In Search of Lost Time, Volume VI_ Time Regained - Marcel Proust [334]
TEARS. M’s childhood tears; sobs that still echo in the silence of evening; “a manumission of tears”: I 49–52. “Quite half the human race in tears”: III 509. Lowering of temperatures caused by a certain kind of tears: 539. Effect of tears on Françoise: IV 239–40 (cf. V 648–49). Upper-class people pretend not to notice tears whereas simple people are distressed by them: 480. Our own (suppressed) tears in other people’s eyes are infuriating: V 136. “People are not always very tolerant of the tears which they themselves have provoked”: 417–18.
TELEPHONE. Mme Cottard’s wonder at the novelty of the telephone: II 250. M considers it improper that the telephone should play pander between Saint-Loup and his mistress: III 160–61. M’s abortive conversation with his grandmother; magic of the telephone; the “Vigilant Virgins;” “convulsions of the vociferous stump”: 173–80. “Purposeless smiles” of people on the telephone: 786 (cf. V 124). Françoise’s resistance to the telephone: IV 176–78 (cf. V 126, 200–1). M’s call from Albertine; the “top-like whirr” of the telephone: 177–78. Familiarity of a “supernatural instrument before whose miracles we used to stand amazed”: V 31- 32. M invokes the “implacable deities” (telephone call to Andrée); genre scene for a modern painter: “At the Telephone”: 124. “A flying squadron of sounds” (M’s conversation with the telephonist speaking for Françoise): 200–1. Mme Verdurin’s war-time telephoning: VI 371.
THEATRE. M’s platonic love for the theatre as a child; his classification of actors: I 100–2. Swann advises him to go and see Berma in Phèdre: 135; he does so at last: II 11–29; expectations before seeing Berma; preconceptions about the art of acting: 14–20; first impressions on entering a theatre: 23–24; disappointment with Berma: 25–29; retrospective reappraisal, influenced by (1) Norpois’s opinion: 36–39; (2) an enthusiastic newspaper review: 71–72; (3) Bergotte’s views: 183–86; (4) Swann’s views: 193. Waning of M’s enthusiasm for the art of acting: III 39, 50–53. Second experience of Berma; a gala night at the Opéra: 40–69. M recognises and appreciates Berma’s dramatic genius, and realises why he had failed to do so before; reflexions on the art of acting; interpretative genius transcends mediocre material: 53–61. Rachel on theatre: 220–22. Reflexions on actors: 228–29. A case of theatrical bitchiness: 229–30. Backstage at the theatre: 231–41. The language of the theatrical profession: VI 372. Unpleasant aspects of theatrical life (Berma and Rachel): 479–80.
TIME. Distortion of time during sleep: I 4–10 (cf. II 545–48; IV 516–18; V 153–55). Time the fourth dimension of Combray church: 83. Imaginary Time of the armchair traveller: 558. M’s realisation that he is not situated somewhere outside Time but subject to its laws: II 74. Time is elastic, the passions we feel expand it, those we inspire contract it: 257. Life is careless of chronology, “interpolating so many anachronisms into the sequence of our days”: 299. Time accurately measured by the body during sleep: 546–47. For M, far from Mme de Guermantes, the arithmetical divisions of time assume “a dolorous and poetic aspect”: III 156. Lengthening of time in solitude: 478, or while waiting for a rendezvous: 524–25. Reappearance of Albertine “like an enchantress offering me a mirror that reflected time”: 479. Phenomena of memory make Time appear to consist of a series of different parallel lines: IV 212. We take account of minutes, the Romans scarcely of hours: 303. “We can sometimes find a person again, but we cannot abolish