THE COMPLETE ROUGON-MACQUART SERIES (All 20 Books in One Edition). Ðмиль ЗолÑ
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of food — effects of colour which, to quote a famous saying of the first Napoleon, show that “the markets of Paris are the Louvre of the people” in more senses than one.
The reader will bear in mind that the period dealt with by the author in this work is that of 1857-60, when the new Halles Centrales were yet young, and indeed not altogether complete. Still, although many old landmarks have long since been swept away, the picture of life in all essential particulars remained the same. Prior to 1860 the limits of Paris were the so-called boulevards exterieurs, from which a girdle of suburbs, such as Montmartre, Belleville, Passy, and Montrouge, extended to the fortifications; and the population of the city was then only 1,400,000 souls. Some of the figures which will be found scattered through M. Zola’s work must therefore be taken as applying entirely to the past.
Nowadays the amount of business transacted at the Halles has very largely increased, in spite of the multiplication of district markets. Paris seems to have an insatiable appetite, though, on the other hand, its cuisine is fast becoming all simplicity. To my thinking, few more remarkable changes have come over the Parisians of recent years than this change of diet. One by one great restaurants, formerly renowned for particular dishes and special wines, have been compelled through lack of custom to close their doors; and this has not been caused so much by inability to defray the cost of high feeding as by inability to indulge in it with impunity in a physical sense. In fact, Paris has become a city of impaired digestions, which nowadays seek the simplicity without the heaviness of the old English cuisine; and, should things continue in their present course, I fancy that Parisians anxious for high feeding will ultimately have to cross over to our side of the Channel.
These remarks, I trust, will not be considered out of place in an introduction to a work which to no small extent treats of the appetite of Paris. The reader will find that the characters portrayed by M. Zola are all types of humble life, but I fail to see that their circumstances should render them any the less interesting. A faithful portrait of a shopkeeper, a workman, or a workgirl is artistically of far more value than all the imaginary sketches of impossible dukes and good and wicked baronets in which so many English novels abound. Several of M. Zola’s personages seem to me extremely lifelike — Gavard, indeed, is a chef-d’oeuvre of portraiture: I have known many men like him; and no one who lived in Paris under the Empire can deny the accuracy with which the author has delineated his hero Florent, the dreamy and hapless revolutionary caught in the toils of others. In those days, too, there was many such a plot as M. Zola describes, instigated by agents like Logre and Lebigre, and allowed to mature till the eve of an election or some other important event which rendered its exposure desirable for the purpose of influencing public opinion. In fact, in all that relates to the so-called “conspiracy of the markets,” M. Zola, whilst changing time and place to suit the requirements of his story, has simply followed historical lines. As for the Quenus, who play such prominent parts in the narrative, the husband is a weakling with no soul above his stewpans, whilst his wife, the beautiful Lisa, in reality wears the breeches and rules the roast. The manner in which she cures Quenu of his political proclivities, though savouring of persuasiveness rather than violence, is worthy of the immortal Mrs. Caudle: Douglas Jerrold might have signed a certain lecture which she administers to her astounded helpmate. Of Pauline, the Quenus’ daughter, we see but little in the story, but she becomes the heroine of another of M. Zola’s novels, “La Joie de Vivre,” and instead of inheriting the egotism of her parents, develops a passionate love and devotion for others. In a like way Claude Lantier, Florent’s artist friend and son of Gervaise of the “Assommoir,” figures more particularly in “L’Oeuvre,” which tells how his painful struggle for fame resulted in madness and suicide. With reference to the beautiful Norman and the other fishwives and gossips scattered through the present volume, and those genuine types of Parisian gaminerie, Muche, Marjolin, and Cadine, I may mention that I have frequently chastened their language in deference to English susceptibilities, so that the story, whilst retaining every essential feature, contains nothing to which exception can reasonably be taken.
E. A. V.
CHAPTER I
Amidst the deep silence and solitude prevailing in the avenue several market gardeners’ carts were climbing the slope which led towards Paris, and the fronts of the houses, asleep behind the dim lines of elms on either side of the road, echoed back the rhythmical jolting of the wheels. At the Neuilly bridge a cart full of cabbages and another full of peas had joined the eight waggons of carrots and turnips coming down from Nanterre; and the horses, left to themselves, had continued plodding along with lowered heads, at a regular though lazy pace, which the ascent of the slope now slackened. The sleeping waggoners, wrapped in woollen cloaks, striped black and grey, and grasping the reins slackly in their closed hands, were stretched at full length on their stomachs atop of the piles of vegetables. Every now and then, a gas lamp, following some patch of gloom, would light up the hobnails of a boot, the blue sleeve of a blouse, or the peak of a cap peering out of the huge florescence of vegetables — red bouquets of carrots, white bouquets of turnips, and the overflowing greenery of peas and cabbages.
And all along the road, and along the neighbouring roads, in front and behind, the distant rumbling of vehicles told of the presence of similar contingents of the great caravan which was travelling onward through the gloom and deep slumber of that matutinal hour, lulling the dark city to continued repose with its echoes of passing food.
Madame Francois’s horse, Balthazar, an animal that was far too fat, led the van. He was plodding on, half asleep and wagging his ears, when suddenly, on reaching the Rue de Longchamp, he quivered with fear and came to a dead stop. The horses behind, thus unexpectedly checked, ran their heads against the backs of the carts in front of them, and the procession halted amidst a clattering of bolts and chains and the oaths of the awakened waggoners. Madame Francois, who sat in front of her vehicle, with her back to a board which kept her vegetables in position, looked down; but, in the dim light thrown to the left by a small square lantern, which illuminated little beyond one of Balthazar’s sheeny flanks, she could distinguish nothing.
“Come, old woman, let’s get on!” cried one of the men, who had raised himself to a kneeling position amongst his turnips; “it’s only some drunken sot.”
Madame Francois, however, had bent forward and on her right hand had caught sight of a black mass, lying almost under the horse’s hoofs, and blocking the road.
“You wouldn’t have us drive over a man, would you?” said she, jumping to the ground.
It was indeed a man lying at full length upon the road, with his arms stretched out and his face in the dust. He seemed to be remarkably tall, but as withered as a dry branch, and the wonder was that Balthazar had not broken him in half with a blow from his hoof. Madame Francois thought that he was dead; but on stooping and taking hold of one of his hands, she found that it was quite warm.
“Poor fellow!” she murmured softly.
The waggoners, however, were getting impatient.
“Hurry up, there!” said the man kneeling amongst the turnips, in a hoarse voice. “He’s drunk till he can hold no more, the hog! Shove him into the gutter.”
Meantime, the man on the road had opened his eyes. He looked at Madame Francois with a startled air, but did not move. She herself now thought that he must indeed be drunk.
“You mustn’t stop here,” she said to him, “or you’ll get run over and killed. Where were you going?”
“I don’t know,” replied the man in a faint voice.
Then, with an effort and an anxious expression, he added: “I was going to Paris; I fell down, and don’t remember any more.”
Madame Francois could now see him more distinctly, and he was truly a pitiable object, with his ragged black coat and trousers, through the rents in which you could espy his scraggy limbs. Underneath a black cloth cap, which was drawn low over his brows, as though he were afraid of being recognised, could be seen two large brown eyes,