Arnould, Madame (mother of Sophie Arnould), affects literary society, 4; takes her daughter to visit Madame de Pompadour, 9; dreads Sophie joining the Opera, 11; favours the suit of the Chevalier de Malézieux, 13; sends Sophie to take lessons from Mlles. Fel and Clairon, 18; a vigilant guardian, 20, 21; deceived by the Comte de Lauraguais, 21-23; in despair at her daughter’s elopement, 23; reconciled to her dishonour, 24 Arnould, Sophie, birth and parentage, 3 and note, 4; education, 4; taken by the Princesse de Conti to live with her, 5; sings in the choir of the Ursulines of Saint-Denis, 5; receives a letter from Voltaire, 5, 6; sings at the Abbey of Panthémont, 7; visits Marie Leczinska, 8, 9; and Madame de Pompadour, 9-11; appointed a singer of the Queen’s Chamber, 11; ordered to join the Opera, 11; receives an offer of marriage from the Chevalier de Malézieux, 12-14; her _début_ at the Opera, 12-14; her success in _La Provençale_, 15; in _Énée et Lavinie_, 15, 16; and in _Les Fêtes de Paphos_, 16, 17; her voice, 17, 18; her acting, 18; her personal appearance, 19 and note, 20; surrounded by _soupirants_, 20, 21; her elopement with the Comte de Lauraguais, 21-24; her _liaison_ with him, 28, 29; the idol of the public, 30; her wit, 30-34; leaves Lauraguais, 35-37; “comes to an arrangement” with the financier Bertin, 37, 38; bestowing her favours freely, 38; discards Bertin and returns to Lauraguais, 39; stormy character of their relations, 40; procures Lauraguais’s release from prison, 43; has a daughter by him, 43; supplanted in his affections by Mlle. Heinel, 45; receiving great attention from the Prince de Conti, 45 and note; leading an unedifying life, 46; accepts the “protection” of the Prince d’Hénin, 46, 47; her projected hôtel in the Chaussée-d’Antin, 47; falls in love with the architect Belanger, 47, 48; insults the Lieutenant of Police, 49; behaves with “unexampled audacity” towards Madame du Barry, 49 and note; her caprices a source of much tribulation to the administration of the Opera, 49-52; her triumphs as a singer, 53, 54; insufferably bored by the Prince d’Hénin, 54, 55; wishes to retire from the Opera, 56; her vocal powers and popularity declining, 56, 57; chosen by Gluck for the name-part in _Iphigénie en Aulide_, 57; claims the right to take liberties with the time when singing, 59-61; her success in _Iphigénie en Aulide_, 65; quarrel between Gluck and the Prince d’Hénin at her house, 66; her performance in _Orphée_, 68; shocks the audience during a performance of _Adèle de Ponthieu_, 69; passed over by Gluck in favour of Rosalie Levasseur, 70-72; believed to have joined a cabal to ensure the failure of _Alceste_, 72, 73; her letter to the _Nouveau Spectateur_, 73, 74; the object of hostile demonstration at the Opera, 75, 76; interference of Marie Antoinette in her favour, 75, 76;