He embodies them all: he is the incarnation of that craving, that lust for power which impelled so many men of ability to throw all principle to the winds and become the instruments of an abominable system of government. And his transformation at the close of the story is in strict accordance with historical facts. He salutes the rise of the so-called 'Liberal' Empire in the very words of Billault--the most tyrannical of all the third Napoleon's 'band.' Rougon has a band of his own--they all had bands in those days, like the Emperor himself; and since that time we have in a similar way seen Gambetta and his _queue_ and Boulanger and his _clique_. And, curiously enough, as in Rougon's case, those historic coteries were in each instance the prime factors in their leader's overthrow. Thus we have only to turn to the recorded incidents of history to realise the full truth of M. Zola's account of the Rougon gang. It is a masterly account, instinct with accuracy, as real as life itself. And Rougon, on whatever patchwork basis he may have been built, is a living figure, one of a nature so direct, so free from intricacy, that few ignorant of the truth would imagine him to be a patchwork creation at all. Surely, to have so fully assimilated in one personage the characteristics of half-a-dozen known men in such wise that, without any clashing of individual proclivities, the whole six are truthfully embodied in one, is a signal proof of that form of genius which lies in the infinite capacity for taking pains. If we pass from Rougon to Marsy we find another embodiment of that principle of authority which both help to represent. Rougon, as M. Zola says, is the shaggy fist which deals the knock-down blow, while Marsy is the gloved hand which stabs or throttles. Years ago, when I was unacquainted with this comparison, and was contrasting the rising genius of Emile Zola with that of his great and splendid rival, Alphonse Daudet, I likened M. Zola to the fist and M. Daudet to the rapier. A French critic had previously called the former a cactus and the latter an Arab steed. The cactus comparison, as applied to M. Zola, was a very happy one; for I defy anybody, even the smuggest of hypocrites, to read M. Zola's works without some prickings of conscience. And verily I believe that most of the opposition to the author of the Rougon-Macquart series arises from that very cause.