But the gem of the whole bunch is that obstinate, narrow-minded, self-sufficient examining-magistrate, M. Denizet; and in dealing with this character, the author lays bare all the abominable system of French criminal procedure. Recently this was modified to the extent of allowing the accused party to have the assistance of counsel while undergoing the torture of repeated searching cross-examinations at the hands of his tormentor. But in the days of which M. Émile Zola is writing, the prisoner enjoyed no such protection. He stood alone in the room with the examining-magistrate and his registrar, and while the former craftily laid traps for him to fall into, the latter carefully took down his replies to the incriminating questions addressed to him. It positively makes one shudder to think how many innocent men must have been sent to the guillotine, or to penal servitude for life, like poor Cabuche, during the length of years this atrocious practice remained in full vigour!
The English reader, accustomed to open, even-handed justice for one and all alike, and unfamiliar with the ways that prevail in France, will start with amazement and incredulity at the idea of shelving criminal cases to avoid scandal involving persons in high position. But such is by no means an uncommon proceeding on the other side of the straits. Georges Ohnet introduces a similar incident into his novel Le Droit de l'Enfant.
M. Émile Zola has made most of his books a study of some particular sphere of life in France. In this instance he introduces his readers to the railway and railway servants. They are all there, from the station-master to the porter, and all are depicted with so skilful a hand that anyone who has travelled among our neighbours must recognise them.
By frequent runs on an express engine between Paris and Havre, and vice versâ, the author has mastered all the complicated mechanism of the locomotive; and we see his trains vividly as in reality, starting from the termini, gliding along the lofty embankments, through the deep cuttings, plunging into and bursting from the tunnels amidst the deafening riot of their hundred wheels, while the dumpy habitation of the gatekeeper, Misard, totters on its frail foundations as they fly by in a hurricane blast.
The story teems with incident from start to finish. Each chapter is a drama in itself. To name but a few of the exciting events that are dealt with: there is a murder in a railway carriage; an appalling railway accident; a desperate fight between driver and fireman on the foot-plate of a locomotive, which ends in both going over the side to be cut to pieces, while the long train of cattle-trucks, under no control, crammed full of inebriated soldiers on their way to the war, who are yelling patriotic songs, dashes along, full steam, straight ahead, with a big fire just made up, onward; to stop, no one knows where.
This is certainly one of the best and most dramatic novels that M. Émile Zola has ever penned; and I feel lively pleasure at having the good fortune to be able, with the assistance of my enterprising publishers, to present it to the English reading public.
Edward Vizetelly.
Surbiton,
August 20, 1901.