Time Regained & a Guide to Proust, page 63
part #6 of In Search of Lost Time Series
ORLÉANS, Philippe, Duc d’, son of the Comte de Paris and grandson of the above (1869–1926): II 125, 491.
ORLÉANS, Charlotte-Elisabeth of Bavaria, Duchesse d’, “the Princess Palatine” (1652–1722). Wife of Monsieur, and known as “Madame.” Her correspondence: II 157; III 743 (cf. IV 62–63; V 407). Her masculine ways. IV 62–63. The “Wife of an Auntie”: V 407.
ORLÉANS, Duchesse d’, mother of Louis-Philippe. Betrayed by Mme de Genlis: V 511.
ORLÉANS, Prince Henri d’, eldest son of the Duc de Chartres (1867–1901). Publicly embraces Esterhazy after the Zola trial: III 327–28.
OSSIAN, legendary Scottish bard impersonated by James Macpherson. A “mediocre mystifier”: III 572.
OVID, Roman poet: II 457. “That holy terror” (Brichot): IV 614. Quoted by Cottard: 643; VI 222.
PADEREWSKI, Ignace, Polish pianist and prime minister (1860–1941). Dechambre compared to him: IV 400, 407.
PAILLERON, Edouard, French playwright (1834–99). Allusion to Oriane’s “Pailleronism”: III 679.
PALATINE, Princess. See Orléans, Charlotte-Elisabeth of Bavaria, Duchesse d’.
PALÉOLOGUE, Maurice, French diplomat. Ambassador in St Petersburg during the 1914–18 war. Veiled allusion: IV 62. “Notoriously inadequate” in Serbia, according to Norpois: V 856. Pestered with telegrams from the Duchesse de Guermantes after the Russian Revolution: VI 223.
PALESTRINA, Italian composer (1525–94): IV 485; V 176; VI 224.
PALISSY, Bernard, French ceramic artist and scientist (c. 1510–90). Platter of seafood at Doncières resembles one of his ceramic dishes: III 152.
PAMPILLE (Mme Léon Daudet); published cooking recipes in L’Action Française. Her “delightful” books referred to by Mme de Guermantes: III 688. Her “incomparable recipe” (M. Verdurin): IV 407. “That true poet”: V 38.
PAQUIN, dress designer. Approved of—“sometimes”—by Elstir: II 655. Mme de Guermantes recommends him: V 47.
PARIS, Comte de, eldest grandson of Louis-Philippe (1838–94). Swann “a particular friend” of his: I 19, 33, 578. Referred to as Philippe VII: 579. Favourably impressed by Odette, according to Norpois: II 59, 75, 125, 127.
PARNY, Evariste-Désiré de, French poet (1753–1814): III 617.
PASCAL, Blaise, French philosopher and scientist (1623–62): I 33; III 20: Quoted by Saint-Loup: 130. Charlus and the Duc de Guermantes recall their tutor’s lessons on him: IV 159. “We can make discoveries no less precious than in Pascal’s Pensées in an advertisement for soap”: V 732. Gulf between M and Gilberte as imaginary as Pascal’s: VI 225. Quoted by Brichot (le moi est haïssable): 150.
PASQUIER (le chancelier), French statesman (1767–1862); I 26, II 395. Friend of Mme de Boigne: V 769.
PATY DE CLAM, Colonel du. One of the principal actors in the Dreyfus Case. Norpois’s views on him: III 325–26, 330, 334. Quotes lines from an adversary, the Dreyfusard poet Pierre Quillard, at the Zola trial: VI 226. His “disguises and strategies”: 128.
PAU, General (1848–1932): III 166. Quoted by Charlus on the declaration of war in 1914: “I have been waiting forty years for this day. It is the most glorious day of my life”: VI 227.
PAUL, Saint. The “unforgivable sin”: I 92.
PÉL AD AN, Sâr, French writer and occultist (1858–1918): III 308.
PÉRIER, Jean-Alexis, French singer, creator of the role of Pel-léas: IV 662.
PERRONNEAU, Jean-Baptiste, French painter (1715–83). Admired by Elstir: III 574.
PÉTAIN, General (1856–1951): VI 228.
PETRONIUS, Roman writer: V 377.
PHIDIAS, classical Greek sculptor. The Duc de Guermantes likened to the statue of Olympian Zeus said to have been cast in gold: III 385. Inscribed the name of the athlete he loved on the ring of his Olympian Zeus: V 442. Anglo-Saxon soldiers “like living statues by Phidias” to Charlus: VI 229.
PHILIBERT LE BEAU (1480–1504), Duke of Savoy. His initials intertwined with those of Margaret of Austria in the church of Brou: I 420.
PHILIPPE VI, de Valois, King of France (1293–1350): III 597.
PHILIPPE LE HARDI, King of France (1245–85): III 716.
PHILIPPE-ÉGALITÉ, Duc d’Orléans (1747–93): III 803.
PICCINNI, Niccoló, Neapolitan composer (1728–1800). His Iphigenia compared to Gluck’s: III 644.
PICQUART, Georges-Marie, Colonel, later General and Minister of War (1854–1914). One of the principal actors in the Dreyfus Case: III 139. Discussed by Norpois and Bloch: 315–16, 323–25. Minister of War: 402 (cf. VI 230). Bloch’s appeal on his behalf: IV 152, 154. Frequents Mme Verdurin’s salon: 198–99 (cf. 384; V 315); VI 231.
PINDAR, Greek poet: III 259.
PIRANESI, Giambattista, Italian architect and engraver (1720–78): I 90.
PISANELLO, Antonio, Italian painter and medallist (c. 1380–1456). Patterns of foam in Balbec bay etched with the delicacy of a Pisanello: II 522. His flower drawings compared unfavourably with Mme de Villeparisis’s by Legrandin: III 286. Queen Victoria’s profile on English pennies might have been drawn by him: VI 232.
PIUS IX, Pope (1792–1878). Françoise buys a photograph of him: II 80, 360.
PLANTÉ, Francis, French pianist (1839–1934): I 265; IV 400.
PLATO, Greek philosopher: I 408. Françoise distorts Mme de Villeparisis’s words as Plato distorts Socrates’: II 376. Françoise’s mistakes due, like the fables in which Plato believed, to a false conception of the world and to preconceived ideas: III 490. Plato and homosexuality: V 270 (cf. 290; IV 479; VI 233). Allusion to the Symposium: 376. Brichot in Charlus’s company feels like Plato with Aspasia: 443. Analogous ideas may differ according to whether they have been expounded by Xenophon or Plato: VI 234.
PLAUTUS, Roman comedy writer: II 485.
PLINY the Younger, Roman writer: III 610.
PLOTINUS, 3rd-century philosopher: IV 521.
POE, Edgar Allan, American writer (1809–49): II 418.
POINCARÉ, Henri, French mathematician (1854–1912): III 149.
POINCARÉ, Raymond, President of the Republic 1913–20: VI 235.
POLIGNAC, Prince Edmond de. Rents the Prince of X’s castle for the Bayreuth festival: III 736. Figures in Tissot’s picture of the Rue Royale club: V 262–63.
POMPADOUR, Mme de (1721–64), mistress of Louis XV: III 780; V 746–47; VI 236.
PONSARD, François, French poet and dramatist (1814–67). Allusion to his comedy Le Lion amoureux: III 644.
POREL, Director of the Odéon 1884–91: IV 449, 454.
PORPHYRY, neo-Platonist philosopher: IV 521.
POTAIN Dr, French physician (1825–1901). Cottard compared to him: I 265 (cf. IV 378). Despairs of Vinteuil’s life: 302.
POURTALÈS, Comtesse Edmond de, Second Empire beauty and hostess. The Prince de Borodino dines with her: III 172. Her ignorance of the Dreyfus Case: 549. “Melanie Pourtalès arranged things far better” (Oriane): IV 97.
POUSSIN, Nicolas, French painter (1594–1665). Gilberte’s name, floating through the air, compared to a little cloud in a Poussin landscape: I 561. To destroy a park by Le Nôtre as bad as slashing a Poussin painting: II 470–71. Discussed by M. and Mme de Cambremer; “an old hack” in her view, but Degas’s admiration for him gives her pause: IV 284–87, 291.
PRADON, Nicolas, French poet and playwright, rival of Racine (1632–98): III 644.
PRASLIN, Duchesse de (Choiseul), daughter of General Sebastiani, murdered by her husband in 1847. Friend of Mme de Villeparisis’s mother: II 415–16; III 735.
PRAXITELES, classical Greek sculptor: V 270.
PROUDHON, Pierre-Joseph, French philosopher (1809–65). Admired by Saint-Loup: II 426. M’s grandmother gives Saint-Loup a collection of autograph letters by him: 608 (cf. III 90).
PUCCINI, Giacomo, Italian composer (1858–1924): V 284.
PUGET, Loïsa, French poetess (1810–89): IV 110.
QUILLARD, Pierre, French poet, Hellenist and journalist (1864–1912). Violent Dreyfusard; his encounter at the Zola trial with Colonel du Paty de Clam, who quotes from his symbolist play La Fille aux mains coupées: VI 237.
RABELAIS, François, French writer (c. 1494–1553). Quoted by Norpois: III332. Quoted by Brichot: IV 612; who prefers him to Balzac: 614.
RACINE, Jean, French dramatist (1639–99). Bloch quotes a famous line from Phèdre, which has “the supreme merit of meaning absolutely nothing”: I 124. Bergotte’s essay on him: 137. Quotation from Athalie: 150. Indirect quotation from Phèdre: 204. Gilberte gives M Bergotte’s monograph: 572. M reads a passage on the old myths from which Racine drew his inspiration: 582. Quotation from Phèdre: H 14, 17–18. Phrases from Bergotte: 18. Berma in Phèdre: 20–29. M discusses Phèdre with Bergotte: 183–86. Racine and Louis XIV: 187–88. Quotation from Esther: 362. Charlus on Racine: 469. Allusion to a line from Athalie: 519. Gisèle’s essay, “Letter from Sophocles to Racine”: 670–75 (cf. III 482; V 513). Berma in Phèdre again: III 58–61. Quotation from Esther: 517. Quotation from Andromaque: 607. M. de Vaugoubert’s behaviour at the Princesse de Guermantes’s recalls passages from Esther: IV 87–88. Pages at the Grand Hotel suggest the chorus from Athalie: 235–36 (cf. 524–25). Nissim Bernard’s young waiter likened to an Israelite in Athalie: 327–29. Esther quoted by Charlus: 524–25. Quotation from Esther; Albertine compares M to Assuerus: V 13–14 (cf. 532). “Albertine-Esther”: 123. Another scene from Esther: 151–52. Charlus’s transition from violence to Christian meekness compared to the change of tone between Andromaque and Esther: 434. More quotations from Esther: 555. M sees the declaration scene in Phèdre as a sort of prophecy of the amorous episodes in his own life: 617–19. Quotation from Phèdre: 873. Phèdre as a Jansenist: VI 238. Berma identified with Phèdre: 456.
RAMBUTEAU, Claude-Philibert Berthelot, Baron de, French politician and administrator, préfet of the Seine in 1833; introduced public urinals with individual compartments: V 249; VI 239.
RAMEAU, Jean-Philippe, French composer (1683–1764). Quotation from Gluck’s Armide attributed to him: V 148. Albertine plays him on the pianola: 514.
RAPHAEL, Italian painter (1483–1520): II 459; V 208. Silhouettes of trees in Paris reminiscent of those in the backgrounds to his paintings: VI 240. Goncourt elevates Watteau above him: 130.
RASP AIL, François, French politician and scientist (1794–1878). Françoise buys a photograph of him: II 80, 360.
RASPUTIN, Gregory (c. 1871–1917). His murder a Dostoievsky incident in real life: VI 241.
RAUDNITZ. Dress-designer. Mme Cottard swears by him: II 238.
RAVEL, Maurice, French composer (1875–1937): VI 242.
RÉGAMIER, Mme: III 569. Her salon at l’Abbaye-aux-Bois: IV 373, 612 731; VI 243.
REDFERN, Dress-designer: II 238.
REDON, Odilon. French painter (1840–1916). His “subtlety of expression” (Elstir): II 575.
REGENT, The. See Orléans, Duc d’.
REGNARD, Jean-François, French playwright (1655–1709): VI 244.
RÉGNIER, Mathurin, French satirist poet (1573–1613). Quoted by the president at Balbec: II 384.
REICHENBERG, Suzanne, French actress (1853–1924), for thirty years the principal ingénue at the Comédie-Française. The Duc de Guermantes persuades her to recite for Edward VII: III 589. Mme Mole’s attempt to emulate both the Duchesse and the Princesse de Guermantes like someone trying to be at once Reichenberg and Sarah Bernhardt: V 311.
REIN ACH, Joseph, French writer and politician (1856–1921). Dreyfusard activist: III 326, 334. His achievement in the Dreyfus Case “the most astonishing victory for rational politics the world has ever seen”: 402. Frequents Mme Verdurin’s salon: IV 198–99 (cf. 384). Mentioned: V 313; VI 245.
RÉJANE, French actress (1856–1920): III 678; VI 246.
REMBRANDT, Dutch painter (1606–69). Odette’s “Rembrandt hat”: I 340–41. His Night Watch “the supreme masterpiece” in Mme Verdurin’s view: 361. The Swann dining-room as dark as “an Asiatic temple painted by Rembrandt”: II 107. Interior of the Grand Hotel seen from the lift reminiscent of a Rembrandt: 519. A little curio shop in Doncières at night like a composition by Rembrandt: III 122–23. Charlus’s two Rembrandts: 771. The “gentle gravity” of certain of his portraits: IV 107. His Jewish scenes admired by Charlus: 690. His portraits of women compared to Dostoievsky: V 508. The fantastic world of the Night Watch: 511–12. Unique rays that still reach us from the world of Rembrandt: VI 247. The “terrible ravaged face” of the aged Rembrandt: 314–15.
RENAN, Ernest, French historian (1823–92): II 107; V 352, 441.
RENOIR, Auguste, French painter (1841–1919). It took a great deal of time for him to be hailed as a great artist: III 445. His painting of the publisher Charpentier at home: VI 248.
RETZ, Paul de Gondi, Cardinal de (1613–79). “That struggle for Ufer de Gondi” (Brichot): IV 372.
RIBOT, Alexandre, French statesman (1842–1923): II 8; III 589.
RIGAUD, Hyacinthe, French portrait-painter (1659–1743): III 795.
RIMBAUD, Arthur, French poet (1854–91): II 418; V 819.
RIMSKY-KORSAKOV, Nicolai, Russian composer (1844–1908). Reference to Shéhérazade: V 315.
RISLER, Edouard, French pianist (1873–1929): IV 400.
RISTORI, Mme, Italian tragic actress (1821–1906). Recites chez “Alix”: III 264, 270.
RIZZO, Antonio, Italian architect and sculptor (1430–98). Swann’s coachman Rémi resembles his bust of the Doge Loredan: I 315, 324.
ROBERT, Hubert, French painter (1735–1808). M’s grandmother gives him a photograph of the “fountains of Saint-Cloud” after Hubert Robert: I 54. His art stimulated by moonlight on Combray gardens: 159. The Hubert Robert fountain in the Prince de Guermantes’s garden: IV 75–77; Mme d’Arpajon inundated by it: 77; Charlus’s opinion of it: 79.
RODIN, Auguste, French sculptor (1840–1917): VI 249.
ROETTIERS, Joseph, 18th-century jeweller: V 496–97.
ROLLAND, Romain, French writer and pacifist (1866–1944). Quoted by Saint-Loup in his letters to M during the war: VI 250.
RONSARD, Pierre de, French poet (1524–85): IV 408–9. Line from one of his Sonnets pour Hélène: 738; V 590.
ROQUES, General, Minister of War in 1916: VI 251.
ROSTAND, Edmond, French poet and playwright (1868–1918), author of Cyrano de Bergerac and L’Aiglon: III 286; IV 639.
ROTHSCHILDS, The. Sir Rufus Israels’ family compared to them: II 124. The Prince de Guermantes allows a wing of his château to be burnt down rather than ask the help of his Rothschild neighbours: III 797. The Duchesse de Guermantes entertains them: V 42. Baron de Rothschild: II 477. Baronne Alphonse de Rothschild: III 399; Bloch’s gaffe when introduced to her by Mme de Villeparisis: III 693; constantly chez Oriane: IV 92; a rose named after her: 551; at the La Trémoïlles’: V 45. Edmond de Rothschild: III 585.
ROUHER, Eugène, Minister of Napoleon III (1814–84): III171.
ROUJON, Henry, French Academician (1853–1914), author of a book (Au milieu des hommes) which Mme Verdurin offers to Charlus: IV 604.
ROUSSEAU, Jean-Baptiste, French poet (1671–1741): III 328.
ROUSSEAU, Jean-Jacques, French-Swiss writer and philosopher (1712–78). M’s father disapproves of his being given a volume of Rousseau as a birthday present: I 52–53.
ROUSSEAU, Théodore, French painter (1812–67): V 383.
ROUVIER, Maurice, French politician (1842–1911), Prime Minister during the Moroccan crisis between France and Germany in 1905: V 779.
RUBENS, Peter Paul, Flemish painter (1577–1640). Swann’s Rubens: II 155. M. Bloch’s bogus Rubens: 487. Made goddesses out of women he knew: 724.
RUBINSTEIN, Anton, Russian pianist (1829–94): I 265. M’s grandmother has a weakness for his discords and wrong notes: II 428.
RUSKIN, John, English writer and artist (1819–1900). Quotations (unattributed) from Stones of Venice: I 556–59. Quoted by M’s mother: II 308. “A tedious old proser,” according to Bloch, who calls him Lord John Ruskin: 436. M’s work on Ruskin: V 874. Jupien’s allusion to M’s translation of Sesame and Lilies: VI 252.
SABRÁN, Mme de. One of the mistresses of the Regent: III 735.
SAGAN, Prince de. Greets Odette in the Bois: II 297. His dashing style: III 689. His hats: 794. His last appearence in society: IV 162. References to the Princesse de Sagan: I 265–66; III 276, 328–29. Friend of Swann: VI 253.
SAINT-LÉGER LÉGER, Alexis, French poet and diplomat, better known under his pseudonym Saint-John Perse (1887–1975). “Is it poetry, or just riddles?” asks Céleste: IV 336.
SAINT-MÉGRIN. Favourite or “mignon” of Henri III: VI 254.
SAINT-SAENS, Camille, French composer (1835–1921). Allusion to his Samson et Dalila (“Israel, break thy chains”): I 125.
SAINT-SIMON, Duc de, author of the Memoirs (1675–1755). Quoted by Swann on Maulévrier: I 33–35. The “mechanics” of life at Versailles: 162 (cf. 439). One of Swann’s favourite authors: 439. Françoise’s class attitudes compared to Saint-Simon’s: II 88. His portrait of Villars quoted to illustrate the unforeseeableness of the language of great writers: 170. Cited in illustration of the superiority of creation to observation: 475–76. Françoise uses his language: III 84. Mme de Villeparisis has a portrait of him: 399. The Duc de Guermantes’s punctilious courtesy as a host reminiscent of an ancestor of his described by Saint-Simon; quoted on the ethos of Louis XIV’s court and its similarity to the behaviour of the Duc de Guermantes: 597–98. “Admirable but fearsome”: 628. Quoted by Charlus on the validity of a Guermantes title: IV 471. Charlus’s Saint-Simonian tableaux-vivants; the Maréchal d’Huxelles: 499. The caste system of Combray as rigid as Saint-Simon’s: 579. Mme de Guermantes’s style of reminiscence recalls Saint-Simon: V 38. His euphemism for homosexuality: 280. “That old pest” (Brichot): 405. Quoted on the Maréchal d’Huxelles: 407 (cf. IV 499). Albertine enjoys talking about him to M: 714, 750. His portrait of the Marquis d’Allemans: 794–95. Quoted on the subject of noblemen who (like Charlus) associate with their inferiors: VI 255. Quoted on Louis XIV’s ignorance of genealogy: 398; and the intelligence of the Prince de Conti: 398–99. M’s book “the Memoirs of Saint-Simon of another age”: 525.
