Notwithstanding the change in Morel’s point of view with regard to the consequences of his behaviour, although that behaviour would have seemed to him abominable two months earlier when he was passionately in love with Jupien’s niece, whereas during the last fortnight he had never ceased to assure himself that the same behaviour was natural and praiseworthy, it could not fail to intensify the state of nervous tension in which, finally, he had served notice of the rupture that afternoon. And he was quite prepared to vent his rage, if not (except in a momentary outburst) upon the girl, for whom he still felt that lingering fear which is the last trace of love, at any rate upon the Baron. He took care, however, not to say anything to him before dinner, for, valuing his own professional virtuosity above everything, whenever he had any difficult music to play (as this evening at the Verdurins’) he avoided (as far as possible, and the scene that afternoon was already more than ample) anything that might make his movements at all jerky. Similarly, a surgeon who is an enthusiastic motorist does not drive when he has an operation to perform. This explained to me why, as he was speaking to me, he kept bending his fingers gently one after another to see whether they had regained their suppleness. A slight frown seemed to indicate that there was still a trace of nervous stiffness. But in order not to aggravate it, he relaxed his features, as we try to prevent ourselves from getting agitated about not being able to sleep or to persuade a woman to give herself, for fear lest our phobia itself may retard the moment of sleep or of pleasure. And so, anxious to regain his serenity in order to be able to concentrate, as usual, on what he was going to play at the Verdurins’, and anxious, so long as I was watching him, to let me see how unhappy he was, he decided that the simplest course was to entreat me to leave him immediately. The entreaty was superfluous, for it was a relief to me to get away from him. I had trembled lest, as we were due at the same house within a few minutes of one another, he might ask me to take him with me, my memory of the scene that afternoon being too vivid not to give me a certain distaste for the idea of having Morel by my side during the drive. It is quite possible that the love, and afterwards the indifference or hatred, felt by Morel for Jupien’s niece had been sincere. Unfortunately, it was not the first time (nor would it be the last) that he had behaved thus, that he had suddenly “ditched” a girl to whom he had sworn undying love, going so far as to produce a loaded revolver and telling her that he would blow out his brains if ever he was vile enough to desert her. He would nevertheless desert her in time, and feel, instead of remorse, a sort of rancour against her. It was not the first time that he had behaved thus, and it was not to be the last, with the result that many young girls—girls less forgetful of him than he was of them—suffered—as Jupien’s niece, continuing to love Morel while despising him, was to suffer for a long time—their heads ready to burst with the stabbing of an inner pain, because in each of them, like a fragment of a Greek sculpture, an aspect of Morel’s face, hard as marble and beautiful as the art of antiquity, was embedded in the brain, with his blossoming hair, his fine eyes, his straight nose—forming a protuberance in a cranium not shaped to receive it, and on which no one could operate. But in the fullness of time these stony fragments end by slipping into a place where they cause no undue laceration, from which they never stir again; their presence is no longer felt: the pain has been forgotten, or is remembered with indifference.
Meanwhile I had gained two things in the course of the day. On the one hand, thanks to the calm induced by Albertine’s docility, there was the possibility, and in consequence the resolve, to break with her; on the other—the fruit of my reflexions during the interval that I had spent waiting for her, seated at the piano—the idea that Art, to which I would try to devote my reconquered liberty, was not something that was worth a sacrifice, something above and beyond life, that did not share in its fatuity and futility; the appearance of genuine individuality achieved in works of art being due merely to the illusion produced by technical skill. If my afternoon had left behind it other deposits, possibly more profound, they were not to impinge upon my consciousness until much later. As for the two which I was able thus to ponder, they were not to be long-lived; for, from that very evening, my ideas about art were to recover from the diminution that they had suffered in the afternoon, while on the other hand my calm, and consequently the freedom that would enable me to devote myself to it, was once again to be withdrawn from me.
As my cab, driving along the riverside, was approaching the Verdurins’ house, I made the driver pull up. I had just seen Brichot alighting from a tram at the corner of the Rue Bonaparte, after which he dusted his shoes with an old newspaper and put on a pair of pearl-grey gloves. I went up to him on foot. For some time past, his sight having grown steadily worse, he had been equipped—as richly as an observatory—with new spectacles of a powerful and complicated kind, which, like astronomical instruments, seemed to be screwed into his eyes; he focused their exaggerated beams upon myself and recognised me. They—the spectacles—were in marvellous condition. But behind them I could see, minute, pallid convulsive, expiring, a remote gaze placed under this powerful apparatus, as, in a laboratory too richly endowed for the work that is done in it, you may watch the last throes of some tiny insignificant beast under the latest and most advanced type of microscope. I offered the purblind man my arm to steady his steps. “This time it is not by great Cherbourg that we meet,” he said to me, “but by little Dunkirk,” a remark which I found extremely tiresome, as I did not understand what it meant; and yet I dared not ask Brichot, dreading not so much his scorn as his explanations. I replied that I was longing to see the drawing-room in which Swann used to meet Odette every evening. “What, so you know that old story, do you?” he said.
Swann’s death had deeply distressed me at the time. Swann’s death! Swann’s, in this phrase, is something more than a mere genitive. I mean thereby his own particular death, the death assigned by destiny to the service of Swann. For we talk of “death” for convenience, but there are almost as many deaths as there are people. We do not possess a sense that would enable us to see, moving at full speed in every direction, these deaths, the active deaths aimed by destiny at this person or that. Often they are deaths that will not be entirely relieved of their duties until two or even three years later. They come in haste to plant a tumour in the side of a Swann, then depart to attend to other tasks, returning only when, the surgeons having performed their operations, it is necessary to plant the tumour there afresh. Then comes the moment when we read in the Gaulois that Swann’s health has been causing anxiety but that he is now making an excellent recovery. Then, a few minutes before the last gasp, death, like a sister of charity who has come to nurse rather than to destroy us, enters to preside over our last moments, and crowns with a final aureole the cold and stiffening creature whose heart has ceased to beat. And it is this diversity of deaths, the mystery of their circuits, the colour of their fatal badge, that makes so moving a paragraph in the newspapers such as this:
“We learn with deep regret that M. Charles Swann passed away yesterday at his residence in Paris after a long and painful illness. A Parisian whose wit was widely appreciated, a discriminating but steadfastly loyal friend, he will be universally mourned, not only in those literary and artistic circles where the rare discernment of his taste made him a willing and a welcome guest, but also at the Jockey Club of which he was one of the oldest and most respected members. He belonged also to the Union and the Agricole. He had recently resigned his membership of the Rue Royale. His witty and striking personality never failed to arouse the interest of the public at all the great events of the musical and artistic seasons, notably at private views, where he was a regular attendant until the last few years, when he rarely left his house. The funeral will take place, etc.”
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, tha
t 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 lips being sealed, no answer would ever come. The death of others is like a journey one might oneself make, when, already sixty miles out of Paris, one remembers that one has left two dozen handkerchiefs behind, forgotten to leave a key with the cook, to say good-bye to one’s uncle, to ask the name of the town where the old fountain is that you want to see. While all these oversights which assail you, and which you relate aloud and purely for form’s sake to your travelling companion, are getting as sole response a blank disregard from the seat opposite, the name of the station, called out by the guard, only takes you further away from henceforth impossible realisations, so much so that you cease to think about irremediable omissions, and you unpack your lunch and exchange papers and magazines.
“No,” Brichot went on, “it wasn’t here that Swann used to meet his future wife, or rather it was here only in the very latest period, after the fire that partially destroyed Mme Verdurin’s former home.”
Unfortunately, in my fear of displaying before the eyes of Brichot a luxury which seemed to me out of place, since the professor had no share in it, I had alighted too hastily from the carriage and the driver had not understood the words I had flung at him over my shoulder in order that I might be well clear of the carriage before Brichot caught sight of me. The consequence was that the driver drew alongside us and asked me whether he was to call for me later. I answered hurriedly in the affirmative and intensified all the more my respectful attentions to the professor who had come by omnibus.
“Ah! so you were in a carriage,” he said gravely.
“Only by the purest accident. I never take one as a rule. I always travel by omnibus or on foot. However, it may perhaps earn me the great honour of taking you home tonight if you will oblige me by consenting to travel in that rattle-trap. We shall be packed rather tight. But you are always so kind to me.”
Alas, in making him this offer, I am depriving myself of nothing, I reflected, since in any case I shall be obliged to go home because of Albertine. Her presence in my house, at an hour when nobody could possibly call to see her, allowed me to dispose as freely of my time as I had that afternoon, when I knew that she was on her way back from the Trocadéro and I was in no hurry to see her again. But at the same time, as also that afternoon, I felt that I had a woman in the house and that on returning home I would not taste the fortifying thrill of solitude.
“I heartily accept,” replied Brichot. “At the period to which you allude, our friends occupied a magnificent ground-floor apartment in the Rue Montalivet with an entresol and a garden behind, less sumptuous of course, and yet to my mind preferable to the old Venetian Embassy.”
Brichot informed me that this evening there was to be at the “Quai Conti” (thus it was that the faithful spoke of the Verdurin salon since it had been transferred to that address) a great musical “jamboree” organised by M. de Charlus. He went on to say that in the old days to which I had referred, the little nucleus had been different and its tone not at all the same, not only because the faithful had then been younger. He told me of elaborate practical jokes played by Elstir (what he called “pure buffooneries”), as for instance one day when the painter, having pretended to “defect” at the last moment, had come disguised as an extra waiter and, as he handed round the dishes, murmured ribald remarks in the ear of the extremely prudish Baroness Putbus, who was crimson with anger and alarm; then, disappearing before the end of dinner, he had had a hip-bath carried into the drawing-room, out of which, when the party left the dinner-table, he had emerged stark naked uttering fearful oaths; and also of supper parties to which the guests came in paper costumes designed, cut out and painted by Elstir, which were veritable masterpieces, Brichot having worn on one occasion that of a nobleman of the court of Charles VII, with long pointed shoes, and another time that of Napoleon I, for which Elstir had fashioned a Grand Cordon of the Legion of Honour out of sealing-wax. In short Brichot, seeing again with the eyes of memory the salon of those days, the drawing-room with its high windows, its low settees bleached by the midday sun which had had to be replaced, declared that he preferred it to the drawing-room of today. Of course, I quite understood that by “salon” Brichot meant—as the word church implies not merely the religious edifice but the congregation of worshippers—not merely the apartment, but the people who frequented it, and the special pleasures that they came to enjoy there, and that were symbolised in his memory by those settees upon which, when you called to see Mme Verdurin in the afternoon, you waited until she was ready, while the blossom on the chestnut-trees outside, and the carnations in vases on the mantelpiece, seemed to offer a graceful and kindly thought for the visitor, expressed in the smiling welcome of their rosy hues, as they watched unblinkingly for the tardy appearance of the lady of the house. But if that salon seemed to him superior to the present one, it was perhaps because one’s mind is an old Proteus who cannot remain the slave of any one shape and, even in the social world, suddenly transfers its allegiance from a salon which has slowly and arduously climbed to a pitch of perfection to another that is less brilliant, just as the “touched-up” photographs which Odette had had t
aken at Otto’s, in which she queened it in a “princess” gown, her hair waved by Lenthéric, appealed less to Swann than a little snapshot taken at Nice, in which, in a plain cloth cape, her loosely dressed hair protruding beneath a straw hat trimmed with pansies and a black velvet bow, though a woman of fashion twenty years younger, she looked (for the earlier a photograph the older a woman looks in it) like a little maidservant twenty years older. Perhaps too Brichot derived some pleasure from praising to me what I myself had never known, from showing me that he had enjoyed pleasures that I could never have. He succeeded, moreover, merely by citing the names of two or three people who were no longer alive and whom he invested with a kind of mysterious charm by the way he spoke of them. I felt that everything that had been told me about the Verdurins was far too crude; and indeed in the case of Swann, whom I had known, I reproached myself for not having paid sufficient attention to him, for not having paid attention to him in a sufficiently disinterested spirit, for not having listened to him properly when he used to entertain me while we waited for his wife to come home for lunch and he showed me his treasures, now that I knew that he was to be classed with the most brilliant talkers of the past.
In Search of Lost Time, Volume 5: The Captive, the Fugitive Page 24