seemed to be dreadfully afraid, and contrived to hide themselves with all sorts of artful ruses. During two long hours I scoured the grass and peered into every nook, and as soon as ever I found a fresh violet I carried it to her. She bought it of me, and the price that I exacted was a kiss… And I thought of all those things, of all that happiness, amidst the hubbub of the markets of Paris, before those poor dead flowers whose graveyard the footway had become. I remembered my good fairy, who is now dead and gone, and the little bouquet of dry violets which I still preserve in a drawer. When I returned home I counted their withered stems: there were twenty of them, and over my lips there passed the gentle warmth of my loved one’s twenty kisses.
And now from violets I must, with a brutality akin to that which M. Zola himself displays in some of his transitions, pass to very different things, for some time back a well-known English poet and essayist wrote of the present work that it was redolent of pork, onions, and cheese. To one of his sensitive temperament, with a muse strictly nourished on sugar and water, such gross edibles as pork and cheese and onions were peculiarly offensive. That humble plant the onion, employed to flavour wellnigh every savoury dish, can assuredly need no defence; in most European countries, too, cheese has long been known as the poor man’s friend; whilst as for pork, apart from all other considerations, I can claim for it a distinct place in English literature. A greater essayist by far than the critic to whom I am referring, a certain Mr. Charles Lamb, of the India House, has left us an immortal page on the origin of roast pig and crackling. And, when everything is considered, I should much like to know why novels should be confined to the aspirations of the soul, and why they should not also treat of the requirements of our physical nature? From the days of antiquity we have all known what befell the members when, guided by the brain, they were foolish enough to revolt against the stomach. The latter plays a considerable part not only in each individual organism, but also in the life of the world. Over and over again – I could adduce a score of historical examples – it has thwarted the mightiest designs of the human mind. We mortals are much addicted to talking of our minds and our souls and treating our bodies as mere dross. But I hold – it is a personal opinion – that in the vast majority of cases the former are largely governed by the last. I conceive, therefore, that a novel which takes our daily sustenance as one of its themes has the best of all raisons d’etre. A foreign writer of far more consequence and ability than myself – Signor Edmondo de Amicis – has proclaimed the present book to be “one of the most original and happiest inventions of French genius,” and I am strongly inclined to share his opinion.
It should be observed that the work does not merely treat of the provisioning of a great city. That provisioning is its scenario; but it also embraces a powerful allegory, 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. It is, too, in its way an allegory of the triumph of the fat bourgeois, who lives well and beds softly, over the gaunt and Ishmael artist – an allegory which M. Zola has more than once introduced into his pages, another notable instance thereof being found in ‘Germinal,’ with the fat, well-fed Gregoires on the one hand, and the starving Maheus on the other.”
From this quotation from Mr. Sherard’s pages it will be gathered that M. Zola had a distinct social aim in writing this book. Wellnigh the whole social question may, indeed, be summed up in the words “food and comfort”; and in a series of novels like “Les Rougon-Macquart,” dealing firstly with different conditions and grades of society, and, secondly, with the influence which the Second Empire exercised on France, the present volume necessarily had its place marked out from the very first.
Mr. Sherard has told us of all the labour which M. Zola expended on the preparation of the work, of his multitudinous visits to the Paris markets, his patient investigation of their organism, and his keen artistic interest in their manifold phases of life. And bred as I was in Paris, a partaker as I have been of her exultations and her woes they have always had for me a strong attraction. My memory goes back to the earlier years of their existence, and I can well remember many of the old surroundings which have now disappeared. I can recollect the last vestiges of the antique piliers, built by Francis I, facing the Rue de la Tonnellerie. Paul Niquet’s, with its “bowel-twisting brandy” and its crew of drunken ragpickers, was certainly before my time; but I can readily recall Baratte’s and Bordier’s and all the folly and prodigality which raged there; I knew, too, several of the noted thieves’ haunts which took the place of Niquet’s, and which one was careful never to enter without due precaution. And then, when the German armies were beleaguering Paris, and two millions of people were shut off from the world, I often strolled to the Halles to view their strangely altered aspect. The fish pavilion, of which M. Zola has so much to say, was bare and deserted. The railway drays, laden with the comestible treasures of the ocean, no longer thundered through the covered ways. At the most one found an auction going on in one or another corner, and a few Seine eels or gudgeons fetching wellnigh their weight in gold. Then, in the butter and cheese pavilions, one could only procure some nauseous melted fat, while in the meat department horse and mule and donkey took the place of beef and veal and mutton. Mule and donkey were very scarce, and commanded high prices, but both were of better flavour than horse; mule, indeed, being quite a delicacy. I also well remember a stall at which dog was sold, and, hunger knowing no law, I once purchased, cooked, and ate a couple of canine cutlets which cost me two francs apiece. The flesh was pinky and very tender, yet I would not willingly make such a repast again. However, peace and plenty at last came round once more, the Halles regained their old-time aspect, and in the years which followed I more than once saw the dawn rise slowly over the mounds of cabbages, carrots, leeks, and pumpkins, even as M. Zola describes in the following pages. He has, I think, depicted with remarkable accuracy and artistic skill the many varying effects of colour that are produced as the climbing sun casts its early beams on the giant larder and its masses 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
