. de Charlus accompanies Morel on the piano, revealing his artistic talents. The narrative explores Charlus's dual nature—his refined artistic sensibility contrasted with his physical and nervous defects. The scene shifts to a train station where Charlus attempts to arrange a meeting with Morel, displaying a blend of aristocratic arrogance and awkwardness. The chapter ends with the narrator and Albertine reconciling after a quarrel, with the narrator reflecting on Saint-Loup's character.
Themes in this chapter
Art and Perception
Explored through the musical performances and the characters' varying reactions to different composers, highlighting how art is perceived subjectively and how cultural snobbery influences taste.
Sexuality and Secrecy
Central to Charlus's character, as his feminine mannerisms and attraction to Morel are depicted, along with the societal concealment and his nervous defects.
Identity and Self
Examined through Charlus's dual nature—his artistic refinement versus his physical and nervous traits—and the narrator's reflection on how heredity and habit shape identity.
Characters to notice
- Baron de Charlus
Plays piano with exquisite style, showing artistic talent; exhibits nervous defects and feminine mannerisms; attempts to arrange an assignation with Morel at the train station.
- Charles Morel
Violinist with virtuosity but lacking culture and style; plays a March by Meyerbeer instead of Debussy, causing a chill; receives a generous tip from Charlus.
- Madame Verdurin
Hosts the musical evening; insists on violin music; takes aspirin after listening to music; welcomes Charlus and Morel to dinner.
- Marquise de Cambremer
Expresses acute pain at Franck's music; exclaims 'Sublime!' at Debussy but is embarrassed when Morel plays Meyerbeer; hysterically discovers a volume of Scarlatti.
- Marcel
Observes Charlus's artistic talents and nervous defects; reflects on the combination of physical blemish and spiritual gift; reconciles with Albertine after a quarrel.
- Albertine Simonet
Travels with the narrator; apologizes for the Saint-Loup incident; expresses desire to never quarrel again and to be nice to each other.
Key passages
“But it had been enough that nature should upset the balance of his nervous system sufficiently 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 want of balance had made M. de Charlus an exquisite pianist, an amateur painter who was not devoid of taste, an eloquent talker.”
Nature's disruption of Charlus's nervous system made him prefer men over women, and this imbalance also gave him artistic talents—piano, painting, and eloquence—that his brother lacked.
Highlights the connection between Charlus's sexuality and his artistic abilities.
“When it is a Charlus, whether he be noble or plebeian, that is stirred by such a sentiment of instinctive and atavistic politeness to strangers, it is always the spirit of a relative of the female sex, attendant like a goddess, or incarnate as a double, that undertakes to introduce him into a strange drawing-room and to mould his attitude until he comes face to face with his hostess.”
When Charlus feels instinctive politeness, a female relative's spirit guides his behavior, shaping his entrance into a room.
Illustrates Charlus's feminine mannerisms as inherited from female relatives.
“We must never quarrel any more, I beg your pardon again,” Albertine repeated, alluding to the Saint-Loup incident. “We must always be nice to each other,” she said tenderly.”
Albertine apologizes again for the Saint-Loup incident and urges the narrator to always be kind to each other.
Shows the reconciliation between the narrator and Albertine after a jealous quarrel.
