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Updated: May 18, 2025
"The Fortune of the Rougons," and two or three subsequent volumes of his series, attracted but a moderate degree of attention, and it was only on the morrow of the publication of "L'Assommoir" that he awoke, like Byron, to find himself famous. As previously mentioned, the Rougon-Macquart series forms twenty volumes. The last of these, "Dr. Pascal," appeared in 1893.
The sense of that interminable hot day, a day of hanging about and waiting and shuffling in dust, in crowds, in fatigue, amid booths and pedlars and performers and false alarms and expectations and renewed reactions and rushes, all transfigured at the last, withal, by the biggest and brightest illumination up to that time offered even the Parisians, the blinding glare of the new Empire effectually symbolised the vision of the whole, I say, comes back to me quite in the form of a chapter from the Rougon-Macquart, with its effect of something long and dense and heavy, without shades or undertones, but immensely kept-up and done.
I consider Zola's talent as a national misfortune, and I am glad that his times are passing away, that even the most zealous pupils abandon the master who stands alone more and more. Will humanity remember him in literature? Will his fame pass? We cannot affirm, but we can doubt! In the cycle of Rougon-Macquart there are powerful volumes, as "Germinal" or "La Débâcle."
In the quietness the doctor's low voice is heard: "I did not wish to show you that, but it cannot last any longer the time has come. Give me the genealogical tree of Rougon-Macquart." Yes! The genealogical tree of Rougon-Macquart! The reading of it begins: There was one Adelaïde Fouqué, who married Rougon-Macquart's friend.
The largest of these schemes does not extend beyond the periphery described by the centrifugal whirl of its central motive, and the least of the Rougon-Macquart series is of the same epicality as the grandest. Each is bound to a thesis, but reality is bound to no thesis.
Probably no other author has succeeded better than Emile Zola in combining the epic and the novelistic moods of fiction; and the novels in the Rougon-Macquart series are at once communal and personal in their significance.
Consequently in this volume Zola speaks more about doctrine than in any other previous volume; as the doctrine is bad, wicked, and false, therefore "Docteur Pascal" is the worst and most tedious book of all the cycle of Rougon-Macquart. It is a series of empty leaves on which tediousness is hand in hand with lack of moral sense, it is a pale picture full of falsehood such is "Le Docteur Pascal."
From that point begins, according to my opinion, the bad influence of the writer, because he not only decides difficult questions to be decided once and forever, but he popularizes them and facilitates the corruption of society. No matter if every thief or every murderer can appeal to a grandmother with nervousness. Courts, notwithstanding the cycle of Rougon-Macquart, will place them behind bars.
Zola wishes to have him an honest man. He is the outcast of the family Rougon-Macquart. In heredity there happens such lucky degenerations; the doctor knows about it, he considers himself as a happy exception, and it is for him a source of continuous inward pleasure. In the mean while, he loves people, serves them and sells them his medicine, which cures all possible disease.
I venture to asset that, although it is possible to read individual volumes of the Rougon-Macquart series while neglecting others, nobody can really understand any one of these books unless he makes himself acquainted with the alpha and the omega of the edifice, that is, "The Fortune of the Rougons" and "Dr. Pascal."
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