Fruitfulness, Fecondite: Works Of Zola
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THAT morning, in the little pavilion of Chantebled, on the verge of the woods, where they had now been installed for nearly a month, Mathieu was making all haste in order that he might catch the seven-o'clock train which every day conveyed him from Janville to Paris. It was already half-past six, and there were fully two thousand paces from the pavilion to Janville. Afterwards came a railway journey of three-quarters of an hour, and another journey of at least equal duration through Paris, from the Northern Railway terminus to the Boulevard de Grenelle. He seldom reached his office at the factory before half-past eight o'clock.
He had just kissed the children. Fortunately they were asleep; otherwise they would have linked their arms about his neck, laughed and kissed him, being ever unwilling to let him go. And as he hastily returned to the principal bedroom, he found his wife, Marianne, in bed there, but awake and sitting up. She had risen a moment before in order to pull back a curtain, and all the glow of that radiant May morning swept in, throwing a flood of gay sunshine over the fresh and healthy beauty of her four-and-twenty years. He, who was three years the elder, positively adored her.
"You know, my darling," said he, "I must make haste, for I fear I may miss the train—and so manage as well as you can. You still have thirty sous left, haven't you?"
She began to laugh, looking charming with her bare arms and her loose-flowing dark hair. The ever-recurring pecuniary worries of the household left her brave and joyous. Yet she had been married at seventeen, her husband at twenty, and they already had to provide for four children....
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About Emile Zola
Emile Zola (2 April 1840 – 29 September 1902) was a French novelist, playwright, journalist, the best-known practitioner of the literary school of naturalism, and an important contributor to the development of theatrical naturalism. He was a major figure in the political liberalization of France and in the exoneration of the falsely accused and convicted army officer Alfred Dreyfus, which is encapsulated in the renowned newspaper headline J'accuse. Zola was nominated for the first and second Nobel Prize in Literature in 1901 and 1902.
Works
During his early years, Zola wrote numerous short stories and essays, four plays, and three novels. Among his early books was Contes à Ninon, published in 1864. With the publication of his sordid autobiographical novel La Confession de Claude (1865) attracting police attention, Hachette fired Zola. His novel Les Mystères de Marseille appeared as a serial in 1867.
After his first major novel, Thérèse Raquin (1867), Zola started the series called Les Rougon Macquart, about a family under the Second Empire.
In Paris Zola maintained his friendship with Cézanne, who painted a portrait of him with another friend from Aix-en-Provence, writer Paul Alexis, entitled Paul Alexis reading to Zola.
More than half of Zola's novels were part of a set of 20 collectively known as Les Rougon-Macquart. Unlike Balzac, who in the midst of his literary career resynthesized his work into La Comédie Humaine, Zola from the start, at the age of 28, had thought of the complete layout of the series. Set in France's Second Empire, the series traces the "environmental" influences of violence, alcohol, and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of a family - the respectable (that is, legitimate) Rougons and the disreputable (illegitimate) Macquarts - for five generations.
As he described his plans for the series, "I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world."
Although Zola and Cézanne were friends from childhood, they experienced a falling out later in life over Zola's fictionalized depiction of Cézanne and the Bohemian life of painters in Zola's novel L'Œuvre (The Masterpiece, 1886).
From 1877, with the publication of l'Assommoir, Émile Zola became wealthy; he was better paid than Victor Hugo, for example. He became a figurehead among the literary bourgeoisie and organized cultural dinners with Guy de Maupassant, Joris-Karl Huysmans, and other writers at his luxurious villa (worth 300,000 francs) in Médan, near Paris, after 1880. Germinal in 1885, then the three "cities" - Lourdes (1894), Rome (1896), and Paris (1897), established Zola as a successful author.
The self-proclaimed leader of French naturalism, Zola's works inspired operas such as those of Gustave Charpentier, notably Louise in the 1890s. His works, inspired by the concepts of heredity (Claude Bernard), social Manicheanism, and idealistic socialism, resonate with those of Nadar, Manet, and subsequently Flaubert.
