Time Regained

by Marcel Proust; D. J. Enright; Joanna Kilmartin; Andreas Mayor; Terence Kilmartin

  VINTEUIL, Mile. Daughter of the above. Her boyish appearance: I 157–58. Her bad reputation; causes her father unhappiness: 206–9. Scene of sadism with her friend at Montjouvain; profanes her father’s memory: 224–32. Gilberte’s disapproval of her: II 150. Shattering revelation of Albertine’s intimacy with her and her friend: IV 701–24. She and her friend expected at the Verdurins’ (in fact they fail to appear): V 295–98. M interrogates Mme Verdurin and Morel about her: 321. Her penitence and veneration for her father; her sadism merely a pretence of wickedness: 348–49. M interrogates Albertine, who denies being on terms of intimacy with her and her friend: 447–48, 451–52 (cf. 533–34). The truth concerning her relations with Albertine, according to Andrée: 831–33.

  VINTEUIL, Friend of Mile. Comes to live at Montjouvain; her bad reputation; Vinteuil regards her as “a superior woman,” with great musical gifts: I 206–8. Her part in the scene at Montjouvain: 226–32. Albertine reveals that she had been a mother or a sister to her: IV 701–3, 707–13, 722–23. Expected at the Verdurins’: V 295–98, 321. Her patient and dedicated labour transcribing Vinteuil’s works: 347–53. Albertine denies having been more or less brought up by her: 451–53. Andrée’s version of the story: 831–33.

  VIRADOBETSKI. See Ski.

  VIRELEF, Mme de. Invites the Guermantes to the Opéra with Gilberte: V 782.

  VLADIMIR, Grand Duke. His delighted amusement at the inundation of Mme d’Arpajon: IV 76–78.

  VON, Prince. See Faffenheim.

  WAITERS at the “Cherry Orchard.” Twin brothers resembling tomatoes; Nissim Bernard’s relations with them: IV 342–43.

  WAITERS in the hotel at Doncières; their breathless speed; the “reserve of cherubim and seraphim”: III 125–26.

  WAITERS in the restaurant at Rivebelle; their gyrations round the “astral tables”: II 532–34; one of them fascinates Albertine: IV 563–65; two of them, transferred to the Grand Hotel, Balbec, whom M fails to recognise: 528.

  WAITERS in Aimé’s restaurant in Paris, like superannuated actors: III 218, 222.

  WAITERS in the restaurant in Venice: V 854.

  WARWICK, Lady. English friend of Mme de Guermantes: V 48.

  YOURBELETIEFF, Princess. Sponsor of the Ballets russes; appears at the theatre in the company of Mme Verdurin: IV 193; V 315.

  WOMAN (“beautiful young”) with the flashing eyes who seems to recognise Albertine and strikes up a Gomorrhan relationship with Bloch’s cousin: IV 338–40.

  WOMAN (young Austrian) who attracts M in Venice because of her resemblance to Albertine: V 879–81.

  Index of Persons

  ADAM, Adolphe, French composer (1803–56). Allusions to his operettas Le Chalet: III 673 and Le Postillon de Longjumeau: V 205.

  ALENÇON, Duchesse d’, sister of Elisabeth, Empress of Austria, and of Maria, Queen of Naples. Allusion to her accidental death (in a fire) in 1897: III 700. Referred to in connexion with the Queen of Naples’ visit to the Verdurin musical soirée: V 328, 414.

  ALENÇON, Emilienne d’. Famous Belle Epoque courtesan: IV 661.

  ALFONSO XIII, King of Spain. “Fonfonse” to M’s family’s butler: VI 103.

  ALLEMANS, Armand du Lau, Marquis d’, “nobleman of Perigord” (1651–1726). His portrait by Saint-Simon: V 794–95 (cf. Lau, Marquis du, in the Index of Characters).

  AMAURY (Ernest-Félix Socquet), 19th-century French actor who had his moment of celebrity: III 167.

  AMÉLIE, daughter of the Comte de Paris, Queen of Portugal from 1889 to 1908. Referred to familiarly by Françoise: II 491.

  AMPÈRE, André, French physicist and mathematician (1775–1836). Invoked by Swann in connexion with Vinteuil’s creative genius: I 499. His son Jean-Jacques, historian (1800–64): VI 104.

  ANGÉLICO, Fra, Italian painter (c. 1387–1455): I 549.

  ANNUNZIO, Gabriele d’, Italian writer (1863–1938). Admirer of the Duchesse de Guermantes: IV 89.

  APOLLONIUS OF TYANA, neo-Pythagorean philosopher: VI 105.

  ARBOUVILLE, Mme Césarine d’. Hostess, woman of letters, and friend of Sainte-Beuve: V 769–70.

  ARISTOTLE, Greek philosopher: I 212; III 257, 285, 612.

  ARLINCOURT, Vicomte d’, French historical novelist (1789–1856): IV 110.

  ARNAULD, Antoine, Jansenist theologian (1612–94): V 918.

  AROUET. See Voltaire.

  ARVÈDE BARINE (Mme Charles Vincens), French writer (1840–1908). Saint-Loup reads a book of hers on a train, and mistakes the author’s sex and nationality: II 611.

  ASSURBANIPAL, King of Assyria 668–626 BC: II 68.

  AUBER, Esprit, French composer (1782–1871). References to his operettas, Les Diamants de la Couronne, Le Domino noir and Fra Diavolo: I 101; III 615, 673; VI 106.

  AUDIFFRET-PASQUIER, Duc d’, French politician (1823–1905): 126.

  AUGIER, Emile, French playwright (1820–89): II 485; III 277; Oriane de Guermantes ascribes to him a line of Musset’s: 308.

  AUGUSTUS III of Poland, Elector of Saxony (1696–1763): VI 107.

  AUMALE, Henri d’Orléans, Duc d’, French general and historian, fourth son of Louis-Philippe (1822–97). Cottard’s euphemism for lavatory: I 372–73. M. Bloch père referred to as his double: II 480. The Guermantes visit him at Chantilly: III 35 (cf. 803–4). In a box at the Opéra: 43; frequents Mme de Villeparisis’s salon: 259. He and Princesse Mathilde brought together by Oriane: 642, 710. His liaison with Mme de Clin-champ: IV 672.

  AVENEL, Vicomte Georges d’, French historian and economist (1855–1939): III 286.

  BACH, Johann Sebastian, German composer (1685–1750). Conversation of the inhabitants of Françoise’s native village has the “unshakeable solidity of a Bach fugue”: IV 172. Charlus’s laugh and Bach’s “small high” trumpets: 463–64. Morel plays a Bach air and variations on a walk with the Verdurins: 584. A “sublime aria” by Bach: V 862.

  BAGARD, César, sculptor and cabinet-maker from Nancy (1639–1709). Executed the panelling in the apartments of Mme de Villeparisis’s father in the Hotel de Bouillon: II 415, and in Charlus’s apartments: III 770.

  BAKST, Léon, Russian painter and designer (1866–1924). His decors for the Ballets russes: II 718; IV 193; V 497. Andrée disapproves of his decoration of the Marquis de Polignac’s house: VI 108.

  BALTHY, music-hall singer (1869–1925), whom Mme de Guermantes hesitates to cultivate, though finding her “adorable”: VI 109.

  BALZAC, Honoré de, French novelist (1799–1850). His “tigers” now “grooms”: I 459. Disparaged by Mme de Villeparisis: II 394, 395, 412. Parodied by Saint-Loup: 418. “Adored” by the Duc de Guermantes, who attributes to him a novel by Dumas, Les Mohicans de Paris: III 673. Charlus “knows it all by heart”: 673. Discussed by Charlus with Vic-turnien Surgis-le-Duc, who has the same Christian name as d’Esgrignon in Le Cabinet des Antiques: IV 132. Charlus reads him in the little train: 594–97. The Baron’s favourite volumes of La Comédie humaine: 611. Discussed by Charlus and Brichot: 611–16. The Princesse de Cadignan: 617–19, 622–23. The Cambremers as Balzac characters: 668. Clothes of his heroines: V 34 (cf. IV 617–18). Retrospective unity of the Comédie humaine: 207–8. The “spoken newpaper” of Paris: 288. Construction of his novellas: 675. The marriage of Mile d’Oloron and the young Cambremer a “marriage from the end of a Balzac novel”: 893. Gilberte reads La Fille aux yeux d’or: VI 110. His genius, in spite of his vulgarity: 42.

  BARBEDIENNE, Ferdinand, bronze founder (1810–92): IV 430; V 229–30.

  BARBEY D’AUREVILLY, French novelist (1808–89): II 443; “key-phrases” in his work: V 506.

  BARRERÉ, Camille, French diplomat, Ambassador in Rome from 1897 to 1924: V 863.

  BARRÉS, Maurice, French writer (1862–1923): II 7. Swann revises his opinion of his work in the light of the Dreyfus Case, comparing him unfavourably to Clemenceau: III 799. His denunciation of parliamentary corruption: V 398. His views on art and the nation: VI 111.

  BARRY, Mme du, mistress and favourite of Louis XV (1743–93):
V 378, 496–97, 755; VI 112.

  BARTOLOMMEO, Fra, Florentine painter (1469–1517). Mme Blatin resembles his portrait of Savonarola: II 147.

  BAUDELAIRE, Charles, French poet (1821–67). Allusion to his poem L’Imprévu—the epithet “delicious” applied to the sound of the trumpet: I 251. Allusions to poems about the sea: II 343, 372, 391. The antithesis of the kind of writer approved of by Mme de Villeparisis and her like: 394, 418, and of Mme de Guermantes’s type of mind: III 689, 781 (cf. V 35). Mme de Cambremer quotes a line from L’Albatros: IV 289. Denounced by Brichot: 483. Quotation from Les Fleurs du Mal XLI (“like a dulcimer”): 521. Quoted by M on murder: V 511. Allusion to La Lune offensée—the “yellow and metallic” moon: 550–51. Saint-Loup quotes from Le Balcon: VI 113. M finds in his work reminiscences, transposed sensations, which for him are the foundation of art; quotations from La Chevelure and Parfum exotique: 335.

  BEETHOVEN, Ludwig van (1770–1827). The Ninth Symphony one of Mme Verdurin’s “supreme masterpieces”: I 361. The Moonlight Sonata in the Bois: 403–4, 407. The late quartets: II 142–43 (cf. 451–52; IV 51, 482, 555–56). Allusion to one of the Razumovsky quartets by Mme de Guermantes: III 715. The Pastoral Symphony played in Charlus’s house: 771. Charlus’s ogling glances at Jupien likened to Beethoven’s “questioning phrases”: IV 7. Mme de Citri finds him “a bore”: 119. Mme de Cambremer inhales the sea air like the prisoners in Fidelio: 293. Invoked by Brichot in connexion with Dechambre’s death: 400–1. Charlus on the piano transcription of Quartet No. 15: 555–56. The “Bonn Master”: V 416. His “terrible ravaged face”: VI 114. The Kreutzer Sonata played at the Princesse de Guermantes’s reception: 496.

  BELLINI, Gentile, Venetian painter (1429–1507). Bloch resembles his portrait of the Sultan Mahomet II: I 134 (cf. 505). His painting of the portico of St Mark’s: 234.

  BELLINI, Giovanni, Venetian painter (c. 1430–1516). The “little band” play upon their vocal instruments “with all the application and ardour of Bellini’s angel musicians”: II 666. Vinteuil’s music evokes “a grave and gentle Bellini seraph strumming a theorbo”: V 347.

  BENOIS, Alexander, Russian painter and ballet designer (1870–1960): IV 193; V 497.

  BERGSON, Henri, French philosopher (1859–1941). On the effect of soporific drugs on the memory: IV 520–22.

  BERLIOZ, Hector, French composer (1803–69). The Childhood of Christ: IV 688; as a writer: V 288.

  BERNARD, Samuel, French financier (1651–1739): II 445; III 356.

  BERNARDIN DE SAINT-PIERRE, French writer, author of Paul et Virginie (1737–1814). Cited by Charlus: V 369.

  BERNHARDI, General Friedrich von, German military historian (1849–1930): III 144.

  BERNHARDT, Sarah, French actress (1844–1923): I 102, 283; IV 639, 659; V 311; VI 115.

  BERRY, Duc de, grandson of Louis XIV (1686–1714). Cited by Saint-Simon as living his life among his lackeys: VI 116.

  BERRY, Duc de, son of Charles X (1778–1820): III 735. Swann’s grandmother said to have been his mistress, hence the legend (subscribed to by the Prince de Guermantes) that Swann was his natural grandson: 792; IV 92.

  BEYLE, Henri. See Stendhal.

  BIDOU, Henry, French writer, military commentator of Le Journal des Débats during World War I: VI 117.

  BILLOT, General, French Minister of War between 1896 and 1898: III 402.

  BING, Siegfried. Franco-German art collector, pioneer of Art Nouveau (1838–1905): III 756.

  BISMARCK, Prince Otto von (1815–98). Rates Norpois’s intelligence highly: II 9, 60 (cf. III 298, 303). Struck by the Prince de Borodino’s resemblance to Napoleon III: III 168.

  BIZET, Georges, French composer (1838–75). Disliked by Morel: V 384–85.

  BLACAS, Duc de, Restoration politician (1771–1839). Contrasted by Mme de Villeparisis with Chateaubriand: II 411.

  BLANCHE DE CASTILLE, wife of Louis VIII and mother of Saint Louis (1188–1252). Subject of one of Brichot’s rodomontades: I 357.

  BOIELDIEU, François-Adrien, French composer (1775–1834): II 427; III 672.

  BOIGNE, Mme de (1781–1866). Friend of Sainte-Beuve, famous for her salon and for her Memoirs: III 569; V 769.

  BOILEAU, Nicolas, French poet and critic (1636–1711): II 7; quotation from L’Art poétique in Gisèle’s essay: 672.

  BOISDEFFRE, General de, French Army Chief of Staff 1893–98: III 134, 326; VI 118.

  BOISSIER, Gaston, antiquarian and permanent secretary of the Académie Française (1823–1908): IV 620; V 443.

  BONAVENTURE, Saint (1221–74). Quoted by Charlus: III 764.

  BORELLI, Vicomte de, society poet of the late 19th century: I 341; III 286, 337; V 109.

  BORNIER, Vicomte Henri de, French writer, author of La Fille de Roland (1825–1901): III 570–72.

  BORODIN, Alexander, Russian composer (1833–87). Allusion to the Polovtsian Dances from Prince Igor: V 315. Albertine plays In the Steppes of Central Asia on the pianola: 514.

  BOSSUET, Jacques-Bénigne, French prelate, writer and orator (1627–1704): I 408; V 399; VI 119.

  BOTHA, General (1862–1919). Boer leader, quoted by Prince Von on the subject of English ineptitude: III 722–23, 751–52, 776.

  BOTTICELLI (Sandro di Mariano), Italian painter (c. 1445–1510). Odette’s resemblance to the figure of Zipporah in The Life of Moses in the Sistine Chapel: I 314–18, 330, 337–38; and to the women in some of his other paintings, including the Madonna with the Pomegranate: 398; the Primavera, the Vanna, and the Venus: 445; the Virgin in the Magnificat: II 264.

  BOUCHARD, Charles, French physician (1837–1915): IV 487, 614.

  BOUCHER, François, French painter (1703–70): II 459; III 9; V 124, 263–64.

  BOUFFE DE SAINT-BLAISE, French obstetrician: IV 488.

  BOUFFLERS, Duc de, Marshal of France (1644–1711). One of Charlus’s list of alleged 17th-century inverts: V 405.

  BOULLE, André-Charles, French cabinet-maker (1642–1732). The Guermantes’ “marvellous Boulle furniture”: III 755.

  BOURGOGNE, Duc de, grandson of Louis XIV and father of Louis XV (1682–1712): III 598; IV 477.

  BOUTROUX, Emile, French philosopher (1845–1921). Quoted by the Norwegian philosopher: IV 447–48, 520–21.

  BRESSANT, 19th-century French actor. Swann adopts his hairstyle: I 17; VI 120.

  BREUGHEL the Elder, Peter, Flemish painter (c. 1520–69). Soldiers in the streets of Doncières resemble Breughel peasants: III 124.

  BRISSAC, Henri-Albert de Cossé, Duc de, brother-in-law of Saint-Simon (1644–99). One of Charlus’s 17th-century inverts: V 405.

  BROGLIE, Victor-Claude, Prince de (1757–94). Posthumous connexion with Mme de Staël: VI 121.

  BROGLIE, Duc Victor de (son of the above), French statesman (1785–1870): I 26; III 259; his daughter marries the Comte d’Haussonville, 783; he himself had married the daughter of Mme de Staël: VI 122.

  BROGLIE, Duc Albert de (son of the above), French statesman and historian (1821–1901). Author of Le Secret du Roi: V 731.

  BROGLIE, Duchesse de, daughter of Mme de Staël and wife of Duc Victor de Broglie; her letters: III 373, 674, 679; her daughter and son-in-law: VI 123.

  BRONZINO, Angiolo, Florentine painter (1503–63). Morel “so beautiful,” according to Charlus, “he looks like a sort of Bronzino”: V 284.

  BRUANT, Aristide, Montmartre chansonnier (1851–1925): V 327.

  BRUNETIÈRE, Ferdinand, French literary critic, Professor at the Sorbonne (1849–1906): III 338; IV 295; VI 124.

  BRUNSWICK, Duke of, German prince and soldier (1624–1705). Another of Charlus’s alleged inverts of the 17th century: V 405.

  CAILLAUX, Joseph, French politican (1863–1944). His foreign policy “severely trounced” in the Echo de Paris: IV 205. His trial for treason: VI 125.

  CALLOT, dress designer. Approved of by Elstir: II 655–56, and by Mme de Guermantes: V 47.

  CAPET, Lucien, French violinist (1873–1928): V 383.

  CAPUS, Alfred, French dramatist
(1858–1922). Reference to his La Châtelaine: IV 662.

  CARNOT, Lazare, mathematician and revolutionary, “the organiser of victory” (1753–1823): III 803.

  CARNOT, Sadi, President of the French Republic from 1887 until his assassination in 1894: II 360; III 802–3.

  CARO, Eime Marie, French philosopher (1826–87): IV 295.

  CARPACCIO, Vittore, Venetian painter (1450–1525). Tender sweetness in pomp and joy expressed in certain of his paintings: I 251. San Giorgio degli Schiavoni: II 14 (cf. V 868–69). Elstir on his paintings of regattas on the Grand Canal: 652–54 (cf. V 497). “Speaking likenesses” of his friends or patrons: III 575. His reliquaries: 735. His courtesans: V 508. M and his mother admire his pictures in Venice; his St Ursula and The Patriarch of Grado (Albertine’s Fortuny cloak): 876–77. War-time Paris as exotic as his Venice: VI 126.

  CARRIèRE, Eugène, French painter (1849–1906). Admired by Saint-Loup (portrait of his Aunt Oriane at Guermantes): II 457 (cf. III 755).

  CARVALHO, Mlle, French opera singer (1827–95): III 638.

  CASTELLANE, Mme de, Mme de Villeparisis’s Aunt Cordelia (née Greffulhe). Admired by Chateaubriand, married Colonel (later Marshal) Comte Boniface de Castellane: III 372.