The Three Cities Trilogy: Paris, Volume 1
TRANSLATOR'S PREFACE
WITH the present work M. Zola completes the "Trilogy of the Three Cities," which he began with "Lourdes" and continued with "Rome"; and thus the adventures and experiences of Abbe Pierre Froment, the doubting Catholic priest who failed to find faith at the miraculous grotto by the Cave, and hope amidst the crumbling theocracy of the Vatican, are here brought to what, from M. Zola's point of view, is their logical conclusion. From the first pages of "Lourdes," many readers will have divined that Abbe Froment was bound to finish as he does, for, frankly, no other finish was possible from a writer of M. Zola's opinions.
Taking the Trilogy as a whole, one will find that it is essentially symbolical. Abbe Froment is Man, and his struggles are the struggles between Religion, as personified by the Roman Catholic Church, on the one hand, and Reason and Life on the other. In the Abbe's case the victory ultimately rests with the latter; and we may take it as being M. Zola's opinion that the same will eventually be the case with the great bulk of mankind. English writers are often accused of treating subjects from an insular point of view, and certainly there may be good ground for such a charge. But they are not the only writers guilty of the practice. The purview of French authors is often quite as limited: they regard French opinion as the only good opinion, and judge the rest of the world by their own standard. In the present case, if we leave the world and mankind generally on one side, and apply M. Zola's facts and theories to France alone, it will be found, I think, that he has made out a remarkably good case for himself. For it is certain that Catholicism, I may say Christianity, is fast crumbling in France. There may be revivals in certain limited circles, efforts of the greatest energy to prop up the tottering edifice by a "rallying" of believers to the democratic cause, and by a kindling of the most bitter anti-Semitic warfare; but all these revivals and efforts, although they are extremely well-advertised and create no little stir, produce very little impression on the bulk of the population. So far as France is concerned, the policy of Leo XIII. seems to have come too late. The French masses regard Catholicism or Christianity, whichever one pleases, as a religion of death, – a religion which, taking its stand on the text "There shall always be poor among you," condemns them to toil and moil in poverty and distress their whole life long, with no other consolation than the promise of happiness in heaven. And, on the other hand, they see the ministers of the Deity, "whose kingdom is not of this world," supporting the wealthy and powerful, and striving to secure wealth and power for themselves. Charity exists, of course, but the masses declare that it is no remedy; they do not ask for doles, they ask for Justice. It is largely by reason of all this that Socialism and Anarchism have made such great strides in France of recent years. Robespierre, as will be remembered, once tried to suppress Christianity altogether, and for a time certainly there was a virtually general cessation of religious observances in France. But no such Reign of Terror prevails there to-day. Men are perfectly free to believe if they are inclined to do so; and yet never were there fewer religious marriages, fewer baptisms or smaller congregations in the French churches. I refer not merely to Paris and other large cities, but to the smaller towns, and even the little hamlets of many parts. Old village priests, men practising what they teach and possessed of the most loving, benevolent hearts, have told me with tears in their eyes of the growing infidelity of their parishioners.
I have been studying this matter for some years, and write without prejudice, merely setting down what I believe to be the truth. Of course we are all aware that the most stupendous efforts are being made by the Catholic clergy and zealous believers to bring about a revival of the faith, and certainly in some circles there has been a measure of success. But the reconversion of a nation is the most formidable of tasks; and, in my own opinion, as in M. Zola's, France as a whole is lost to the Christian religion. On this proposition, combined with a second one, namely, that even as France as a nation will be the first to discard Christianity, so she will be the first to promulgate a new faith based on reason, science and the teachings of life, is founded the whole argument of M. Zola's Trilogy.
Having thus dealt with the Trilogy's religious aspects, I would now speak of "Paris," its concluding volume. This is very different from "Lourdes" and "Rome." Whilst recounting the struggles and fate of Abbe Froment and his brother Guillaume, and entering largely into the problem of Capital and Labour, which problem has done so much to turn the masses away from Christianity, it contains many an interesting and valuable picture of the Parisian world at the close of the nineteenth century. It is no guide-book to Paris; but it paints the city's social life, its rich and poor, its scandals and crimes, its work and its pleasures. Among the households to which the reader is introduced are those of a banker, an aged Countess of the old noblesse, a cosmopolitan Princess, of a kind that Paris knows only too well, a scientist, a manufacturer, a working mechanician, a priest, an Anarchist, a petty clerk and an actress of a class that so often dishonours the French stage. Science and art and learning and religion, all have their representatives. Then, too, the political world is well to the front. There are honest and unscrupulous Ministers of State, upright and venal deputies, enthusiastic and cautious candidates for power, together with social theoreticians of various schools. And the blase, weak-minded man of fashion is here, as well as the young "symbolist" of perverted, degraded mind. The women are of all types, from the most loathsome to the most lovable. Then, too, the journalists are portrayed in such life-like fashion that I might give each of them his real name. And journalism, Parisian journalism, is flagellated, shown as it really is, – if just a few well-conducted organs be excepted, – that is, venal and impudent, mendacious and even petty.
The actual scenes depicted are quite as kaleidoscopic as are the characters in their variety. We enter the banker's gilded saloon and the hovel of the pauper, the busy factory, the priest's retired home and the laboratory of the scientist. We wait in the lobbies of the Chamber of Deputies, and afterwards witness "a great debate"; we penetrate into the private sanctum of a Minister of the Interior; we attend a fashionable wedding at the Madeleine and a first performance at the Comedie Francaise; we dine at the Cafe Anglais and listen to a notorious vocalist in a low music hall at Montmartre; we pursue an Anarchist through the Bois de Boulogne; we slip into the Assize Court and see that Anarchist tried there; we afterwards gaze upon his execution by the guillotine; we are also on the boulevards when the lamps are lighted for a long night of revelry, and we stroll along the quiet streets in the small hours of the morning, when crime and homeless want are prowling round.
And ever the scene changes; the whole world of Paris passes before one. Yet the book, to my thinking, is far less descriptive than analytical. The souls of the principal characters are probed to their lowest depths. Many of the scenes, too, are intensely dramatic, admirably adapted for the stage; as, for instance, Baroness Duvillard's interview with her daughter in the chapter which I have called "The Rivals." And side by side with baseness there is heroism, while beauty of the flesh finds its counterpart in beauty of the mind. M. Zola has often been reproached for showing us the vileness of human nature; and no doubt such vileness may be found in "Paris," but there are contrasting pictures. If some of M. Zola's characters horrify the reader, there are others that the latter can but admire. Life is compounded of good and evil, and unfortunately it is usually the evil that makes the most noise and attracts the most attention. Moreover, in M. Zola's case, it has always been his purpose to expose the evils from which society suffers in the hope of directing attention to them and thereby hastening a remedy, and thus, in the course of his works, he could not do otherwise than drag the whole frightful mass of human villany and degradation into the full light of day. But if there are, again, black pages in "Paris," others, bright and comforting, will be found near them. And the book ends in no pessimist strain. Whatever may be thought of the writer's views on religion, most readers will, I imagine, agree with his opinion that, despite much social injustice, much crime, vice, cupidity and baseness, we are ever marching on to better things.
In the making of the coming, though still far-away, era of truth and justice, Paris, he thinks, will play the leading part, for whatever the stains upon her, they are but surface-deep; her heart remains good and sound; she has genius and courage and energy and wit and fancy. She can be generous, too, when she chooses, and more than once her ideas have
