Le Ventre de Paris.

A study of the teeming life which surrounds the great central markets of Paris. The heroine is Lisa Quenu, a daughter of Antoine Macquart (/La Fortune des Rougon/). She has become prosperous, and with prosperity her selfishness has increased. Her brother-in-law Florent had escaped from penal servitude in Cayenne and lived for a short time in her house, but she became tired of his presence and ultimately denounced him to the police. The book contains vivid pictures of the markets, bursting with the food of a great city, and of the vast population which lives by handling and distributing it. "But it also embraces a powerful allegory," writes Mr. E. A. Vizetelly in his preface to the English translation (/The Fat and the Thin/. London: Chatto & Windus), "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. M. Zola had a distinct social aim in writing this book."

La Joie de Vivre.

Pauline Quenu (/Le Ventre de Paris/), having been left an orphan, was sent to live with relatives in a village on the Normandy coast. It was a bleak, inhospitable shore, and its inhabitants lived their drab, hopeless lives under the morbid fear of inevitable death. The Chanteaus, Pauline's guardians, took advantage of her in every way, and Lazare Chanteau, her cousin, with whom she fell in love, got from her large sums of money to carry out wild schemes which he devised. The character of Pauline is a fine conception; basely wronged and treated with heartless ingratitude, her hopes blighted and her heart broken, she found consolation in the complete renunciation of herself for the sake of those who had so greatly injured her.

"The title selected by M. Zola for this book," says Mr. E. A. Vizetelly in his preface to the English translation (/The Joy of Life/. London: Chatto & Windus), "is to be taken in an ironical or sarcastic sense. There is no joy at all in the lives of the characters whom he portrays in it. The story of the hero is one of mental weakness, poisoned by a constantly recurring fear of death; whilst that of his father is one of intense physical suffering, blended with an eager desire to continue living, even at the cost of yet greater torture. Again, the story of the heroine is one of blighted affections, the wrecking of all which might have made her life worth living."

L'Assommoir.

A terrible study of the effects of drink on the moral and social condition of the working-class in Paris. There is probably no other work of fiction in which the effects of intemperance are shown with such grimness of realism and uncompromising force.

Gervaise Macquart, daughter of Antoine Macquart (/La Fortune des Rougon/), having accompanied her lover Lantier to Paris, taking with her their two children, was deserted by him a few weeks after their arrival in the city. She got employment in the laundry of Madame Fauconnier, and a few months later married Coupeau, a zinc-worker, who, though the son of drunken parents, was himself steady and industrious. For a while everything prospered with the Coupeaus; by hard work they were able to save a little money, and in time a daughter (Nana) was born to them. Then an accident to Coupeau, who fell from the roof of a house, brought about a change. His recovery was slow, and left him with an unwillingness to work and an inclination to pass his time in neighbouring dram-shops. Meantime Gervaise, with money borrowed from Goujet, a man who loved her with almost idyllic affection, had started a laundry of her own. She was successful for a time, in spite of her husband's growing intemperance and an increasing desire in herself for ease and good living; but deterioration had begun, and with the reappearance of Lantier, her old lover, it became rapid. Coupeau was by this time a confirmed loafer and drunkard, while Gervaise was growing careless and ease-loving. Lantier, having become a lodger with the Coupeaus, ceased doing any work, and as he never paid anything for his board, his presence not unnaturally hastened the downfall of his hosts. Circumstances conspired to renew the old relations between Gervaise and Lantier, and by easy stages she descended that somewhat slippery stair which leads to ruin. The shop was given up, and she again got employment in the laundry of Madame Fauconnier, though she was no longer the capable workwoman of former times. Nana, her daughter, vicious from childhood, had taken to evil courses; her husband had at least one attack of delirium tremens; and she herself was fast giving way to intemperance. The end was rapid. Coupeau died in the asylum of Sainte-Anne after an illness the description of which is for pure horror unparalleled in fiction; while Gervaise, after sinking to the lowest depths of degradation and poverty, died miserably in a garret. The tragedy of it all is that Gervaise, despite her early lapse with Lantier, was a good and naturally virtuous woman, whose ruin was wrought by circumstances and by the operation of the relentless laws of heredity.

It may be useful to note here that though Zola states in /L'Assommoir/ that Gervaise and Lantier had two sons (Claude, born 1842, and Etienne, born 1846), he makes a third son (Jacques, born 1844), not elsewhere mentioned, the hero of /La Bete Humaine/, a subsequent work in the Rougon-Macquart series.

L'Oeuvre.

A novel dealing with artistic life in Paris towards the close of the Second Empire.

Claude Lantier, the eldest son of Auguste Lantier and Gervaise Macquart (/La Fortune des Rougon/ and /L'Assommoir/), had been educated at Plassans by an old gentleman who was interested in his childish skill in drawing. His benefactor died, leaving him a sum which yielded an annual income of a thousand francs, and he came to Paris to follow an artistic career. There he met Dubuche, Pierre Sandoz, and others of his former schoolboy friends, and the little band formed a coterie of revolutionary spirits, whose aim was to introduce new ideas and drastic changes into the accepted canons of art. Claude attempted to embody his theories in a picture which he called /Plein Air/ ("Open Air") in which he went direct to nature for inspiration, and threw aside all recognized conventions. The picture was refused by the committee of the /Salon/, and when subsequently shown at a minor exhibition was greeted with derision by the public. The artist was in despair, and left Paris with Christine Hallegrain, a young girl between whom and himself a chance acquaintanceship had ripened into love. They lived happily in a little cottage in the country for several years, a son being born to them, but Claude became restless, and they returned to Paris. Here he gradually became obsessed by an idea for a great picture, which would show the truth of his theories and cover his detractors with confusion. By this time there is no doubt that his mind was becoming affected by repeated disappointments, and that the family virus was beginning to manifest itself in him. Everything was now sacrificed to this picture; his little fortune was gradually encroached on, and his wife and child (he had married Christine some time after their return to Paris) were frequently without the necessaries of life. Christine was, however, devoted to her husband, and did all she could to induce him to leave the picture, which she saw was increasing his mental disturbance. This was becoming more serious, and in the death of his child he saw only the subject of a picture, /L'Enfant Mort/, which was exhibited at the /Salon/ and was received with even more contempt than /Plein Air/. Despite all the efforts of Christine, Claude returned to his intended masterpiece, and one morning, in despair of achieving his aims, hanged himself in front of the fatal picture.

As a study of artistic life the novel is full of interest. There is little doubt that the character of Claude Lantier was suggested by that of Edouard Manet, the founder of the French Impressionist school, with whom Zola was on terms of friendship. It is also certain that Pierre Sandoz, the journalist with an idea for a vast series of novels dealing with the life history of a family, was the prototype of Zola himself.

La Bete Humaine.

A novel dealing with railway life in France towards the close of the Second Empire. The hero is Jacques Lantier, the second son of Gervaise Macquart and August Lantier (/La Fortune des Rougon/ and /L'Assommoir/). When his parents went to Paris with his two brothers, he remained at Plassans with his godmother, "Aunt Phasie," who afterwards married Misard, a railway signalman, by whom she was slowly poisoned to secure a small legacy which she had concealed. After Jacques had passed through the School of Arts and Crafts at Plassans he became a railway engine-driver, and entered the service of the Western Railway Company, regularly driving the express train between Paris and Havre. He was a steady man and a competent engineer, but from his early youth he had been affected by a curious form of insanity, the desire to murder any woman of whom he became fond. "It seemed like a sudden outburst of blind rage, an ever-recurring thirst to avenge some very ancient offences, the exact recollection of which escaped him." There was also in the employment of the railway company, as assistant station-master at Havre, a compatriot of Lantier named Roubaud, who had married Severine Aubry, the godchild of President Grandmorin, a director of the company. A chance word of Severine's roused the suspicions of Roubaud regarding her former relations with the President, and, driven to frenzy by jealousy, he compelled her to become his accomplice in the murder of Grandmorin in an express train between Paris and Havre.

Though slight suspicion fell upon the Roubauds, they were able to prove an alibi, and as, for political reasons, it was not desired that Grandmorin's character should be publicly discussed, the inquiry into the murder was dropped. By a singular chance, however, Jacques Lantier had been a momentary witness of the crime, and the Roubauds became aware of his suspicions. To secure his silence they invited him constantly to their house, and a liaison with Severine followed. For the first time Lantier's blood lust was not aroused; the knowledge that this woman had killed seemed to constitute her a being apart and sacred. After the murder of Grandmorin a gradual disintegration of Roubaud's character set in, and he became in time a confirmed gambler. His relations with his wife were ultimately so strained that she induced Lantier to promise to murder him, in order that they might fly together to America with the proceeds of a small legacy she had received from Grandmorin. The arrangements were made, but at the last moment Lantier's frenzy overtook him, and it was Severine who was struck down by the knife destined for her husband. Lantier escaped without suspicion; but Roubaud, who was found on the scene of the crime under circumstances considered compromising, was tried, and along with a companion equally innocent, was sentenced to penal servitude for life. But Nemesis was not distant; Jacques had aroused the jealous fury of his fireman, Pecqueux, who, one night in 1870, attacked him as they were driving a train loaded with soldiers bound for the war. A fierce struggle followed, and in the end the two men fell from the engine and were cut in pieces beneath the wheels of the train, which, no longer under control, rushed on into the darkness with its living freight.