• Choose a category
• All
• Classic-Fiction

By Root 862 0

152). Race-courses and regattas as subjects for painting: 651–58. “The original painter proceeds on the lines of the oculist”—the visual world is created afresh: III 445. M’s reflexions on painting while studying the Guermantes’s El-stirs; Elstir’s relation to earlier painters; analysis of a waterside carnival; the painter’s eye; the immortalisation of a moment: 572–78. Conversation about painting with Mme de Cambremer at Balbec: IV 280–87. The “little patch of yellow wall”: V 244–45. Aesthetic truth and documentary truth in portraits: VI 359. “The artist may paint anything in the world that he chooses;” the artist of genius may be inspired by commonplace models: 44–46.

(See also Botticelli; Carpaccio; Giotto; Greco; Hooch; Leonardo; Manet; Mantegna; Michelangelo; Monet; Poussin; Rembrandt; Renoir; Turner; Vermeer; Veronese; Watteau; Whistler under Index of Persons.)

PARTIES. Dinner-party at the Verdurins’ at which Swann hears the Vinteuil sonata: I 281–304. Dinner-party at the Verdurins’ at which Forcheville is present: 355–75. Musical soirée at Mme de Saint-Euverte’s: 457–501. Elstir’s afternoon party to introduce Albertine: II 613–20. Afternoon party at Mme de Villeparisis’s: III 251–385. Theatrical soirée at Mme de Villeparisis’s for which M arrives too late: 507–23. Dinner-party at the Duchesse de Guermantes’s: 569–750. Evening party at the Princesse de Guermantes’s: IV 45–165. Dinner-party at La Raspelière: 404–514. Musical soirée at the Verdurins’ (Quai Conti): V 299–307. Afternoon party at the Princesse de Guermantes’s: VI 360.

PHOTOGRAPHY. Swann studies photographs of Odette: I 414, but prefers an old daguerreotype to more recent photographs: II 264 (see also V 267). M’s photograph of Berma, which he studies in bed: II 80, 82–83. Charlus on photography: “A photograph acquires something of the dignity which it ordinarily lacks when it ceases to be a reproduction of reality and shows us things that no longer exist”: 470. Saint-Loup photographs M’s grandmother: 500 (cf. IV 214, 237–43). An old photograph of the “little band”: 549–50. Influence of photography on painting: 570. Saint-Loup’s photograph of Mme de Guermantes seems to M like a “supplementary prolonged encounter” with her: III 99. By “a cruel trick of chance,” M sees his grandmother as a photograph: 183–85. Similar effects produced by photography and kissing: 498–99. Contrasting photographs of Odette, “the earlier a photograph the older a woman looks in it”: V 267. Saint-Loup’s stupefaction on seeing M’s photograph of Albertine: 588–92.

POLITICS. Diplomacy and politics; the “governmental mind” (Norpois): II 7. M discovers to his surprise that, in politics, to repeat what everyone else is thinking is the mark not of an inferior but of a superior mind: 40. Mme de Villeparisis’s “advanced” but anti-socialist opinions: 393–94. Saint-Loup’s “socialistic spoutings”: 426, 490–91. Elusiveness of truth in politics: III 325–26. Subtlety of politicians, a perversion of the science of “reading between the lines,” accounts for the behaviour of the Guermantes circle and in particular the Duchess’s paradoxical judgments; the Duke as politician: 646–51.

RAILWAYS. Arrival by train at Combray: I 65, 85, 159. The railway timetable “the most intoxicating romance in the lover’s library”: 415–16; timetables minister to M’s longing for aesthetic enjoyment; the “wizard’s cell”: 556–57. The “fine, generous” 1.22 train to Normandy and Brittany: 548–49; II 305–6. Reflexions on rail travel; railway stations “marvellous” but “tragic” places; the Gare Saint-Lazare: 301–3 (cf. IV 549–50). Journey to Balbec: 312–25. Concomitants of long railway journeys: sunrise, hard-boiled eggs, illustrated papers, packs of cards, rivers: 316. Whistling of locomotives at Doncières: III 179. Difference between arrival by train and by motor-car: IV 549–50 (cf. II 301–2). Return journey from Venice to Paris: V 887–88. Halt by a sunlit line of trees on M’s train-journey back to Paris from the sanatorium: VI 361. M’s memory of the hooting of the trains at night at Combray: 276.

The “little train.” M