Guiche, Armand de Gramont, Count de
Guimont, Esther, 5.1, 6.1
Heine, Heinrich, 5.1, 7.1, 7.2
Hope, Mrs. Adrian, 7.1, app1.1
Hortense (Marie/Alphonsine’s girlfriend), 2.1, 2.2, 3.1, 3.2, 3.3, 4.1
Houssaye, Arsène, itr.1, 5.1, 5.2, 5.3, 5.4, 5.5, 5.6, 7.1
Hugo, Victor, itr.1, itr.2, 5.1
Huzet, Sister Françoise, 1.1, 5.1
Isidora (Sand), 5.1, 5.2, 5.3, nts.1n
James, Henry, itr.1, itr.2, itr.3
Janin, Jules, 6.1, 7.1; on inauguration festivities for Great Northern Railway, 7.2; on Liszt and his first encounter with Marie, 7.3, 7.4, 7.5; on Marie’s attendance of Opéra gala, 7.6; soirée for Liszt premiere at home of, 7.7; on Spa, 7.8
Jardin Mabille, 3.1, 3.2
Jockey Club (also known as Le Club des Lions), 5.1, 5.2, 7.1
Judith, Mme (actress), 6.1, 6.2, 6.3, 7.1; Marie’s affairs confided to, 4.1, 4.2, 4.3, 4.4, 4.5, 4.6; on Marie’s association with camellias, 5.1; Marie’s relationship with, 5.2, 5.3
July revolution of 1830, 1.1, 4.1, 5.1
Koreff, David Ferdinand, 6.1, 7.1, 7.2, 7.3
Labay, Catherine, 6.1, 6.2, 6.3, 6.4
Lady of the Camellias, The (Dumas fils; novel), itr.1, 4.1, 4.2, 4.3, 5.1, 6.1, 6.2, 7.1, 7.2, 7.3, nts.1n; Armand character in, itr.2, itr.3, 4.4, 5.2, 5.3, 5.4, 6.3, 7.4, app1.1, nts.2n, nts.3n; Count de G. character in, 5.5, 7.5, 7.6, app1.2; Count de N. character in, 6.4, 6.5, 6.6, nts.4n; Marguerite and Armand’s first meeting in, 6.7; Marguerite’s affliction with tuberculosis in, 6.8; Marguerite’s burial in, 7.7; Marguerite’s debts in, 7.8, 7.9; Marguerite’s final days and death in, 7.10, 7.11, 7.12; Marguerite’s funeral in, 7.13; Marguerite’s piano playing in, 7.14; Marguerite’s sacrifice in, itr.4, 5.6; old duke character in, 6.9, 6.10, 6.11; Prudence character in, 6.12, 6.13, 6.14; source material for, unfamiliar to today’s audiences, itr.5; writing of, app1.3, app1.4
Lady of the Camellias, The (Dumas fils; play), itr.1, itr.2, itr.3, 4.1, 6.1, app1.1, nts.1n; Armand character in, itr.4, itr.5, 6.2; ballets based on, itr.6, nts.2n, nts.3n; Bernhardt’s revival of (renamed Camille), itr.7, 6.3, 6.4, 7.1; diminished impact of, over time, itr.8; Duse’s performance in, itr.9; Marguerite’s return to Paris in third act of, 5.1; Marguerite’s sacrifice in, 5.2; modern revivals of, itr.10; movies based on, itr.11, 1.1, 1.2, nts.4n; opera based on (see Traviata, La)
Laënnec, René-Théophile Hyacinthe, 6.1, 7.1
Lamartine, Alphonse de, 5.1, 5.2
Lami, Eugène, 5.1, 5.2
Lanos, Marie (cousin)
Lanos, Mme (aunt), 3.1, 3.2
Lautour-Mezeray (l’homme au camélia), n
Leriche, Françoise (later Mme Deshayes; grandmother)
lesbianism, 4.1, 5.1
Lespinasse, Julie de
Le Vavasseur, Gustave
Lewald, Fanny
Lichnowsky, Prince
Liévenne, Anaïs
Lili (Marie’s protégée)
Liszt, Franz, itr.1, itr.2, 5.1, 5.2, 6.1, 7.1, 7.2, 7.3, 7.4, nts.1n; d’Agoult’s affair with, 7.5, 7.6, 7.7, 7.8; children of, 7.9, 7.10; Marie’s desire to live in Weimar with, 7.11, 7.12; Marie’s first encounter with, 7.13, 7.14; music career of, 7.15, 7.16, 7.17, 7.18; in years after Marie’s death, app1.1
Lord A., 6.1, 6.2, nts.1n, nts.2n
lorettes: admirers attracted by, 3.1; bonnets of, 3.2, 3.3; grisettes vs., 3.4, 3.5; use of term, 3.6
Louis-Philippe, 1.1, 1.2, 5.1, app1.1
Lovely Sinner, The (Houssaye)
Ludolf, Countess Caroline von, 4.1, 4.2
Lumière, Henry
MacKinnon, Emma, app1.1, app1.2
Maison d’Or, La (also known as Maison Dorée), 4.1, 4.2, 4.3, 5.1, 5.2, 6.1, 6.2, 7.1
Manec, Pierre, 6.1, 6.2, 7.1
Manon Lescaut (Prévost), itr.1, itr.2, 5.1, 5.2, 5.3, 5.4, 5.5
Marguerite and Armand (ballet), itr.1, itr.2, nts.1n
Matharel de Fiennes, Charles, 4.1, 4.2, 5.1, 7.1, 7.2, 7.3, 7.4
Maupassant, Guy de
“M.D.” (Dumas fils)
Méjannes, 4.1, 6.1, 6.2, 7.1, 7.2, nts.1n
Méry, Joseph, 6.1, 6.2
Mesnil, E. du, 1.1, 1.2, 1.3, 1.4, 1.5
Mesnil, Louis (great-uncle), 1.1, 1.2, 3.1, 7.1
Mesnil, Marie-Françoise (great-aunt), 1.1, 3.1, 3.2
Mogador, Céleste, 5.1, 7.1, 7.2
Monselet, Charles
Montel, Tony, 6.1, 7.1, 7.2, 7.3, app1.1, nts.1n
Montez, Lola, 5.1, 5.2, 6.1, 7.1, 7.2
Montguyon, Count Fernand de, 4.1, 5.1
Montmartre cemetery, 7.1, nts.1n
Murger, Henri, 2.1, 2.2
Musset, Alfred de, 2.1, 2.2, 5.1, 5.2, 5.3, 5.4, 5.5, 5.6, 5.7, 5.8
Nana (Zola), 5.1, 6.1
Nazimova, Alla, itr.1, nts.1n
Nesselrode, Charles (Karl)
Netrebko, Anna
Neumeier, John, itr.1, nts.1n
New Hélöise, The (Rousseau), 5.1, 5.2
Nollet, M., 2.1, 3.1, 3.2
Nonant: Degas’s description of countryside around, 1.1; Marie/Alphonsine’s childhood in environs of, 1.2, 1.3, 1.4; Marie/Alphonsine’s convalescence in, 1.5, 3.1; Perregaux’s inquiries into Marie’s background in, 5.1, 5.2
Nureyev, Rudolf, itr.1, itr.2, itr.3
Olivier (artist), 5.1, 6.1, nts.1n
Opéra (Paris), itr.1, 2.1, 4.1, 5.1, 5.2, 5.3, 5.4, 5.5; balls at, 4.2, 5.6, 6.1, 7.1; grand benefit at (1846), 7.2; Loge Infernale at, 5.7
Orsay, Count d’, 4.1, 4.2, app1.1
Ozy, Alice, 5.1, app1.1
Paquet, Constant (brother-in-law), 6.1, 7.1, 7.2, app1.1, app1.2
Paquet, Delphine-Adèle (née Plessis; sister), 1.1, 1.2, 1.3, 2.1, 7.1, 7.2, nts.1n; baroness’s pledge and, 6.1, 6.2; birth and childhood of, 1.4, 1.5, 1.6, 1.7, 1.8, 1.9; Perregaux’s visit to Nonant and, 5.1; physical appearance and demeanor of, 3.1; sister’s attempts to lure her to Paris, 3.2, 3.3, 7.3; sister’s death and, 7.4, app1.1, app1.2; sister’s gifts of cash to, 3.4, 3.5; sister’s son and, nts.2n
Parent-Duchâtelet, Alexandre, 4.1, 6.1
Paul and Virginia (Bernardin de Saint-Pierre)
Pené, Henri de (writing under pseudonym Mané), 5.1, app1.1, nts.1n
Perregaux, Count Alphonse de, 5.1, 5.2
Perregaux, Count Edouard de (Ned), 5.1, 7.1, 7.2; Armand character and, 5.2, 5.3, 5.4, 5.5, app1.1; background of, 5.6; Bougival home of, 5.7, 7.3, nts.1n; Count de N. character and, 6.1, nts.2n; insolvency of, 5.8, 5.9, 5.10, 5.11, 5.12, 6.2; legal proceedings after Marie’s death and, 7.4; Marie’s acrimonious falling out with, 7.5; Marie’s burial and, 7.6, 7.7, nts.3n; Marie’s correspondence with, 5.13, 5.14, 5.15; Marie’s farewell letter to, 7.8; Marie’s final days and, 7.9, 7.10; at Marie’s funeral, 7.11, 7.12; Marie’s hostility toward, 7.13; marriage of Marie and, 5.16, 5.17, 7.14, 7.15; military career of, 5.18, 6.3, 7.16, app1.2; nature of Marie’s relationship with, 5.19, 5.20, 5.21; Ozy’s affair with, 5.22; physical appearance and demeanor of, 5.23; as possible source for Dumas fils’s novel, app1.3; in years after Marie’s death, app1.4, app1.5
Plantier (septuagenarian debauchee)
Plessis, Alphonsine. See Duplessis, Marie
Plessis, Delphine (sister). See Paquet, Delphine-Adèle
Plessis, Louise-Renée (grandmother), 1.1, 1.2
Plessis, Marie (née Deshayes; mother), 1.1, 1.2, app1.1; ancestry of, 1.3; baroness’s pledge to help daughters of, 6.1; childhood of, 1.4; death of, 1.5, 6.2; marital difficulties of, 1.6; pregnancies and childbearing of, 1.7, 1.8; wedding of, 1.9
Plessis, Marin (father), 1.1, 1.2, 1.3, 5.1; birth and childhood of, 1.4; daughter sent to Paris by, 1.5, 2.1; daughter “sold” to debaucher by, 1.6; drinking, jealousy, and brutish behavior of, 1.7; illness and death of, 1.8, 3.1; incest rumors and, 1.9; Marie’s love for, 1.10, 1.11; wedding of, 1.12
Pont-Neuf, 1.1, 2.1, 2.2
Ponval, Baron de
Prat, Clémence, 6.1, 7.1
&nbs
p; Prince Paul (pseudonym), 7.1, nts.1n
Privé, Pierre, 7.1, 7.2, app1.1
Prix du Jockey Club, 5.1, 5.2
Proust, Marcel, itr.1, itr.2
Puynode, Gustave du
Rachel (actress), 5.1, 5.2, 5.3, 6.1, 6.2, 7.1
Raguse, Duchess de, 5.1, app1.1
Ricourt, Achille
Roqueplan, Camille
Roqueplan, Nestor, itr.1, 2.1, 2.2, 3.1, 5.1, 5.2, 5.3, 5.4, 5.5, 6.1, 7.1, 7.2, 7.3, 7.4, 7.5; dinners given by, 7.6; young Marie first seen by, 1.1, 2.3
Rose (maid), 1.1, 1.2, 1.3, 3.1, 4.1, 4.2, 6.1
Rousseau, Jean-Jacques, 5.1, 5.2
Saint-Lazare prison-hospital (Paris), 1.1, 2.1, app1.1
Saint-Mathieu fair, 1.1, 1.2, 1.3, 2.1, 3.1
Saint-Victor, Paul de, 5.1, 7.1, app1.1
Sand, George, 5.1, 5.2, 5.3, 5.4, 7.1, nts.1n
Scènes de la vie de bohème (Murger), 2.1, 2.2
Sins of Youth (Dumas fils), itr.1, 6.1, 6.2, 7.1
Soreau, Georges, 4.1, nts1.1
Souper des Douze, Le, 5.1, 6.1
Spa, 4.1, 5.1, 5.2; Marie’s sojourns in, 7.1
Stackelberg, Count Gustav Ernst von, 4.1, 6.1, 6.2, 7.1, nts.1n; at Baden-Baden, 4.2; breaking of Marie’s vow to, 4.3; daughters’ deaths and, 4.4, 4.5, 4.6, 6.3, 6.4, 7.2; Marie’s final days and, 7.3, 7.4; Marie’s Paris apartments luxuriously furnished by, 4.7, 6.5, app1.1; Marie used as spy by, 6.6; profligacy of, 4.8, 6.7; return of, 6.8
students: mistresses taken by, 2.1, 2.2; Parisian hangouts of, 2.3, 2.4
Sue, Eugène, 2.1, 5.1, 5.2, 5.3, app1.1
Susse (Paris)
Taglioni, Marie, 5.1, 5.2, 5.3, 5.4
Théâtre des Variétés, 1.1, 5.1, 5.2, 5.3, 6.1, 6.2, app1.1
Théâtre de Vaudeville, itr.1, itr.2, 5.1, 5.2, 5.3
Théâtre du Gymnase, itr.1, 5.1, 6.1, app1.1
Théâtre Historique
Théâtre L’Ambigu-Comique, itr.1, 6.1, 7.1, 7.2
Tortoni (café), 5.1, app1.1
Traviata, La (Verdi), itr.1, itr.2, itr.3, itr.4, itr.5, 5.1, 5.2, 7.1, 7.2, 7.3
Truth About the Real Lady of the Camellias, The (Vienne), itr.1, nts1.1. See also Vienne, Romain
tuberculosis: Catholic ideology and, 7.1; euphoria and heightened libido linked to, 6.1, 7.2; final stages of, 7.3; transmission of, 6.2, 6.3, nts.1n; treatment of, 6.4, 7.4
Urbain, Mélanie, 2.1, 2.2, 2.3, 3.1, 3.2
Vandam, Albert, 2.1, 4.1, 5.1, 5.2, 5.3, 5.4, 5.5, 5.6, 6.1, 6.2, app1.1
Verdi, Giuseppe, itr.1, itr.2, itr.3, itr.4, itr.5, 5.1
Véron, Dr. Louis, itr.1, 5.1, 5.2, 5.3, 5.4
Vidal (artist), app1.1, nts.1n
Vienne, Mme, 1.1, 1.2, 5.1, 5.2, 7.1
Vienne, Romain, itr.1, 1.1, 1.2, 1.3, 1.4, 3.1, 5.1, 5.2, 7.1; auction of Marie’s belongings and, app1.1; book project on Marie and, app1.2; English baroness’s offer and, 6.1, 6.2, 6.3, 6.4; on Guiche, 4.1, 4.2, 4.3, 4.4, 4.5, 5.3; as journalist living in Paris, 4.6; on Marie being sold by her father, 1.5; Marie’s convalescence in Nonant and, 1.6, 1.7, 3.2; Marie’s death and, 7.2; on Marie’s first months in Paris, 2.1, 2.2, 2.3, 2.4, 3.3, 3.4, 3.5, 3.6, 3.7, 3.8; on Marie’s funeral, 7.3; Marie’s future as concern of, 6.5; on Marie’s refusal to submit to punitive moral code of her day, 4.7; on Marie’s religious feelings, 7.4, 7.5; on Marie’s stay at Baden-Baden, 4.8, 4.9, 4.10, 4.11; on Marie’s theatergoing, 5.4; Marie’s tuberculosis and, 6.6, 6.7, 6.8, 7.6; Montez’s brazen behavior with, 5.5; nature of Marie’s relationship with, 4.12; on Olympe’s relationship with Marie, 7.7, 7.8, 7.9, 7.10; on Perregaux’s relationship with Marie, 5.6, 5.7, 5.8, 5.9, 5.10, 6.9, 6.10, 7.11, 7.12, 7.13; on Ponval, 6.11; as source, nts1.1; on Stackelberg’s relationship with Marie, 4.13, 4.14, 4.15, 7.14; in years after Marie’s death, app1.3, app1.4, nts1.2; on young Marie’s sexy escapades, 1.8, 1.9
Vienot, Edouard, 7.1, 7.2
Vigée-Lebrun, Elisabeth, 6.1
Villemessant, Hippolyte de, 6.1, 7.1
Vimont, Elisa, 2.1, 3.1, 4.1
Wharton, Edith
Wohl, Janka, 7.1, 7.2, 7.3, app1.1
Yarborough, Lady Henrietta Anderson
Zola, Émile, 2.1, 2.2, 5.1, 6.1
Zweig, Stefan
A Note About the Author
Julie Kavanagh is the author of Secret Muses: The Life of Frederick Ashton and Nureyev. She was trained as a dancer at the Royal Ballet Junior School, graduated from Oxford, and has been the arts editor of Harpers & Queen, a dance critic at The Spectator, and London editor of both Vanity Fair and The New Yorker. She is currently a writer and contributing editor for The Economist’s cultural, lifestyle, and travel magazine, Intelligent Life.
Other titles by Julie Kavanagh available in eBook format
Nureyev · 978-0-307-80734-2
For more information, please visit www.aaknopf.com
ILLUSTRATION CREDITS
bm.1 Watercolor by Camille-Joseph-Etienne Roqueplan © Bridgeman Art Library/ Musée de la Ville de Paris, Musée Carnavalet, Paris, France/Giraudon.
bm.2 Photograph of Nestor Roqueplan. From Jean-Louis Tamvaco, Les Cancans de l’Opéra: Chroniques de l’Académie Royale de Musique et du théâtre à Paris sous les deux restaurations, fig 159. Paris: CNRS Editions, 2000. Collection of Jean-Louis Tamvaco.
bm.3 Drawing by Viset (Luc Lafnet). From Johannès Gros, Une courtisane romantique: Marie Duplessis. Paris: Au Cabinet Du Livre, 1929; photograph by Ross MacGibbon.
bm.4 La Chaumière (1834). Lithograph by Nicolas-Eustache Maurin © Musée Carnavalet/Roger-Viollet.
bm.5 Le foyer de la danse (1841). Lithograph by Eugène Lami. Collection of M. Lopez.
bm.6 L’Enchantresse Espagnole (1847). Lithograph by J. G. Middleton; engraved by George Zobel. Collection of The Australian Ballet Collection, donated 1998. Performing Arts Collection, Arts Centre Melbourne.
bm.7 Interior of an Opera Box (1843). Original steel engraving drawn by Eugène Lami; engraved by H. Robinson.
bm.8 Frontispiece to La vérité sur la dame aux camélias by Romaine Vienne. (1888). Photograph by Ross MacGibbon.
bm.9 Congress of Vienna (1819). Engraving by Jean Godefroy. Collection of the State Hermitage Museum.
bm.10 Die Allee im Bereich der Klesterwiese (1840). From Heike Kronendett, Die Lichtentaler Allee im Wandel der Zeit. Baden-Baden: Stadtmuseum Baden-Baden und Autoren, 2005.
bm.11 Painting of Duke Agénor de Guiche by Count d’Orsay. Collection of The Beinecke Rare Book and Manuscript Library, Yale University.
bm.12 Drawing of Count Edouard Perregaux. From Raymond Morel et al., Au Pays d’Argentelles: La Revue Culturelle de l’Orne, fig. 28. Rouen: No. 3. January–March 1983.
bm.13 Engraving of Alexandre Dumas fils by Charles Geoffroy. Collection of Bibliothèque Nationale de France.
bm.14 Self-portrait (circa 1855), photograph by Olympe Aguado © RMN-Grand Palais / Art Resource, NY. Collection of Musée d’Orsay.
bm.15 Portrait of Franz Liszt by Henri Lehmann (1839) © Musée Carnavalet/Rober-Viollet.
bm.16 Portrait of Marie Duplessis by Charles Chaplin (1846). Photograph by Ross MacGibbon. Collection of Musée de la Dame aux Camélias.
bm.17 Portrait of Alphonsine’s mother Marie Plessis. Photograph by Ross MacGibbon. Collection of Musée de la Dame aux Camélias.
bm.18 Skeleton of a lizard. Photograph by Ross MacGibbon. Collection of Musée de la Dame aux Camélias.
bm.19 Photograph of the tomb of Marie Duplessis © Albert Harlingue/Roger-Viollet.
bm.20 Lithograph of Marietta Piccolomini by Émile Desmaisons (1855). Collection of Bibliothèque Nationale de France.
bm.21 Lithograph of Eugénie Doche as Marguerite in La Dame aux Camélias by Richard Buckner. Collection of Musée Carnavalet, Paris.
bm.22 Photograph of Sarah Bernhardt as Marguerite in La Dame aux Camélias (1882). Collection of Bibliothèque Nationale de France.
bm.23 Eleonora Duse by d’E. Kaulbach (1885). Collection of Musée de la Scala, Milan.
bm.2
4 Still from Camille (1936), directed by George Cukor © Photofest.
bm.25 Photograph of Maria Callas as Violetta by Houston Rogers (1958) in Nicola Rescigno’s production of La Traviata, Covent Garden.
bm.26 Photograph of Margot Fonteyn and Rudolf Nureyev (1963) by Michael Peto © University of Dundee The Peto Collection.
bm.27 Photograph of Isabelle Huppert in Lady of the Camellias (1981) © Cevallos/Sygma/Corbis.
bm.28 Photograph of Anna Netrebko in La Traviata (2005) © Klaus Lefebvre.
bm.29 Photograph of Tamara Rojo and Sergei Polunin © 2011 Royal Opera House/Tristram Kenton.
A chubby, teenage Marie in a Parisian theater in her phase as a lorette, not yet able to afford a box of her own, and with no signature corsage and bouquet of camellias. The watercolor is by Camille Roqueplan, her friend Nestor’s brother. (illustration credit bm.1)
Nestor Roqueplan, the quintessential Parisian dandy, whose domain was the fashionable cafés and restaurants of the boulevard des Italiens. Former editor-in-chief of Le Figaro and then director of the Théâtre des Variétés, he more or less discovered Marie on the Pont-Neuf, when she was still a waif without a sou, and remained a friend. (illustration credit bm.2)
One of ten pen-and-ink drawings by Viset of intimate scenes from the demimonde (illustrating Une Courtisane Romantique by Johannes Gros). (illustration credit bm.3)
The Paris Opéra’s infamous Foyer de la danse—an erotic marketplace for ballerinas and their wealthy admirers—painted by Eugène Lami. The elegant male habitués included figures from Marie’s circle: the Opéra’s director Dr. Louis Véron, poet Alfred de Musset, man-about-town Fernand de Montguyon, and Nestor Roqueplan. The legendary Romantic ballerina Fanny Elssler is pictured in the center, and on the right, lounging against an ornate pillar, is Monsieur Lautour-Mézeray. He was known to his friends as l’Homme au Camélia because of the white camellia he always wore—a habit Marie may well have copied. (illustration credit bm.4)
The Girl Who Loved Camellias: The Life and Legend of Marie Duplessis Page 28
