by Marcel Proust; D. J. Enright; Joanna Kilmartin; Andreas Mayor; Terence Kilmartin
DOCTORS. See Medicine.
DREAMS. M’s dreams of a woman: I 3. Swann’s dream of leaving Odette: 503–4. Swann’s dream of Odette and Forcheville: 538–43. M’s dream about Gilberte: II 281–82. M’s dreams after dining at Rivebelle: 545–46. Beauty of the dream-world; nightmares and their fantastic picture-books: III 105–10. Saint-Loup’s dream of Rachel’s infidelity: 160. M’s dream of Venice: 191–92. M dreams of his dead grandmother; he speaks of her to his father; dream language: IV 216–19, 241–42, 246. Pleasures experienced in dreams: 518–20. A dream may have the clarity of consciousness: 523–24. The stuff of dreams: V 153–55; inventiveness in dreams: 156–60; M’s dream of a woman carriage-driver: 158. Bergotte’s nightmares: 241–42. M’s bad dreams: 664. The “reprises” or “da capos” of one’s dreams; seeming reality of dreams; Albertine’s constant presence in M’s dreams; he speaks to her in a dream, in the presence of his grandmother: 725–28. The importance of dreams; tricks they play with Time (q.v.); the “nocturnal muse”: VI 324.
DRESS. Legrandin’s bow-ties: I 92, 167. Unbecoming fashion prevailing at the time of Swann’s meeting with Odette: 278; Odette’s cape trimmed with skunk, and her Rembrandt hat: 340–41. Head-dress of the Princesse des Laumes: 471, 484. Mme Cottard “in full fig”: 532. Gilberte’s governess’s macintosh and blue-feathered hat: 561. Gilberte’s fur-trimmed cap: 566. Odette’s costumes in the Bois: 494–95, 603–6. M deplores the new (1913) fashions in the Bois: 603–6. M’s Charvet tie and patent leather boots: II 135. Odette’s indoor clothes: 138–39, 155, 230–33, 262–69. Mme Cottard’s Raudnitz dress: 238. Changes in fashion; Odette adapts the new fashions to the old (“Mme Swann is quite a period in herself”): 263–69. Odette’s splendour in the Avenue du Bois; exquisite details of her (typically mauve) outfit; the apotheosis of fashion: 290–96. Swann’s tall hat lined with green leather: 296. Françoise’s simple good taste in dress: 308–9. Saint-Loup’s white suit: 421; “relaxed and careless elegance” of his clothes appreciated by M’s grandmother: 428 (cf. III 117–18). Studied sobriety of Charlus’s clothes: 454–55. Simple but expensive elegance of Mme Elstir’s clothes: 586, 634. Elstir’s unerring taste in dress, appreciated by Albertine: 634–35. Yachting and racing dress; Mile LEA ’s costume at the races: 651–58. Costumes of Veronese’s and Carpaccio’s Venice; their secret rediscovered by Fortuny: 652–54. Elstir on Paris couturiers: 655. The art of the milliner: 659. Costumes of the Princesse and Duchesse de Guermantes at the Opéra: III 45–49, 61–64, 68–69, and Mme de Cambremer’s comparative dowdiness: 64. The Duchesse de Guermantes’s street clothes: 74, 189–90. Saint-Loup’s style in dress: 117–19. Mme de Guermantes’s blue pekin skirt and straw hat trimmed with cornflowers: 274. Mme de Marsantes’s white surah dress: 338. Françoise’s mourning dress: 456. Role of costume in love: 529. Low-necked dresses of the “flower-maidens”: 579–80. Swann’s elegance; his pearl-grey frock-coat, white gloves and flared topper: 793–94. The Duchess’s red satin dress, ostrich feather and tulle scarf: 800, and her black shoes: 818–19. Her Tiepolo evening cloak: IV 83, 161. Sartorial elegance of the Balbec liftboy: 257–58. The dowager Mme de Cambremer’s get-up: 277–78. Albertine’s motoring toque and veil: 536, 561–62 (cf. V 70). Albertine’s clothes, inspired by Elstir; her grey outfit with plaid sleeves: 617–18. Charlus on dress; the Princesse de Cadignan: 618–19. The Princesse de Guermantes’s eccentricity of dress; her Gainsborough hat: 730–31. Albertine’s delight in the accessories of costume: V 32, 74–76. Mme de Guermantes’s elegance; “the best-dressed woman in Paris;” her Fortuny gowns: 33–34. M discusses clothes with her: 39–40, 47–48, 75–76. Different attitudes towards clothes of rich and poor women: 75–76. Albertine’s black satin dress: 127–28. The dairymaid’s sweater: 184–85. Charlus’s interest in women’s clothes, and his views on Albertine’s: 291–94. Albertine and Fortuny; reminders of Venice: 497–500, 531, 538, 546, 555 (cf. 877). Paris fashions in war-time: VI 325. Young Mme de Saint-Euverte’s Empire dress: 493–94.
DREYFUS CASE. Its effect on Society: II 122–23 (cf. III 252–53; IV 107–8; V 312–14). Aimé persuaded of Dreyfus’s guilt: 527. Saint-Loup a Dreyfusard; the Case discussed at Doncières: III 134–40, 153. Mme Sazerat (“alone of her kind at Combray”) a Dreyfusard: 200 (cf. 392). M and his father take opposite sides: 200. Rachel’s view: 217. Mme de Villeparisis’s aloofness: 253 (cf. 319, 335). Bloch and Norpois discuss the Case: 313–16, 323–24. Views of the Duc and Duchesse de Guermantes: 316–23; of Mme Swann 341 (cf. 357); of Mme Verdurin (“a latent bourgeois anti-semitism”—but cf. IV 194–95): 341; of Mme de Mareantes: 342; of Prince Von: 346 (cf. IV 105); of Charlus: 390–93; of the two butlers: 402–3. Reinach’s achievement; Dreyfusism and heredity; France divided from top to bottom: 403. Dreyfusism in a Paris café: 548–49. Mme de Guermantes’s ambivalence: 653 (cf. 704; V 45–46). Swann’s Dreyfusism: 792–800 (cf. IV 122, 132–33, 151–53). Saniette a Dreyfusard: 799. The Duc de Guermantes deplores Swann’s “treachery”: IV 104–8. Saint-Loup changes his tune: 132–33, 151–52. The Prince de Guermantes and his wife converted to Dreyfusism: 142–54 (cf. 731). The Duc de Guermantes converted (temporarily) to Dreyfusism by three Italian ladies: 188–90. Influence of the Case on the salons of Mme Verdurin (“the active centre” of Dreyfusism) and Mme Swann: 194–99 (cf. 384–85; V 312–14). Brichot’s anti-Dreyfusism: 384–85 (cf. III 799). M. de Cambremer’s anti-Dreyfusism: 496–97 (cf. V 312–13). The Duc de Guermantes, the Jockey Club and the Dreyfus Case: V 41–46. Complex influence of the Case on Society: 312–14; continuing social anti-semitism: 776 et sqq. The Dreyfus Case in retrospect (1916): VI 326; after the war: 391.
DRINK. See Alcohol.
ENGLISH, ENGLISHMEN. “Our friends across the Channel” (Odette): I 107. English visitors to Combray: 146. Affectation of British stiffness in Odette’s handwriting: 314. Odette as a child sold by her mother to a rich Englishman in Nice: 522. M’s ignorance of English: II 110, 161. Odette’s Anglomania: 125, 136, 148, 164; speaks to Gilberte in English: 215; her English accent: 230. Bloch’s mispronunciation of English: 436. English visitors “athirst for information” about Elstir: 554. “Positively British stiffness” of the Duchesse de Guermantes’s get-up at the Opéra: III 63. “In France we give to everything that is more or less British the one name that it happens not to bear in England” (smoking): 659 (cf. II 87–88: water-closets). Prince Von on the ineptitude of the British army (“the English are so schtubid”): 722–23. The Duc de Châtellerault poses as an Englishman: IV 46, 49. English soldiers during the war—like Greek statues, “unimaginable marvels” (Charlus): VI 327; “Our loyal allies,” English fair play, “the brave tommies” (Odette): 144–45. The Duc de Guermantes’s anglophilia: 135. Change in English attitude towards the Germans: 135–36. Bloch’s English chic: 385.
FAUBOURG SAINT-GERMAIN. Swann’s position in the aristocratic world of the Faubourg Saint-Germain: I 19, 269, 304–5. Noli me tangere of the Faubourg: 408. Psychology of the women of the Faubourg: 476. Odette’s detachment from the Faubourg: II 124–27 (cf. 294–96). The Faubourg Saint-Germain has no more to do with the mind of a Bergotte than “with the law of causality or the idea of God”: 179. Its barriers: 294–95. Nine-tenths of the men of the Faubourg appear to the middle classes as crapulous paupers: 384. Not lavish with tips: 389. Excess of politeness as a professional “bent”: 414. The Guermantes’ position in the Faubourg; M’s romantic notions about it; “the well-trodden doormat of its shore”: III 28–29. Its attitude to the Imperial nobility: 169 (cf. 641–42). Jews in the Faubourg: 252–54. Mme de Marsantes’s edifying influence on it: 337–38. Nicknames in the Faubourg: 591–92. Relations of the Princesse Mathilde with the Faubourg: 642–43. Party ritual in the Faubourg; “the prime and perfect quality of the social pabulum”: 704–5. Its silliness, aggravated by malice: 737–38. Its mysterious life: 745. Walking-sticks common in a certain section of the Faubourg: 789. Odette taken up by certain elements of the Faubourg: IV 194–202; also Gilberte when she suddenly becomes rich throu
gh a legacy: 199 (cf. V 898–99, 909–10). Mme de Montmorency’s old house in the Faubourg: 202–3. Mme Verdurin and the Faubourg: 363–66 (cf. V 312–14). Charlus’s morals unknown to the Faubourg: 408–9. How the Faubourg speaks to any bourgeois about other bourgeois: V 784. During the war, Mme Verdurin and Mme Bontemps firmly installed in the Faubourg: VI 328. Brichot’s success with the Faubourg: 146–51. Mme Verdurin becomes Duchesse de Duras and then Princesse de Guermantes and occupies a “lofty position” in the Faubourg: 387–88. Its decline—“like some senile dowager now”: 390.
FLOWERS. Lime-blossom from the trees in the Avenue de la Gare at Combray used for Aunt Léonie’s infusions: I 64, 69–70. Mme Loiseau’s fuchsias: 85. Legrandin’s evocation of spring flowers: 176–77. Lilacs at Tansonville: 190–91, 262. M falls in love with hawthorn in Combray church: 155–56, 158 (cf. II 685; IV 739–40). Hawthorn blossom at Tansonville: 193–97. M bids farewell to his hawthorns: 204. Flowers in Swann’s park: 190–92, 197. Poppies and cornflowers in the fields beyond Tansonville: 194–95. Spring flowers by the Vivonne; “blue flame of a violet”: 235. Buttercups: 236–37. Water-lilies: 237–40. Odette gives Swann a chrysanthemum picked from her garden: 310. Chrysanthemums in Odette’s house: 311; chrysanthemums, and cattleyas, her favourite flowers; “a fleshy cluster of orchids”: 312. The cattleyas: 328–32; “do a cattleya” = “make love”: 331–32, 386, 528, 529. Odette wears violets in her bosom: 340–41, 604; or in her hair: 594–95. Gilberte and Odette like a white lilac beside a purple: II 189. The “winter-garden;” Mme Swann’s flowers; Parma violets, chrysanthemums: 228–34 (cf. I 594–95; V 216); guelder-roses: 289. Cornflowers near Balbec: 395–96. Human kindness blossoms like a solitary poppy: 437–38. Geranium cheeks of one of the girls at Balbec (Rose-monde?): 505, 659, 717–18. The “little band” like a bower of Pennsylvania roses: 516. Elstir’s flower-piece: 583–85 (cf. III 162–63). Albertine’s cheeks like rose petals; M’s “passionate longing for them such as one feels sometimes for a particular flower”: 639 (see also III 497). Hawthorn near Balbec: 685. Cherry-blossom, pear-blossom and lilac in Parisian suburbs: III 204–8. Mme de Villeparisis’s flower painting: 286–87. Her knowledge of botany: 372. Albertine “a rose flowering by the sea”: 480. Scarlet geraniums in the Bois: 528. Botanical discussion at the Guermantes’: 706–9. The fertilisation of flowers; the orchid and the bee; an analogy with the conjunction of inverts: IV 2–4, 8–9, 36–44. Apple-blossom in sun and rain: 244–45. Hawthorn and apple-blossom: 250–51, 739–40. Albertine’s laugh, “pungent, sensual and revealing as the scent of geraniums”: 263. The garden at La Raspelière: 429. Elstir’s roses:464–65. Albertine’s hair like black violets: V 14. The syringa incident: 63–64, 811–13, 827–28. Elstir’s passion for violets: 178, 181. Honeysuckle and white geraniums in Vinteuil’s sonata: 332–33; his music has “the perfumed silkiness of a geranium”: 505.
FOOD. Stewed beef at Combray: I 11. Coffee-and-pistachio ice: 45. Lunch at Combray; Françoise’s culinary largesse: 96–98. Almond cake: 158. Françoise’s preparations for dinner: 168–70. Asparagus: 168–69. Françoise’s roast chicken: 170, 187. Swann’s gingerbread: 571. Dinner for Norpois; Françoise’s boeuf à la gelée: II 21, 39; pineapple and truffle salad: 41; Nesselrode pudding: 51. Chocolate cake for tea chez Gilberte: 107 (cf. 660). Lobster à l’Américaine: 152. “A blackish substance which I did not then know to be caviare”: 168. Soles for lunch at Balbec: 343. Mme de Villeparisis orders croque-monsieurs and creamed eggs: 370. Hotel dining-room at Doncières; Flemish profusion of victuals: III 125–26; exquisite dishes presented like works of art: 152. Chicken financière at the Guermantes dinner party: 690. The Duke’s leg of mutton with béarnaise sauce: 807. Dinner at La Raspelière; bouillabaisse: IV 405; grilled lobsters (demoiselles de Caen): 407; strawberry mousse: 460. Tea at La Raspelière—“pancakes, Norman puff pastry, trifles, boat-shaped tartlets …”: 543. The street cries of Paris—winkles: V 148; snails: 149; artichokes: 150; fish: 160–63; fruit, vegetables and cheese: 161–63. Albertine’s rhapsody on ice cream: 164–66. Display in a butcher’s shop: 176–77. Mme de Villeparisis and Norpois dine in Venice—red mullet and risotto: 856 (cf. 949). Dinner party at the Verdurins described by the Goncourts: VI 329.
FRIENDSHIP. Among the bourgeoisie, as opposed to the aristocracy, “always inseparable from respect”: I 440. M’s friendship with Saint-Loup; melancholy reflexions on the subject: II 430–31; his inability to find spiritual nourishment elsewhere than in himself makes him (in contrast with Saint-Loup) incapable of friendship: 491. Friendliness of a great artist superior to that of a nobleman: 556. Friendship an abdication of self and thus fatal to an artist; M prepared to sacrifice its pleasures to that of playing with the “little band” of girls: 664–65 (cf. III 540–41). The stuff of friendship: III 129–31. Mystery of instinctive, non-physical liking between men: 133. Our relations with friends “as eternally fluid as the sea itself”: 364. Further reflexions on friendship; its superficiality; “halfway between physical exhaustion and mental boredom;” yet even so deadly a brew can sometimes be precious and invigorating; from the realm of ideas M “thrown back upon friendship”: 540–45. Virtues of friendship enshrined in Saint-Loup: 565–68. Friendship and love: V 478–79. Necessity of lying between two friends one of whom is unhappy in love: 595. Friendship and treachery: 840–41. Revival of old friendships: 920 (cf. VI 330). M’s tarnished friendship with Saint-Loup: 935–36. Recollections of their friendship after Saint-Loup’s death: VI 331. A great friendship does not amount to much in society: 234. A “simulacrum,” an “agreeable folly”: 268, which leads nowhere: 434.
FURNITURE. Aunt Léonie’s rooms at Combray; her prie-dieu and velvet armchairs with antimacassars: I 66–68. Mme Verdurin’s high Swedish chair of waxed pinewood: 289; her Beauvais settee and chairs: 292–93. Furnishings of Odette’s house in the Rue La Perouse: 310–13. Odette’s taste in furniture: 346–47 (cf. II 105–6, 153–55, 261–63). The Iénas’ Empire furniture: 481 (cf. III 710–13). “Henri II” staircase in Swann’s house: II 105–6. Furniture in the Swanns’ drawing-room: 153–55, 261–63. Aunt Léonie’s sofa, on which M makes love to one of his girl cousins, and which he later presents to the madam of a brothel: 208. Saint-Loup’s Art Nouveau furniture: 460 (cf. III 755). Furniture of the hotel at Doncières: III 103–5. Mme de Villeparisis’s Beauvais tapestry settees and chairs: 251, 366. Mme de Guermantes on Empire furniture: 709–15. The Guermantes’s Boulle and Saint-Loup’s Bing furniture: 755–56. Charlus’s Louis XIV bergère and Directory chauffeuse: 759–61; his Bagard panelling and Beauvais chairs: 770. Furniture at La Raspelière: IV 429–30, 436–37, 467. M’s Barbedienne bronze: V 229–30. Furniture from La Raspelière at Quai Conti: 378–80. (See Rooms.)
GAMES. Gilberte and her friends play battledore and shuttlecock in the Champs-Elysées: I 560–61. Prisoner’s base in the Champs-Elysées: 562. Golf at Balbec; Andrée’s “record” round; Octave, “I’m a wash-out”: II 625. Albertine plays diabolo: 637,695–96. “Ferret” (hunt-the-slipper) with the little band: 680–84. “Golf gives one a taste for solitary pleasures”: 696. Cottard and Morel play écarté at La Raspelière: IV 485 et sqq.
GERMAN, GERMANS. “Straightforward bluntness” of the Princess Mathilde, inherited from her Württemberger mother, recalls the Germany of an older generation: II 157–58. The name Faffenheim-Munsterburg-Weinigen expresses “the energy, the mannered simplicity, the heavy refinements of the Teutonic race”: III 346. “The vice of a German handclasp” (Prince Von’s): 591. Charlus’s “German habit” of fingering M’s muscles: IV 422. M’s mother’s admiration for the German language despite her father’s “loathing for that nation”: V 135. Gilberte impressed by the “perfect breeding” of the German officers billeted at Tansonville: VI 332. Charlus’s pro-Germanism: 121–26; “that splendid sturdy fellow, the Boche soldier”: 171. Saint-Loup’s respect for the bravery of the Germans: 219, and for German culture: 226–27. M’s reflexions on his own attitude towards the Germans: 324–26.
HABIT. “That skilful but slow-moving arranger” who helps us to adapt to new quarters: I 8–9 (cf. II 339–41). Suffering caused by the interruption or cessation of habit: 10–11. The force of habit blunts one’s sensitivity to a work of music: II 141. Contradictory effects of habit: 319. “Our faculties lie dormant because they can rely upon habit”: 319. The analgesic effect of habit: 340–41. Without habit, life would seem continually delightful: 398. We prefer to friends we have not seen for some time people who are the mirror of our habits: 412–13. Habit dispenses us from effort: III 103–4. Modification in our habits makes our perception of the world poetic: 106. Habit the hardiest of all plants of human growth: 159. The many secretaries employed by Habit: IV 187–88. A second nature that prevents us from knowing our first: 208. Effect of habit on M’s view of the Grand Hotel: 221. Sleep and habit: 517–18. “The regularity of a habit is usually in direct proportion to its absurdity”: V 48–49. Habit prevents us from appreciating the value of life: 101–2. “In love, it is easier to relinquish a feeling than to give up a habit”: 479. A new aspect of Habit—a “dread deity” that can be as cruel as death itself: 564–65. The “immense force of Habit” lacking in M’s love for Gilberte and Mme de Guermantes: 577. Habit produces the illusion of necessity in love: 679–80. Laws of habit as applied to the idea of Albertine’s infidelities: 720–22. “The heavy curtain of habit … which conceals from us almost the whole universe”: 732–33. Force of habit infinitely outweighs the hypnotic power of a book: 757–58. Our habits in love survive even the memory of the loved one: 921. Our habits develop independently of our moral consciousness: VI 333. What is dangerous in love … is not the beloved, but habit: 491.