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Zola borrowed more, but mainly the unwholesome parts, truncating these further to suit his theory of the novel as a slice of life seen through a temperament, and travestying in the Rougon-Macquart scheme, with its burden of heredity and physiological blemish, Balzac's cumbrous and plausible doctrine of the Comedy. Both novelists made a mistake in arrogating to themselves the role of the savant.
It would have been better for him, for France, that he had not had it. And one wonders that he is not frightened, that when a fear seizes even those who did not lead to corruption, he alone with such a tranquillity finishes his Rougon-Macquart as if he had strengthened the capacity for life of the French people instead of having destroyed it.
Yet the publication of "Rome," was the signal for a general outcry on the part of English and American reviewers that Zolaism, as typified by the Rougon-Macquart series, was altogether a thing of the past. To my thinking this is a profound error. M. Zola has always remained faithful to himself.
And for a moment, as by the glow of a lightning flash, he thought he could espy the future of the Rougon-Macquart family, a pack of unbridled, insatiate appetites amidst a blaze of gold and blood. Aunt Dide, however, had ceased her wailing chant at the mention of Silvere's name. For a moment she listened anxiously. Then she broke out into terrible shrieks.
In that way the history of a series of his books called "Les Rougon-Macquart" becomes clear. Zola was determined to write the history of a certain family at the time of the Empire, on the ground of conditions produced by it, in consideration of the law of heredity.
But they cannot be excluded from a comprehensive view of it. The "Rougon-Macquart series" did not carry Zola into the Academy. But the reputation of Moliere has managed to survive a similar exclusion, and so will the fame of Zola, who will be bracketed with Balzac in future classifications of artistic excellence.
Zola believed in this view as a theory and his practice, not always consistent with it, was sufficiently so in the famous Rougon-Macquart series of novels begun the year of the Franco-Prussian war, to establish it as a method, and a school of fiction.
Of the Rougon-Macquart series 1,964,000 have been sold; other novels, 764,000; essays and various works bring the total to 2,750,000, approximately. In a word, a few years hence Zola will easily pass 3,000,000. Nana still holds its own as the leader of the list, 215,000; La Terre, 162,000; L'Assommoir, 162,000.
After crossing Poissy, they struck out on foot along the road to Medan. The road first followed the Seine, which is dotted with charming islands at this place. Then they went up a hill and crossed the pretty village of Villaines, went down a little; and finally reached the neighborhood inhabited by the author of the Rougon-Macquart series. A pretty old church with two towers appeared on the left.
Just pay them compliments, nothing but compliments, always compliments; in that way, if you say anything foolish it will be overlooked. Do you know Meissonier's paintings?" "I should say I do." "Have you read the Rougon-Macquart series?" "From first to last." "That's enough. Mention a painting from time to time, speak of a novel here and there and add: "'Superb! Extraordinary!
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