The Readers Review: Literature from 1714 to 1910 discussion

This is the final thread to discuss the last chapter of the novel. This chapter concludes the novel and combines drama, existential motifs, and philosophical observations about the human nature. The serenity and clarity of Silvere' thoughts are interspersed with very basic human drives, like greed and desire to succeed and to revenge. I hope to post more later today when I am not commuting :-) Right now, I want to say that the ending definitely shows what a powerhouse of narration Zola was.

This ending takes us back to the innocence of the first scenes. Maybe Zola is showing us that innocence is dead in the new world, where greed, deception and selfishness rule. One of the characters (Pascal?) has a vision of a future line of Rougons continuing to ravish the country.

We are back in the realm of the Romantic with a capital R. I was actually surprised about Silvere's fate, I thought he would continue to be one line of the family. But when the end comes it is exactly on the spot where he and Miette had stood many times (even the tomb she had lain on, prophetically). This whole passage where Silvere reviews his life with Miette and awaits his fate is highly romanticized. The weather even matches the mood. And he sees Tante Dide passing by. (I'm not clear on the timeline, if that is what she saw that puts her into a fit, or if she saw the premonition and he just saw an image of her, maybe someone can clarify that.)

Another element I would say is Romantic is the sense of several characters of being haunted by the people they had killed or caused to be killed. I think those who are so driven would not waste any anxiety on the losers of the event, and would have no conscience. Well, maybe Pierre who didn't have that much backbone would have some remorse, but more about how it was done than in concern for others. And the vision of Tante Dide is a Romantic supernatural type element. Only in fiction do characters so dramatically and clearly express their hallucinations. It's a useful trope, like sleepwalking or women miscarrying after a fall, that is much more common in fiction than in real life.

I'm trying to figure out why these bothered me. Dickens has many items that are "unrealistic", coincidences, etc. and I never object to them. I think it's jarring that Zola claims to be showing us the modern everyday world and then reverts to the pastoral daydream world. I'd like to know what others think about this. If this were the only Zola I had ever read, I don't think I would feel the urge to read more.

I was also surprised that Silvere did not survive the novel and did not become one of the founders of the Macquart line, particularly as Zola had written so vividly of his plans for the future as a carriage-maker-that seemed as if it would be somehow symbolic of his role in the dynasty.

I agree, Robin, that I find the almost caricaturish characters a bit of a strain. Perhaps they are more palatable in Dickens as, even in his more tragic novels, there is a comedic element to many of them which is lacking in Zola.

I would like to share some thoughts about La Fortune des Rougon.
Having read the whole series of Les Rougon-Macquart and looking back to its first novel about 2 years after reading it, I would say it is the least representative of the cycle. In his correspondence, Zola defined it as une étude d’histoire et une oeuvre littéraire. It introduces the historical context and the rise to power of Louis Bonaparte, seen from outside of Paris, in Aix-en-Provence, the bonapartist party, the orléaniste party, the légitimiste party and the republican party, and presents the family and its three branches. The plot structure is episodic. In those ways, I think this novel does not mark the paradigm, or the model, for the subsequent novels to follow.

The naturalistic method is not fully employed in the structure of the narrative and in its thematics. However, subsequent novels are much more specific studies on precise human behaviour dimensions, due to heredity and social context. The actual Histoire naturelle et sociale d’une famille sous le second Empire only starts after this novel.
I agree with those how recognise in the Silvère et Miette’s episode a romantic reminiscence. In certain aspects, It made me remember the ideal of Liebestod of the Tristan and Isolde myth, one of the founding myths of the Western love ideal. As in the myth, the consummation (I don’t know if that is the correct word for it) of love can not take place in life. But it is also possible to establish some links to the Daphnis and Chloé myth.
However a romantic episode, it was based on a true story told to Zola. According to Zola’s notes to the novel, Silvère and Miette were inspired in Philipe and Louise Solari.
One of the main questions rised by this episode is, in my opinion, why Zola “kills” Miette before their love is consummated.
Zola “announced” it when he placed their first meeting in person on the Assumption day. As we know, Assumption day is the day when Virgin Mary quits the earth, after dying virgin. That means, I think, that Silvère and Miette join together without knowing they will not unite in love, that their death is near and Miette will dye virgin. Is Zola pretending to make her a martyr of the republicans? If so, why link that to the virginity, in its religious symbolism? I have no clear answer. Maybe it represents the death of the Republic at the hands of the Empire, before solid establishment.
Of course the door, the porte maudite, in chapter V, is in some way symbolic, it is an interdict. After being opened, it replicates the doomed love of Adelaïde Fouque with the smuggler Macquart. But, also here, I have no clear ideas.

One of the most important ideas on the novel is, I think, the embodiment of the rise of one social class and its prise du pouvoir in detriment of another, by Pierre Rougon. He takes possession of his mother’s estate and plunders his half-brother Antoine. That seems the complete reversal of the 1789 revolution ideals.
Zola denounces the slaughter present in the foundation of the Second Empire.
1789 that is, quite symptomatically, the date of the beginning the relationship of Adelaïde Fouque with the smuggler Macquart.
But not only the usurpateurs are exposed. Also the republicans, in the persons of its leaders. Zola takes clear sympathy for the republicans, but criticises their leaders, which are presented as incompetents and greedy.

I am sorry for the bad english (not my native idiom) and hope the ideas are understandable.

Joao wrote: "I would like to share some thoughts about La Fortune des Rougon.
Having read the whole series of Les Rougon-Macquart and looking back to its first novel about 2 years after reading it, I would say ..."

Thank you, Joao, for a wonderful post. You gave an excellent perspective of the novel per se and of the novel as a part of the cycle. I also agree with you that despite the alleged approach of being neutral and naturalistic, Zola eventually expresses his attitudes and emotions. It is obvious that Zola's sympathies are with Silvere.The final part of the last chapter is quite memorable, not only because he is trying to give the insight into the biggest mysteries of our life, death, but also because it contrasts so bluntly with the behavior of Pierre Rougon. Rougon's motives are all mundane, and he is driven by greed while Silvere's motives are sincere and idealistic. Unfortunately the outlook is a sad one - pure and good ideas will never triumph in life, and it is the law of evolution. Social Darwinism is the worst representation of our animalistic background.

Your post really enhanced my reading experience; I am especially grateful for the tidbits about the real love story of a real couple, and the fact that they inspired Zola to write this novel. Due to Zola, and partly to you, these people will get a new lease of life in my eyes, even as characters in this novel.

One can only agree with Joao's excellent post, so my final notes are, I guess, in the same spirit.

The first book of our series suffers from a lack of unity, being at the same time the romance of Miette and Silvère and a satire on the political life of Plassans. However Zola more or less manages to save his work in the final chapter with the casual killing of Silvère by the one-eyed policeman. Observed by an amused boy on the wall, while Silvère's tea-partying family almost succeeds in not knowing anything about it. This must be what Zola's naturalism is about.

In this last chapter the two threads finally come together and we are able to see the underlying unity. The demise of our two romantic heroes represents the destruction of all that was good and promising in France. Their death is necessary to set the stage for what will follow. But it is also an indication of Zola's emotional partisanship - his naturalism should never be taken for an objective depiction of France during the Second Empire (especially if one tends, like me, to sympathize with his political views).

Still it is probably (emotionally) true that ideals are just a dream. Most of the time at least.

I was wondering when we will start the next book, which is La Curee. It is translated as the kill, and the term specifically refers to the end of a hunt, when the dogs (and maybe humans) rush in to attack and finish off the prey.

Not to overlap with several reads in November, I plan to start in December. November is packed with three reads: two sci-fi novels by Wells and DC by Dickens, so I think it is wise to start in December

Robin wrote: "I was wondering when we will start the next book, which is La Curee. (...)"

I thought you would follow with Son Excellence Eugène Rougon, according to the recommended reading order of Zola.

Having read both this one and La Curée, I think it would be better to start with Son Excellence, because there are some background facts about Aristide Rougon (which is the principal character in La Curée, becoming known as “Saccard”) the that are narrated in this novel and are important to understand La Curée.

After La Curée, I think it is very important to read L’Argent, which tells the remainder of the history of Saccard.

I am fine with whatever order we choose and also starting in December is good. With Dickens, Gissing & Zola plus 2 other book clubs I am in, it was a bit challenging. I usually don't do the monthly reads for this club unless we are between Dickens books.

I am also inclined to proceed with the recommended order because it was recommended by Zola. I am working on a schedule and will posts as soon as I am done paging through the book and making my feeble brain work.