is a commingling of Courbet, Cabanel and Gustave Flaubert. For instance, his so-called ‘Village Wedding’ is suggested by Courbet’s ‘Funeral at Ornans’; his friendship for Claude is Cabanel’s friendship for Manet; whilst some of his mannerisms, such as his dislike for the praise accorded to certain of his works, are simply those of Flaubert, who (like Balzac in the case of Eugenie Grandet) almost invariably lost his temper if one ventured to extol Madame Bovary in his presence. Courbet, by the way, so far as disposition goes, crops up again in M. Zola’s pages in the person of Champbouvard, a sculptor, who, artistically, is a presentment of Clesinger.
I now come to a personage of a very different character, Pierre Sandoz, clerk, journalist, and novelist; and Sandoz, it may be frankly admitted, is simply M. Zola himself. Personal appearance, life, habits, opinions, all are those of the novelist at a certain period of his career; and for this reason, no doubt, many readers of ‘His Masterpiece’ will find Sandoz the most interesting personage in the book. It is needless, I think, to enter into particulars on the subject. The reader may take it from me that everything attributed in the following pages to Pierre Sandoz was done, experienced, felt or said by Emile Zola. In this respect, then ‘His Masterpiece’ is virtually M. Zola’s ‘David Copperfield’—the book into which he has put most of his real life. I may also mention, perhaps, that the long walks on the quays of Paris which in the narrative are attributed to Claude Lantier are really M. Zola’s walks; for, in his youth, when he vainly sought employment after failing in his examinations, he was wont, at times of great discouragement, to roam the Paris quays, studying their busy life and their picturesque vistas, whenever he was not poring over the second-hand books set out for sale upon their parapets. From a purely literary standpoint, the pictures of the quays and the Seine to be found in L’Oeuvre are perhaps the best bits of the book, though it is all of interest, because it is essentially a livre vecu, a work really ‘lived’ by its author. And if in the majority of its characters, those readers possessing some real knowledge of French art life find one man’s qualities blended with another’s defects, the appearance of a third, and the habits of a fourth, the whole none the less makes a picture of great fidelity to life and truth. This is the Parisian art world as it really was, with nothing improbable or overstrained in the narrative, save its very first chapter, in which romanticism is certainly allowed full play.
It is quite possible that some readers may not judge Claude Lantier, the ‘hero,’ very favourably; he is like the dog in the fable who forsakes the substance for the shadow; but it should be borne in mind that he is only in part responsible for his actions, for the fatal germ of insanity has been transmitted to him from his great-grandmother. He is, indeed, the son of Gervaise, the heroine of L’Assommoir (‘The Dram Shop’), by her lover Lantier. And Gervaise, it may be remembered, was the daughter of Antoine Macquart (of ‘The Fortune of the Rougons’ and ‘Dr. Pascal’), the latter being the illegitimate son of Adelaide Fouque, from whom sprang the insanity of the Rougon-Macquarts. At the same time, whatever view may be taken of Claude’s artistic theories, whatever interest his ultimate fate may inspire, it cannot be denied that his opinions on painting are very ably expressed, and that his ‘case,’ from a pathological point of view, is diagnosticated by M. Zola with all the skill of a physician. Moreover, there can be but one opinion concerning the helpmate of his life, the poor devoted Christine; and no one possessed of feeling will be able to read the history of little Jacques unmoved.
Stories of artistic life are not as a rule particularly popular with English readers, but this is not surprising when one remembers that those who take a genuine interest in art, in this country, are still a small minority. Quite apart from artistic matters, however, there is, I think, an abundance of human interest in the pages of ‘His Masterpiece,’ and thus I venture to hope that the present version, which I have prepared as carefully as my powers permit, will meet with the favour of those who have supported me, for a good many years now, in my endeavours to make the majority of M. Zola’s works accessible in this country.
E. A. V.
MERTON, SURREY.
HIS MASTERPIECE
I
CLAUDE was passing in front of the Hotel de Ville, and the clock was striking two o’clock in the morning when the storm burst forth. He had been roaming forgetfully about the Central Markets, during that burning July night, like a loitering artist enamoured of nocturnal Paris. Suddenly the raindrops came down, so large and thick, that he took to his heels and rushed, wildly bewildered, along the Quai de la Greve. But on reaching the Pont Louis Philippe he pulled up, ragefully breathless; he considered this fear of the rain to be idiotic; and so amid the pitch-like darkness, under the lashing shower which drowned the gas-jets, he crossed the bridge slowly, with his hands dangling by his side.
He had only a few more steps to go. As he was turning on to the Quai Bourbon, on the Isle of St. Louis, a sharp flash of lightning illumined the straight, monotonous line of old houses bordering the narrow road in front of the Seine. It blazed upon the panes of the high, shutterless windows, showing up the melancholy frontages of the old-fashioned dwellings in all their details; here a stone balcony, there the railing of a terrace, and there a garland sculptured on a frieze. The painter had his studio close by, under the eaves of the old Hotel du Martoy, nearly at the corner of the Rue de la Femme-sans-Tete.* So he went on while the quay, after flashing forth for a moment, relapsed into darkness, and a terrible thunder-clap shook the drowsy quarter.
* The street of the Headless woman.—ED.
When Claude, blinded by the rain, got to his door—a low, rounded door, studded with iron—he fumbled for the bell knob, and he was exceedingly surprised—indeed, he started—on finding a living, breathing body huddled against the woodwork. Then, by the light of a second flash, he perceived a tall young girl, dressed in black, and drenched already, who was shivering with fear. When a second thunder-clap had shaken both of them, Claude exclaimed:
‘How you frighten one! Who are you, and what do you want?’
He could no longer see her; he only heard her sob, and stammer:
‘Oh, monsieur, don’t hurt me. It’s the fault of the driver, whom I hired at the station, and who left me at this door, after ill-treating me. Yes, a train ran off the rails, near Nevers. We were four hours late, and a person who was to wait for me had gone. Oh, dear me; I have never been in Paris before, and I don’t know where I am. …’
Another blinding flash cut her short, and with dilated eyes she stared, terror-stricken, at that part of the strange capital, that violet-tinted apparition of a fantastic city. The rain had ceased falling. On the opposite bank of the Seine was the Quai des Ormes, with its small grey houses variegated below by the woodwork of their shops and with their irregular roofs boldly outlined above, while the horizon suddenly became clear on the left as far as the blue slate eaves of the Hotel de Ville, and on the right as far as the leaden-hued dome of St. Paul. What startled her most of all, however, was the hollow of the stream, the deep gap in which the Seine flowed, black and turgid, from the heavy piles of the Pont Marie, to the light arches of the new Pont Louis Philippe. Strange masses peopled the river, a sleeping flotilla of small boats and yawls, a floating washhouse, and a dredger moored to the quay. Then, farther down, against the other bank, were lighters, laden with coals, and barges full of mill stone, dominated as it were by the gigantic arm of a steam crane. But, suddenly, everything disappeared again.
Claude had an instinctive distrust of women—that
