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She never uses high tints and strontian lights to astonish lookers-on. Such scenes as Flaubert and Zola describe would be reproduced in their essential characters, but not dressed up in picturesque phrases. That is the first stumbling-block in the way of the reader of such realistic stories as those to which I have referred.

Again, Zola, in L'Assommoir, has shown that a heavy-handed artist can slap words together hit-or-miss and give an effect of tremendous power. I do not really care how the naturalists maltreat language, but I do strenuously object to the earthiness of their ideas. They have made our literature the incarnation of materialism and they glorify the democracy of art!

Zola, in his novel "Fecundity," maintains that large sections of people have declared death to the child, have conspired against the birth of the child, a very horrible picture indeed, yet the conspiracy entered into by civilization against the growth and making of character seems to me far more terrible and disastrous, because of the slow and gradual destruction of its latent qualities and traits and the stupefying and crippling effect thereof upon its social well-being.

What's the use of spending thought and care on the manufacture of a jewelled diadem, and offering it to the people on a velvet cushion, when they prefer an olla-podrida of cast-off clothing, dried bones and candle-ends? In brief, what would it avail to write as grandly as Shakespeare or Scott, when society clamors for Zola and others of his school?"

Cézanne is the Christopher Columbus of a new continent of form. In 1839 he was born at Aix-en-Provence, and for forty years he painted patiently in the manner of his master Pissarro. To the eyes of the world he appeared, so far as he appeared at all, a respectable, minor Impressionist, an admirer of Manet, a friend, if not a protégé, of Zola, a loyal, negligible disciple.

His book 'The Naturalistic Novel' consists of a series of articles in which he studies Zola and his school, upholding the old doctrine that there are things in life which must be kept out of the domain of art and cannot be therein introduced without lowering the ideal of man.

And the Frenchmen, Renan, Zola, and the others who have followed, are equally deterministic, but viewing the human body as a highly organized machine with which we may amuse ourselves by registering its sensations. These literatures are true in so far as they reflect the characteristics of the nations from which they spring.

"I do not know," a Russian correspondent writes, "whether Zola in La Terre correctly describes the life of French villages. But the ways of a Russian village, where I passed part of my childhood, fairly resemble those described by Zola. In the life of the rural population into which I was plunged everything was impregnated with erotism. One was surrounded by animal lubricity in all its immodesty.

This comparison was once applied to herself by George Sand, Zola's only rival in the matter of quantity. But Madame Sand was an improviser; with notes she never bothered herself; in her letters to Flaubert she laughed over the human documents of Zola, the elaborate note taking of Daudet, for she was blessed with an excellent memory and a huge capacity for scribbling. Not so Zola.

Coming back to 'Fecondite, I should say that M. Zola wrote an average of three pages per day of that book during his exile in England. Work ceased at the luncheon hour, as I have said, and consequently he could dispose of his afternoons.