Time Regained & a Guide to Proust, page 64
part #6 of In Search of Lost Time Series
SAINT-VALLIER (father of Diane de Poitiers): VI 256.
SAINTE-BEUVE, Charles-Augustin, French writer (1804–69). Quoted by Norpois on Alfred de Vigny: II 63. Admired by Mme de Villeparisis: 395. Approved by Andrée: 675. In describing the subtle distinctions between salons unwittingly betrays the vacuity of salon life: III 569. Preferred alternatively as critic and poet: 645. Depravity of taste shown in his prose style: IV 663. Charlus’s scandal-mongering “enough to supply all the appendixes of the Causeries du Lundi” (Brichot): V 442. The original flaw in the type of literature represented by his Lundis: 769. Allusion to his poem La Fontaine de Boileau: VI 257. The grimacing smile that accompanies and disfigures his “spoken phrases”: 302.
SAINTINE, Xavier, French novelist (1798–1865): I 206.
SALVANDY, Comte de, French writer and politician (1795–1856): II 395; III 372.
SAMARY, Jeanne, French actress (1857–90): I 102; IV 455.
SAND, George, French novelist (1804–76). M’s grandmother gives him the four pastoral novels: I 53 (cf. V 8). His mother reads François le Champí to him: 55–57. Saniette’s story about the duke who didn’t know that George Sand was a woman: 370–71. Attractive compromise between the provincial and the literary in La Petite Fadette: V 36. The marriage of Mile d’Oloron and the young Cambremer “a marriage from the last chapter of a George Sand novel”: 893. On opening François le Champí in the Prince de Guermantes’s library, M finds his whole childhood restored to him: VI 258.
SAPPHO, Greek poetess. M compares Albertine to her: IV 272.
SARCEY, Francisque, French drama critic (1827–99): IV 393.
SARDOU, Victorien, French playwright (1831–1908). All the notabilities of Paris “walk on” in one of his plays: II 148, 485. Queens in his plays: III 583.
SARRAIL, General. Commander of the Salonika expeditionary force in 1916: VI 259.
SAUSSIER, General. His role in the Dreyfus Case: III 134–35.
SAVONAROLA, Girolamo, Italian preacher (1452–98). Mme Blatin the image of his portrait by Fra Bartolommeo: II 147.
SAXE, Maréchal de, French general (1696–1750): III 589.
SCARLATTI, Domenico, Italian composer (1685–1757). Mme de Cambremer requests Morel to play a “divine” Scarlatti piece: IV 481.
SCARRON, Paul, French poet and playwright (1610–60). Husband of Mme de Maintenon (q.v.): II 188.
SCHILLER, Johann Friedrich von, German poet and dramatist (1759–1805): III 674. Allusion to his comedy Uncle and Nephew: IV 128; VI 260.
SCHLEGEL, Wilhelm von, German naturalist (1767–1845). Taught Mme de Villeparisis botany in her childhood: III 372.
SCHLIEFFEN, Field-Marshal von, Chief of the German General Staff 1891–1905. Saint-Loup refers to his famous “plan”: III 144.
SCHLUMBERGER, Gustave, French historian (1844–1929): III 286.
SCHOPENHAUER, Arthur, German philosopher (1788–1860). Mme de Cambremer’s knowledge of him: VI 261.
SCHUBERT, Franz, Austrian composer (1792–1828). M celebrates the renunciation of his love for Mme de Guermantes by singing Schubert’s Farewell: III 508.
SCHUMANN, Robert, German composer (1810–56). M hears him being played from his hotel room: IV 255. Fauré’s Schumannesque sonata: 479–80. “Hushed serenity” of Kinderszenen: V 337. Sudden dénouements of some of his ballads: 675. Mentioned in Saint-Loup’s letters to M during the war: VI 262. Last words which M hears on Saint-Loup’s lips the opening lines of a Schumann song: 226.
SCOTT, Sir Walter, Scottish writer (1771–1832). References to Rob Roy and Diana Vernon: IV 32.
SCRIBE, Eugène, French playwright and librettist (1791–1861). Wrote the librettos of Les Diamants de la Couronne: I 100–1; III 615, 673; Le Domino noir: I 101; La Juive: II 207; IV 331; Fra Diavolo: III 673; Le Chalet: 673; Robert le Diable: IV 481.
SERT, Jose Maria, Catalan painter (1876–1945). Designer for the Ballets russes: V 497; The Legend of Joseph: 876–77.
SÉVIGNÉ, Mme de, author of the famous Letters (1626–96). “Sévigné would not have put it better!”: I 25 (cf. III 449). A “worthy old snob” (Brichot): 370. M’s grandmother’s “beloved Sévigné;” her plan to follow her itinerary to Normandy: II 305, 308. Quoted by M’s mother: 310. M’s grandmother gives him a volume of the Letters to read in the train to Balbec: 313. Reflexions on her style; her Dostoievsky side: 314–15 (cf. V 509). Quoted by M’s grandmother on the food in the Grand Hotel: 372, 376. Criticised by Mme de Villeparisis: 376. Defended by Charlus against Mme de Villeparisis: 467–68. Françoise’s Sévigné vocabulary: III 21. Quoted on Mme de La Fayette’s death: 408–9. Quoted by M’s grandmother apropos of the “Marquise” in the Champs-Elysées: 423. Charlus has a rare edition of the Letters bound for M: 772. M’s grandmother’s devotion to Sévigné inherited by her daughter, who reads and quotes her constantly in letters to M: IV 229–31 (cf. 252, 280, 318, 443, 567; V 11–12, 180, 490). The name Sévigné draws a grimace from Mme de Cambremer-Legrandin: 301. M’s mother scorns “hackneyed” Sévigné: V 892 (cf. II 314–15).
SHAKESPEARE, William (1564–1616). Allusion to A Midsummer Night’s Dream apropos of asparagus: I 169. Effects of reading Shakespeare: II 198. Transvestism in his comedies: IV 29. Allusion to Romeo and Juliet apropos of Charlus and Jupien: 37. Hamlet quoted by Saint-Loup: 572. Reference to Hamlet: 591. Lear-like majesty of Charlus in old age: VI 263. The face of an old Shylock detectable in Bloch at close quarters: 406.
SILVESTRE, Armand, French writer (1837–1901). Quoted by Charlus to Morel: V 808.
SIMIANE, Pauline de, granddaughter of Mme de Sévigné (1674–1737). Quotations from her letters: II 314; III 610.
SOCRATES, Greek philosopher. His words distorted by Plato: II 376. Inverts take pleasure in recalling that he was one of them: IV 22 (cf. 480). Quoted by Cottard: 613–14. His jokes about young men: V 270. Jupien on Socrates: VI 264.
SODOMA (Giovanni Bazzi), Italian painter (c. 1477–1549): V 290.
SOPHOCLES, Greek dramatist. Gisèle’s essay—“Letter from Sophocles to Racine”: II 670–75 (cf. III 482). Reference to Oedipus: VI 265.
SPARTACUS, Roman slave leader: I 482.
SPINOZA, Baruch, Dutch philosopher (1632–77). Admired by Charlus: IV 690.
SPITTELER, Karl, Swiss novelist (1845–1924). Brichot praises his anti-militarism: VI 266.
STAËL, Mme de, French woman of letters (1766–1817). The Haussonville family descended from her, through her daughter and granddaughter: VI 267.
STAMATI, Franco-Greek pianist (1811–70). Charlus took lessons from him: IV 555.
STENDHAL (Henri Beyle), French novelist (1783–1842). “Stendhalian sweetness” of the name Parma: I 552 (cf. III 584–85). Mme de Villeparisis recalls her father’s personal reminiscences of him: II 395. Discussed with Saint-Loup at Doncières; Bloch “can’t stand” him; Norpois compared to Mosca: III 136. Mme de Guermantes’s invitation to dine with the Princesse de Parme evokes for M Fabrice and Count Mosca: 514–15. Far from being a Sanseverina, the Princess turns out to be excessively un-Stendhalian: 584–85. Reference to la Sanseverina: IV 549. Symbols in his work discussed by M with Albertine: V 507–8 (cf. 734). Allusion to the preface of La Chartreuse de Parme: 742.
STEVENSON, Robert Louis, British writer (1850–94). “A very great writer,” according to Swann, quoted in the Goncourt pastiche: VI 268.
STRAUSS, Richard, German composer (1864–1949). “Vulgar motifs” of Salome: III 614. A “great composer”: V 315. Allusion to The Legend of Joseph: 876–77.
STRAVINSKY, Igor, Russian composer (1882–1972). Flowering of the Russian Ballet reveals his genius: IV 193. A “great composer”: V 315.
SUGER, Abbé de Saint-Denis, minister and counsellor of Louis VI and Louis VII (1081–1151): I 358.
SULLY-PRUDHOMME, French poet (1839–1907). His Ici-bas tous les lilas meurent the only poem Céleste and her sister know: IV 336, 716. His Aux Tuileries recited by Charlus to Morel: V 808.
SYLVA, Carmen, pen-name of Elisabeth, Queen of Romania (1843–1916): III 270.
SYVETON, Gabriel, Nationalist Deputy who died in mysterious circumstances in 1904: VI 269.
TACITUS, Roman historian. Françoise would have written like him: III 491.
TAGLIAFICO, Franco-Italian singer and composer (1821–1900). One of Odette’s favourite musicians; his Pauvre Fou to be played at her funeral: I 335.
TAINE, Hippolyte, French critic, philosopher and historian (1828–93). The Princesse Mathilde offended by an article of his on Napoleon: II 157. He and Charlus agree about Balzac: IV 614–15. His name floats through M’s dreams: V 155.
TALLEMANT DES RÉAUX (1619–92). Author of Les Historiettes. Anecdote about the Chevalier de Rohan: III 731–32.
TALLEYRAND, Charles-Maurice, French statesman (1754–1838): III 171. Dr du Boulbon quotes his phrase “bien portant imaginaire”: 416. Quoted by Brichot: IV 371–72, who refers to him as “Charles-Maurice, Abbé de Périgord”: 380–81; VI 270.
TALLIEN, Mme, wife of the revolutionary Jean-Lambert Tallien and leader of fashion under the Directory (1773–1835). Her “fine and flowing hair”: III 735. War-time Paris compared to the Directory; Tallien styles in dress: VI 271. Mme Verdurin and Mme Bontemps “old and ugly” versions of Mme Tallien: 51.
TALMA, François-Joseph, French actor (1763–1826): VI 272.
THIBAUD, Jacques, French violinist (1880–1953). Compared to Morel: V 63, 383.
THIERRY, Augustin, French historian (1795–1856). M reads him in the garden at Combray: IV 319.
THIERS, Adolphe, French statesman and historian (1797–1877): III 259, 277; V 866.
THIRON, French actor (1830–91): I 102; II 76; III 167.
THUREAU-DANGIN, French historian (1837–1913), Permanent Secretary of the Académie Française: IV 620.
TIEPOLO, Giovanni Battista, Venetian painter (1696–1770). The Duchesse de Guermantes’s cloak “a magnificent Tiepolo red”: IV 83, 161. Albertine’s Fortuny gown lined in “Tiepolo pink”: V 531.
TINTORETTO, Venetian painter (1518–94): Dr du Boulbon resembles one of his portraits: I 315.
TISSOT, James, French painter (1836–1902). Allusion to his picture of the Rue Royale club: V 262–63.
TITIAN, Venetian painter (c. 1487–1576): I 54, 556–57. The “Frari Titian” (the Assumption of the Virgin): II 14. Mme de Villeparisis’s family Titians: 396. Mentioned: 588; V 497, 531, 794; VI 273. M’s Venetian girlfriend compared to a Titian: V 868. Barrés on Titian: VI 274.
TOLSTOY, Count Leo, Russian writer (1828–1910): “Abominated” by Bergotte: II 177. Discussed at lunch with Rachel: III 377. Mme de Guermantes’s “sally” in his defence: 612–13. Mme de Cambremer and Tolstoy’s mujiks: IV 438. Reference to War and Peace: V 509. Tolstoy and Dostoievsky: 513.
TOURVILLE, Maréchal de, French sailor (1642–1701): II 49.
TOWNSHEND, General Sir Charles, Commander of the expeditionary force in Mesopotamia during World War I: VI 275.
TSCHUDI, Hugo von, German art historian, Director of the National Gallery in Berlin: IV 471.
TURNER, J. M. W., English painter (1775–1851): I 54. Charlus’s Turner rainbow: III 771. Turneresque view from the Hôtel de Guermantes: 786. Anticipated by Poussin: IV 291. Turner and Venice: V 884.
VACQUERIE, Auguste. Writer and friend of Victor Hugo: V 386.
VAN DYCK, Sir Anthony, Flemish painter (1599–1641). Allusion to his portrait of Charles I in the Louvre: V 755.
VAULABELLE, Achille de, French historian (1799–1879): I 108; III 359.
VELAZQUEZ, Diego, Spanish painter (1599–1660). Saint-Loup compares a Carrière to a Velazquez: II 457, 459. M. de Charlus alludes to the Surrender of Breda in the Prado: III 762. The Duc de Guermantes’s putative Velazquez: 792, 795. Albertine’s hair done up like a Velazquez Infanta’s: V 501.
VENDÔME, Louis-Joseph, Duc de. Great-grandson of Henri IV and Gabrielle d’Estrées and one of Louis XIV’s generals (1654–1712). An invert?: V 405–6.
VENIZELOS, Greek statesman, Prime Minister during World War I: VI 276.
VERLAINE, Paul, French poet (1844–96): II 418. Anathematised by Brichot: IV 483. Mme de Guermantes offers M a Verlaine recital by Rachel: VI 277.
VERMANDOIS, Comte de, son of Louis XIV and Mlle de la Vallière (1667–83). An invert?: V 405.
VERMEER, Jan, Dutch painter (1632–75). Swann’s essay on him: I 279, 340–41, 423, 502; II 54, 146–47 (cf. IV 145). The Duc de Guermantes uncertain of having seen the View of Delft in The Hague: III 718. Swann’s favourite painter; Charlus compares Jacquet to him: IV 145. “Do you know the Vermeers?” asks Mme de Cambremer; Albertine thinks they are living people: 289. Bergotte gets up from his sickbed to go and look at the View of Delft; the little patch of yellow wall: V 244–45. His pictures fragments of an identical world: 508. Unique radiance that still reaches us from his world: VI 278.
VERNE, Jules, French writer (1828–1905): IV 576.
VERONESE, Paul, Venetian painter (1528–88). Roof of the Gare Saint-Lazare recalls one of his skies, “of an almost Parisian modernity”: II 303. Albertine’s profile less beautiful than those of Veronese’s women: 597. His paintings of Venetian revels: 652–54 (cf. IV 66). Fruit and wine “as luscious as a beautiful Veronese” (Ski): IV 460. Mentioned: V 271, 848.
VIBERT, Jehan-Georges, French painter (1840–1902). M. de Guermantes prefers him to Elstir: III 687 (cf. 720).
VIGNY, Alfred de, French poet (1797–1863). Swann recalls a passage from his Journal d’un Poète: I 522–23. Norpois’s opinion of him: II 63. Quoted by M to Mme de Villeparisis: 410; her low opinion of him: 411 (cf. III 256). Anna de Noailles compared to him: III 137. Quotations from La Colère de Samson: IV 21. M quotes two lines from La Maison du Berger to Albertine: 357. Quotations from Eloa applied to Princess Sherbatoff: 374. “Manly reticence”—an echo of Servitude et Grandeur militaires: VI 279.
VILLARS, Duc de, Maréchal de France (1653–1734). His portrait by Saint-Simon: II 170. An in vert?: V 406.
VILLIERS DE L’ISLE-ADAM, French Symbolist writer (1840–89). Referred to familiarly by Bloch’s sister: II 482.
VIOLLET-LE-DUC, Eugène, French architect and writer (1814–79). Allusion to his restorations apropos of Combray: I 233–34. Denounced by Swann: 415. Restorations by pupils of his often give “the most potent sensation of the Middle Ages”: IV 380.
VIRGIL, Roman poet. Allusion to Book IV of the Georgics: I 22. Anecdotes from Virgil in the porch of Saint-André-des-Champs: 212. In Dante’s Inferno: 238. “Virgil’s Leucothea” (a Proustian error—the “white goddess” is not mentioned in Virgil): II 721. Cited by Brichot: IV 448, 478. Charlus and Virgilian shepherds: 479; V 270 (cf. 443).
VOISENON, Abbé de, licentious novelist, friend of Voltaire (1708–75): III 371.
VOLTAIRE (François-Marie Arouet), French writer and philosopher (1694–1778). Bloch attributes to him (“Master Arouet”) two lines from Corneille’s Polyeucte: II 628. Andrée quotes him on Racine: 674. Allusion to Zaïre: III 49. Brichot at La Raspelière sees himself as the equivalent of “M. de Voltaire” chez Mme du Ghâtelet: IV 381. Further allusion by Brichot: 614.
WAGNER, Richard, German composer (1813–83). “Solemn sweetness” of a joyful celebration characteristic of Lohengrin: I 215 (cf. III 5). Odette’s projected visit to Bayreuth: 428. Vinteuil’s “little phrase” compared to a theme in Tristan: 498. Saint-Loup deplores his father’s indifference to Wagner: II 427–28. Plaintive whine of a closing door reminds M of the overture to Tannhäuser: III 536. Nietzsche and Wagner: 540 (cf. V 205). Mme de Guermantes’s glib views on Wagner: 643, 645, 672; he sends the Duke to sleep: 672. His later manner compared to Victor Hugo’s: 753. Allusion to the March in Tannhäuser: IV 66. The sound of the telephone compared to the shepherd’s pipe in Tristan: 177. Odette a “Wagnerian”: 201. Mme de Cambremer compares Pelléas and Parsifal: 288. Reflexions on Debussy and Wagner: 290–91. Mme Verdurin and Wagner: 384, 413, 444. The Princesse de Guermantes a passionate Wagnerian: 731. Vinteuil’s sonata and Tristan; M’s reflexions on Wagner’s themes, the mystery of creativity, the retrospective unity of the Ring, etc.: V 205–9 (cf. 219, 655). Early and late Wagner compared: 350 (cf. 927–28). Princesse von Metternich’s reaction to the hissing of Wagner: 365. Allusion to Beckmesser by Charlus: 367. Wagnerian leitmotifs: 597–98. Saint-Loup’s reference to the wood-bird in “that sublime Siegfried”: VI 280. “The music of the air-raid sirens like the Ride of the Valkyries” (Saint-Loup): 99 (cf. 127: “the only German music to have been heard since the war”).
WATTEAU, Antoine, French painter (1684–1721). Swann’s memories of Odette’s smiles recall sheets of sketches by Watteau: I 340. Odette’s “Watteau peignoir”: II 262. Dancer in the theatre with cheeks chalked in red “like a page from a Watteau album”: III 235. Elstir a Watteau à vapeur (Sanierte’s pun): IV 459. Goncourt elevates him above Raphael: VI 281. His works destroyed by the revolutionaries: 280.
WEDGWOOD, Josiah, Staffordshire potter (1730–95): III 710.
WELLS, H. G, English writer (1866–1946). Allusion to The Invisible Man: III 257.
WHISTLER, James McNeill, American painter (1834–1903). Carrière portrait of Mme de Guermantes “as fine as Whistler” (Saint-Loup): II 457. Balbec seascape reminiscent of a Whistler “Harmony in Grey and Pink”: 526. Elstir’s portrait of Odette compared to a Whistler: 604. Balbec Bay the “gulf of opal painted by Whistler” (Elstir): III 27. Quoted by Charlus: 773. Charlus’s evening coat a “Harmony in Black and White”: IV 71. Charlus cites him as an arbiter of taste: V 403. Skyline in Carpaccio’s Patriarch of Grado reminiscent of Whistler: 876. M. Verdurin has written a book about him, according to the Goncourts: VI 282 (cf. 117).
WIDAL, Fernand, French physician (1862–1929): III 405.
WIDOR, Charles, French composer and organist (1845–1937): III 589.
WILDE, Oscar, Irish writer (1854–1900). Allusion to his downfall in the dissertation on the plight of inverts: IV 21.
WILLIAM II, the Kaiser, Norpois’s views on him: II 46–47. Charlus hints that he is an invert: III 394 (cf. IV 471; VI 283) Saint-Loup on his intentions over Morocco: 565. Discussed at the dinner-table by Prince Von and Oriane; dislikes Elstir’s work; Prince Von’s irony apropos of his aesthetic judgment: 717, 721–24, 751, 776. Mme Verdurin’s claims on the “faithful” compared to his claims on his subjects: IV 372–74. Charlus’s opinion of him; the Eulenburg affair: 471. During the war, M. Bontemps wants him to be put up against a wall and shot: VI 284. Discussed by Bloch and Saint-Loup; rumours of his death; Saint-Loup and the Guermantes insist on referring to him as “the Emperor William”: 71–73. Charlus describes him as “a complete upstart”: 140, but defends him against French chauvinists: 157–59 (cf. Saint-Loup’s view: 226).
