[Pg 276] Again, and from the diary of the same sublimated8 old gossip, Goncourt, Zola speaks: "After the rarefied analysis of a certain kind of sentiment, such as the work done by Flaubert in Madame Bovary; after the analysis of things, plastic and artistic9, such as you have given us in your dainty, gemlike writing, there is no longer any room for the younger generation of writers; there is nothing left for them to do, ... there no longer remains10 a single type to portray11. The only way of appealing to the public is by strong writing, powerful creations, and by the number of volumes given to the world." Theory-ridden Zola's polemical writings, like those of Richard Wagner's, must be set down to special pleading.
Certainly Zola gave the world a number of volumes, and, if the writing was not always "strong"—his style is usually mediocre—the subjects were often too strong for polite nostrils12. As Henri Massis, the author of an interesting book, How Zola Composed His Novels, says, "he founded his work on a theory which is the most singular of mistakes." The "experimental" novel is now a thing as extinct as the dodo, yet what doughty13 battles were fought for its shapeless thesis. The truth is that Zola invented more than he observed. He was myopic14, not a trained scrutiniser, and Huysmans, once a disciple15, later an opponent of the "naturalistic" documents, maliciously16 remarked that Zola went out carriage riding in the country, [Pg 277] and then wrote La Terre. Turgenieff declared that Zola could describe sweat on a human back, but never told us what the human thought. And in a memorable17 passage, Huysmans couches his lance against the kind of realism Zola represented, admitting the service performed by that romancer: "We must, in short, follow the great highway so deeply dug out by Zola, but it is also necessary to trace a parallel path in the air, another road by which we may reach the Beyond and the Afterward18, to achieve thus a spiritualistic naturalism."
Mr. Massis has had access to the manuscripts of Zola deposited by his widow in the National Library, Paris. They number ninety volumes; the dossier alone of Germinal forms four volumes of five hundred pages. Such industry seems fabulous19. But, if it did not pass Zola through the long-envied portals of the Academy, it has won for his ashes such an honourable20 resting-place as the Panthéon. There is irony21 in the pranks22 of the Zeitgeist. Zola, snubbed at every attempt he made to become an Immortal23 (unlike his friend Daudet, he openly admitted his candidature, not sharing with the author of Sapho his sovereign contempt for the fauteuils of the Forty); Zola, in an hour becoming the most unpopular writer in France after his memorable J'accuse, a fugitive24 from his home, the defender25 of a seemingly hopeless cause; Zola dead, Dreyfus exonerated26, and the powdered bones of Zola in the Panthéon, with the great [Pg 278] men of his land. Few of his contemporaries who voted against his admission to the Academy will be his neighbours in the eternal sleep. His admission to the dead Immortals27 must be surely the occasion for much wagging of heads, for reams of platitudinous28 writing on the subject of fate and its whirligig caprice.
This stubborn, silent man of violent imagination, copious29 vocabulary, and a tenacity30 unparalleled in literature, knew that a page a day—a thousand words daily put on paper every day of the year—and for twenty years, would rear a huge edifice31. He stuck to his desk each morning of his life from the time he sketched32 the Plan général; he made such terms with his publishers that he was enabled to live humbly33, yet comfortably, in the beginning with his "dear ones," his wife and his mother. In return he wrote two volumes a year, and, with the exception of a few years, his production was as steady as water flowing from a hydrant. This comparison was once applied34 to herself by George Sand, Zola's only rival in the matter of quantity. But Madame Sand was an improviser35; with notes she never bothered herself; in her letters to Flaubert she laughed over the human documents of Zola, the elaborate note taking of Daudet, for she was blessed with an excellent memory and a huge capacity for scribbling37. Not so Zola. Each book was a painful parturition38, not the pain of a stylist like Flaubert, but the Sisyphus-like labor36 of getting his notes, his facts, his [Pg 279] characters marshalled and moving to a conclusion. Like Anthony Trollope, when the last page of a book was finished he began another. He was a workman, not a dilettante39 of letters.
In 1868 he had blocked out his formidable campaign. Differing with Balzac in not taking French society as a whole for a subject, he nevertheless owes, as do all French fiction writers since 1830—Stendhal alone excepted—his literary existence to Balzac; Balzac, from whom all blessings40, all evils, flow in the domain41 of the novel; Balzac, realist, idealist, symbolist, naturalist7, humourist, tragedian, comedian42, aristocrat43, bourgeois44, poet, and cleric; Balzac, truly the Shakespeare of France. The Human Comedy attracted the synthetic45 brain of Zola as he often tells us (see L'?uvre, where Sandoz, the novelist, Zola himself, explains to Claude his scheme of a prose epic). But he was satisfied to take one family under the Second Empire, the Rougon-Macquarts—these names were not at first in the form we now know them. A friend and admirer of Flaubert, he followed, broadly speaking, his method of proceeding46 and work; though an admirer of the Goncourts, he did not favour their preference for the rare case or the chiselled47 epithet48.
Every-day humanity described in every-day speech was Zola's ideal. That he more than once achieved this ideal is not to be denied. L'Assommoir remains his masterpiece, while Germinal and L'?uvre will not be soon forgotten. [Pg 280] L'?uvre is mentioned because its finished style is rather a novelty in Zola's vast vat49 of writing wherein scraps50 and fragments of Victor Hugo, of Chateaubriand, of the Goncourts, and of Flaubert boil in terrific confusion. Zola never had the patience, nor the time, nor perhaps the desire to develop an individual style. He built long rows of ugly houses, all looking the same, composed of mud, of stone, brick, sand, straw, and shining pebbles51. Like a bird, he picked up his material for his nest where he could find it. His faculty52 of selection was ill-developed. Everything was tossed pell-mell into his cellar; nothing came amiss and order seldom reigns53. His sentences, unlike Tolstoy's, for example, are not closely linked; to read Zola aloud is disconcerting. There is no music in his periods, his rhythms are sluggish54, and he entirely55 fails in evoking56 with a few poignant57 phrases, as did the Goncourts, a scene, an incident. Never the illuminating58 word, never the phrase that spells the transfiguration of the spirit.
Among his contemporaries Tolstoy was the only one who matches him in the accumulation of details, but for the Russian every detail modulates59 into another, notwithstanding their enormous number. The story marches, the little facts, insignificant60 at first, range themselves into definite illuminations of the theme, just as a traveller afoot on a hot, dusty road misses the saliency of the landscape, but realises its perspective when he ascends61 a hill. There is always [Pg 281] perspective in Tolstoy; in Zola it is rare. Yet he masses his forces as would some sullen62 giant, confident in the end of victory through sheer bulk and weight. His power is gloomy, cruel, pitiless; but indubitable power he has.
After the rather dainty writing of his Contes à Ninon, Zola never reached such compression and clarity again until he wrote L'Attaque au Moulin, in Les Soirées de Medan. To be quite frank, he rewrote Flaubert and the Goncourts in many of his books. He was, using the phrase in its real sense, the "grand vulgariser" of those finished, though somewhat remote artists. To the Goncourts fame came slowly; it was by a process of elimination63 rather than through the voluntary offering of popular esteem64. And it is not to be denied that Madame Bovary owed much of its early success to the fact that its author was prosecuted65 for an outrage66 against public morals—poor Emma Bovary whose life, as Henry James once confessed, might furnish a moral for a Sunday-school class. Thus fashions in books wax and wane67. Zola copied and "vulgarised" Charles de Mailly, Manette Salomon, Germinie Lacerteux (Charles Monselet saluted68 the book with the amiable69 title "sculptured slime"), Madame Gervasais—for his Roman story—-S?ur Philomène, all by Goncourt, and he literally70 founded his method on Madame Bovary and L'Education Sentimentale, particularly upon the latter, the greatest, and one is tempted72 to say the most genuine realistic novel ever written. [Pg 282] Its grey colouring, its daylight atmosphere, its marvellous description of Fontainebleau, of masquerades, of dinners and duels73 in high and low life, its lifelike characters, were for Zola a treasure-trove. He took Rosanette, the most lifelike cocotte in fiction, and transformed her into Nana, into a symbol of destruction. Zola saw the world through melodramatic eyes.
Mr. Massis has noted74 Zola's method of literary travail75, the formation of his style, the labour of style, the art of writing, the pain of writing, and his infinitely76 painstaking77 manner of accumulating heaps of notes, and building his book from them. The Massis study, the most complete of its kind, may interest the student, not alone of Zola, but of literature in general. Not, however, as a model, for Zola, with all his tiresome78 preparations, never constructed an ideal book—rather, to put it the other way, no one of his books reveals ideal construction. The multiplicity of details, of descriptions weary the reader. A coarse spirit his, he revelled79 in scenes of lust80, bloodshed, vileness81, and cruelty.
His people, with a few exceptions, are but agitated83 silhouettes84. You close your eyes after reading La Bête Humaine and think of Eugène Sue, a Sue of 1880. Yet a master of broad, symphonic descriptions. There is a certain resemblance to Richard Wagner; indeed, he patterned after Wagner in his use of the musical symbol: there is a leading motive85 in each of Zola's novels. And like Wagner he was a sentimental71 [Pg 283] lover of mankind and a hater of all forms of injustice86.
From the conception of the work, with its general notes on its nature, its movement, its physiology87, its determination, its first sketches88 of the personages, the milieu—he was an ardent89 adherent90 of Taine in this particular—the occupations of the characters, the summary plan with the accumulated details, thence to the writing, the entire method is exposed in this ingenious and entertaining book of Massis. He has no illusions about Zola's originality91 or the destiny of his works. Zola has long ceased to count in literary evolution.
But Emile Zola is in the Panthéon.
ZOLA AS BEST SELLER
The publication of the number of books sold by a young American novelist previous to his untimely taking off does not prove that a writer has to be alive to be a best seller. If that were the case, what about Dickens and Thackeray as exceptions? The publishers of Dickens say that their sales of his novels in 1910 were 25 per cent more than in 1909, and 750,000 copies were sold in 1911. In many instances a dead author is worth more than a live one. With Zola this is not precisely92 so, though his books still sell; the only interregnum being the time when the Dreyfus affair was agitating93 France. Then the source of Zola's income dried up like a [Pg 284] rain pond in a desert. Later on he had his revenge.
The figures for the sale of Zola up to the end of 1911 are very instructive. His collected works number forty-eight volumes. Of the Rougon-Macquart series 1,964,000 have been sold; other novels, 764,000; essays and various works bring the total to 2,750,000, approximately. In a word, a few years hence Zola will easily pass 3,000,000. Nana still holds its own as the leader of the list, 215,000; La Terre, 162,000; L'Assommoir, 162,000. This would seem to prove what the critics of the French novelist have asserted: that books in which coarse themes are treated with indescribable coarseness have sold and continue to sell better than his finer work, L'?uvre, for example, which has only achieved 71,000. But L'Assommoir is Zola at his best; besides, it is not such a vile82 book as La Terre. And then how about La Débacle, which has 229,000 copies to its credit? The answer is that patriotism94 played a greater r?le in the fortune of this work than did vulgar curiosity in the case of the others. Another popular book, Germinal, shows 132,000.
On the appearance of La Terre in 1887 (it was first published as a feuilleton in Gil Blas, from May 28 to September 15), five of Zola's disciples95, Paul Bonnetain, J. H. Rosny, Lucien Descaves, Paul Margueritte, and Gustave Guiches, made a public protest which is rather comical if you remember that several of these [Pg 285] writers have not turned out Sunday-school literature; Paul Margueritte in particular has in L'Or and an earlier work beaten his master at the game. But a reaction from Zola's naturalism was bound to come. As Remy de Gourmont wrote: "There has been no question of forming a party or issuing orders; no crusade was organised; it is individually that we have separated ourselves, horror stricken, from a literature the baseness of which made us sick." Havelock Ellis, otherwise an admirer of the genius of Emile Zola, has said that his soul "seems to have been starved at the centre and to have encamped at the sensory96 periphery97." Blunt George Saintsbury calls Zola the "naturalist Zeus, Jove the Dirt-Compeller," and adds that as Zola misses the two lasting98 qualities of literature, style, and artistic presentation of matter, he is doomed99; for "the first he probably could not have attained100, except in a few passages, if he would; the second he has deliberately101 rejected, and so the mother of dead dogs awaits him sooner or later." Yet Zola lives despite these predictions, as the above figures show, notwithstanding his loquacity102 in regard to themes that should be tacenda to every writer.
But in this matter of forbidden subjects Zola is regarded by the present generation as a trifle old-fashioned. When alive he was grouped with Aretino and the Marquis de Sade, or with Restif de la Bretonne. To-day Paris has not only Paul [Pg 286] Margueritte, who when writing in conjunction with his brother Victor gave much promise, but also Octave Mirbeau. With Zola, the newer men assert that their work makes for morality, exposing as it does public and private abuses, an excuse as classic as Aristophanes.
In 1893 the figures for the principal novels of Zola stood thus: Nana, 160,000; L'Assommoir, 127,000; La Débacle, 143,000; Germinal, 88,000; La Terre, 100,000; La Bête Humaine, 83,000; the same number for Le Rêve; Pot-Bouille, 82,000; whereas L'?uvre only counted 55,000; La Conquête de Plassans, 25,000; La Curée, 36,000, and La Joie de Vivre, 44,000. La Terre, then, the most unmentionable story of them all, has jumped since 1893 to the end of 1911 from 100,000 to 215,000, whereas L'?uvre moved only from 55,000 to 71,000 in fourteen years. But a Vulgarian can understand La Terre while L'?uvre would be absolutely undecipherable to him.
Zola always knew his market; even knew it after Dreyfus had intervened. Of the series called Les Trois Villes, Rome is the best seller, 121,000; and it is as profound a vilification103 of the Eternal City as was La Terre of the French peasants, as Pot-Bouille of the French bourgeois. Indeed, all Zola reads like the frenzied104 attack of a pessimist to whom his native land is a hideous105 nightmare and its inhabitants criminals or mad folk. His influence on a younger generation of writers, especially in America, has been baneful106, and he [Pg 287] has done much with his exuberant107, rhapsodical style to further the moon-madness of socialism; of a belief in a coming earthly paradise, where no one will labour (except the captive millionaires) and from whose skies roasted pigeons will fall straightway into the mouths of its foolish inhabitants.
Zola as a money-maker need not be considered now; his gains were enormous; suffice to say that he was paid large sums for the serial108 rights. Nana, in Voltaire, brought 20,000 francs; Pot-Bouille, in Gaulois, 30,000 francs; Bonheur des Dames109, La Joie de Vivre, Germinal, L'?uvre, La Terre, in Gil Blas, each 20,000 francs; L'Argent, in the same journal, 30,000 francs; Le Rêve, in the Revue Illustrée, 25,000 francs; La Bête Humaine, in Vie Populaire, 25,000 francs; La Débacle, in the same, 30,000 francs, and Docteur Pascal in Revue Hebdomadaire, 35,000 francs. That amounts to about 300,000 francs. Each novel cost from 20,000 to 25,000 francs for rights of reproduction, and to all this must be added about 500,000 francs for the theatrical110 works, making a total of 1,600,000 francs. And it was in 1894 that these figures were compiled by Antoine Laporte in his book on Naturalism, which contains a savage111 attack on Zolaism. Truly, then, Zola may be fairly called one of the best sellers among all authors, dead or living.
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judgments
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| 判断( judgment的名词复数 )； 鉴定； 评价； 审判 | |
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lyric
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| n.抒情诗，歌词；adj.抒情的 | |
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pessimist
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| n.悲观者；悲观主义者；厌世 | |
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sonorous
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| adj.响亮的，回响的；adv.圆润低沉地；感人地；n.感人，堂皇 | |
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optimist
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| n.乐观的人，乐观主义者 | |
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journalism
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| n.新闻工作，报业 | |
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naturalist
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| n.博物学家(尤指直接观察动植物者) | |
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sublimated
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| v.（使某物质）升华( sublimate的过去式和过去分词 )；使净化；纯化 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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portray
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| v.描写，描述；画(人物、景象等) | |
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nostrils
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| 鼻孔( nostril的名词复数 ) | |
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doughty
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| adj.勇猛的，坚强的 | |
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myopic
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| adj.目光短浅的，缺乏远见的 | |
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disciple
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| n.信徒，门徒，追随者 | |
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maliciously
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| adv.有敌意地 | |
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memorable
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| adj.值得回忆的，难忘的，特别的，显著的 | |
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afterward
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| adv.后来；以后 | |
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fabulous
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| adj.极好的；极为巨大的；寓言中的，传说中的 | |
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honourable
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| adj.可敬的；荣誉的，光荣的 | |
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irony
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| n.反语，冷嘲；具有讽刺意味的事，嘲弄 | |
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pranks
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| n.玩笑，恶作剧( prank的名词复数 ) | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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fugitive
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| adj.逃亡的，易逝的；n.逃犯，逃亡者 | |
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defender
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| n.保卫者，拥护者，辩护人 | |
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exonerated
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| v.使免罪，免除( exonerate的过去式和过去分词 ) | |
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immortals
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| 不朽的人物( immortal的名词复数 )； 永生不朽者 | |
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platitudinous
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| adj.平凡的，陈腐的 | |
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copious
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| adj.丰富的，大量的 | |
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tenacity
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| n.坚韧 | |
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edifice
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| n.宏伟的建筑物(如宫殿，教室) | |
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sketched
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| v.草拟（sketch的过去式与过去分词形式） | |
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humbly
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| adv. 恭顺地，谦卑地 | |
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applied
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| adj.应用的；v.应用，适用 | |
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improviser
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| n.即席演奏者 | |
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labor
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| n.劳动，努力，工作，劳工；分娩；vi.劳动，努力，苦干；vt.详细分析；麻烦 | |
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scribbling
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| n.乱涂[写]胡[乱]写的文章[作品]v.潦草的书写( scribble的现在分词 )；乱画；草草地写；匆匆记下 | |
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parturition
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| n.生产，分娩 | |
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dilettante
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| n.半瓶醋，业余爱好者 | |
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blessings
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| n.（上帝的）祝福( blessing的名词复数 )；好事；福分；因祸得福 | |
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domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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comedian
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| n.喜剧演员；滑稽演员 | |
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aristocrat
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| n.贵族，有贵族气派的人，上层人物 | |
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bourgeois
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| adj./n.追求物质享受的(人)；中产阶级分子 | |
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synthetic
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| adj.合成的，人工的；综合的；n.人工制品 | |
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proceeding
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| n.行动，进行，(pl.)会议录，学报 | |
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chiselled
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| adj.凿过的，凿光的； （文章等）精心雕琢的v.凿，雕，镌( chisel的过去式 ) | |
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epithet
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| n.（用于褒贬人物等的）表述形容词，修饰语 | |
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vat
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| n.(=value added tax)增值税，大桶 | |
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scraps
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| 油渣 | |
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pebbles
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| [复数]鹅卵石； 沙砾； 卵石，小圆石( pebble的名词复数 ) | |
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faculty
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| n.才能；学院，系；(学院或系的)全体教学人员 | |
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reigns
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| n.君主的统治( reign的名词复数 )；君主统治时期；任期；当政期 | |
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sluggish
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| adj.懒惰的，迟钝的，无精打采的 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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evoking
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| 产生，引起，唤起( evoke的现在分词 ) | |
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poignant
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| adj.令人痛苦的，辛酸的，惨痛的 | |
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illuminating
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| a.富于启发性的，有助阐明的 | |
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modulates
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| 调整( modulate的第三人称单数 )； （对波幅、频率的）调制； 转调； 调整或改变（嗓音）的音调 | |
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insignificant
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| adj.无关紧要的，可忽略的，无意义的 | |
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ascends
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| v.上升，攀登( ascend的第三人称单数 ) | |
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sullen
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| adj.愠怒的，闷闷不乐的，(天气等)阴沉的 | |
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elimination
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| n.排除，消除，消灭 | |
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esteem
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| n.尊敬，尊重；vt.尊重，敬重；把…看作 | |
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prosecuted
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| a.被起诉的 | |
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outrage
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| n.暴行，侮辱，愤怒；vt.凌辱，激怒 | |
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wane
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| n.衰微，亏缺，变弱；v.变小，亏缺，呈下弦 | |
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saluted
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| v.欢迎，致敬( salute的过去式和过去分词 )；赞扬，赞颂 | |
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amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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literally
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| adv.照字面意义，逐字地；确实 | |
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sentimental
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| adj.多愁善感的，感伤的 | |
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tempted
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| v.怂恿（某人）干不正当的事；冒…的险（tempt的过去分词） | |
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duels
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| n.两男子的决斗( duel的名词复数 )；竞争，斗争 | |
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noted
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| adj.著名的，知名的 | |
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travail
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| n.阵痛；努力 | |
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infinitely
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| adv.无限地，无穷地 | |
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painstaking
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| adj.苦干的；艰苦的，费力的，刻苦的 | |
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tiresome
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| adj.令人疲劳的，令人厌倦的 | |
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revelled
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| v.作乐( revel的过去式和过去分词 )；狂欢；着迷；陶醉 | |
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lust
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| n.性(淫)欲；渴(欲)望；vi.对…有强烈的欲望 | |
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vileness
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| n.讨厌，卑劣 | |
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vile
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| adj.卑鄙的，可耻的，邪恶的；坏透的 | |
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agitated
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| adj.被鼓动的，不安的 | |
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silhouettes
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| 轮廓( silhouette的名词复数 )； （人的）体形； （事物的）形状； 剪影 | |
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motive
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| n.动机，目的；adv.发动的，运动的 | |
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injustice
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| n.非正义，不公正，不公平，侵犯（别人的）权利 | |
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physiology
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| n.生理学，生理机能 | |
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sketches
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| n.草图( sketch的名词复数 )；素描；速写；梗概 | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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adherent
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| n.信徒，追随者，拥护者 | |
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originality
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| n.创造力，独创性；新颖 | |
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precisely
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| adv.恰好，正好，精确地，细致地 | |
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agitating
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| 搅动( agitate的现在分词 )； 激怒； 使焦虑不安； （尤指为法律、社会状况的改变而）激烈争论 | |
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patriotism
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| n.爱国精神，爱国心，爱国主义 | |
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disciples
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| n.信徒( disciple的名词复数 )；门徒；耶稣的信徒；（尤指）耶稣十二门徒之一 | |
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sensory
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| adj.知觉的，感觉的，知觉器官的 | |
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periphery
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| n.(圆体的)外面；周围 | |
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lasting
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| adj.永久的，永恒的；vbl.持续，维持 | |
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doomed
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| 命定的 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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deliberately
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| adv.审慎地；蓄意地；故意地 | |
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loquacity
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| n.多话，饶舌 | |
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vilification
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| n.污蔑，中伤，诽谤 | |
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frenzied
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| a.激怒的；疯狂的 | |
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hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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baneful
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| adj.有害的 | |
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exuberant
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| adj.充满活力的；（植物）繁茂的 | |
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serial
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| n.连本影片，连本电视节目；adj.连续的 | |
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dames
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| n.（在英国）夫人（一种封号），夫人（爵士妻子的称号）( dame的名词复数 )；女人 | |
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theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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