flower-cup of the garden.
Grant—and the generalisation may be emphatic—that the shallow and the simple are all the population of his richest and most crowded pictures, and that his “psychology,” in a psychologic age, remains thereby comparatively coarse, grant this and we but get another view of the miracle. We see enough of the superficial among novelists at large, assuredly, without deriving from it, as we derive from Zola at his best, the concomitant impression of the solid. It is in general—I mean among the novelists at large—the impression of the cheap, which the author of Les Rougon-Macquart, honest man, never faithless for a moment to his own stiff standard, manages to spare us even in the prolonged sandstorm of “Vérité.” The Common is another matter; it is one of the forms of the superficial—pervading and consecrating all things in such a book as “Germinal”—and it only adds to the number of our critical questions. How in the world is it made, this deplorable democratic malodorous Common, so strange and so interesting? How is it taught to receive into its loins the stuff of the epic and still, in spite of that association with poetry, never depart from its nature? It is in the great lusty game he plays with the shallow and the simple that Zola’s mastery resides, and we see of course that when values are small it takes innumerable items and combinations to make up the sum. In “L’Assommoir” and in “Germinal,” to some extent even in “La Débâcle,” the values are all, morally, personally, of the lowest—the highest is poor Gervaise herself, richly human in her generosities and follies—yet each is as distinct as a brass-headed nail.
What we come back to accordingly is the unprecedented case of such a combination of parts. Painters, of great schools, often of great talent, have responded liberally on canvas to the appeal of ugly things, of Spanish beggars, squalid and dusty-footed, of martyred saints or other convulsed sufferers, tortured and bleeding, of boors and louts soaking a Dutch proboscis in perpetual beer; but we had never before had to reckon with so literary a treatment of the mean and vulgar. When we others of the Anglo-Saxon race are vulgar we are, handsomely and with the best conscience in the world, vulgar all through, too vulgar to be in any degree literary, and too much so therefore to be critically reckoned with at all. The French are different—they separate their sympathies, multiply their possibilities, observe their shades, remain more or less outside of their worst disasters. They mostly contrive to get the idea, in however dead a faint, down into the lifeboat. They may lose sight of the stars, but they save in some such fashion as that their intellectual souls. Zola’s own reply to all puzzlements would have been, at any rate, I take it, a straight summary of his inveterate professional habits. “It is all very simple—I produce, roughly speaking, a volume a year, and of this time some five months go to preparation, to special study. In the other months, with all my cadres established, I write the book. And I can hardly say which part of the job is stiffest.”
The story was not more wonderful for him than that, nor the job more complex; which is why we must say of his whole process and its results that they constitute together perhaps the most extraordinary imitation of observation that we possess. Balzac appealed to “science” and proceeded by her aid; Balzac had cadres enough and a tabulated world, rubrics, relationships and genealogies; but Balzac affects us in spite of everything as personally overtaken by life, as fairly hunted and run to earth by it. He strikes us as struggling and all but submerged, as beating over the scene such a pair of wings as were not soon again to be wielded by any visitor of his general air and as had not at all events attached themselves to Zola’s rounded shoulders. His bequest is in consequence immeasurably more interesting, yet who shall declare that his adventure was in its greatness more successful? Zola “pulled it off,” as we say, supremely, in that he never but once found himself obliged to quit, to our vision, his magnificent treadmill of the pigeonholed and documented—the region we may qualify as that of experience by imitation. His splendid economy saw him through, he laboured to the end within sight of his notes and his charts.
The extraordinary thing, however, is that on the single occasion when, publicly—as his whole manifestation was public—life did swoop down on him, the effect of the visitation was quite perversely other than might have been looked for. His courage in the Dreyfus connection testified admirably to his ability to live for himself and out of the order of his volumes—little indeed as living at all might have seemed a question for one exposed, when his crisis was at its height and he was found guilty of “insulting” the powers that were, to be literally torn to pieces in the precincts of the Palace of Justice. Our point is that nothing was ever so odd as that these great moments should appear to have been wasted, when all was said, for his creative intelligence. “Vérité,” as I have intimated, the production in which they might most have been reflected, is a production unrenewed and unrefreshed by them, spreads before us as somehow flatter and greyer, not richer and more relieved, by reason of them. They really arrived, I surmise, too late in the day; the imagination they might have vivified was already fatigued and spent.
I must not moreover appear to say that the power to evoke and present has not even on the dead level of “Vérité” its occasional minor revenges. There are passages, whole pages, of the old full-bodied sort, pictures that elsewhere in the series would in all likelihood have seemed abundantly convincing. Their misfortune is to have been discounted by our intensified, our finally fatal sense of the procédé. Quarrelling with all conventions, defiant of them in general, Zola was yet inevitably to set up his own group of them—as, for that matter, without a sufficient collection, without their aid in simplifying and making possible, how could he ever have seen his big ship into port? Art welcomes them, feeds upon them always; no sort of form is practicable without them. It is only a question of what particular ones we use—to wage war on certain others and to arrive at particular forms. The convention of the blameless being, the thoroughly “scientific” creature possessed impeccably of all truth and serving as the mouthpiece of it and of the author’s highest complacencies, this character is for instance a convention inveterate and indispensable, without whom the “sympathetic” side of the work could never have been achieved. Marc in “Vérité,” Pierre Froment in “Lourdes” and in “Rome,” the wondrous representatives of the principle of reproduction in “Fécondité,” the exemplary painter of “L’Œuvre,” sublime in his modernity and paternity, the patient Jean Macquart of “La Débâcle,” whose patience is as guaranteed as the exactitude of a well-made watch, the supremely enlightened Docteur Pascal even, as I recall him, all amorous nepotism but all virtue too and all beauty of life—such figures show us the reasonable and the good not merely in the white light of the old George Sand novel and its improved moralities, but almost in that of our childhood’s nursery and school-room, that of the moral tale of Miss Edgeworth and Mr. Thomas Day.
Yet let not these restrictions be my last word. I had intended, under the effect of a reperusal of “La Débâcle,” “Germinal” and “L’Assommoir,” to make no discriminations that should not be in our hero’s favour. The long-drawn incident of the marriage of Gervaise and Cadet-Cassis and that of the Homeric birthday feast later on in the laundress’s workshop, each treated from beginning to end and in every item of their coarse comedy and humanity, still show the unprecedented breadth by which they originally made us stare, still abound in the particular kind and degree of vividness that helped them, when they appeared, to mark a date in the portrayal of manners. Nothing had then been so sustained and at every moment of its grotesque and pitiful existence lived into as the nuptial day of the Coupeau pair in especial, their fantastic processional pilgrimage through the streets of Paris in the rain, their bedraggled exploration of the halls of the Louvre museum, lost as in the labyrinth of Crete, and their arrival at last, ravenous and exasperated, at the guinguette where they sup at so much a head, each paying, and where we sit down with them in the grease and the perspiration and succumb, half in sympathy, half in shame, to their monstrous pleasantries, acerbities and miseries. I have said enough of the mechanical in Zola; here in truth is, given the elements, almost insupportably the sense of life. That effect is equally in the historic chapter of the strike of the miners in “Germinal,” another of those illustrative episodes, viewed as great passages to be “rendered,” for which our author established altogether a new measure and standard of handling, a new energy and veracity, something since which the old trivialities and poverties of treatment of such aspects have become incompatible, for the novelist, with either rudimentary intelligence or rudimentary self-respect.