In Search of Lost Time, Volume VI_ Time Regained - Marcel Proust [328]
MOON. Moonlight in a bedroom in summer: I 8. Moonlight in the garden at Combray: 43. Walks round Combray by moonlight: 159–60. Long ribbon of moonlight on the pond at Combray: 187. Moon in daylight (cf. II 690); images of the moon in books and paintings: 205–6. Bright moon on clear, cold nights which Swann compares to Odette’s face: 334, 338. Moonlight on one of Gabriel’s palaces: II 84. M reads a description of moonlight in Mme de Sévigné: 315. Moonlight on a village seen from the train: 317. Moon near Balbec inspires M to quote poetic descriptions of it; Mme de Villeparisis’s anecdote about Chateaubriand: 410–11. Opalescent moonlight in a fountain at Doncières: III 120–21. Charlus’s desire to look at the “blue light of the moon” in the Bois with M: 771–72. Crescent moon at twilight over Paris: IV 45 (cf. 568–69). Moon through the oaks at La Raspelière: 494–95, and over the valley: 507. Full moon over Paris: V 227–28. Albertine asleep by moonlight: 521. Moonrise over Paris; the moon in poetry: 550–51. Venetian campo by moonlight: 882. Effects of moonlight in war-time Paris: VI 356; “cruelly and mysteriously serene”: 162; “like a soft and steady magnesium flare”: 164; “narrow and curved like a sequin”: 172.
MOTOR-CARS. M hires a motor-car for Albertine: IV 536–39. Effect of the motor-car on our ideas of topography and perspective; difference between arrival by car and by train (cf. II 301–2); the charm of motoring: 546–50. A drive through Paris: V 216–28. M’s delight in the sound of motor-cars and the smell of petrol: 554–55. Albertine’s Rolls-Royce, her favourite car: 566, 613–14.
MUSIC. Vinteuil’s sonata; the ineffable character of a first musical impression; the “little phrase”: I 294–300. Insanity diagnosed in Vinteuil’s sonata: 302–3. The “little phrase” becomes the “national anthem” of Swann’s love for Odette: 308; its effect on Swann: 335–37, 374–75, 489–91, 493–501 (see also II 144–46). The music of the violin, “the sapient, quivering and enchanted box”: 494. Great musicians reveal to us a new world in the depths of the soul: 497. “Inexorably determined” language of music: 500. Role of memory in our gradual assimilation of a new composition; originality of Vinteuil’s sonata; “great works of art do not begin by giving us the best of themselves;” works such as Beethoven’s late quartets create their own posterity: II 140–46. M’s attempts to grasp the truths expressed by music: 378. Intoxicating and sensual effect of music enhanced by that of alcohol: 534–35. A great pianist is “a window opening upon a great work of art”: III 54–55. People feel justified in enjoying vulgar music if they find it in the work of a good composer (such as Richard Strauss): 614–15. Conversation about music with Mme de Cambremer; Debussy and Wagner; reflexions on theories, schools, fashions and tastes: IV 288–94. Music evoked by Paris street cries—Boris, Pelléas, Palestrina, Gregorian chant: V 146–51, 161–62, 176. Rhythms of sleep compared to those of music; it is the lengthening or shortening of the interval that creates beauty: 153–54, 160. Music helps M to “descend into himself” and discover new things; it also enables us to know the essential quality of another person’s sensations: 206. Vinteuil’s septet: 330–54. Tone colour: 337–39. Unique, unmistakable voice of a great composer is proof of “the irreducibly individual existence of the soul”: 340–42. “The transposition of creative profundity into terms of sound”: 342. Music “the unique example of what might have been … the means of communication between souls”: 344. Inferior compositions