’s, which seemed all to explode from his outstretched palm at such moments) corresponded exactly to the fine passages in which, in his prose, he brought those favourite words into the light, preceded by a sort of margin and composed in such a way in the metrical whole of the phrase that the reader was obliged, if he were not to make a false quantity, to give to each of them its full value. And yet one did not find in the speech of Bergotte a certain luminosity which in his books, as in those of some other writers, often modified in the written phrase the appearance of its words. This was doubtless because that light issues from so profound a depth that its rays do not penetrate to our spoken words in the hours in which, thrown open to others by the act of conversation, we are to a certain extent closed against ourselves. In this respect, there were more intonations, there was more accent in his books than in his talk; an accent independent of the beauty of style, which the author himself has possibly not perceived, for it is not separable from his most intimate personality. It was this accent which, at the moments when, in his books, Bergotte was entirely natural, gave a rhythm to the words⁠—often at such times quite insignificant⁠—that he wrote.