But I must return to Marsy, though he need not detain me long, for he only flits across the following pages with his regal air and sardonic smile. For a fuller and, in some degree, a more favourable portrait, one must turn to the pages of Daudet, who of course could not write ill of the man to whom he owed his start in life. In the present work, slight as is the sketch, Marsy, or Morny, the name signifies little, is shown as he really was—venal, immoral, witty, and exquisitely polite. Then there is Delestang, who, physically, represents M. Magne; while in like way Beulin-d'Orchère, the judge whose sister marries Rougon, is copied from Delangle, whose bulldog face is alluded to by most of the anecdotiers of the Empire. La Rouquette is, by name at all events, a connection of Forcade de la Roquette—a step-brother of Marshal St. Arnaud—who rose to influence and power in the latter days of the Empire; and M. de Plouguern, the profligate old senator, reminds me in some respects of that cynical and eccentric Anglomaniac, the Marquis de Boissy. The various members of Rougon's band are sketched from less-known people. Kahn I cannot quite identify, but I suspect him to be the deputy who was mixed up in the scandal of the Graissesac railway line, to which M. Zola refers as the line from Niort to Angers. However, there is no member of the band that I like better than Béjuin, the silent deputy, who never asks a favour, and yet has favours continually showered upon him. I have known a man of that character connected with English public life.
To return to those of M. Zola's masculine characters who may be identified with real personages, none is more genially, more truthfully, portrayed than Chevalier Rusconi, the Italian or, more correctly, Sardinian, Minister in Paris. Here we have that most amiable of men, Chevalier Nigra, of whom Prosper Mérimée once said in my presence: 'C'est un bohème tombé dans la diplomatie.' Withal, Chevalier Nigra—who, though very aged, still serves his country, I believe, with distinction at Vienna—was a very good diplomatist indeed; one of Cavour's right-hand men, one of those to whom Italy owes union and liberty. And what a career was his in France, and what memoirs might he not write! Few diplomatists ever had stranger experiences: from all the secret plotting which so largely helped to make Victor Emmanuel King of Italy to the surveillance so adroitly practised over the Empress Eugénie, whose support of Pope Pius IX. was ever an obstacle to Italian aspirations. For her Nigra-Rusconi became the handsome, gallant courtier; he was a musician, could sing and dance, was proficient in every society accomplishment, and before long the Empress's Monday receptions at the Tuileries, those petits Lundis enlivened by the wit of Mérimée, were never complete without him. Yet, all the time, a stern duel was being fought between him and the consort of Napoleon III. And so long as her husband ruled France she kept her adversary at bay. Rome, capital of Italy, was but the fruit of Sedan. Yet Nigra was chivalrous. When the bitter hour of reckoning arrived, he stood by the woman who had so long thwarted him. He and Prince Richard Metternich smuggled her out of the Tuileries in order that she might escape to England, beyond the reach of the infuriated Parisians.
We catch a few glimpses of the Empress in the pages of His Excellency. We find her at Compiègne surrounded by the ladies of her Court; we also see her riding in state to Notre Dame to attend the baptism of her infant son. A great day it was, when the Empire reached its zenith: a gorgeous ceremony, too, attended by every pomp. On referring to the newspapers of the time I have found M. Zola's description of the function to be remarkably accurate. We espy the Man of December raising the Prince Imperial in his arms, presenting the heir of the Napoleons to the assembled multitude—even as once before, and in the same cathedral, the victor of Austerlitz presented the infant King of Rome to the homage of France. But neither the son of Marie-Louise nor the son of Eugénie de Montijo was destined to reign. And what a mockery now seems that grand baptismal ceremony, as well as all the previous discussion in the Corps Législatif, of which M. Zola gives such an animated account. What a lesson, too, for human pride, and, in the sequel, what a punishment for human perversity! I often read, I often hear, words of compassion for the Prince Imperial's widowed mother, but they cannot move me to pity, for I think of all the hundreds, all the thousands, of mothers who lost their sons in that most wicked and abominable of wars in the declaration of which the Empress Eugénie played so prominent a part. Her evil influence triumphed in that hour of indecision which came upon her ailing husband; and her war—ma guerre à moi—ensued, with fatal consequences, which even yet disturb the world. And so, however great, however bitter, her punishment, who will dare to say that it was undeserved?
But whilst I consider the Empress to have been, in more than one momentous circumstance, the evil genius of France, even as Marie Antoinette was the evil genius of the crumbling Legitimate monarchy, I am not one of those who believe in all the malicious reports of her to be found in la chronique scandaleuse. That she threw herself at the Emperor's head and compelled him to marry her, may be true, but that is all that can be alleged against her with any show of reason. She undoubtedly proved a faithful wife to a man who was notoriously a most unfaithful husband. There are those who may yet remember how one November morning in the year 1860 the Empress arrived in London, scarcely attended, drove in a growler to Claridge's Hotel, and thence hurried off to Scotland. Her flight from the Tuileries had caused consternation there. For four days the Moniteur remained ominously silent, and when it at last spoke out it was to announce with the utmost brevity that her Majesty was in very delicate health, and had betaken herself to Scotland—in November!—for a change of air. This ridiculous explanation deceived nobody. The simple truth was that the Empress had obtained proof positive of another of her husband's infidelities.
It is needless for me to enlarge upon the subject; I have only mentioned it in corroboration of the portrait of Napoleon III. which M. Zola traces in His Excellency. The Emperor was an immoral man—the Beauharnais if not the Bonaparte blood coursed in his veins—and the names of several of his mistresses are perfectly well known. For the rest, M. Zola pictures him very accurately: moody, reserved, with vague humanitarian notions, and as great a predilection for secret police spying as was evinced by Louis XV. The intrigue between him and M. Zola's heroine, Clorinde, is no extravagant notion. Here again a large amount of actual fact is skilfully blended with a little fiction. Clorinde Balbi at once suggests the beautiful Countess de Castiglione; but in the account of her earlier career one finds a suggestion of the behaviour which innumerable scandalmongers impute—wrongly, I believe—to the Empress Eugénie. In Clorinde's mother, the Contessa Balbi, there is more than a suggestion of Madame de Montijo, who was undoubtedly an adventuress of good birth. Both the Balbis are very cleverly drawn; they typify a class of women that has long flourished in France, where it still has some notorious representatives. It is a class of great popularity with novelists and playwrights, possibly because contemporary history has furnished so many examples of it, from the aforementioned Countess de Castiglione who laid siege to Napoleon III. in order to induce him to further the designs of Cavour and Victor Emmanuel, to the Baroness de Kaulla, who ensnared poor General de Cissey that she might extract from him the military and Foreign Office secrets of France. And with half-a-dozen historical instances in my mind, I find no exaggeration in the character of Clorinde as portrayed in His Excellency.
Having thus passed M. Zola's personages in review, I would now refer to the actual scenes which he describes. The account of the sitting of the Corps Législatif, given in the opening chapter, is as accurate as the official report in the Moniteur of that time. The report on the estimates for the baptism of the Prince Imperial is taken from the Moniteur verbatim. In Chapter III., when the Balbis are shown at home, the description of the house in the Champs Élysées is assuredly that of the famous niche à Fidèle. The baptism, described in Chapter IV., is, as I have already mentioned, very faithfully dealt with. I have by me an account of the day's proceedings written for the Illustrated Times by my uncle, the late Frank Vizetelly, who was killed in the Soudan; and I find him laying stress on the very points which M. Zola brings into prominence, often indeed using almost the same words. However, this is but one of the curious coincidences on which malicious critics found ridiculous charges of plagiarism; for I am convinced that M. Zola never saw the Illustrated Times in his life, and moreover he knows no English. Passing to Chapter V., which narrates the horse-whipping administered by Clorinde to Rougon—an incident which it has been necessary to 'tone down' in this English version—I may remark that this is founded on contemporary scandal, according to which the true scene of the affair would be the Imperial stables at Compiègne, and the recipient of the whipping none other than Napoleon III. himself. In Chapter VI., the scheme for reclaiming the waste Landes of Gascony is well-known matter of history. Suggested to the Emperor, this scheme was ultimately taken up by him with considerable vigour, and though it was never fully carried out it may rank as one of the few really beneficent enterprises of the Imperial régime.
In the ensuing chapter we come to Compiègne, and here I have found nothing to call in question. I was twice at Compiègne myself under the Empire, of course not as a guest, but in connection with work for the Illustrated London News, which brought my father and myself into constant intercourse with the Imperial Court over a term of years. And, judging by my personal recollections, I consider M. Zola's picture of life at Compiègne to be a very true one. He has been attacked, however, for having based his descriptions on a work called Les Confidences d'un Valet de Chambre. Some few years ago Mr. Andrew Lang, in criticising the French original of His Excellency in an English review, sternly reproved M. Zola for relying, in any degree, upon such back-stairs gossip. But a little knowledge is a dangerous thing. Whatever its title may be, Les Confidences d'un Valet de Chambre was not written by a valet de chambre at all. I have a copy of it among my collection of books relating to the Empire. It is brimful of information, bald in style, but severely accurate. As for its authorship, these are the facts: The Court's sojourn at Compiègne, which lasted for a month or six weeks every autumn—having been suggested in part by the Voyages à Fontainebleau of the ancien régime, and in part by the Empress's partiality for the place where she had been wooed and won by Napoleon—had long been the subject of tittle-tattle among the Parisians. The newspapers dared not publish any of the current scandal for fear of being immediately suppressed; however, the impression prevailed, especially among the lower classes, that the Court only betook itself to Compiègne to indulge in a month's orgie far from such prying eyes as might have spied upon any similar excesses at the Tuileries. So many reports circulated, that it was at last deemed expedient to give the entrée to the château to a Court chronicler, who should report what actually took place there, and in this way show the Parisians how foolish were the stories circulated through the cafés and wine-shops. The soi-disant valet de chambre was then, purely and simply, a journalist recommended by Théophile Gautier; and his accounts of the Court at Compiègne were published, in part at all events, by the Paris Figaro, and were subsequently collected in volume form. There is no scandal of any kind in the book: it simply chronicles the day's doings, with descriptions of the various rooms of the château, and accounts of certain Court customs thrown in here and there. Nobody desirous of describing life in Imperial circles at second-hand could do without this little volume, and it is only natural that M. Zola should have consulted it. Its general accuracy I can, by personal knowledge, fully confirm. Among the various incidents which M. Zola has adapted from it I may mention that of the aged dignitary who fondles first the Prince Imperial and afterwards the Emperor's dog Nero. This aged dignitary is a little bit of invention, the real hero of the incident having been a certain M. Leciel, an adjoint to the Mayor of Compiègne, who subsequently got into hot water with the Empress owing to his partiality for irreverent witticisms which usually turned upon his own name. In English we might have called him Mr. Heaven. His residence at Compiègne adjoined the somewhat dirty little inn of the Holy Ghost, which it was at one time proposed to demolish in order to build a new theatre, which was to have been connected with the château by means of a suspension bridge. This gave M. Leciel an opportunity for a most deplorable pun concerning himself and the inn, which he calmly repeated to the Empress, who was considerably incensed thereat. And in the result M. Leciel received no further invitations to the château.
But I must pass from Compiègne to M. Zola's next chapter, in which he deals, indirectly, with the famous Orsini conspiracy. Here we find a story of how the authorities were warned of the approaching attempt at assassination—a story which I have heard told by M. Claude, the famous ex-chief of the detective police, when I was his neighbour at Vincennes in 1881. Something similar, I believe, figures in the so-called Mémoires de M. Claude, but these, based on Claude's papers, which were 'worked up' after his death by an imaginative penny-a-liner, are worthy of little or no credence. It is, however, certain that the French authorities were not only warned from London about the Orsini plot, but obtained additional information in the manner described by M. Zola, and that the incident became the stepping-stone of Claude's subsequent fortune. In His Excellency the Orsini affair is followed by Rougon's return to power. For Rougon one should here read General Espinasse, to whom the Emperor undoubtedly addressed the words: 'No moderation; you must make yourself feared.' All that M. Zola says of the wholesale arrests of French Republicans at that time is quite true. Even the brief interview of the Prefect of the Somme with Rougon is based on historical documents; while that in which figures the editor whose newspaper publishes a story of feminine infidelity is derived from the autobiography of Henri de Villemessant.
In Chapter X., which deals with Rougon's experiences at Niort, we have the story of the arrest of the old notary Martineau. This, again, is true, line for line, almost word for word; but the incident really occurred at Charost, not Coulonges, and the notary's real name was Lebrun. He was a cousin of the illustrious parliamentarian, Michel of Bourges. And once again, fact is piled upon fact in Chapter XI., which describes the Ministerial Council at St. Cloud. The project for the creation of a new nobility emanated from Persigny and Magne; numerous documents concerning it were discovered in the Emperor's study after Sedan; and I may here remark en passant that M. Zola has frequently and rightly availed himself of those Papiers trouvés aux Tuileries as published by the Government of National Defence. And he carries accuracy to such a point that in Chapter XIII., when he is describing Rougon's resignation, he dates the Emperor's acceptance of it from Fontainebleau, as actually happened in the case of Espinasse; and gives us a charity fair at the orangery of the Tuileries as the scene of the minister's receipt of that acceptance—again an historical incident. And finally, in the last chapter, which, like the opening one, deals with the Corps Législatif, we read the very words of Jules Favre and Billault. Moreover, when we here find a clerical deputy exclaiming, 'It displeases me that proud Venice, the Queen of the Adriatic, should become the obscure vassal of Turin,' we must not attribute the remark to M. Zola's imagination; for those words were spoken in that very debate by Kolb. Bernard, who, with Vicomte Lemercier, led the parliamentary group which opposed the Emperor's liberal policy in Italy.
Some readers and some reviewers may think that I have acted somewhat unkindly to M. Zola in thus partially dissecting Son Excellence Eugène Rougon, in showing how little it is a work of imagination and how much a work based upon fact. I could have given many more instances than those I have quoted, but this preface has already stretched to such length that I must stay my hand. I would mention, however, that I could in a similar way dissect most volumes of the Rougon-Macquart series, for these books are novels in their arrangement only. Even when they do not deal with historical personages and publicly recorded facts, they are based on incidents which really happened, and more frequently than otherwise portray people who really lived. The whole series constitutes a truthful, life-like synthesis of a period; and if certain readers recoil from some of the portraits contained in it, this is simply because they will not face the monstrosities of human life. And far from doing my good and clear friend, the author of this imperishable literary edifice, an unkindness by pointing out where and how he has borrowed and adapted, I conceive that I am rendering him a service, for how often has not his accuracy been impugned! Moreover, it is not upon power of imagination that he particularly prides himself—though imagination, and of a high order, is undoubtedly a feature of his genius—he claims rank chiefly by reason of his power of delineation, his power of analysing, blending and grouping facts and characteristics. In one word, he is a Realist. And if he is to describe people as they have lived, incidents as they have really occurred, how can he do otherwise than turn to the records of actual experience, to the unchallenged descriptions of historical episodes? Plagiarism forsooth! When every situation, every dilemma, every experience, every characteristic and every emotion that can enter into the history of the human race have been dealt with time without number by thousands of writers of fiction, either in the form of the novel or the drama! How, then, is it possible for anybody, however great his genius, to be absolutely and perfectly original? Such originality is dead. Let us bow to its grave; we shall never see it more. The only genius in literature which can remain to the writers of to-day and to-morrow is that genius which may lie in the handling of one's materials. The human range of ideas is limited; even madmen—so closely allied to men of genius—cannot carry their fancy beyond certain bounds; and thus the old saws must crop up again and again, distinguished one from another simply by mode of treatment. And as for such charges of plagiarism that may have been brought against M. Zola, I apply to him the words which Molière applied to himself: Il prend son bien où il le trouve. And I will add that he does well in following this course, for over all he casts the magnificent mantle of powers which none of his contemporaries can equal.