In Search of Lost Time, Volume VI_ Time Regained - Marcel Proust [331]
ROOMS. M remembers various bedrooms in which he has slept: I 4–10, 263–64. His bedroom at Combray: 9–11. The little room at the top of t)ie house smelling of orris-root: 14, 122. Aunt Léonie’s rooms; the charm of country rooms, reflecting “a whole secret system of life”: 66–67. Uncle Adolphe’s sanctum: 99 (cf. II 91). M’s room in summer: 113–14. Rooms in Odette’s house in the Rue La Perouse: 310–12. M’s bedroom in the Grand Hotel, Balbec: 545; II 332–34, 340–43, 690–91, 727–30. Waiting-room in Swann’s house: II 136–38. Mme Swann’s drawing-room: 153–55, 230–34, 288. Dining-room of the Grand Hotel: 343–45, 351–52, 613 (cf. IV 181). M’s grandmother’s room in the Grand Hotel: 386–87. Saint-Loup’s room at Doncières: III 91–92. “Unbreathable aroma” of every new bedroom: 102. Silent but alive and friendly rooms in the hotel at Doncières: 103–12. Dining-room at Doncières: 125–26. Mme de Villeparisis’s drawing-room: 251–52. M’s bedroom in Paris: 472–73, 534–35; V 1–4, 482, 501, 514–15, 553–54. Card-room at the Princesse de Guermantes’s—“magician’s cell”: IV 119. Drawing-room at La Raspelière: 411–12 (cf. V 378–80). Verdurin drawing-rooms at Rue Montalivet and Quai Conti: V 265–67, 378–80. Room in Andrée’s grandmother’s apartment: 527. M’s bedroom at Tansonville: VI 362. Eulalie’s room at Combray: 276.
SADISM. Scene of “sadism” at Montjouvain between Mile Vinteuil and her friend: I 226–33. Sadists of Mile Vinteuil’s sort are “purely sentimental, naturally virtuous”: 231. Real sadism—“pure and voluptuous cruelty”—uncommon: III 230. The sadism in Charlus—a medium: IV 555. Irresistible sadism as a motive for crime: V 269. Sado-masochistic scene in Jupien’s brothel: VI 363, and reflexions thereon: 195.
SEA. The sea reflected in the glass of the book-cases in M’s room at Balbec: I 545. M’s longing to witness a stormy sea: 546. The sea seen from M’s window at Balbec; variety of seascapes: II 341–44, 386–87, 521–26 (see also IV 221, 247–48). Sea glimpsed from high ground through trees: 391 (cf. IV 558–59). The “little band” inseparable from the sea: 562 (cf. III 481; V 81–84, 611). The sea in Elstir’s pictures: 567–71, 657–58. M’s efforts to see the sea through Elstir’s eyes: 658. “Perpetual recreation of the primordial elements of nature which we contemplate when we stand before the sea”: 663. M’s pleasure in returning to the sea: IV 221, 243. The “rural” sea: 247–48. Sight and sound of the sea from a hill near Douville: 283–84. The sea from La Raspelière: 540–42. “The plaintive ancestress of the earth”: 559. M and Albertine lie on the beach at night listening to the sea: 569 (cf. V 85). Albertine asleep reminds M of the sea: V 83–86.
SELF. “Our social personality is a creation of the thoughts of other people”: I 23. Mystery of personality: 438. Revival of an old self can make us experience feelings long dead: II 299–301 (cf. III 367–69). “Fragmentary and continuous death” of our successive selves: 340. Oneself: a subject on which other people’s views are never in accordance with one’s own: 437–42 (cf. IV 211–13). Uses of self-centredness: 478–79. Eclipse of one’s old self at a social gathering: 615–16. Friendship an abdication of self: 664. M’s “Self” which he rediscovers periodically when he arrives in a new place: III 102. Recovery of one’s own self after sleep: 109–11. Ephemeral personalities of characters in a play make one doubt the reality of the self: 228–29. Contrast between one’s own