rAi Digitized by the Internet Archive in 2013 http://archive.org/details/rushforspoillacuOOzola THE EUSH FOR THE SPOIL (LA GUREE). A REALISTIC NOVEU -•\s THE TABLEAUX VIVANTS AT SACCARD'S MANSION IN THE PARC MONCEAUX, p. 236- THK RUSH FOR THE SPOIL (LA CUEEE). MAXIME DISCOVERS HIS FATHEK AT THE MAISON DOKEE. ' By EMILE ZOLA. p. 120. K THE RUSH FOR THE SPOIL (LA aUUEE). A REALISTIC NOVEL. BY EMILE ZOLA. TRANSLATED WITHOUT ABRIDGMENT FROM THE 31TH illENCH EDITION. LONDON : V IZETELLY df Co., 4.2 CATHERINE StREE7\ STRAND, 18S6. fjrth: S. COWAN & CO., STRATHMORE PRINTING WORKS. i-^^Cp PEEFACE. The public and the press have agreed that " L'Assommoir '*' is M. Zola's chef d'oeitvre. Against this verdict I have no objection to offer. I believe it will meet with posterity's endorsement. But although " L'Assommoir " may lift its head the highest, there are many other volumes in the Rougon-Maequart series which stand on, and speak from equally lofty platforms of art. In my opinion, these are '' La Faute de TAbbe Mouret," " La Conquete de Plassans," and " La Curde." I have spoken before of Zola as an epic poet : he is this more than he is anything, and as he is more epic in " La Curee" than elsewhere (" L'Assommoir " and "La Faute de TAbb^ Mouref always excepted), it follows that it must be one of the best and most characteristic o£ his works. The qualities that endow a book with im- mortality exist independent of the artist's will, and the process of penetrating, of animating the whole with life, is accomplished as silently and unconsciously as the seed- grain germinates in the earth, as the child quickens with life in the womb. And, doubtless, Zola intended in the beginning to write merely the passionate love story of a A 636827 ii PREFACE. \ woman wLo, oppressed and wearied of luxury, is forced to seek, in violent ways and fierce fancies, oblivion of golden idleness, of an aimless and satiated existence. This idea might have been worked out, and adequately worked out, in the analysis of the mind of a duke's daughter, who, after five years of husband hunting in London drawing-rooms, runs away and lives with her groom at Hampstead. And taken out of its setting, M. Zola's story is quite as simple. Renee is a young girl of the upper middle classes ; she has been seduced ; she is enceinte ; it is necessary to find her a husband. Under such circumstances, it would be vain to be too particular, and an adventurer called Saccard is chosen. He is a genius who is waiting for a few pounds to make a million. Rente's fortune enables him to do this ; he places her in a magnificent house in the Pare Monceaux ; he gives her everything but an interest in life : to gain this she falls in love with her step-son, Maxime Saccard. The story of this incestuous passion becomes the theme of the book; and when Maxime deserts his step-mother to get married, she dies of consump- tion. That is all ; but this slight outline soon began to grow, to take gigantic proportions in Zola's mind ; and it was not long before he saw that his story was an allegory of the Second Empire. Renee became Paris ; her dressmaker — -Worms — became the Emperor ; her dresses, the material of which costs sixty, the making- up of which, with the accumulated interest, costs six hundred, are the boulevards and buildings with whicih the city was adorned at ruinous expense. In the clamour PREFACE. iii of the fetes in the Pare Monceaux, the demands of the creditors are silenced, and when Renee dies her debts are paid by her father — that is to say, by the Republic of M. Thiers. Rende is a Venus, but not the Greek Venus — the white- breasted woman born of the sea foam and heralded by cupids and tritons ; she is not even " the obscure Venus of the hollow Hill " that Baudelaire describes as havino- ^rown diabolic among ages that would not accept her as divine. Renee is the Venus of the counting house. Her hair is yellow as pale gold, her drawing-room is hung with yellow draperies, and her golden head, seen thereon as she leans back in her richly upholstered chairs, seems like a setting sun that sinks little by little, drowned in a bath of gold. But, unlike her earlier prototypes, she does not find the flesh sufficient ; her sensualities are not the dark desire of the animal, but the nervous erethism of a human mind that, satiated with pleasure, longs and hungers for some strange and acute note to break tlie cloying sweet- ness — the monotonous melody of her life. Here there is no touch of pagan or mediaeval thought. Maxime fears no god, he knows not remorse nor even desire ; he is the son of the capitalist ; he is the weed sprung from, but not the intelligence that has built up, the gold-heap, and he festers and rots like a weed in an overpoweringly rich soil. Saccard is Mammon. Nothing exists for him but gold. Thoughts, dreams, love, have long since disappeared ; he is not even vicious : in the lust of speculation all other passions have been submerged, have sunk out of sight for ever. Men and things only iv PREFACE. suggest to him ideas for the accumulation of wealth ; and from the heights of Montmartre he looks down upon Paris like a wolf upon its prey. His eyes flash with fierce light, his lips twitch with a wild mental hunger that manifests itself in physical actions : with his hand he divides Paris into sections, he sees how he will distribute it into boule- vards, squares, and streets; and he hears in vision the cries of the hunstmen, and he longs to put himself at the head of the hounds, and to descend with open jaws upon the splendid quarry that even now run to death lies panting and bleeding before him. The book is Paris — Paris as she feasted and flattered undep the Second Empire — a Paris of adventurers, of courtezans — a Paris of debts — a Paris of women's shoulders, cotillons, champagne, of violins and pianos — a Paris of opera hats — a Paris of gold pieces, of fraud, of liars, of speculation, of supper tables — a Paris sonorous and empty as a wheel of fortune-^a Paris of sweetmeats, rendezvous, bank-notes — a Paris of tresses of false hair forgotten in hackney carriages. Yes, a Paris of this and of little else. There is the famous scene of the return from the Bois. Under the pale October sky,in which, towards the Porte de la Muette, there still floats the dim light of an autumn sunset, the carriages are 'blocked ; and the uncertain rays dance through the brightly painted wheels, touching with intense splendour the buckles of the harness, the large buttons on the liveries, and the burnished cockades. The artificial lake lies still, reflecting in its crystal clarity the innumerable oraces of the poplars and pine trees that gi'ow down to PREFACE. V the very banks of the trim island. The walks are as bits of grey ribbon lost in the dark foliage. The scene looks like a newly varnished toy. All Paris is there — courtezans, diplomatists, and speculators. Renee is there ; she is with Maxime, who is pointing out and telling her about his father's new mistress. She is the celebrated Laure, to whose house Renee goes with Maxime, because she is anxious to know what a cocotte's ball is really like. Afterwards they sup, in a cabinet particnlier, at the Cafe Riche. Renee is sipping a glass of chartreuse ; the gas is hissing, the room has grown hot. They throw open the window. Paris rolls beneath them. The Boulevard is alive with the flashing lights of carriages, women go by in hundreds ; they pass into the darkness of a traversing street ; they reappear again like shadows thrown by a magic lantern. Groups of men sit round the tables at the door of the cafe ; some are talking to women; some sit smoking vacantly, watching the interminable procession that passes and repasses before them. One woman wears a green silk ; she sits with her legs crossed. Renee feels strangely interested. By-and-by, wearied of the Boulevard, she examines the looking-glass, scratched all over with diamond rings; and she asks Maxime questions concerning the women whose names are scrawled thereon. Maxime pleads ignorance : putting his cigar aside, he advances towards her ; they look into each other's eyes ; she falls into his arms. There is the ball-room scene. Saccard is on the brink of ruin, but he gives a fete that costs him four vi PREFACE. tlioiisand pounds. He is anxious that his son should marry a little hunchback, who has an immense fortune. The tableaux vivants are over, and the dancers, in the costumes of gods and goddesses, are dancing the cotillon. Rende, who is cognizant of her husband's projects, is AYandering about mad with nervous rage and despair. She pursues Maxime, drags him with her into her bedroom, and tells him that he must fly with her to America, that she will never consent to give him up. And I must not forget that requisite bit of descrip- tion — ten lines, not more — which, for rapidity of observa- tion and precision and delicacy of touch, seems to me unsurpassable ; indeed, to find anything that might be set against it, I should have to turn to that supreme success, that final vindication of the divine power of words-— Flaubert's '' L'Education Sentimentale." The passage I allude to is when Renee goes to the great fete at the Tuileries. She wears a wonderful dress, composed entirely of white muslin and black velvet. The bodice is in black velvet, the skirt in white muslin, garnished with a million flounces, and all cut up and adorned witli bows made out of black velvet : no ornament but one diamond in her fawn-coloured hair. Suddenly the people draw into lines, and the corpulent Emperor walks down the room on the arm of one of his generals. Renee shrinks back : but she cannot get away — she is in the front rank ; and, when Napoleon fixes his, all eyes are fixed upon her. A heaven of lustres is above her hea