Fruitfulness - Fecondite | Page 2

France
and sought for a time a residence in England, where for eleven months
I was privileged to help him in maintaining his incognito.
"Fruitfulness" was entirely written in England, begun in a Surrey
country house, and finished at the Queen's Hotel, Norwood.
It would be superfluous for me to enter here into all the questions
which M. Zola raises in his pages. The evils from which France suffers
in relation to the stagnancy of its population, are well known, and that
their continuance--if continuance there be--will mean the downfall of
the country from its position as one of the world's great powers before
the close of the twentieth century, is a mathematical certainty. That M.
Zola, in order to combat those evils, and to do his duty as a good
citizen anxious to prevent the decline of his country, should have dealt
with his subject with the greatest frankness and outspokenness, was
only natural. Moreover, absolute freedom of speech exists in France,
which is not the case elsewhere. Thus, when I first perused the original
proofs of M. Zola's work, I came to the conclusion that any version of it
in the English language would be well-nigh impossible. For some time

I remained of that opinion, and I made a statement to that effect in a
leading literary journal. Subsequently, however, my views became
modified. "The man who is ridiculous," wrote a French poet,
Barthelemy, "is he whose opinions never change," and thus I at last
reverted to a task from which I had turned aside almost in despair.
Various considerations influenced me, and among them was the
thought that if "Fruitfulness" were not presented to the public in an
English dress, M. Zola's new series would remain incomplete,
decapitated so far as British and American readers were concerned.
After all, the criticisms dealing with the French original were solely
directed against matters of form, the mould in which some part of the
work was cast. Its high moral purpose was distinctly recognized by
several even of its most bitter detractors. For me the problem was how
to retain the whole ensemble of the narrative and the essence of the
lessons which the work inculcates, while recasting some portion of it
and sacrificing those matters of form to which exception was taken. It
is not for me to say whether I have succeeded in the task; but I think
that nothing in any degree offensive to delicate susceptibilities will be
found in this present version of M. Zola's book.
The English reviews of the French original showed that if certain
portions of it were deemed indiscreet, it none the less teemed with
admirable and even delightful pages. Among the English reviewers
were two well-known lady writers, Madame Darmesteter (formerly
Miss Mary Robinson), and Miss Hannah Lynch. And the former
remarked in one part of her critique: "Even this short review reveals
how honest, how moral, how human and comely is the fable of
_Fecondite_,"* while the latter expressed the view that the work was
"eminently, pugnaciously virtuous in M. Zola's strictly material
conception of virtue." And again: "The pages that tell the story of
Mathieu and Marianne, it must be admitted, are as charming as possible.
They have a bloom, a beauty, a fragrance we never expected to find in
M. Zola's work. The tale is a simple one: the cheerful conquest of
fortune and the continual birth of offspring."**
* _Manchester Guardian_, October 27, 1899.
** _Fortnightly Review_, January 1900.
Of course, these lady critics did not favor certain features of the
original, and one of them, indeed, referred to the evil denounced by M.

Zola as a mere evil of the hour, whereas it has been growing and
spreading for half a century, gradually sapping all the vitality of France.
But beside that evil, beside the downfall of the families it attacks, M.
Zola portrays the triumph of rectitude, the triumph which follows faith
in the powers of life, and observance of the law of universal labor.
"Fruitfulness" contains charming pictures of homely married life,
delightful glimpses of childhood and youth: the first smile, the first step,
the first word, followed by the playfulness and the flirtations of
boyhood, and the happiness which waits on the espousals of those who
truly love. And the punishment of the guilty is awful, and the triumph
of the righteous is the greatest that can be conceived. All those features
have been retained, so far as my abilities have allowed, in the present
version, which will at the same time, I think, give the reader
unacquainted with the French language a general idea of M. Zola's
views on one of the great questions of the age, as well as all the
essential portions of a strongly conceived narrative.
E. A. V.
MERTON, SURREY,