In Search of Lost Time, Volume V_ The Captive, the Fugitive - Marcel Proust [112]
From this standpoint, if one is not “somebody,” the absence of a well-known title makes the process of decomposition even more rapid. No doubt it is more or less anonymously, without any individual identity, that a dead man remains the Duc d’Uzès. But the ducal coronet does for some time hold the elements of him together, as their moulds held together those artistically designed ices which Albertine admired, whereas the names of ultra-fashionable commoners, as soon as they are dead, melt and disintegrate, “turned out” of their moulds. We have seen Mme de Guermantes speak of Cartier as the most intimate friend of the Duc de La Trémoïlle, as a man highly sought after in aristocratic circles. To a later generation, Cartier has become something so amorphous that it would almost be aggrandising him to link him with the jeweller Cartier, with whom he would have smiled to think that anybody could be so ignorant as to confuse him! Swann on the contrary was a remarkable intellectual and artistic personality, and although he had “produced” nothing, still he was lucky enough to survive a little longer. And yet, my dear Charles Swann, whom I used to know when I was still so young and you were nearing your grave, it is because he whom you must have regarded as a young idiot has made you the hero of one of his novels that people are beginning to speak of you again and that your name will perhaps live. If, in Tissot’s picture representing the balcony of the Rue Royale club, where you figure with Galliffet, Edmond de Polignac and Saint-Maurice, people are always drawing attention to you, it is because they see that there are some traces of you in the character of Swann.
To return to more general realities, it was of this death of his, foretold and yet unforeseen, that I had heard Swann speak himself to the Duchesse de Guermantes, on the evening of her cousin’s party. It was the same death whose striking and specific strangeness had recurred to me one evening when, as I ran my eye over the newspaper, my attention was suddenly arrested by the announcement of it, as though traced in mysterious lines inopportunely interpolated there. They had sufficed to make of a living man someone who could never again respond to what one said to him, to reduce him to a mere name, a written name, that had suddenly passed from the real world to the realm of silence. It was they that even now gave me a desire to get to know the house in which the Verdurins had formerly lived, and where Swann, who at that time was not merely a row of letters printed in a newspaper, had dined so often with Odette. I must also add (and this is what for a long time made Swann’s death more painful than any other, although these reasons bore no relation to the individual strangeness of his death) that I had never gone to see Gilberte as I promised him at the Princesse de Guermantes’s; that he had never told me what the “other reason” was, to which he had alluded that evening, for his choosing me as the recipient of his conversation with the Prince; that countless questions occurred to me (as bubbles rise from the bottom of a pond) which I longed to ask him about the most disparate subjects: Vermeer, M. de Mouchy, Swann himself, a Boucher tapestry, Combray—questions which were doubtless not very urgent since I had put off asking them from day to day, but which seemed to me of cardinal importance now that, his