In Search of Lost Time, Volume V_ The Captive, the Fugitive - Marcel Proust [404]
Spring morning (146). Street sounds; the musical cries of the street-vendors (146–51). Reflections on different kinds of sleep (153–60). Albertine’s enthusiasm for the cries of Paris and the foodstuffs they offer (160); her eloquent disquisition on the subject of ices (165).
The chauffeur and the expedition to Versailles (168). Alone at the window, I listen to the sounds of Paris (174). Nostalgia for little girls (177). Françoise sends me one to do an errand: a pretty dairymaid whom I had noticed (178), but whose glamour quickly evaporates when she is in my presence (183). Lea is to perform at the Trocadéro (185). How to prevent Albertine from meeting her? (188). I send Françoise to fetch her (196). Deterioration in Françoise’s speech (199); her inability to tell the right time (201). Awaiting Albertine’s return, I play Vinteuil’s sonata (204). Music and introspection (206). Reflections on the attitude to their work of nineteenth-century artists (207). Morel’s mysterious occupations (210). His outburst against Jupien’s niece: grand pied de grue (212). Drive to the Bois with Albertine (216). Similarities between desire and travel (222). Alternations of boredom and desire (225). Our shadows in the Bois (227). My servitude and hers (230). A meeting with Gisele (231). The lies of the little band fit together exactly (233). Albertine admits a lie (235).
I learn of Bergotte’s death (238). His illness, prolonged by medical treatment (238). At the Vermeer exhibition: the little patch of yellow wall. Dead for ever? (244). Albertine’s lie about meeting Bergotte (247). Her technique of lying (247, 250).
The Verdurins quarrel with M. de Charlus. I set off for the Verdurins’ in secret (253). Encounter with a repentant Morel (254; cf. 255). His capriciousness and cynicism (212), and his rancour towards those to whom he causes pain (256). Meeting with Brichot (260). The death of Swann (260). Brichot evokes the Verdurin salon of old (265). Arrival of M. de Charlus, greatly changed (268). Brichot’s attitude towards him (269). Homosexuality and the refinement of artistic tastes (270). M. de Charlus’s conjugal behaviour with Morel (274). His detachment from social constraints (275). Morel’s letter from Lea (280) M. de Charlus admires Morel’s successes with women (284); and meanwhile tries to seduce other young men, in particular Bloch (285).
Arrival at the Verdurins’ house (299). M. de Charlus and the footman (300). Saniette snubbed by M. Verdurin for announcing Princess Sherbatoff’s death (302). Mme Verdurin obsessed with the desire to separate Charlus and Morel (305). Her reasons for resentment against the Baron: his veto on the society women she wanted to invite (306), in particular Mme Mole (310). The Verdurin salon and the Dreyfus Case (312), and the Ballets russes (314). Mme Verdurin and the death of Princess Sherbatoff (317). Her medical precautions against the effects of Vinteuil’s music (320). Morel’s improved manners (322). M. de Charlus’s furtive exchanges with several important guests (323). Mme Verdurin draws up her plans (325). Rudeness of the Baron’s guests (326), with the exception of the Queen of Naples (328).
The concert begins (331). An unpublished work by Vinteuil (332). Attitudes of Mme Verdurin, the musicians, Morel (334). Mysterious promise of the music (337). Art and life (339; cf. 259). Vinteuil’s unique and unmistakable voice (340). The artist’s “unknown country” (342). Music, language of souls (344). Final triumph of the joyful motif (347). The role of Mlle Vinteuil’s friend in the revelation of this work (348).
The guests file past the Baron (353); his witty or caustic remarks (354). Mme de Mortemart puts out feelers for a musical soiree (357). M. d’Argencourt and inverts (362). Mme Verdurin’s growing rage (364). The Queen of Naples’ fan (365). M. de Charlus and General Deltour (371).