A Zola Dictionary | Page 9

first instance due to the indiscretion of his biographer, M. Paul Alexis, that this charge has arisen. Impressed by the vast industry of his friend, M. Alexis said so much about "research" and "documents" that less friendly critics seized the opportunity of exaggerating the importance of these. Every novelist of any consequence has found it necessary to "cram" his subjects, but says little about the fact. James Payn, for instance, could not have written his admirable descriptions of China in /By Proxy/ without much reading of many books, and Mr. Rudyard Kipling has not been blamed for studying the technicalities of engineering before he wrote /The Ship that found Herself/. It is open to question even whether Mr. Robert Hichens acquired his intimate knowledge of the conditions of life in Southern Europe and Northern Africa entirely without the assistance of Herr Baedeker. Zola undoubtedly studied his subjects, but far too much has been made of the necessity for his doing so. His equipment for the task he undertook was not less complete than that of many another novelist, and, like Dickens, he studied life in that school of a "stony-hearted stepmother," the streets of a great city.
Zola's literary method may be described as a piling up of detail upon detail till there is attained an effect portentous, overwhelming. He lacked, however, a sense of proportion; he became so carried away by his visions of human depravity, that his characters developed powers of wickedness beyond mortal strength; he lay under an obsession regarding the iniquities of mankind. In dealing with this it was unfortunately his method to leave nothing to the imagination, and herein lies the most serious blemish on his work. There is undoubtedly much coarseness in some of his books, and the regrettable feature is that it is not only unnecessary, but in some cases actually lessens the effect at which he aimed. It is doubtful whether he was possessed of any sense of humour. Mr. Andrew Lang says that his lack of it was absolute, a darkness that can be felt; Mr. R. H. Sherrard, on the other hand, indicates that his work "teems with quiet fun." On the whole, truth seems to lie with Mr. Lang. M. and Madame Charles Badeuil, in /La Terre/ may seem Dickensian to an English reader, but there is always the Gallic point of view to be reckoned with, and it is doubtful if Zola did not regard these persons merely as types of a virtuous bourgeoisie.
It was in the treatment of crowds in motion that Zola chiefly excelled; there is nothing finer in literature than the march of the strikers in /Germinal/ or the charges of the troops in /La Debacle/. Contrast him with such a master of prose as George Meredith, and we see how immensely strong the battle scenes in /La Debacle/ are when compared with those in /Vittoria/; it is here that his method of piling detail on detail and horror on horror is most effectual. "To make his characters swarm," said Mr. Henry James in a critical article in the /Atlantic Monthly/ (August, 1903), "was the task he set himself very nearly from the first, that was the secret he triumphantly mastered."
"Naturalism" as a school had a comparatively brief existence--Zola himself departed largely from its principles after the conclusion of the Rougon-Macquart series--but its effects have been far-reaching on the literature of many countries. In England the limits of literary convention have been extended, and pathways have been opened up along which later writers have not hesitated to travel, even while denying the influence of the craftsman who had cleared the way. It is safe to say that had /L'Assommoir/ never been written there would have been no /Jude the Obscure/, and the same remark applies to much of the best modern fiction. In America, Frank Norris, an able writer who unfortunately died before the full fruition of his genius had obviously accepted Zola as his master, and the same influence is also apparent in the work of George Douglas, a brilliant young Scotsman whose premature death left only one book, /The House with the Green Shutters/, as an indication of what might have sprung from the methods of modified naturalism. M. Edouard Rod, an able critic, writing in the /Contemporary Review/ (1902), pointed out that the influence of Zola has transformed novel writing in Italy, and that its effect in Germany has been not less pronounced. The virtue of this influence on German letters was undoubtedly great. It made an end of sentimentality, it shook literature out of the sleepy rut into which it had fallen and forced it to face universal problems.
One must regret for his own sake that Zola was unable to avoid offending those prejudices which were so powerful in his time. The