With Zola, the nostalgia of the far-away was different. In him was no longing for vanished ages, no aspiring toward worlds lost in the night of time. His strong and solid temperament, dazzled with the luxuriance of life, its sanguine forces and moral health, diverted him from the artificial graces and painted chloroses of the past century, as well as from the hierarchic solemnity, the brutal ferocity and misty, effeminate dreams of the old orient. When he, too, had become obsessed by this nostalgia, by this need, which is nothing less than poetry itself, of shunning the contemporary world he was studying, he had rushed into an ideal and fruitful country, had dreamed of fantastic passions of skies, of long raptures of earth, and of fecund rains of pollen falling into panting organs of flowers. He had ended in a gigantic pantheism, had created, unwittingly perhaps, with this Edenesque environment in which he placed his Adam and Eve, a marvelous Hindoo poem, singing, in a style whose broad, crude strokes had something of the bizarre brilliance of an Indian painting, the song of the flesh, of animated living matter revealing, to the human creature, by its passion for reproduction the forbidden fruits of love, its suffocations, its instinctive caresses and natural attitudes. With Baudelaire, these three masters had most affected Des Esseintes in modern, French, secular literature. But he had read them so often, had saturated himself in them so completely, that in order to absorb them he had been compelled to lay them aside and let them remain unread on his shelves. Even now when the servant was arranging them for him, he did not care to open them, and contented himself merely with indicating the place they were to occupy and seeing that they were properly classified and put away. The servant brought him a new series of books. These oppressed him more. They were books toward which his taste had gradually veered, books which diverted him by their very faults from the perfection of more vigorous writers. Here, too, Des Esseintes had reached the point where he sought, among these troubled pages, only phrases which discharged a sort of electricity that made him tremble; they transmitted their fluid through a medium which at first sight seemed refractory. Their imperfections pleased him, provided they were neither parasitic nor servile, and perhaps there was a grain of truth in his theory that the inferior and decadent writer, who is more subjective, though unfinished, distills a more irritating aperient and acid balm than the artist of the same period who is truly great. In his opinion, it was in their turbulent sketches that one perceived the exaltations of the most excitable sensibilities, the caprices of the most morbid psychological states, the most extravagant depravities of language charged, in spite of its rebelliousness, with the difficult task of containing the effervescent salts of sensations and ideas.