by Marcel Proust; D. J. Enright; Joanna Kilmartin; Andreas Mayor; Terence Kilmartin
LOUIS VI, the Fat, King of France (1081–1137): II 416; III 717.
LOUIS IX (Saint Louis), King of France (1214–70): I 82–83, 212; III 725; IV 690.
LOUIS XI, King of France (1423–83): III 788, 793.
LOUIS XIII, King of France (1601–43): III 610, 755, 779; IV 690; V 310.
LOUIS XIV, King of France (1638–1715). Aunt Léonie’s routine resembles the “mechanics” of life at his court: I 165. Allusion to Racine’s fall from grace: II 188. Incidental allusions: 204, 476; III 391, 571, 580. The Duc de Guermantes’s rules of social behaviour compared to those of Louis XIV; anecdotes from Saint-Simon: 597–98. Further allusions: 719, 728, 740, 779, 782; IV 63, 78, 234. Charlus’s views on him; compared to the Kaiser: 471–72. Charlus’s great-great-grandmother at the Court of Versailles: 477–78 (cf. 666; VI 192). Further incidental allusions: V 405, 496, 905. His ignorance of genealogy, according to Saint-Simon: VI 193.
LOUIS XV, King of France (1710–74): III 719, 734; IV 111; V 671, 746–47, 755; VI 194.
LOUIS XVI, King of France (1754–93): III 120; IV 691.
LOUIS XVII, uncrowned king of France (1785-? 1795): VI 195.
LOUIS XVIII, King of France (1755–1824): III 255–56. Shows his faculty for forgetting the past by appointing Fouché (q.v.): 711.
LOUIS THE GERMANIC, son of Louis I (“the Pious”) and grandson of Charlemagne (804–76): I 83; III 347.
LOUIS-PHILIPPE, King of France (1773–1850): I 26, 144. His architectural “excretions”: 415. His conversational talent: II 394. The “pinchbeck age” of Louis-Philippe: III 719. Genealogical connexions: 735–36; IV 111. The Citizen King: V 392.
LOUIS BONAPARTE, Prince, nephew of the Princesse Mathilde. Officer in the Russian Imperial Guard: II 160.
LOUIS, Baron, Minister of Finance under Louis XVIII and Louis-Philippe (1755–1837). Quoted by Norpois: II 45 (cf. VI 196).
LOZÉ, French diplomat, Ambassador in Vienna 1893–7: V 856.
LUCINGE, Mme de, illegitimate daughter of the Duc de Berry: III 735 (cf. V 893).
LUINI, Bernardino, Milanese painter (c. 1475-c. 1533). Swann once resembled one of the three kings in his Adoration of the Magi: II 201. Swann compares a woman to a Luini portrait: V 516.
LULLY, Jean-Baptiste, Franco-Italian composer (1632–87). His “shrewd avarice and great pomp,” according to Saint-Simon: I 439.
LUTHER, Martin, German religious reformer (1483–1546): III 347.
MACHARD, Jules-Louis, French painter (1839–1900). Mme Cottard speaks to Swann of one of his portraits which “the whole of Paris is rushing to see”: I 533–34.
MACK, General, Austrian commander against Napoleon. His defeat at Ulm: III 149.
MACMAHON, Marshal (1808–93), President of the Republic 1873–79. Mme de Villeparisis related to him: I 26 (cf. II 360).
MADAME. See Orléans, Charlotte-Elisabeth of Bavaria, Duchesse d’.
MAECENAS, patron of Virgil and Horace. Cited by Brichot; Charlus describes him as “the Verdurin of antiquity”: IV 478, 481.
MAES, Nicolaes, Dutch painter (1632–93). A painting attributed to him by the Mauritshuis in reality a Vermeer, in Swann’s view [subsequently confirmed by the experts]: I 502.
MAETERLINCK, Maurice, Belgian poet and playwright (1862–1949). His Les Sept Princesses discussed at Mme de Villeparisis’s and ridiculed by Mme de Guermantes: III 308–9. Mme de Guermantes and M. d’Argencourt discuss him: 336–37. Mme de Guermantes comes to admire him, in deference to fashion: V 35 (cf. VI 197). The “vague sadness” of Maeterlinck; quotations from Pelléas: 148.
MAHOMET II, Sultan of Turkey 1451–81. Bloch resembles his portrait by Gentile Bellini: I 134. Stabbed his wife to death: 505.
MAILLOL, Aristide, French sculptor (1861–1944): VI 198.
MAINTENON, Mme de (1635–1719), mistress, confidante and finally morganatic wife of Louis XIV: I 439; II 389.
MALHERBE, François de, French poet (1555–1628): IV 51.
MALLARMÉ, Stéphane, French poet (1842–98). “Alarm and exhaustion” induced in M’s grandmother by his later verse: III 674. Sneered at by Brichot: IV 483. Mocked by Meilhac: V 35. Poems of his to be engraved on Albertine’s yacht and Rolls-Royce: 614.
MANET, Edouard, French painter (1832–83). Elstir’s portrait of Odette contemporary with Manet’s portraits: II 604. His Olympia once regarded as a “horror” by society people, but now accepted: III 575. Elstir once modelled himself on him: 685. Mme de Guermantes’s view of his Olympia—“just like an Ingres”: 716. Admired by Mme de Cambremer, though she prefers Monet: IV 285.
MANGIN, General Charles (1866–1925). A genius, according to Saint-Loup at Doncières: III 145. Cited by Saint-Loup again during the Great War: VI 199.
MANSARD, Jules Hardouin, French architect (1646–1708): III 587.
MANTEGNA, Andrea, Italian painter (c. 1430–1506). A Saint-Euverte footman resembles a soldier in one of his paintings: I 460. The roof of the Gare Saint-Lazare recalls one of his menacing skies: II 303. Isabella d’Este and Mantegna: III 719–20. The Trocadéro reminds Albertine of the background of his St Sebastian: V 218. Vinteuil’s septet conjures up “some scarlet-clad Mantegna archangel sounding a trumpet”: 347. The Marquis de Beausergent in old age resembles a portrait study by Mantegna: VI 200.
MARDRUS, Dr Joseph-Charles-Victor, translator of the unexpurgated Arabian Nights, published 1898–1904: IV 318–19.
MARGUERITE D’AUTRICHE, daughter of the Emperor Maximilian and wife of Philibert le Beau of Savoy (1480–1530). Her tomb at Brou: I 420.
MARIE-AMÉLIE, Queen, wife of Louis-Philippe. Once said to Mme de Villeparisis, “You are just like a daughter to me”: III 250. Her portrait: 251, 519, 736. M’s grandmother shocked by her behaviour: V 895.
MARIE-ANTOINETTE, Queen of France (1755–93): II 470–71. Charlus has her hats: III 770; VI 201.
MARIVAUX, Pierre de Chamberlain de, French playwright and novelist (1688–1763): III 356. Characters known by their titles alone: IV 380.
MARY STUART, Queen of Scotland (1542–87): II 470.
MASCAGNI, Pietro, Italian composer (1863–1945). Reference to Cavalleria Rusticana, admired by Albertine: II 632, 635.
MASPÉRO, Gaston, French Egyptologist (1846–1916): II 68; V 441.
MASSÉ, Victor, French composer (1822–84). Odette’s delight at the prospect of his operetta La Reine Topaze: I 348. The Verdurins take her to his Une Nuit de Cléopâtre; Swann’s diatribe against him: 411–13.
MASSÉNA, Marshal, Napoleonic general (1758–1817): III 171.
MASSENET, Jules, French composer (1842–1912). Compared with Debussy: IV 291. Albertine sings his Poème d’amour: V 3–4. Quotations from Manon: 609–10.
MATERNA, Mme, Austrian singer (1847–1918): I 32.
MATHILDE, Princesse, daughter of Jerome Bonaparte (1820–1904). Entertained by the Princesse des Laumes: I 468, 473. M meets her in the Bois de Boulogne with the Swanns: II 156–60. Not at all royal in her ways: 380–81. Her relations with the Faubourg Saint-Germain: III 642–44. Mme de Guermantes invites her with the Duc d’Aumale: 710.
MAUBANT, French actor (1821–1902): I 32. Seen by M emerging from the Théâtre-Français: 102.
MAULÉVRIER, Marquis de, French Ambassador in Madrid 1720–23. Swann quotes Saint-Simon’s description of him: I 34.
MAUREL, Victor, French opera-singer (1848–1923): III 775.
MAURRAS, Charles, right-wing writer and publicist (1868–1952): II 8. His novel Aimée de Coigny: VI 202. Reference to his newspaper L’Action Française: 183.
MA YOL, Félix, music hall singer (1876–1941). Morel sings his Viens Poupoule: IV 632. Discussed by Charlus and the bus conductor: 735.
MEILHAC, Henri, French playwright and librettist (1831–97), collaborator of Ludovic Halévy (q.v.). Admired by Mme de Guermantes: I 475 (cf. III 278, 678–79; VI 203). Imagined dialogue between the Princesse de Guermantes and her guests in her box at the Opéra suggests a scene from Le Mari de la Débutante: III 48. His Cleopatra: IV 387. Mallarmé mocked by him: V
35. Quotation from La Belle Hélène: 909.
MÉLINE, Jules, French statesman (1838–1925). Prime Minister during the Dreyfus Case; friend of M’s father: III 200.
MEMLING, Jan, Flemish painter (c. 1433–94). Allusion to his St Ursula reliquary in Bruges: III 735.
MENANDER, Greek poet and dramatist: II 485.
MENDELSSOHN, Felix, German composer (1809–47). Charlus refers to him as “the virtuoso of Berlin”: IV 556; V 860.
MENDÈS, Catulle, French poet (1841–1909). Referred to familiarly by Bloch’s sister: II 482.
MENIER, Gaston, Chocolate manufacturer. Allusion (by Bloch) to his powerful and luxurious yacht: II 446.
MERCIER, General, Minister of War at the outset of the Dreyfus Case: III 653.
MÉRIMÉE, Prosper, French writer (1803–70). His style and influence: I 475 (cf. III 48, 277–78, 678–79). Admired by Mme de Villeparisis: II 395. Mme de Guermantes has his type of mind: III 278 (cf. I 475; III 781); her favourite writer, together with Meilhac and Halévy: 678–79. He and Baudelaire despise one another: 781 (cf. V 35). His travels in Spain: V 441.
MERLET, Gustave, French literary academic (1829–91): II 675.
MÉTRA, Olivier, French composer and conductor (1830–89). His Vahe des Roses one of Odette’s favourite pieces: I 335, 341, 349.
METTERNICH, Princess Pauline von (1836–1921), wife of Metternich’s son Richard, for several years Austrian Ambassador in Paris. Introduces Bergotte to Norpois in Vienna: II 64–65. A passionate Wagnerian: III 775; V 365.
MEULEN, van der, Flemish painter (1634–94): III 527.
MEURICE, Paul, writer and friend of Victor Hugo: V 386.
MEYER, Arthur, French journalist, ultra-Nationalist and antiDreyfusard (1844–1924): VI 204.
MEYERBEER, Giacomo, Franco-German composer (1791–1864). Morel plays him instead of Debussy: IV 481.
MICHELANGELO Buonarotti, Italian painter, sculptor, architect and poet (1475–1564). Globes of mistletoe like the sun and moon in his Creation: I 601–2. Françoise “the Michelangelo of our kitchen;” her search for the best cuts of meat compared to his care in choosing marble for the monument to Julius II: II 21, 39. Albertine’s face in bed at Balbec, as M approaches to kiss it, seems to rotate like a Michelangelo figure: 701. Vinteuil’s creative fury compared to Michelangelo’s in the Sistine Chapel: V 339. Brichot acquits him of homosexuality: 395. “Grimacing immobility” of a portrait study: VI 205.
MICHELET, Jules, French historian (1798–1874). Charlus quotes him on the Guermantes clan: III 388. Reference to his aesthetic approach to natural history: IV 36. Personifies the 19th century; his greatest beauties in his prefaces: V 207.
MIGNARD, Pierre, French portrait painter (1612–95). His portrait of Charlus’s uncles: III 770. The Duc de Guermantes’s “Mignard”: 795–97.
MILL, John Stuart, British philosopher and economist (1806–73): IV 438.
MILLET, Jean-François, French painter (1814–75): IV 438.
MISTINGUETT, popular singer and dancer (1875–1956). Mme de Guermantes hesitates to make overtures to her, though finding her “adorable”: VI 206.
MOLIÈRE, French dramatist (1622–73): I 36. Norpois avoids his word cocu: II 52 (as does Cottard: IV 493–94). Meeting between M’s grandmother and Mme de Villeparisis compared to a scene in Moliere: 371–72. Reference to Le Misanthrope—exam question on Alceste and Philinte: 640. Quoted by M’s grandmother: III 423–25. Conversation between Charlus and the Duke of Sidonia recalls a Molière comedy: IV 52. Allusion to Le Médecin malgré lui: 56. Charlus as Scapin: 130. The only writer’s name known to Céleste Albaret: 333–34. Reference to Le Malade imaginaire: 393. Reference to L’Avare: 434. Allusion to La Comtesse d’Escarbagnas: 556. Charlus’s imitation swordsmanship reminiscent of Molière: 539–40. An invert, according to Charlus: V 405. Differing views of Le Misanthrope: VI 207.
MOLTKE, General von, Prussian Chief of Staff during the Franco-Prussian war: VI 208.
MONALDESCHI, Jean de, Italian nobleman assassinated at Fontainebleau in 1657 at the instigation of Queen Christina of Sweden: IV 93.
MONET, Claude, French painter (1840–1926). Admired by Mme de Cambremer: IV 283–85. Mentioned: V 411; VI 209.
MONSEIGNEUR, son of Louis XIV (1661–1711): III 597–98.
MONSIEUR (Philippe, Duc d’Orléans), brother of Louis XIV (1640–1701). Anecdotes from Saint-Simon: III 597; IV 78, 477, 666. Called “Monsieur” because he was such an “old woman” (Charlus): 691. His homosexuality: V 405–7.
MONTALAMBERT, Charles, Comte de, French politician and publicist (1810–70). Frequented Mme de Villeparisis’s salon: III 259.
MONTESPAN, Mme de, mistress of Louis XIV: IV 234.
MONTESQUIEU, Charles de Secondât, Baron de, French writer and political philosopher (1689–1755). Anticipates Flaubert: IV 291. Brichot refers to him as “Monsieur le Président Secondât de Montesquieu”: 372.
MONTMORENCY, Duchesse de, née des Ursins (1601–66). Mme de Villeparisis has inherited a portrait of her: III 252, 265–66, 270, 298.
MORAND, Paul, French writer (1888–1976). Allusion to his novel Clarisse: VI 210.
MOREAU, Gustave, French painter (1826–98). The idea of a “kept woman” suggests to Swann some fantasy by Moreau: I 380. Allusion to his portrayal of Jupiter: II 382. Some “stunning pictures” by him at Guermantes, according to Saint-Loup: 457. Mme de Guermantes talks about his Death and the Young Man: III 713–14.
MORGHEN, Raphael, Italian engraver (1758–1833). His engraving of Leonardo’s Last Supper: I 54.
MOTTE VILLE, Mme de, memorialist (c. 1621–1689): III 743.
MOUNET-SULLY, French tragedian (1841–1916): IV 639; V 275. His approach to Molière’s Le Misanthrope: VI 211.
MOUSSORGSKY, Modest, Russian composer (1839–81). The street criers’ cadences remind M of Boris Godunov: V 147–48.
MOZART, Wolfgang Amadeus (1756–91). Reference to his clarinet quintet: I 474. “Mischievous unexpectedness” with which the piano takes over in his concertos: II 36.
MURAT, Princesse, Queen of Naples: II 480; III 711; V 365–66. (To be distinguished from Maria-Sophia-Amelia, wife of Francis II, last king of the two Sicilies—see Naples, Queen of.)
MUSSET, Alfred de, French poet and dramatist (1810–57). M’s grandmother’s choice of Musset’s poems as a present for her grandson disapproved of by his father: I 52–53. Despised by Bloch, apart from one “absolutely meaningless line”: 124. Arrives “dead drunk” to dine with the Princesse Mathilde: II 158. Mme de Villeparisis’s poor opinion of him: 411–12. The Musset admired by the likes of Bloch: 475. A line of his attributed by Oriane to Emile Augier: III 308. Critical opinions of him: 645. Mme d’Arpajon quotes a line from his La Nuit d’Octobre thinking it to be by Hugo: 679-80. Quoted in Joseph Périgot’s letter: 777. His notion of “hope in God”: V 792. Quotation by Charlus from La Nuit d’Octobre: 808–9 (cf. 323; VI 212). Rachel to recite Le Souvenir at the Princesse de Guermantes’s reception: VI 213.
NANTES, Mlle de, daughter of Louis XIV and Mme de Montespan; married the grandson of the Great Condé: V 905.
NAPLES, Queen of. Maria-Sophia-Amelia, daughter of Maximilian-Joseph, Duke of Bavaria. Her reaction to her sister’s death discussed at the Guermantes’ dinner-table: III 699–700. Her graciousness to Mme Verdurin: V 328–29, 375, 419–20; forgets her fan: 364–66; Charlus intends to present Morel to her: 402–3, 414; returns to fetch her fan, and takes Charlus under her protection: 429–33. Accused of espionage by Mme Verdurin during the war: VI 214.
NAPOLEON Bonaparte (1769–1821): II 157–59. His strategy and tactics discussed by Saint-Loup at Doncières: III 142–51. The Prince de Borodino’s possible descent from him and points of resemblance with him: 167–72. His place in Balzac: 736. Napoleonic titles: 774, 813. Discussion of whether he chewed tobacco or not, in the Goncourt pastiche: VI 215. His strategy and tactics discussed by Saint-Loup in 1914: 101–2. Compared by Charlus to the Kaiser: 157.
NAPOLEON III (1808–73). Appears i
n Swann’s dream: I 538–40. Mentioned: II 9, 157. Captain de Borodino’s relationship and resemblance to him: III 167–72. The Duc de Guermantes objects to his handing out of titles: 812–13. Features in Norpois’s article on the eve of the Franco-Prussian war: V 865–66.
NATTIER, Jean-Marc, French portrait-painter (1658–1766). Jacquet’s portrait of Mme de Surgis compared to his Duchesse de Châteauroux: IV 145; V 796.
NÉGRIER, General de (1839–1913). Discussed at Doncières: III 166 (cf. VI 216).
NEMOURS, Duc de, son of Louis-Philippe (1814–96). Mme de Villeparisis tells an anecdote about him: II 415.
NERO, Roman emperor. Quoted by Brichot: IV 400. Cited by M’s mother as being probably “highly-strung”: V 135.
NERVAL, Gérard de, French poet (1808–55). Illustrated editions of his books remind M of a “personal share” in the Water Company: II 35. His Sylvie, “one of the masterpieces of French literature,” figures a sensation of the same order as the taste of the madeleine: VI 217.
NICHOLAS II, Tsar (1868–1918). Visits Paris: II 159. Françoise ashamed of France’s treatment of him: III 450. Charlus speaks of him: VI 218.
NIETZSCHE, Friedrich Wilhelm, German philosopher (1844–1900): II 4. Admired by Saint-Loup: 426. His attitude to friendship and his relationship to Wagner: III 540 (cf. V 205). Quoted in Saint-Loup’s letters to M during the war: VI 219. Charlus ridicules Cottard’s denigration of him: 129.
NIJINSKY, Vaslav, Russian ballet dancer (1890–1950): IV 193.
NO AILLES, Anna de, French poetess (1876–1933). Alluded to as “an Eastern princess,” said to write poetry “quite as fine as Hugo’s or Vigny’s”: III 137. A “poet of genius”: VI 220.
NOAILLES, Duc de, friend of Sainte-Beuve: V 769–70.
NO AILLES, Duchesse de, née Champlâtreux, mother-in-law of Anna de Noailles. Sainte-Beuve’s poem about her as a little girl: VI 221.
OFFENBACH, Jacques, Franco-German composer (1819–80): II 361–2. Quotation from his Les Brigands: IV 331. Quotation from La Belle Hélène: V 909.
OHNET, Georges, French novelist and playwright. References to his Matîre de Forges and Serge Panine: I 364–65.