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the faces of some of the women created by the painter of the
         Trimavera.’ She had, at that moment, their downcast, heart-
         broken expression, which seems ready to succumb beneath
         the burden of a grief too heavy to be borne, when they are
         merely allowing the Infant Jesus to play with a pomegran-
         ate, or watching Moses pour water into a trough. He had
         seen the same sorrow once before on her face, but when, he
         could no longer say. Then, suddenly, he remembered it; it
         was when Odette had lied, in apologising to Mme. Verdurin
         on the evening after the dinner from which she had stayed
         away on a pretext of illness, but really so that she might be
         alone with Swann. Surely, even had she been the most scru-
         pulous of women, she could hardly have felt remorse for
         so innocent a lie. But the lies which Odette ordinarily told
         were less innocent, and served to prevent discoveries which
         might have involved her in the most terrible difficulties with
         one or another of her friends. And so, when she lied, smit-
         ten with fear, feeling herself to be but feebly armed for her
         defence, unconfident of success, she was inclined to weep
         from sheer exhaustion, as children weep sometimes when
         they have not slept. She knew, also, that her lie, as a rule, was
         doing a serious injury to the man to whom she was telling
         it, and that she might find herself at his mercy if she told it
         badly. Therefore she felt at once humble and culpable in his
         presence. And when she had to tell an insignificant, social
         lie its hazardous associations, and the memories which it re-
         called, would leave her weak with a sense of exhaustion and
         penitent with a consciousness of wrongdoing.
            What depressing lie was she now concocting for Swann’s

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