M. Zola wrote ‘La Faute de l’Abbé Mouret’ one summer under the trees of his garden, mindful the while of gardens that he had known in childhood: the flowery expanse which had stretched before his grandmother’s home at Pont-au-Beraud and the wild estate of Galice, between Roquefavour and Aix-en-Provence, through which he had roamed as a lad with friends then boys like himself: Professor Baille and Cezanne, the painter. And into his description of the wondrous Paradou he has put all his remembrance of the gardens and woods of Provence, where many a plant and flower thrive with a luxuriance unknown to England. True, in order to refresh his memory and avoid mistakes, he consulted various horticultural manuals whilst he was writing; of which circumstance captious critics have readily laid hold, to proclaim that the description of the Paradou is a mere florist’s catalogue. But it is nothing of the kind. The florist who might dare to offer such a catalogue to the public would be speedily assailed by all the horticultural journalists of England and all the customers of villadom. For M. Zola avails himself of a poet’s license to crowd marvel upon marvel, to exaggerate nature’s forces, to transform the tiniest blooms into giant examples of efflorescence, and to mingle even the seasons one with the other. But all this was premeditated; there was a picture before his mind’s eye, and that picture he sought to trace with his pen, regardless of all possible objections. It is the poet’s privilege to do this and even to be admired for it. It would be easy for some learned botanist, some expert zoologist, to demolish Milton from the standpoint of their respective sciences, but it would be absurd to do so. We ask of the poet the flowers of his imagination, and the further he carries us from the sordid realities, the limited possibilities of life, the more are we grateful to him. And M. Zola’s Paradou is a flight of fancy, even as its mistress, the fair, loving, guileless Albine, whose smiles and whose tears alike go to our hearts, is the daughter of imagination. She is a flower--the very flower of life’s youth--in the midst of all the blossoms of her garden. She unfolds to life and to love even as they unfold; she loves rapturously even as they do under the sun and the azure; and she dies with them when the sun’s caress is gone and the chill of winter has fallen. At the thought of her, one instinctively remembers Malherbe’s ‘Ode A Du Perrier:’ She to this earth belonged, where beauty fast To direst fate is borne: A rose, she lasted, as the roses last, Only for one brief morn. French painters have made subjects of many episodes in M. Zola’s works, but none has been more popular with them than Albine’s pathetic, perfumed death amidst the flowers. I know several paintings of great merit which that touching incident has inspired.