In Search of Lost Time, Volume VI_ Time Regained - Marcel Proust [231]
I look for a hotel (173) and find one open from which a familiar figure (Saint-Loup?) emerges (174–5). Conversation between soldiers and workers (176). The patron comes in with some chains (180). I see M. de Charlus being thrashed by a soldier (181). Jupien appears (182). Other clients of the hotel (182–3). The lost croix de guerre (189; cf. 218). M. de Charlus in the midst of the harem (195–201). Jupien’s explanations (202–7).
An air-raid (207). Pompeians in the Métro or in Jupien’s establishment (208). Reflexions on morality, on Jupien, on M. de Charlus and his aberrations (212–8). Françoise and the butler (218–9). The Larivières (224–6).
Saint-Loup’s death (226). Recollections of his friendship (226–9). Parallel with Albertine (228). Françoise in the role of mourner (229). The Duchesse de Guermantes’s unexpected grief (233–4).
Morel’s arrest as a deserter (235); his revelations cause the arrest of M. de Charlus and M. d’Argencourt (235–6). If Saint-Loup had survived … (236).
Reception at the Princesse de Guermantes’s. Return to Paris many years later (238). Train stops in the middle of the countryside (238). My incurable lack of literary talent (239). Invitation to the Princesse de Guermantes’s musical afternoon (240). Cab-drive towards the Champs-Elysées (241); the silent heights of memory (243). Meeting with a greatly aged Charlus (244–5). His greeting to Mme de Saint-Euverte (245–6). His roll-call of dead friends and relations (249). The Duchesse de Létourville, shocked by his mumbling voice (250). Jupien speaks of the Baron’s health, his Germanophilia, his persistent randiness (251).
The uneven paving-stones in the Guermantes courtyard (255); sensation of felicity similar to that of the madeleine, etc. (255); resurrection of Venice (256). Further exhilarating sensations (256–7). “The true paradises are the paradises that we have lost” (261). Impressions “outside time” (262). Reflexions on time, reality, memory, artistic creation (262 et sqq.). Futility of literary theories (277). Absurdity of popular art or patriotic art (279). François le Champí (281). Bibliophilia (286). Celibates of Art (293). Aberrations of literary criticism (295).
Further reflexions on literary and artistic creation (297 et sqq.). The raw material for literature: my past life (304). A Vocation? (304). The importance of dreams (322). The influence of Swann (328). The role of jealousy (330). Chateaubriand, Nerval and Baudelaire (334–5).
Back to the Guermantes reception: a coup de théâtre (336–7). M. d’Argencourt as an old beggar (338). Bloch (347). The Duchesse de Guermantes (349). The meaning of old age (354). M. de Cambremer (356). Legrandin (358). The Prince d’Agrigente (359). Various effects of Time (361). Odette: a challenge to the laws of chronology (377); “a rose that has been sterilized” (380). Bloch’s English chic (384); I introduce him to the Prince de Guermantes (385). Mme Verdurin has become the Princesse de Guermantes (387). Society and the chemistry of Time (389 et sqq.). Following the stream of memory back to its source (412 et sqq.). “Who’s dead?” (422–5).
The Princesse de Nassau (425). Gilberte: “You took me for Mamma” (428). Conversation about Robert (428) and the art of war (429). Her friendship with Andrée (432). My determination to avoid social life (435–6). The Duchesse de Guermantes and Rachel (444).
Berma’s tea-party (450). Her daughter and son-in-law (451). Rachel’s performance (456). She runs down Berma (462). Mme de Guermantes in old age: her social decline (464). Berma’s daughter and son-in-law received by Rachel (478).
The Duke’s liaison with Odette (481). “A magnificent ruin” (483). Odette’s amatory reminiscences (488). A new Mme de Saint-Euverte (494). Mme de Guermantes’s malevolent remarks about Gilberte (497). Gilberte introduces her daughter (501, 506). Mlle de Saint-Loup and the idea of Time (502–6). A spur to me to begin my work (507). How to set about it (507); Françoise’s