NANA. See Anna Coupeau.
NANA, name of a filly in the racing stable of Vandeuvres. She had been beaten in several races, and when run for the Grand Prix de Paris was looked on as an outsider. The success of the filly by fraudulent means led to the disqualification of the owner. Nana.
NAPOLEON III, Emperor of the French. Referred to in Son Excellence Eugene Rougon and in La Debacle.
NATHANSOHN, a stockbroker. He came from Besancon, where his father was a watchmaker. He was very fortunate in his speculations, and soon became a man of consequence. His Jewish caution prevented him from becoming involved with Saccard in the affairs of the Universal Bank, and when that institution collapsed he was in a position to snatch a fortune from its ruin. L’Argent.
NAUD, a shoemaker in Rue d’Antin who felt severely the competition of Octave Mouret’s great shop. Au Bonheur des Dames.
NAUDET, a cousin of the Quenus. He was a member of Pauline’s family council, and consented to her emancipation. La Joie de Vivre.
NAUDET, a picture-dealer who for some years had been revolutionizing the trade. He put aside the old cautious methods, the watching for pictures by beginners, bought for ten francs and sold for fifteen. To judge by his appearance he might have been a nobleman, and his habits were in keeping; he was, in fact, a pure speculator in pictures, caring nothing for art. But he unfailingly scented success; he guessed what artists ought to be taken up, not the ones likely to develop the genius of a great painter, but the one whose deceptive talent, set off by a pretended display of audacity, would command a premium in the market. He speculated, in fact, on the ignorance and vanity of amateurs. It was he who invented Fagerolles as a fashion, and made large sums out of his works. His success in forcing up the prices of pictures turned his head to some extent, and he even talked of crushing out all the other dealers. The exaggerated rise in the price of pictures came, as was inevitable, to an end, and in the fall which followed Naudet was practically ruined. L’Oeuvre.
NEGREL (MADAME), sister of M. Hennebeau, the manager of the Montsou mines. She was married to a captain, and after she became a widow lived at Avignon on a small income, contenting herself with little in order that she might properly educate her son Paul. Germinal.
NEGREL (PAUL), son of the preceding. He was an engineer at the Voreux pit, an appointment which he received from his uncle, M. Hennebeau, with whom he lived, being treated as one of the family. Madame Hennebeau, notwithstanding a liaison which subsisted between her and Negrel, planned for him a marriage with Cecile Gregoire, an arrangement which was only prevented by the murder of the girl by old Bonnemort. Negrel posed as taking no interest in the affairs of practical life, but in the terrible disaster at the Voreux pit he threw himself into the work of rescue with an ardour beyond praise. Germinal.
NOEMI, an actress at the Vaudeville. Madame Deberle admired the realistic manner in which she died in a piece she played. Une Page d’Amour.