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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).

WINTERHALTER, German portrait painter (1806–73): II 157; III 645

WOLF, Friedrich-August, German philologist (1759–1824): II 112.

XENOPHON, Greek historian: III 598; V 376; VI 285.

XERXES, King of Persia 486–465 BC: V 53, 131.

ZOLA, Emile, French novelist (1840–1902). His trial during the Dreyfus Case: III 315, 548 (cf. V 44–45; VI 286). Discussed at the Guermantes dinner party—“the Homer of the sewers” (Oriane): 681–85. Frequents Mme Verdurin’s salon: IV 198–99 (cf. 384). Brichot’s sarcasm at his expense: 483; VI 287.

Index of Places

ABBAUE-AUX-BOIS. Disused convent in Paris where Mme Ré-camier lived and held her salon and where Chateaubriand was a regular visitor: IV 373, 612.

ACACIAS, Allée des. See Bois de Boulogne.

AGRIGENTO, Sicily. Evoked by M on being introduced to the Prince d’Agrigente: III 593.

ALENÇON, capital of the