THE COMPLETE ROUGON-MACQUART SERIES (All 20 Books in One Edition). Ðмиль ЗолÑ
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the depths of each corolla there would still remain some particle of mud suggestive of impurity. And I asked myself how much love and passion was represented by all those heaps of flowers shivering in the bleak wind. To how many loving ones, and how many indifferent ones, and how many egotistical ones, would all those thousands and thousands of violets go! In a few hours’ time they would be scattered to the four corners of Paris, and for a paltry copper the passersby would purchase a glimpse and a whiff of springtide in the muddy streets.
Imperfect as the rendering may be, I think that the above passage will show that M. Zola was already possessed of a large amount of his acknowledged realistic power at the early date I have mentioned. I should also have liked to quote a rather amusing story of a priggish Philistine who ate violets with oil and vinegar, strongly peppered, but considerations of space forbid; so I will pass to another passage, which is of more interest and importance. Both French and English critics have often contended that although M. Zola is a married man, he knows very little of women, as there has virtually never been any feminine romance in his life. There are those who are aware of the contrary, but whose tongues are stayed by considerations of delicacy and respect. Still, as the passage I am now about to reproduce is signed and acknowledged as fact by M. Zola himself, I see no harm in slightly raising the veil from a long-past episode in the master’s life: —
The light was rising, and as I stood there before that footway transformed into a bed of flowers my strange night-fancies gave place to recollections at once sweet and sad. I thought of my last excursion to Fontenay-aux-Roses, with the loved one, the good fairy of my twentieth year. Springtime was budding into birth, the tender foliage gleamed in the pale April sunshine. The little pathway skirting the hill was bordered by large fields of violets. As one passed along, a strong perfume seemed to penetrate one and make one languid. She was leaning on my arm, faint with love from the sweet odour of the flowers. A whiteness hovered over the countryside, little insects buzzed in the sunshine, deep silence fell from the heavens, and so low was the sound of our kisses that not a bird in all the hedges showed sign of fear. At a turn of the path we perceived some old bent women, who with dry, withered hands were hurriedly gathering violets and throwing them into large baskets. She who was with me glanced longingly at the flowers, and I called one of the women. “You want some violets?” said she. “How much? A pound?”
God of Heaven! She sold her flowers by the pound! We fled in deep distress. It seemed as though the countryside had been transformed into a huge grocer’s shop. . . . Then we ascended to the woods of Verrieres, and there, in the grass, under the soft, fresh foliage, we found some tiny violets which seemed to be dreadfully afraid, and contrived to hide themselves with all sorts of artful ruses. During two long hours I scoured the grass and peered into every nook, and as soon as ever I found a fresh violet I carried it to her. She bought it of me, and the price that I exacted was a kiss. . . . And I thought of all those things, of all that happiness, amidst the hubbub of the markets of Paris, before those poor dead flowers whose graveyard the footway had become. I remembered my good fairy, who is now dead and gone, and the little bouquet of dry violets which I still preserve in a drawer. When I returned home I counted their withered stems: there were twenty of them, and over my lips there passed the gentle warmth of my loved one’s twenty kisses.
And now from violets I must, with a brutality akin to that which M. Zola himself displays in some of his transitions, pass to very different things, for some time back a well-known English poet and essayist wrote of the present work that it was redolent of pork, onions, and cheese. To one of his sensitive temperament, with a muse strictly nourished on sugar and water, such gross edibles as pork and cheese and onions were peculiarly offensive. That humble plant the onion, employed to flavour wellnigh every savoury dish, can assuredly need no defence; in most European countries, too, cheese has long been known as the poor man’s friend; whilst as for pork, apart from all other considerations, I can claim for it a distinct place in English literature. A greater essayist by far than the critic to whom I am referring, a certain Mr. Charles Lamb, of the India House, has left us an immortal page on the origin of roast pig and crackling. And, when everything is considered, I should much like to know why novels should be confined to the aspirations of the soul, and why they should not also treat of the requirements of our physical nature? From the days of antiquity we have all known what befell the members when, guided by the brain, they were foolish enough to revolt against the stomach. The latter plays a considerable part not only in each individual organism, but also in the life of the world. Over and over again — I could adduce a score of historical examples — it has thwarted the mightiest designs of the human mind. We mortals are much addicted to talking of our minds and our souls and treating our bodies as mere dross. But I hold — it is a personal opinion — that in the vast majority of cases the former are largely governed by the last. I conceive, therefore, that a novel which takes our daily sustenance as one of its themes has the best of all raisons d’etre. A foreign writer of far more consequence and ability than myself — Signor Edmondo de Amicis — has proclaimed the present book to be “one of the most original and happiest inventions of French genius,” and I am strongly inclined to share his opinion.
It should be observed that the work does not merely treat of the provisioning of a great city. That provisioning is its scenario; but it also embraces a powerful allegory, the prose song of “the eternal battle between the lean of this world and the fat — a battle in which, as the author shows, the latter always come off successful. It is, too, in its way an allegory of the triumph of the fat bourgeois, who lives well and beds softly, over the gaunt and Ishmael artist — an allegory which M. Zola has more than once introduced into his pages, another notable instance thereof being found in ‘Germinal,’ with the fat, well-fed Gregoires on the one hand, and the starving Maheus on the other.”
From this quotation from Mr. Sherard’s pages it will be gathered that M. Zola had a distinct social aim in writing this book. Wellnigh the whole social question may, indeed, be summed up in the words “food and comfort”; and in a series of novels like “Les Rougon-Macquart,” dealing firstly with different conditions and grades of society, and, secondly, with the influence which the Second Empire exercised on France, the present volume necessarily had its place marked out from the very first.
Mr. Sherard has told us of all the labour which M. Zola expended on the preparation of the work, of his multitudinous visits to the Paris markets, his patient investigation of their organism, and his keen artistic interest in their manifold phases of life. And bred as I was in Paris, a partaker as I have been of her exultations and her woes they have always had for me a strong attraction. My memory goes back to the earlier years of their existence, and I can well remember many of the old surroundings which have now disappeared. I can recollect the last vestiges of the antique piliers, built by Francis I, facing the Rue de la Tonnellerie. Paul Niquet’s, with its “bowel-twisting brandy” and its crew of drunken ragpickers, was certainly before my time; but I can readily recall Baratte’s and Bordier’s and all the folly and prodigality which raged there; I knew, too, several of the noted thieves’ haunts which took the place of Niquet’s, and which one was careful never to enter without due precaution. And then, when the German armies were beleaguering Paris, and two millions of people were shut off from the world, I often strolled to the Halles to view their strangely altered aspect. The fish pavilion, of which M. Zola has so much to say, was bare and deserted. The railway drays, laden with the comestible treasures of the ocean, no longer thundered through the covered ways. At the most one found an auction going on in one or another corner, and a few Seine eels or gudgeons fetching wellnigh their weight in gold. Then, in the butter and cheese pavilions, one could only procure some nauseous melted fat, while in the meat department horse and mule and donkey took the place of beef and veal and mutton. Mule and donkey were very scarce, and commanded high prices, but both were of better flavour than horse; mule, indeed, being quite a delicacy. I also well remember a stall at which dog was sold, and, hunger knowing no law, I once purchased, cooked, and ate a couple of canine cutlets which cost me two francs apiece. The flesh was pinky and very tender, yet I would not willingly make such a repast again. However, peace and plenty at last came round once more, the Halles regained their old-time aspect, and in the years which followed I more than once saw the dawn rise slowly over the mounds of cabbages, carrots, leeks, and pumpkins, even as M. Zola describes in the following pages. He has, I think, depicted with remarkable accuracy and artistic skill the many varying effects