![His Excellency [Son Exc. Eugène Rougon] - Emile Zola](/cover_902240.jpg "His Excellency [Son Exc. Eugène Rougon] - Emile Zola")
And once again, fact is piled upon fact in Chapter XI., which describes the Ministerial Council at St. Cloud. The project for the creation of a new nobility emanated from Persigny and Magne; numerous documents concerning it were discovered in the Emperor's study after Sedan; and I may here remark en passant that M. Zola has frequently and rightly availed himself of those Papiers trouvés aux Tuileries as published by the Government of National Defence. And he carries accuracy to such a point that in Chapter XIII., when he is describing Rougon's resignation, he dates the Emperor's acceptance of it from Fontainebleau, as actually happened in the case of Espinasse; and gives us a charity fair at the orangery of the Tuileries as the scene of the minister's receipt of that acceptance—again an historical incident. And finally, in the last chapter, which, like the opening one, deals with the Corps Législatif, we read the very words of Jules Favre and Billault. Moreover, when we here find a clerical deputy exclaiming, 'It displeases me that proud Venice, the Queen of the Adriatic, should become the obscure vassal of Turin,' we must not attribute the remark to M. Zola's imagination; for those words were spoken in that very debate by Kolb. Bernard, who, with Vicomte Lemercier, led the parliamentary group which opposed the Emperor's liberal policy in Italy.
Some readers and some reviewers may think that I have acted somewhat unkindly to M. Zola in thus partially dissecting Son Excellence Eugène Rougon, in showing how little it is a work of imagination and how much a work based upon fact. I could have given many more instances than those I have quoted, but this preface has already stretched to such length that I must stay my hand. I would mention, however, that I could in a similar way dissect most volumes of the Rougon-Macquart series, for these books are novels in their arrangement only. Even when they do not deal with historical personages and publicly recorded facts, they are based on incidents which really happened, and more frequently than otherwise portray people who really lived. The whole series constitutes a truthful, life-like synthesis of a period; and if certain readers recoil from some of the portraits contained in it, this is simply because they will not face the monstrosities of human life. And far from doing my good and clear friend, the author of this imperishable literary edifice, an unkindness by pointing out where and how he has borrowed and adapted, I conceive that I am rendering him a service, for how often has not his accuracy been impugned! Moreover, it is not upon power of imagination that he particularly prides himself—though imagination, and of a high order, is undoubtedly a feature of his genius—he claims rank chiefly by reason of his power of delineation, his power of analysing, blending and grouping facts and characteristics. In one word, he is a Realist. And if he is to describe people as they have lived, incidents as they have really occurred, how can he do otherwise than turn to the records of actual experience, to the unchallenged descriptions of historical episodes? Plagiarism forsooth! When every situation, every dilemma, every experience, every characteristic and every emotion that can enter into the history of the human race have been dealt with time without number by thousands of writers of fiction, either in the form of the novel or the drama! How, then, is it possible for anybody, however great his genius, to be absolutely and perfectly original? Such originality is dead. Let us bow to its grave; we shall never see it more. The only genius in literature which can remain to the writers of to-day and to-morrow is that genius which may lie in the handling of one's materials. The human range of ideas is limited; even madmen—so closely allied to men of genius—cannot carry their fancy beyond certain bounds; and thus the old saws must crop up again and again, distinguished one from another simply by mode of treatment. And as for such charges of plagiarism that may have been brought against M. Zola, I apply to him the words which Molière applied to himself: Il prend son bien où il le trouve. And I will add that he does well in following this course, for over all he casts the magnificent mantle of powers which none of his contemporaries can equal.
E. A. V.
MERTON, SURREY, April 1897.
HIS EXCELLENCY
I
THE CORPS LÉGISLATIF
For a moment the President remained standing amidst the slight commotion which his entrance had caused. Then he took his seat, saying carelessly and in an undertone: 'The sitting has commenced.'
He next began to arrange the legislative bills lying upon the desk in front of him. On his left, a short-sighted clerk, with his nose close to the paper he held, read the minutes of the previous sitting in a rapid and confused manner, none of the deputies paying attention to him. In the buzzing noise that filled the Chamber, these minutes were only heard by the ushers, who maintained a very dignified and decorous bearing which contrasted with the lounging attitudes of the deputies.
There were not a hundred members present. Some were reclining in their red velvet-covered seats, with listless eyes, already half-asleep. Others, leaning over their desks, as though wearied by the compulsory labour of a public sitting, were beating a gentle tattoo on the mahogany with their finger-tips. Through the ceiling-window, which revealed a crescent of grey sky, the light of a rainy May afternoon streamed down perpendicularly upon the pompous severity of the Chamber. It spread over the desks in a sheet of gloomy ruddiness, brightening into a rosy glow here and there where some seat remained unoccupied; while, behind the President, the statues and sculpture-work showed in clear white patches.
One of the deputies on the third row to the right still remained standing in the narrow passage between the seats. He was rubbing his rough fringe of grizzly beard with a thoughtful air, but as an usher came by, he stopped him and asked a question in an undertone.
'No, Monsieur Kahn,' replied the usher, 'the President of the Council of State has not yet arrived.'
M. Kahn thereupon sat down, and, abruptly turning to his neighbour on the left, inquired, 'Tell me, Béjuin, have you seen Rougon this morning?'
M. Béjuin, a small, thin man of dark complexion and silent demeanour, raised his head nervously as though his thoughts were altogether elsewhere. He had drawn out the slide of his desk, and was writing a letter on some blue paper with a business heading formed of these words: 'Béjuin and Co. The Saint-Florent Cut-Glass Works.'
'Rougon?' he repeated. 'No, I haven't seen him. I did not have time to go over to the State Council.'
Then he quietly reverted to his work, consulting a memorandum-book, and beginning a second letter, amidst the confused buzzing murmur of the clerk, who was finishing his reading of the minutes.
M. Kahn leant back in his seat and crossed his arms. He had a face with strongly marked features, and his big but well-shaped nose testified to a Jewish descent. He seemed out of sorts. He gazed upwards at the gilt rose-work on the ceiling and listened to the plashing of a shower which at that moment burst down upon the skylight; and then with vaguely wondering eyes he seemed to be examining the intricate ornamentation of the great wall in front of him. His glance lingered for a few seconds upon two panels hung with green velvet and decked with gilt borders and emblems. Then, after he had scanned the columns between which allegorical statues of Liberty and Public Order showed their marble faces and pupil-less eyes, his attention was turned to a curtain of green silk which concealed a fresco representing King Louis Philippe taking the oath to the Constitution.
By this time the clerk had sat down; nevertheless, the scene remained one of noisy confusion. The President was still leisurely arranging
