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‘A celle qui est restée en France’ (Hugo) 202–3
A l’ombre des jeunes filles en fleurs 208; antisemitism in 141–45; aristocracy in 158; astral imagery in 320–22; cross-referenced 301; Dreyfus affair in 138–39; Elstir’s paintings 45–52, 60, 76–78; ‘glorious lie’ in 23; jealousy in 252; literary references in 99; plenitude in 187; political comedy in 135–6; retroaction in 55–56; sexuality in 45, 47–49, 52, 184, 219–21, 240–41, 254; time in 45–49
‘A Villequier’ (Hugo) 202
Adorno, Theodor 32–33, 35, 340
Aeneid (Virgil) 122–23
aesthetics 68, 70, 92, 105, 116, 173, 200
‘After a Journey’ (Hardy) 259
Albertine disparue 175; artistic references in 102; death in 291–94; desire in 229; despair in 265–66; homosexuality in 8–10, 54–55; maternal theme of 95–96, 102; paedophilia in 233–34; sexuality in 263; time in 53
altruism 21, 199–200, 204–5
Amores (Ovid) 232, 261
‘Un Amour de Swann’ 299; fashion in 74–75; pain in 208; prefiguration in 57; self in 20–21; sexuality in 215–17, 252; statuary imagery in 299
anatomical deficiency 246–49
anticipation 34, 58–59
antisemitism 130–31, 139, 141–47, 174, 325, 332n
appeasement 257, 261
architecture 90, 91, 96
aristocracy 127–30, 133–34, 150–51, 157–65, 168–69, 174
Aristotle 22
art 68–125, 189, 318–19; angels in 88–89; art market 69–73, 106; of artisan 87–88; artistic qualities 166–68; and communication 203–4; construction work of 109, 285–86; and death 273, 286–87, 304–5, 314–16; and history 270–72; imaginary works 76–78, 116; immortality through 317; self in 3, 110–12; and sex 218; Whole Truth artists 106–8; see also painting
Artaud, Antonin 267, 272, 309
artisans 87–88, 90, 109, 124–25
astral imagery v, xi, 1, 2, 18–19, 27–28, 30, 126, 175, 198, 209, 267, 271, 320–24, 328
Auden, W.H. 336n
Auerbach, Erich 324
Austen, Jane 1, 21
Axel’s Castle (Wilson) 205, 340
Bacon, Francis (writer) 271
Bacon, Francis (painter) 272
Bagatelles pour un massacre (Céline) 144
Le Balcon (Genet) 152, 309
Balzac, Honoré de 159, 236
Barbey d’Aurevilly, Jules 91
Barthes, Roland 84
Beckett, Samuel xviii, 340
Beethoven, Ludwig van 34, 186, 204
Belle de jour (Buñuel) 152
Berg, Alban 33
Bertolucci, Bernardo 34
Bible 97, 267
Bildungsroman 265, 287–88
Bluebeard’s Castle (Bartók) 208, 302
Boccaccio, Giovanni 268, 271, 315
Les Bonnes (Genet) 309
Borges, Jorge Luis 93
bourgeoisie 149–50, 168, 171
Browne, Sir Thomas 309
Buñuel, Luis 152
Bunyan, John 250
Busoni, Ferruccio 26
Cabourg xii-xiv, xix, 326
calumny 147
Calvinism 21–22
Camus, Albert 267, 267n.
caricature: of aristocracy 158; of artistic response 70–73, 105–6; of morality 180
Carpaccio, Vittore 91, 252
Céline 144
Cervantes, Miguel de 324
characterisation 176, 197–98, 263–64
charity 175, 200, 206
Chopin, Frédéric 70–72
‘Le Cimetière marin’ (Valéry) 271
class 127–29, 149–55, 168–72; aristocracy 127–30, 133–34, 157–65, 168–69, 174; bourgeoisie 149–50, 168; and sex 151–53, 155; working class 148–51, 153–54, 157, 169, 174
coincidence 293, 295
‘Combray’ 299; literary references in 94, 96, 98; narrator’s novel in 288; sado-masochism in 24; self-analysis via literature in 110–11; vision in 14
comedy xvii, xviii, 92, 324–25; caricature 70–73, 105–6, 158, 180; of death 280, 310–14; frivolity 112; and morality 178, 179; political 133–36; sarcasm 97, 112, 325; science of behaviour 12; sexual 239, 266
commerce 8, 69–73, 106, 108, 156–57
computational scholarship 2
‘Les Conquérants’ (Heredia) 323
Les Contemplations (Hugo) 201–3, 204
Corneille, Pierre 97, 180
Le Côté de Guermantes 327–28; antisemitism in 130–31, 144–46; aristocracy in 127–28, 158–59; coincidence in 293; death in 273, 277–78, 280, 312; Dreyfus affair in 137, 145, 158–59; literary references in 97–98, 99; ‘Miss Sacripant’ portrait in 60–61; morality in 190; narrator in 6–8, 11; self in 3–4; sexuality in 241–42; syntax and sexuality in 228–9; syntax and time in 41–43
Cousin, Victor 176
cross-reference 299, 301–2
cruelty 308–9, 326
Dante 37, 97, 105, 155, 276
Darwin, Charles 194, 248
David, Jacques-Louis 106
David Copperfield (Dickens) 176
death xviii, 187, 267–319, 326
Decameron (Boccaccio) 268, 271, 315
‘The Definition of Love’ (Marvell) 265
Defoe, Daniel 267
Delacroix, Eugène 106
‘De l’amitié’ (Montaigne) 276
‘Des cannibales’ (Montaigne) 181
desire xvii, xviii, 177, 209–10, 217, 226, 229–31; darkness of 250–52; desirousness 229, 262; as driving force in novel 326–28; and sexual act 255; and verbal texture 263–64
despair 265
Dickens, Charles 176, 250
Dickinson, Emily 57
Disraeli, Benjamin 173
dissection 285–86, 304
Divine Comedy (Dante) 37, 97
Dombey and Son (Dickens) 250, 251
Don Quixote (Cervantes) 324
Dostoevsky, Feodor 91, 93
dramatic irony 58
Dreyfus affair 129–31, 134, 137–40, 141, 147, 158–59, 173
Drumont, Edouard 144
Du Bellay, Joachim 101
Du côté de chez Swann 175; literary self-consciousness in 121–22; reduplication of 254; sentence structure in 227–28; sexuality in 218; time-effects in 36–37; see also ‘Combray’ and ‘Un Amour de Swann’
egalitarianism xiii, 151–52
Eluard, Paul 156
Enlightenment 141
epic 99–101, 105, 123, 324
Epicureanism 305
epistemology 22–23
Erasmus, Desiderius 147
‘Erlkönig’ (Goethe) 237
eroticism 212–15, 263, 264, 326
Eugénie Grandet (Balzac) 236
eyes 13–15
fantasy xv, 1, 38, 129, 131, 146
fashion 74–75
Fielding, Henry 9, 44
Flaubert, Gustave 90, 159
Forster, E.M. 189
France, Anatole 90, 173
La France Juive (Drumont) 144
François le Champi (Sand) 94–96
Freud, Sigmund 44, 90–91, 239
Garros, Roland 89, 323
generalisation 210–12, 217, 230, 305
Genet, Jean 152, 309
Géricault, Théodore 285–86
Getz, Stan 34
Giotto 88–89, 175–76, 206, 333n
Goethe, Johann Wolfgang von 237
The Golden Bowl (James) 250, 251
Goncourts, Frères 159, 332n
Grace Abounding (Bunyan) 250, 251
Great War, see World War I
Grévy, Jules 126
grief 273, 277, 280
Hardy, Thomas 91–92, 259
Hegel, Georg Wilhelm Friedrich 33
Heidegger, Martin 310
Henry IV, Part II (Shakespeare) 167
Heredia, José-Maria de 323
heterosexuality 8, 183, 194
High Windows (Larkin) 280
history 140, 160–65, 270–72
Hofmannsthal, Hugo von 271
Homer 90, 97–105, 107, 123
homophobia 326
homosexuality xiii-xiv; desire in 230–31; and retrospective meaning 8, 54, 197; syntax of 224–26; as vice 146, 183, 185–86, 194, 230–31
Hugo, Victor 105, 201–3, 204–5, 334n
Huxley, Aldous 106–7
identity, see self
L’Ile des pingouins (France) 173
Iliad (Homer) 97, 101, 160
imaginist 1
immortality 316–17
Inferno (Dante) 37, 155
Ingres, Jean-Auguste-Dominique 106
irony 139, 140–41, 147, 170
jealousy 6–8, 53, 252, 262, 294–95
Journal of the Plague Year (Defoe) 267
‘Judaism and Music’ (Wagner) 146, 332n
La Juive (Halévy-Scribe) 8, 28
Keats, John 21
Kierkegaard, Søren 181
knowledge 22–23, 115, 120, 140, 218–19, 221
La Bruyère, Jean de 176
language xvi-xvii, 123, 321; of calumny 147; and class 148, 158–60, 164–6; of creativity 109–10; malapropism 320; and morality 177, 193, 199; sculptural imagery 297–301; seductive powers of 222–4; simple 274–7; sociolinguistics 191–6; switch-words 113–14; vicious 194–5
Larkin, Philip 280
La Rochefoucauld, François, duc de 172, 176, 199
Last Exit to Brooklyn (Selby) 309
Lavignac, Albert 73
laws 198–9, 321
Leconte de Lisle, Charles-Marie 100
Leibniz, Gottfried Wilhelm 186–8, 206
leitmotifs 109
liberalism 141
literature 90–105, 116, 123–4; Charlus’s aspirations 166–9; epic style 99–101, 105, 123; literary pilgrimage xi-xii; literary references 236; as mausoleum 299–302; narrator’s novel 116, 118, 285, 287–8, 299, 314–15; pastiche 159; quotations 97–8
‘La Littérature et la Peste’ (Artaud) 267
Lolita (Nabokov) 232, 236
The Lord Chandos Letter (Hofmannsthal) 271
Loti, Pierre 90, 222
Love’s Knowledge (Nussbaum) 200
Lucretius 305, 307
lying 23, 138, 181–83
Macbeth (Shakespeare) 308–9
McCarthy, Mary 68
Macneice, Louis 338n
Madame Chrysanthème (Loti) 222
Mahler, Gustav 107
Mallarmé, Stéphane 209, 330n
‘The Man on the Dump’ (Stevens) 120–21
The Man Without Qualities (Musil) 133–34
Manzoni, Alessandro 268
Marat/Sade (Weiss) 309
Marvell, Andrew 265
melodrama 205, 295
memory xv, 189: and death 272, 273, 287, 288, 291; involuntary 6, 64–65, 218; reminiscence 57
Mimesis (Auerbach) 324
modernity 89, 123, 148–49, 172, 198, 309, 317, 324
Molière 176
Monadology (Leibniz) 187
monarchy 134–36
Montaigne, Michel de 181, 276, 305–8, 333n
morality 21–26, 175–208
mortality 269, 273–74, 280, 285, 288, 305, 307, 309, 318
mourning 273, 277, 290
Mozart, Wolfgang Amadeus 185
multiplicity xiv-xvi, 18, 26; of self 5, 11, 18, 20–21, 26, 28–29, 131–32, 325
music 19, 26; and astronomy 28; caricature of response 70–73; imaginary works 76; Judaism and (Wagner) 146, 332n; sexuality of 215–17; time-effects in 34; Vinteuil septet motif 76, 78–86; Whole Truth in 107–8
Music at Night (Huxley) 106
Musil, Robert 133–34
myth 196–98, 290, 293
Nabokov, Vladimir 232, 236
narrative: time in 44, 46, 52–53, 65; simultaneous 45
narrator xvi-xviii; anticipation by 58–59; and art 86, 116–19; as character 308; as cohesive force 11, 296; cruelty of 308; and death 285; delinquent 147; as imaginist 1–2; as moralist 21–22, 176–77, 185, 188, 198, 200, 205, 308;as novelist 116, 118, 285, 287–88, 299, 314–15; plural self of 5, 11, 325; politics of 170; power of 169; and retroaction 55; sexuality of 212, 215, 223–24, 230, 236–38, 263; social commentary of 140–41; and suffering 310; ‘time voice’ of 30
nature 2, 39, 306–8, 315–16
Nicholas II, Tsar 134
Nietzsche, Friedrich 171
nostalgia 148–49
Nussbaum, Martha 200
Odyssey (Homer) 97, 98, 101–2, 104, 123
old age 268, 280–86, 288, 318
‘The Old Fools’ (Larkin) 280
optics 13–15, 19
‘An Ordinary Evening in New Haven’ (Stevens) 109
Ordinary Vices (Shklar) 181
Ovid 232, 241, 262
paedophilia 231–8, 326
pain xviii, 310–11; and death 277–79; and love 257–59, 261, 263; rhythms of 296
painting 88, 102, 106, 116–18; angels in 88–89; ‘Le port de Carquethuit’ 76–78; ‘Miss Sacripant’ portrait 45–52, 58, 60–62, 64, 184
paragraph, time in 52–53
Pater, Walter 68, 82, 227
Peary, Robert Edwin 198, 324
La Peste (Camus) 267
Petrarch 255–56
physiognomy 180
pity 200–1
plague 267–68, 314
Plato 316–17
plenitude xv, 19, 26, 186–88, 206
plot: architectonic 9, 32, 295–96; chronology 295–96; coincidence 293, 295; long-range plotting 243; as moral drama 188–89; reduplication in 253–54; sexual 212, 263; temporality in 31, 62; transversal threads 59
plurality, see multiplicity
politics 126–74; aestheticising of 173; antisemitism 130–31, 139, 141–47; class 127–29, 149–53; as comedy 133–6; and contradiction 157; Dreyfus affair 129–31, 137–40, 147; instability of vision in 148; irony in 139, 140–41; rage against 133; of sexual intimacy 131
Pope, Alexander 99, 175
Praise of Folly (Erasmus) 147
prefiguration 57–58, 78
La Prisonnière: appeasement in 257; aristocracy in 128; art and self-analysis in 112–13; death in 279, 293–94; desire in 229; despair in 265; eroticism in 212–15; jealousy in 53; literary references in 91–3; ‘Miss Sacripant’ motif in 61–2; multiplicity in xiv-xv, 18; musical references in 76, 78–86, 107–8; pain of love in 259; retroaction in 56; sexuality in 212, 243, 248, 263; statuary imagery in 299; vacant self in 20; vice and virtue in 181–82, 189–90
I Promessi Sposi (Manzoni) 268
prostitution 24–45, 152–57, 167, 174, 232, 254
Proust, Adrien 336n
Psychopathia sexualis (Krafft-Ebing) 238
‘Que philosopher, c’est apprendre à mourir’ (Montaigne) 306–7
Racine, Jean 95, 97
recapitulation 52–53, 64
Redon, Odilon 146
remembrance, see memory
The Renaissance (Pater) 68
Renan, Ernest 302
repetition 123, 243
retroaction 5, 53–57, 59, 295
retrospection xvii, 34, 53, 261
Retz, Cardinal de 172
rhythm xiv-xvi, xix, 296–97
Rime sparse (Petrarch) 255
risk 22, 141
Robert, Paul 89
Romanticism 132
Ronsard, Pierre de 101
Rostand, Edmond 90
Rothko, Mark 272
Ryle, Gilbert 21–22
sado-masochism 23–25
Sand, George 94, 96
science 11–13, 16–18, 186, 198–99, 221, 284, 308, 318
sculpture, language of 297–301
self xvi, 1–29, 204, 270; and death 287, 304; enduring 3–5; impermanent 304, 337n; multiple 5, 11, 18, 20–21, 26, 28–29, 131–32, 325; perfecting of 147; society and 132; vacant 10, 19–20
self-analysis 110–12, 127
sentence: characteristic 35; as retroactive play 56–57; sexual nature of 224–29; syntax of 49; time-effects in 32–33, 36–43, 65
Sévigné, Mme de 90, 91, 93
sexuality xviii, 209–66, 326: adolescent 240–41; ambiguous 52, 60–61, 183–85; as appeasement 257, 261; child 231–38; and class relationships 151–52, 155; comedy of 239; demotion of sex act 255; developmental view of 212, 263; generalisation of 210–12, 217, 230; heterosexuality 8, 183, 194; homosexuality xiii, 8–10, 54, 61, 146, 183, 185–86, 194, 197, 224–26, 230–31; and ideology 131; and knowledge 218–19, 221; and language 222–24; misadventures 245–52; and morality 178, 183–86, 188, 194; and pain 257–59, 261, 263; pansexualism 221, 238m 263; periodicity of 262; perversion 230–31, 234–35, 238, 249; and plot 212; as political cause 154; and retroaction 54; sadomasochism 23–25; in sentence structure 224–29; sexual enquiry 44–45; variety in 230, 238; violence in 250–51
Seznec, Jean 197
Shakespeare, William xvii, 88, 276, 308–9
Shklar, Judith 181
‘Short Commentaries on Proust’ (Adorno) 32–33
Sketch of a New Esthetic of Music (Busoni) 26
society 101; as interpersonal exchange 132; irony and social change 139–40; kaleidoscopic view of 138–39, 149; linguistics of 191–92; narrator and 140–41; and politics 127; role of literature in 90–91, 124; social comedy of dying 311–14; social death 313; social virtues 191; syntax of social observation 39–40; see also class
Sodome et Gomorrhe: artist in 119; artistic response in 70–72; class in 149–50, 162, 170–1; death in 273–76, 279, 282, 288, 312; Dreyfus affair in 137–38; literary references in 100; malapropisms in 320; pain in 296; quest for knowledge in 114–15; quixotic behaviour in 325; sexuality in 178, 194, 212, 223, 239–40; time and syntax in 39–40; vacant self in 20
Souvenirs d’enfance et de jeunesse (Renan) 302
The Spider’s Stratagem (Bertolucci) 34
Spitzer, Leo 16
stars, see astral imagery
Stendhal 173
Sterne, Laurence 9, 44
Stevens, Wallace 109, 120–21, 123
Strauss, Richard 185
‘Style’ (Pater) 228
sublimation 255–6
supererogation 22–23, 207
La Survivance des dieux antiques (Seznec) 197
Swift, Jonathan 148
Symposium (Plato) 316–17
synchronicity 64
syntax xvi, 49; of nature description 39; sexual 224–29; of social observation 39–40; time-effects in 32–33, 36–43, 67, 78
A Tale of a Tub (Swift) 148
Talleyrand, Charles-Maurice de 164, 172, 326
Le Temps retrouvé: apotheosis of self in 20; aristocracy in 164–65; astral imagery in 323; class in 152, 154; connection in xv; death in 282, 285, 287–88, 303, 312; Dreyfus affair in 139–40; epic style in 101; integrating of self in 4–5; literary pastiche in 332n; literary references in 94, 102–4; materialism in 76; morality in 178, 189, 199, 207; narrative closure in 296–97; narrator in 316; paedophilia in 235; pain of love in 259; repetition in 123; sadomasochism in 24; sculptural imagery in 300; self-awareness in 147; sex in 212, 326; social subjectivity in 132; time in 30; virtue redefined in 189
Tennyson, Alfred Lord 10
Thousand and One Nights 315
time 30–67; linear 63; in narrative segments 44, 46, 52–53; outer and inner 46–47; in overall plot 62, 189, 296; redeemed 67; embodied 67; and syntax 32–33, 36–43, 78
Tom Jones (Fielding) 9, 44
tragedy xviii
Tristan (Wagner) 107–8
Tristram Shandy (Sterne) 9, 44
Valéry, Paul 271
Van der Weyden, Rogier 88
Vermeer, Jan 91, 116–18
vice 26, 181–83, 185–86, 194–95, 206, 230
violence, sexual 250–51
Virgil 37, 97, 105, 122–23, 333n
virtue 26, 178–81, 183, 190, 194, 196, 205–6 redefined 189, 199
vocabulary, see language
Voyage artistique à Bayreuth (Lavignac) 73–74
voyeurism 23–24
Wagner, Richard 107–8, 109, 146, 332n
ar 126, 131, 156, 160–61, 165, 303
Wilson, Edmund 205, 340
working class 148–51, 153–54, 157, 169, 174
World War I 25, 126, 131, 152, 155–56, 268
writers 90
xenophobia 144
Yeats, William Butler 271
Zola, Emile 100, 103, 104–5, 141
zoophytes 186–87, 206