“Listen, Basin, I ask for nothing better than to follow you to the ditches of Vincennes, or even to Taranto. And that reminds me, Charles, of what I was going to say to you when you were telling me about your Saint George at Venice. We have an idea, Basin and I, of spending next spring in Italy and Sicily. If you were to come with us, just think what a difference it would make! I’m not thinking only of the pleasure of seeing you, but imagine, after all you’ve told me so often about the remains of the Norman Conquest and of ancient history, imagine what a trip like that would become if you came with us! I mean to say that even Basin—what am I saying, Gilbert—would benefit by it, because I feel that even his claims to the throne of Naples and all that sort of thing would interest me if they were explained by you in old romanesque churches in little villages perched on hills like primitive paintings. But now we’re going to look at your photograph. Open the envelope,” said the Duchess to a footman. “Please, Oriane, not this evening; you can look at it to-morrow,” implored the Duke, who had already been making signs of alarm to me on seeing the huge size of the photograph. “But I like to look at it with Charles,” said the Duchess, with a smile at once artificially concupiscent and psychologically subtle, for in her desire to be friendly to Swann she spoke of the pleasure which she would have in looking at the photograph as though it were the pleasure an invalid feels he would find in eating an orange, or as though she had managed to combine an escapade with her friends with giving information to a biographer as to some of her favourite pursuits. “All right, he will come again to see you, on purpose,” declared the Duke, to whom his wife was obliged to yield. “You can spend three hours in front of it, if that amuses you,” he added ironically. “But where are you going to stick a toy of those dimensions?” “Why, in my room, of course. I like to have it before my eyes.” “Oh, just as you please; if it’s in your room, probably I shall never see it,” said the Duke, without thinking of the revelation he was thus blindly making of the negative character of his conjugal relations. “Very well, you will undo it with the greatest care,” Mme. de Guermantes told the servant, multiplying her instructions out of politeness to Swann. “And see that you don’t crumple the envelope, either.” “So even the envelope has got to be respected!” the Duke murmured to me, raising his eyes to the ceiling. “But, Swann,” he added, “I, who am only a poor married man and thoroughly prosaic, what I wonder at is how on earth you managed to find an envelope that size. Where did you pick it up?” “Oh, at the photographer’s; they’re always sending out things like that. But the man is a fool, for I see he’s written on it ‘The Duchesse de Guermantes,’ without putting ‘Madame’.” “I’ll forgive him for that,” said the Duchesse carelessly; then, seeming to be struck by a sudden idea which enlivened her, checked a faint smile; but at once returning to Swann: “Well, you don’t say whether you’re coming to Italy with us?” “Madame, I am really afraid that it will not be possible.” “Indeed! Mme. de Montmorency is more fortunate. You went with her to Venice and Vicenza. She told me that with you one saw things one would never see otherwise, things no one had ever thought of mentioning before, that you shewed her things she had never dreamed of, and that even in the well-known things she had been able to appreciate details which without you she might have passed by a dozen times without ever noticing. Obviously, she has been more highly favoured than we are to be.... You will take the big envelope from M. Swann’s photograph,” she said to the servant, “and you will hand it in, from me, this evening at half past ten at Mme. la Comtesse Molé’s.” Swann laughed. “I should like to know, all the same,” Mme. de Guermantes asked him, “how, ten months before the time, you can tell that a thing will be impossible.” “My dear Duchess, I will tell you if you insist upon it, but, first of all, you can see that I am very ill.” “Yes, my little Charles, I don’t think you look at all well. I’m not pleased with your colour, but I’m not asking you to come with me next week, I ask you to come in ten months. In ten months one has time to get oneself cured, you know.” At this point a footman came in to say that the carriage was at the door. “Come, Oriane, to horse,” said the Duke, already pawing the ground with impatience as though he were himself one of the horses that stood waiting outside. “Very well, give me in one word the reason why you can’t come to Italy,” the Duchess put it to Swann as she rose to say good-bye to us. “But, my dear friend, it’s because I shall then have been dead for several months. According to the doctors I consulted last winter, the thing I’ve got—which may, for that matter, carry me off at any moment—won’t in any case leave me more than three or four months to live, and even that is a generous estimate,” replied Swann with a smile, while the footman opened the glazed door of the hall to let the Duchess out. “What’s that you say?” cried the Duchess, stopping for a moment on her way to the carriage, and raising her fine eyes, their melancholy blue clouded by uncertainty. Placed for the first time in her life between two duties as incompatible as getting into her carriage to go out to dinner and shewing pity for a man who was about to die, she could find nothing in the code of conventions that indicated the right line to follow, and, not knowing which to choose, felt it better to make a show of not believing that the latter alternative need be seriously considered, so as to follow the first, which demanded of her at the moment less effort, and thought that the best way of settling the conflict would be to deny that any existed. “You’re joking,” she said to Swann. “It would be a joke in charming taste,” replied he ironically. “I don’t know why I am telling you this; I have never said a word to you before about my illness. But as you asked me, and as now I may die at any moment.... But whatever I do I mustn’t make you late; you’re dining out, remember,” he added, because he knew that for other people their own social obligations took precedence of the death of a friend, and could put himself in her place by dint of his instinctive politeness. But that of the Duchess enabled her also to perceive in a vague way that the dinner to which she was going must count for less to Swann than his own death. And so, while continuing on her way towards the carriage, she let her shoulders droop, saying: “Don’t worry about our dinner. It’s not of any importance!” But this put the Duke in a bad humour, who exclaimed: “Come, Oriane, don’t stop there chattering like that and exchanging your jeremiads with Swann; you know very well that Mme. de Saint-Euverte insists on sitting down to table at eight o’clock sharp. We must know what you propose to do; the horses have been waiting for a good five minutes. I beg your pardon, Charles,” he went on, turning to Swann, “but it’s ten minutes to eight already. Oriane is always late, and it will take us more than five minutes to get to old Saint-Euverte’s.”
Mme. de Guermantes advanced resolutely towards the carriage and uttered a last farewell to Swann. “You know, we can talk about that another time; I don’t believe a word you’ve been saying, but we must discuss it quietly. I expect they gave you a dreadful fright, come to luncheon, whatever day you like,” (with Mme. de Guermantes things always resolved themselves into luncheons), “you will let me know your day and time,” and, lifting her red skirt, she set her foot on the step. She was just getting into the carriage when, seeing this foot exposed, the Duke cried in a terrifying voice: “Oriane, what have you been thinking of, you wretch? You’ve kept on your black shoes! With a red dress! Go upstairs quick and put on red shoes, or rather,” he said to the footman, “tell the lady’s maid at once to bring down a pair of red shoes.” “But, my dear,” replied the Duchess gently, annoyed to see that Swann, who was leaving the house with me but had stood back to allow the carriage to pass out in front of us, could hear, “since we are late.” “No, no, we have plenty of time. It is only ten to; it won’t take us ten minutes to get to the Parc Monceau. And, after all, what would it matter? If we turned up at half past eight they’ld have to wait for us, but you can’t possibly go there in a red dress and black shoes. Besides, we shan’t be the last, I can tell you; the Sassenages are coming, and you know they never arrive before twenty to nine.” The Duchess went up to her room. “Well,” said M. de Guermantes to Swann and myself, “we poor, down-trodden husbands, people laugh at us, but we are of some use all the same. But for me, Oriane would have been going out to dinner in black shoes.” “It’s not unbecoming,” said Swann, “I noticed the black shoes and they didn’t offend me in the least.” “I don’t say you’re wrong,” replied the Duke, “but it looks better to have them to match the dress. Besides, you needn’t worry, she would no sooner have got there than she’ld have noticed them, and I should have been obliged to come home and fetch the others. I should have had my dinner at nine o’clock. Good-bye, my children,” he said, thrusting us gently from the door, “get away, before Oriane comes down again. It’s not that she doesn’t like seeing you both. On the contrary, she’s too fond of your company. If she finds you still here she will start talking again, she is tired out already, she’ll reach the dinner-table quite dead. Besides, I tell you frankly, I’m dying of hunger. I had a wretched luncheon this morning when I came from the train. There was the devil of a béarnaise sauce, I admit, but in spite of that I sha’nt be at all sorry, not at all sorry to sit down to dinner. Five minutes to eight! Oh, women, women! She’ll give us both indigestion before to-morrow. She is not nearly as strong as people think.” The Duke felt no compunction at speaking thus of his wife’s ailments and his own to a dying man, for the former interested him more, appeared to him more important. And so it was simply from good breeding and good fellowship that, after politely shewing us out, he cried “from off stage”, in a stentorian voice from the porch to Swann, who was already in the courtyard: “You, now, don’t let yourself be taken in by the doctors’ nonsense, damn them. They’re donkeys. You’re as strong as the Pont Neuf. You’ll live to bury us all!”
| ADAMS, HENRY | The Education of Henry Adams 76 |
| AIKEN, CONRAD | A Comprehensive Anthology of American Verse 101 |
| AIKEN, CONRAD | Modern American Poetry 127 |
| ANDERSON, SHERWOOD | Winesburg, Ohio 104 |
| BALZAC | Droll Stories 193 |
| BEERBOHM, MAX | Zuleika Dobson 116 |
| BEMELMANS, LUDWIG | My War with the United States 175 |
| BENNETT, ARNOLD | The Old Wives’ Tale 184 |
| BIERCE, AMBROSE | In the Midst of Life 133 |
| BOCCACCIO | The Decameron 71 |
| BRONTË, CHARLOTTE | Jane Eyre 64 |
| BRONTË, EMILY | Wuthering Heights 106 |
| BUCK, PEARL | The Good Earth 2 |
| BURTON, RICHARD | The Arabian Nights 201 |
| BUTLER, SAMUEL | Erewhon and Erewhon Revisited 136 |
| BUTLER, SAMUEL | The Way of All Flesh 13 |
| CABELL, JAMES BRANCH | Jurgen 15 |
| CALDWELL, ERSKINE | God’s Little Acre 51 |
| CANFIELD, DOROTHY | The Deepening Stream 200 |
| CARROLL, LEWIS | Alice in Wonderland, etc. 79 |
| CASANOVA, JACQUES | Memoirs of Casanova 165 |
| CELLINI, BENVENUTO | Autobiography of Cellini 3 |
| CERVANTES | Don Quixote 174 |
| CHAUCER | The Canterbury Tales 161 |
| CHAUCER | Troilus and Cressida 126 |
| CONFUCIUS | The Wisdom of Confucius 7 |
| CONRAD, JOSEPH | Heart of Darkness (In Great Modern Short Stories 168) |
| CONRAD, JOSEPH | Lord Jim 186 |
| CONRAD, JOSEPH | Victory 34 |
| CORNEILLE and RACINE | Six Plays of Corneille and Racine 194 |
| CORVO, FREDERICK BARON | A History of the Borgias 192 |
| CUMMINGS, E. E. | The Enormous Room 214 |
| DANTE | The Divine Comedy 208 |
| DAUDET, ALPHONSE | Sapho 85 |
| DEFOE, DANIEL | Moll Flanders 122 |
| DEWEY, JOHN | Human Nature and Conduct 173 |
| DICKENS, CHARLES | A Tale of Two Cities 189 |
| DICKENS, CHARLES | David Copperfield 110 |
| DICKENS, CHARLES | Pickwick Papers 204 |
| DINESEN, ISAK | Seven Gothic Tales 54 |
| DOS PASSOS, JOHN | Three Soldiers 205 |
| DOSTOYEVSKY, FYODOR | Crime and Punishment 199 |
| DOSTOYEVSKY, FYODOR | The Brothers Karamazov 151 |
| DOSTOYEVSKY, FYODOR | The Possessed 55 |
| DOUGLAS, NORMAN | South Wind 5 |
| DREISER, THEODORE | Sister Carrie 8 |
| DUMAS, ALEXANDRE | Camille 69 |
| DUMAS, ALEXANDRE | The Three Musketeers 143 |
| DU MAURIER, GEORGE | Peter Ibbetson 207 |
| EDMAN, IRWIN | The Philosophy of Plato 181 |
| EDMONDS, WALTER D. | Rome Haul 191 |
| ELLIS, HAVELOCK | The Dance of Life 160 |
| EMERSON, RALPH WALDO | Essays and Other Writings 91 |
| FAULKNER, WILLIAM | Sanctuary 61 |
| FEUCHTWANGER, LION | Power 206 |
| FIELDING, HENRY | Joseph Andrews 117 |
| FIELDING, HENRY | Tom Jones 185 |
| FINEMAN, IRVING | Hear, Ye Sons 130 |
| FLAUBERT, GUSTAVE | Madame Bovary 28 |
| FORESTER, C. S. | The African Queen 102 |
| FORSTER, E. M. | A Passage to India 218 |
| FRANCE, ANATOLE | Crime of Sylvestre Bonnard 22 |
| FRANCE, ANATOLE | Penguin Island 210 |
| FRANKLIN, BENJAMIN | Autobiography, etc. 39 |
| GALSWORTHY, JOHN | The Apple Tree (In Great Modern Short Stories 168) |
| GAUTIER, THEOPHILE | Mlle. De Maupin, One of Cleopatra’s Nights 53 |
| GEORGE, HENRY | Progress and Poverty 36 |
| GIDE, ANDRÉ | The Counterfeiters 187 |
| GISSING, GEORGE | New Grub Street 125 |
| GISSING, GEORGE | Private Papers of Henry Ryecroft 46 |
| GLASGOW, ELLEN | Barren Ground 25 |
| GOETHE | Faust 177 |
| GOETHE | The Sorrows of Werther (In Collected German Stories 108) |
| GOGOL, NIKOLAI | Dead Souls 40 |
| GRAVES, ROBERT | I, Claudius 20 |
| HAMMETT, DASHIELL | The Maltese Falcon 45 |
| HAMSUN, KNUT | Growth of the Soil 12 |
| HARDY, THOMAS | Jude the Obscure 135 |
| HARDY, THOMAS | The Mayor of Casterbridge 17 |
| HARDY, THOMAS | The Return of the Native 121 |
| HARDY, THOMAS | Tess of the D’Urbervilles 72 |
| HART, LIDDELL | The War in Outline 16 |
| HAWTHORNE, NATHANIEL | The Scarlet Letter 93 |
| HEMINGWAY, ERNEST | A Farewell to Arms 19 |
| HEMINGWAY, ERNEST | The Sun Also Rises 170 |
| HEMON, LOUIS | Maria Chapdelaine 10 |
| HOMER | The Iliad 166 |
| HOMER | The Odyssey 167 |
| HORACE | The Complete Works of 141 |
| HUDSON, W. H. | Green Mansions 89 |
| HUDSON, W. H. | The Purple Land 24 |
| HUGHES, RICHARD | A High Wind in Jamaica 112 |
| HUGO, VICTOR | The Hunchback of Notre Dame 35 |
| HUNEKER, JAMES G. | Painted Veils 43 |
| HUXLEY, ALDOUS | Antic Hay 209 |
| HUXLEY, ALDOUS | Point Counter Point 180 |
| IBSEN, HENRIK | A Doll’s House, Ghosts, etc. 6 |
| JAMES, HENRY | The Portrait of a Lady 107 |
| JAMES, HENRY | The Turn of the Screw 169 |
| JAMES, WILLIAM | The Philosophy of William James 114 |
| JAMES, WILLIAM | The Varieties of Religious Experience 70 |
| JEFFERS, ROBINSON | Roan Stallion; Tamar and Other Poems 118 |
| JOYCE, JAMES | Dubliners 124 |
| JOYCE, JAMES | A Portrait of the Artist as a Young Man 145 |
| KUPRIN, ALEXANDRE | Yama 203 |
| LARDNER, RING | The Collected Short Stories of 211 |
| LAWRENCE, D. H. | The Rainbow 128 |
| LAWRENCE, D. H. | Sons and Lovers 109 |
| LAWRENCE, D. H. | Women in Love 68 |
| LEWIS, SINCLAIR | Arrowsmith 42 |
| LEWISOHN, LUDWIG | The Island Within 123 |
| LONGFELLOW, HENRY W. | Poems 56 |
| LOUYS, PIERRE | Aphrodite 77 |
| LUDWIG, EMIL | Napoleon 95 |
| LUNDBERG, FERDINAND | Imperial Hearst 81 |
| MACHIAVELLI | The Prince and The Discourses of Machiavelli 65 |
| MALRAUX, ANDRÉ | Man’s Fate 33 |
| MANN, THOMAS | Death in Venice (In Collected German Stories 108) |
| MANSFIELD, KATHERINE | The Garden Party 129 |
| MARQUAND, JOHN P. | The Late George Apley 182 |
| MARX, KARL | Capital and Other Writings 202 |
| MAUGHAM, W. SOMERSET | Of Human Bondage 176 |
| MAUGHAM, W. SOMERSET | The Moon and Sixpence 27 |
| MAUPASSANT, GUY DE | Best Short Stories 98 |
| McFEE, WILLIAM | Casuals of the Sea 195 |
| MELVILLE, HERMAN | Moby Dick 119 |
| MEREDITH, GEORGE | Diana of the Crossways 14 |
| MEREDITH, GEORGE | The Ordeal of Richard Feverel 134 |
| MEREJKOWSKI, DMITRI | The Romance of Leonardo da Vinci 138 |
| MISCELLANEOUS | An Anthology of American Negro Literature 163 |
| An Anthology of Light Verse 48 | |
| Best Ghost Stories 73 | |
| Best Amer. Humorous Short Stories 87 | |
| Best Russian Short Stories, including Bunin’s The Gentleman from San Francisco 18 | |
| Eight Famous Elizabethan Plays 94 | |
| Five Great Modern Irish Plays 30 | |
| Four Famous Greek Plays 158 | |
| Fourteen Great Detective Stories 144 | |
| Great German Short Novels and Stories 108 | |
| Great Modern Short Stories 168 | |
| The Federalist 139 | |
| The Making of Man: An Outline of Anthropology 149 | |
| The Making of Society: An Outline of Sociology 183 | |
| The Short Bible 57 | |
| Outline of Abnormal Psychology 152 | |
| Outline of Psychoanalysis 66 | |
| The Sex Problem in Modern Society 198 | |
| MOLIERE | Plays 78 |
| MORLEY, CHRISTOPHER | Human Being 74 |
| MORLEY, CHRISTOPHER | Parnassus on Wheels 190 |
| NIETZSCHE, FRIEDRICH | Thus Spake Zarathustra 9 |
| ODETS, CLIFFORD | Six Plays of 67 |
| O’NEILL, EUGENE | The Emperor Jones, Anna Christie and The Hairy Ape 146 |
| O’NEILL, EUGENE | The Long Voyage Home and Seven Plays of the Sea 111 |
| PASCAL, BLAISE | Pensées and The Provincial Letters 164 |
| PATER, WALTER | The Renaissance 86 |
| PATER, WALTER | Marius the Epicurean 90 |
| PEARSON, EDMUND | Studies in Murder 113 |
| PEPYS, SAMUEL | Samuel Pepys’ Diary 103 |
| PETRONIUS ARBITER | The Satyricon 156 |
| PLATO | The Republic 153 |
| PLATO | The Philosophy of Plato 181 |
| POE, EDGAR ALLAN | Best Tales 82 |
| POLO, MARCO | The Travels of Marco Polo 196 |
| PORTER, KATHERINE ANNE | Flowering Judas 88 |
| PREVOST, ANTOINE | Manon Lescaut 85 |
| PROUST, MARCEL | Cities of the Plain 220 |
| PROUST, MARCEL | The Captive 120 |
| PROUST, MARCEL | The Guermantes Way 213 |
| PROUST, MARCEL | Swann’s Way 59 |
| PROUST, MARCEL | Within a Budding Grove 172 |
| RABELAIS | Gargantua and Pantagruel 4 |
| READE, CHARLES | The Cloister and the Hearth 62 |
| REED, JOHN | Ten Days that Shook the World 215 |
| RENAN, ERNEST | The Life of Jesus 140 |
| ROSTAND, EDMOND | Cyrano de Bergerac 154 |
| RUSSELL, BERTRAND | Selected Papers of Bertrand Russell 137 |
| SAROYAN, WILLIAM | The Daring Young Man on the Flying Trapeze 92 |
| SCHOPENHAUER | The Philosophy of Schopenhauer 52 |
| SCHREINER, OLIVE | The Story of an African Farm 132 |
| SHEEAN, VINCENT | Personal History 32 |
| SMOLLETT, TOBIAS | Humphry Clinker 159 |
| SPINOZA | The Philosophy of Spinoza 60 |
| STEINBECK, JOHN | In Dubious Battle 115 |
| STEINBECK, JOHN | The Grapes of Wrath 148 |
| STEINBECK, JOHN | Tortilla Flat 216 |
| STEINBECK, JOHN | Of Mice and Men 29 |
| STENDHAL | The Charterhouse of Parma 150 |
| STENDHAL | The Red and the Black 157 |
| STERNE, LAURENCE | Tristram Shandy 147 |
| STOKER, BRAM | Dracula 31 |
| STONE, IRVING | Lust for Life 11 |
| STRACHEY, LYTTON | Eminent Victorians 212 |
| SUDERMANN, HERMANN | The Song of Songs 162 |
| SUETONIUS | Lives of the Twelve Caesars 188 |
| SWIFT, JONATHAN | Gulliver’s Travels, A Tale of a Tub, The Battle of the Books 100 |
| SWINBURNE, CHARLES | Poems 23 |
| SYMONDS, JOHN A. | The Life of Michelangelo 49 |
| TCHEKOV, ANTON | Short Stories 50 |
| TCHEKOV, ANTON | Sea Gull, Cherry Orchard, Three Sisters, etc. 171 |
| THACKERAY, WILLIAM | Henry Esmond 80 |
| THACKERAY, WILLIAM | Vanity Fair 131 |
| THOMPSON, FRANCIS | Complete Poems 38 |
| THOREAU, HENRY DAVID | Walden and Other Writings 155 |
| THUCYDIDES | The Complete Writings of 58 |
| TOLSTOY, LEO | Anna Karenina 37 |
| TOMLINSON, H. M. | The Sea and the Jungle 99 |
| TROLLOPE, ANTHONY | Barchester Towers and The Warden 41 |
| TURGENEV, IVAN | Fathers and Sons 21 |
| VAN LOON, HENDRIK W. | Ancient Man 105 |
| VEBLEN, THORSTEIN | The Theory of the Leisure Class 63 |
| VIRGIL’S WORKS | Including The Aeneid, Eclogues, and Georgics 75 |
| VOLTAIRE | Candide 47 |
| WALPOLE, HUGH | Fortitude 178 |
| WALTON, IZAAK | The Compleat Angler 26 |
| WEBB, MARY | Precious Bane 219 |
| WELLS, H. G. | Tono Bungay 197 |
| WHITMAN, WALT | Leaves of Grass 97 |
| WILDE, OSCAR | Dorian Gray, De Profundis 1 |
| WILDE, OSCAR | The Plays of Oscar Wilde 83 |
| WILDE, OSCAR | Poems and Fairy Tales 84 |
| WOOLF, VIRGINIA | Mrs. Dalloway 96 |
| WOOLF, VIRGINIA | To the Lighthouse 217 |
| YEATS, W. B. | Irish Fairy and Folk Tales 44 |
| YOUNG, G. F. | The Medici 179 |
| ZOLA, EMILE | Nana 142 |
| ZWEIG, STEFAN | Amok (In Collected German Stories 108) |
| G1. | TOLSTOY, LEO. War and Peace. | |
| G2. | BOSWELL, JAMES. Life of Samuel Johnson. | |
| G3. | HUGO, VICTOR. Les Miserables. | |
| G4. | THE COMPLETE POEMS OF KEATS AND SHELLEY. | |
| G5. | PLUTARCH’S LIVES (The Dryden Translation). | |
| G6. | } | GIBBON, EDWARD. The Decline and Fall of the Roman Empire (Complete in two volumes). |
| G7. | ||
| G8. | THE COMPLETE NOVELS OF JANE AUSTEN. | |
| G9. | YOUNG, G. F. The Medici (Illustrated). | |
| G10. | TWELVE FAMOUS RESTORATION PLAYS (1660-1820) (Congreve, Wycherley, Gay, Goldsmith, Sheridan, etc.) | |
| G11. | THE ESSAYS OF MONTAIGNE (The Florio Translation). | |
| G12. | THE MOST POPULAR NOVELS OF SIR WALTER SCOTT (Quentin Durward, Ivanhoe, and Kenilworth). | |
| G13. | CARLYLE, THOMAS. The French Revolution (Illustrated). | |
| G14. | BULFINCH’S MYTHOLOGY (Illustrated). | |
| G15. | CERVANTES. Don Quixote (Illustrated). | |
| G16. | WOLFE, THOMAS. Look Homeward, Angel. | |
| G17. | THE POEMS AND PLAYS OF ROBERT BROWNING. | |
| G18. | ELEVEN PLAYS OF HENRIK IBSEN. | |
| G19. | THE COMPLETE WORKS OF HOMER. | |
| G20. | } | SYMONDS, JOHN ADDINGTON. Renaissance in Italy. (Complete in two volumes). |
| G21. | ||
| G22. | STRACHEY, JOHN. The Coming Struggle for Power. | |
| G23. | TOLSTOY, LEO. Anna Karenina. | |
| G24. | LAMB, CHARLES. The Complete Works and Letters of Charles Lamb. | |
| G25. | THE COMPLETE PLAYS OF GILBERT AND SULLIVAN. | |
| G26. | MARX, KARL. Capital. | |
| G27. | DARWIN, CHARLES. The Origin of Species and The Descent of Man. | |
| G28. | THE COMPLETE WORKS OF LEWIS CARROLL. | |
| G29. | PRESCOTT, WILLIAM H. The Conquest of Mexico and The Conquest of Peru. | |
| G30. | MYERS, GUSTAVUS. History of the Great American Fortunes. | |
| G31. | WERFEL, FRANZ. The Forty Days of Musa Dagh. | |
| G32. | SMITH, ADAM. The Wealth of Nations. | |
| G33. | COLLINS, WILKIE. The Moonstone and The Woman in White. | |
| G34. | NIETZSCHE, FRIEDRICH. The Philosophy of Nietzsche. | |
| G35. | BURY, J. B. A History of Greece. | |
| G36. | DOSTOYEVSKY, FYODOR. The Brothers Karamazov. | |
| G37. | THE COMPLETE NOVELS AND SELECTED TALES OF NATHANIEL HAWTHORNE. | |
| G38. | ROLLAND, ROMAIN. Jean-Christophe. | |
| G39. | THE BASIC WRITINGS OF SIGMUND FREUD. | |
| G40. | THE COMPLETE TALES AND POEMS OF EDGAR ALLAN POE. | |
| G41. | FARRELL, JAMES T. Studs Lonigan. | |
| G42. | THE POEMS AND PLAYS OF TENNYSON. | |
| G43. | DEWEY, JOHN. Intelligence in the Modern World: John Dewey’s Philosophy. | |
| G44. | DOS PASSOS, JOHN. U. S. A. | |
| G45. | LEWISOHN, LUDWIG. The Story of American Literature. | |
| G46. | A NEW ANTHOLOGY OF MODERN POETRY. | |
| G47. | THE ENGLISH PHILOSOPHERS FROM BACON TO MILL. | |
| G48. | THE METROPOLITAN OPERA GUIDE. | |
| G49. | TWAIN, MARK. Tom Sawyer and Huckleberry Finn. | |
| G50. | WHITMAN, WALT. Leaves of Grass. | |
| G51. | THE BEST-KNOWN NOVELS OF GEORGE ELIOT. | |
| G51. | JOYCE, JAMES. Ulysses. | |
| G53. | SUE, EUGENE. The Wandering Jew. | |
| G54. | FIELDING, HENRY. Tom Jones. | |
| G55. | O’NEILL, EUGENE. Nine Plays by | |
| G56. | STERNE, LAURENCE. Tristram Shandy and A Sentimental Journey | |
| G57. | BROOKS, VAN WYCK. The Flowering of New England. | |
| G58. | MALRAUX, ANDRÉ. Man’s Hope. |
You will note in the Table of Contents, that the pagination of the original text begins with ‘1’ for each of the two Parts. Page references in these notes below refers to each Part by prefixing ‘1.’ or ‘2.’.
Errors deemed most likely to be the printer’s have been corrected, and are noted here. The references are to the part, page and line in the original.
| 1.44.21 | Really, Madame d’Ambresac[,/.] | Replaced. |
| 1.102.22 | from the window[ of] a country house | Added. |
| 1.135.29 | by the sumpt[u]ous curtains | Inserted. |
| 1.155.32 | would never venture[.] | Restored. |
| 1.157.31 | the thought of Mme. de Guermantes[.] | Added. |
| 1.185.21 | if-I[-]tell-you-a-thing | Inserted. |
| 1.194.25 | were barely distinguish[i/a]ble | Replaced. |
| 1.209.15 | discern[a/i]ble at most | Replaced. |
| 1.210.19 | she’ll perhaps [h/b]e afraid | Replaced. |
| 1.213.17 | a woman desir[i]ous of earning | Removed. |
| 1.290.28 | [“]Whenever there’s a famous man | Added. |
| 1.311.7 | [“]After all, one never does know | Added. |
| 1.313.16 | to explain it to him.[”] | Added. |
| 1.321.8 | [“]if they’re all like Gilbert | Added. |
| 1.351.7 | [“]But I’ve found out | Removed. |
| 1.358.27 | [‘/“]Damn it, these fellows will see | Replaced. |
| 1.381.32 | by exposing his strat[e/a]gem. | Replaced. |
| 1.393.7 | that intermittent familiar[it]y | Inserted. |
| 396.22 | his [“/‘]haggart[”/’]) of a mother | Replaced. |
| 1.418.21 | rashes, asthma, ep[l]ilepsy, a terror | Inserted. |
| 1.425.24 | I said to him: ‘Y[’] mustn’t let go | Added. |
| 2.18.4 | with a hot needle.[”] | Added. |
| 2.40.6 | which he had[ had] left ajar. | Removed. |
| 2.70.28 | the temptation to kiss you.[”] | Added. |
| 2.82.24 | has been tra[n]smitted | Inserted. |
| 2.138.4 | plent[l]y plenty of foreigners | Inserted. |
| 2.220.14 | on the afternoon of[ of] “Teaser Augustus”. | Removed. |
| 2.250.7 | with the s[ta/at]isfaction which he derived | Transposed. |
| 2.174.20 | r[yh/hy]thm of precise and noble movements | Transposed. |
| 2.290.10 | all go quite smooth[l]y. | Inserted. |
| 2.282.17 | of their conversation, [oc/co]mments which | Transposed. |
| 2.331.5 | Feuilles d’A[n/u]tomne | Inverted. |
| 2.348.12 | regard[n/l]ess of any want | Replaced. |