And M. Zola’s Paradou is a flight of fancy, even as its mistress, the fair, loving, guileless Albine, whose smiles and whose tears alike go to our hearts, is the daughter of imagination. She is a flower—the very flower of life’s youth—in the midst of all the blossoms of her garden. She unfolds to life and to love even as they unfold; she loves rapturously even as they do under the sun and the azure; and she dies with them when the sun’s caress is gone and the chill of winter has fallen. At the thought of her, one instinctively remembers Malherbe’s ‘Ode A Du Perrier:’
She to this earth belonged, where beauty fast
To direst fate is borne:
A rose, she lasted, as the roses last,
Only for one brief morn.
French painters have made subjects of many episodes in M. Zola’s works, but none has been more popular with them than Albine’s pathetic, perfumed death amidst the flowers. I know several paintings of great merit which that touching incident has inspired.
Albine, if more or less unreal, a phantasm, the spirit as it were of Nature incarnate in womanhood, is none the less the most delightful of M. Zola’s heroines. She smiles at us like the vision of perfect beauty and perfect love which rises before us when our hearts are yet young and full of illusions. She is the ideal, the very quintessence of woman.
In Serge Mouret, her lover, we find a man who, in more than one respect, recalls M. Zola’s later hero, the Abbé Froment of ‘Lourdes’ and ‘Rome.’ He has the same loving, yearning nature; he is born—absolutely like Abbé Froment—of an unbelieving father and a mother of mystical mind. But unlike Froment he cannot shake off the shackles of his priesthood. Reborn to life after his dangerous illness, he relapses into the religion of death, the religion which regards life as impurity, which denies Nature’s laws, and so often wrecks human existence, as if indeed that had been the Divine purpose in setting man upon earth. His struggles suggest various passages in ‘Lourdes’ and ‘Rome.’ In fact, in writing those works, M. Zola must have had his earlier creation in mind. There are passages in ‘La Faute de l’Abbé Mouret’ culled from the writings of the Spanish Jesuit Fathers and the ‘Imitation’ of Thomas à Kempis that recur almost word for word in the Trilogy of the Three Cities. Some might regard this as evidence of the limitation of M. Zola’s powers, but I think differently. I consider that he has in both instances designedly taken the same type of priest in order to show how he may live under varied circumstances; for in the earlier instance he has led him to one goal, and in the later one to another. And the passages of prayer, entreaty, and spiritual conflict simply recur because they are germane, even necessary, to the subject in both cases.
Of the minor characters that figure in ‘La Faute de l’Abbé Mouret’ the chief thing to be said is that they are lifelike. If Serge is almost wholly spiritual, if Albine is the daughter of poesy, they, the others, are of the earth earthy. As a result of their appearance on the scene, there are some powerful contrasting passages in the book. Archangias, the coarse and brutal Christian Brother who serves as a foil to Abbé Mouret; La Teuse, the priest’s garrulous old housekeeper; Desirée, his ‘innocent’ sister, a grown woman with the mind of a child and an almost crazy affection for every kind of bird and beast, are all admirably portrayed. Old Bambousse, though one sees but little of him, stands out as a genuine type of the hard-headed French peasant, who invariably places pecuniary considerations before all others. And Fortune and Rosalie, Vincent and Catherine, and their companions, are equally true to nature. It need hardly be said that there is many a village in France similar to Les Artaud. That hamlet’s shameless, purely animal life has in no wise been over-pictured by M. Zola. Those who might doubt him need not go as far as Provence to find such communities. Many Norman hamlets are every whit as bad, and, in Normandy, conditions are aggravated by a marked predilection for the bottle, which, as French social-scientists have been pointing out for some years now, is fast hastening the degenerescence of the peasantry, both morally and physically.
With reference to the English version of ‘La Faute de l’Abbé Mouret’ herewith presented, I may just say that I have subjected it to considerable revision and have retranslated all the more important passages myself.
MERTON, SURREY. E. A. V.