The actual scenes depicted are quite as kaleidoscopic as are the characters in their variety. We enter the banker's gilded saloon and the hovel of the pauper, the busy factory, the priest's retired home and the laboratory of the scientist. We wait in the lobbies of the Chamber of Deputies, and afterwards witness "a great debate"; we penetrate into the private sanctum of a Minister of the Interior; we attend a fashionable wedding at the Madeleine and a first performance at the Comedie Francaise; we dine at the Cafe Anglais and listen to a notorious vocalist in a low music hall at Montmartre; we pursue an Anarchist through the Bois de Boulogne; we slip into the Assize Court and see that Anarchist tried there; we afterwards gaze upon his execution by the guillotine; we are also on the boulevards when the lamps are lighted for a long night of revelry, and we stroll along the quiet streets in the small hours of the morning, when crime and homeless want are prowling round.
And ever the scene changes; the whole world of Paris passes before one. Yet the book, to my thinking, is far less descriptive than analytical. The souls of the principal characters are probed to their lowest depths. Many of the scenes, too, are intensely dramatic, admirably adapted for the stage; as, for instance, Baroness Duvillard's interview with her daughter in the chapter which I have called "The Rivals." And side by side with baseness there is heroism, while beauty of the flesh finds its counterpart in beauty of the mind. M. Zola has often been reproached for showing us the vileness of human nature; and no doubt such vileness may be found in "Paris," but there are contrasting pictures. If some of M. Zola's characters horrify the reader, there are others that the latter can but admire. Life is compounded of good and evil, and unfortunately it is usually the evil that makes the most noise and attracts the most attention. Moreover, in M. Zola's case, it has always been his purpose to expose the evils from which society suffers in the hope of directing attention to them and thereby hastening a remedy, and thus, in the course of his works, he could not do otherwise than drag the whole frightful mass of human villany and degradation into the full light of day. But if there are, again, black pages in "Paris," others, bright and comforting, will be found near them. And the book ends in no pessimist strain. Whatever may be thought of the writer's views on religion, most readers will, I imagine, agree with his opinion that, despite much social injustice, much crime, vice, cupidity and baseness, we are ever marching on to better things.
In the making of the coming, though still far-away, era of truth and justice, Paris, he thinks, will play the leading part, for whatever the stains upon her, they are but surface-deep; her heart remains good and sound; she has genius and courage and energy and wit and fancy. She can be generous, too, when she chooses, and more than once her ideas have irradiated the world. Thus M. Zola hopes much from her, and who will gainsay him? Not I, who can apply to her the words which Byron addressed to the home of my own and M. Zola's forefathers:—
"I loved her from my boyhood; she to me
Was as a fairy city of the heart."
Thus I can but hope that Paris, where I learnt the little I know, where I struggled and found love and happiness, whose every woe and disaster and triumph I have shared for over thirty years, may, however dark the clouds that still pass over her, some day fully justify M. Zola's confidence, and bring to pass his splendid dream of perfect truth and perfect justice.
E. A. V.
MERTON, SURREY, ENGLAND,
Feb. 5, 1898.