The Fortune of the Rougons | Page 2

To my thinking this is a profound error. M. Zola has always remained faithful to himself. The only difference that I perceive between his latest work, "Paris," and certain Rougon-Macquart volumes, is that with time, experience and assiduity, his genius has expanded and ripened, and that the hesitation, the groping for truth, so to say, which may be found in some of his earlier writings, has disappeared.
At the time when "The Fortune of the Rougons" was first published, none but the author himself can have imagined that the foundation- stone of one of the great literary monuments of the century had just been laid. From the "story" point of view the book is one of M. Zola's very best, although its construction--particularly as regards the long interlude of the idyll of Miette and Silvere--is far from being perfect. Such a work when first issued might well bring its author a measure of popularity, but it could hardly confer fame. Nowadays, however, looking backward, and bearing in mind that one here has the genius of M. Zola's lifework, "The Fortune of the Rougons" becomes a book of exceptional interest and importance. This has been so well understood by French readers that during the last six or seven years the annual sales of the work have increased threefold. Where, over a course of twenty years, 1,000 copies were sold, 2,500 and 3,000 are sold to-day. How many living English novelists can say the same of their early essays in fiction, issued more than a quarter of a century ago?
I may here mention that at the last date to which I have authentic figures, that is, Midsummer 1897 (prior, of course, to what is called "L'Affaire Dreyfus"), there had been sold of the entire Rougon- Macquart series (which had begun in 1871) 1,421,000 copies. These were of the ordinary Charpentier editions of the French originals. By adding thereto several /editions de luxe/ and the widely-circulated popular illustrated editions of certain volumes, the total amounts roundly to 2,100,000. "Rome," "Lourdes," "Paris," and all M. Zola's other works, apart from the "Rougon-Macquart" series, together with the translations into a dozen different languages--English, German, Italian, Spanish, Dutch, Danish, Portuguese, Bohemian, Hungarian, and others--are not included in the above figures. Otherwise the latter might well be doubled. Nor is account taken of the many serial issues which have brought M. Zola's views to the knowledge of the masses of all Europe.
It is, of course, the celebrity attaching to certain of M. Zola's literary efforts that has stimulated the demand for his other writings. Among those which are well worthy of being read for their own sakes, I would assign a prominent place to the present volume. Much of the story element in it is admirable, and, further, it shows M. Zola as a genuine satirist and humorist. The Rougons' yellow drawing-room and its habitues, and many of the scenes between Pierre Rougon and his wife Felicite, are worthy of the pen of Douglas Jerrold. The whole account, indeed, of the town of Plassans, its customs and its notabilities, is satire of the most effective kind, because it is satire true to life, and never degenerates into mere caricature.
It is a rather curious coincidence that, at the time when M. Zola was thus portraying the life of Provence, his great contemporary, bosom friend, and rival for literary fame, the late Alphonse Daudet, should have been producing, under the title of "The Provencal Don Quixote," that unrivalled presentment of the foibles of the French Southerner, with everyone nowadays knows as "Tartarin of Tarascon." It is possible that M. Zola, while writing his book, may have read the instalments of "Le Don Quichotte Provencal" published in the Paris "Figaro," and it may be that this perusal imparted that fillip to his pen to which we owe the many amusing particulars that he gives us of the town of Plassans. Plassans, I may mention, is really the Provencal Aix, which M. Zola's father provided with water by means of a canal still bearing his name. M. Zola himself, though born in Paris, spent the greater part of his childhood there. Tarascon, as is well known, never forgave Alphonse Daudet for his "Tartarin"; and in a like way M. Zola, who doubtless counts more enemies than any other literary man of the period, has none bitterer than the worthy citizens of Aix. They cannot forget or forgive the rascally Rougon-Macquarts.
The name Rougon-Macquart has to me always suggested that splendid and amusing type of the cynical rogue, Robert Macaire. But, of course, both Rougon and Macquart are genuine French names and not inventions. Indeed, several years ago I came by chance upon them both, in an old French deed which I was examining at the Bibliotheque Nationale in Paris. I there found mention