Émile Zola, Novelist and Reformer: An Account of His Life & WorkVizetelly, Ernest Alfred
General
Émile Zola, Novelist and Reformer: An Account of His Life & Work
Vizetelly, Ernest Alfred
Zola, Émile, 1840-1902
At that date Zola was planning a novel on the Paris markets--"Le Ventre
de Paris"--and dramatising his earlier book, "Thérèse Raquin," working,
so he told Goncourt, some nine hours and a half every day. When his
play was finished he offered it to M. Hostein, the director of a new
Parisian theatre, La Renaissance, and after numerous alterations had
been effected, its five acts being reduced to four, it was staged
and produced on July 11, 1873, when it met with a curious reception.
The more frivolous, the "society" section of the audience, could not
endure such tragic sombreness, and Francisque Sarcey, who held that
the stage only existed for the amusement of the public, declared that
"this man Zola" made him feel "quite ill." If, however, there was some
hissing at the first performance of "Thérèse Raquin," there was also
some applause, and when the curtain fell the question of success or
failure seemed still to be hanging in the balance. But the professional
critics agreed to slate the play, and moreover the "dog-days" were just
beginning, the heat emptying even those theatres which had hitherto
drawn large audiences, in such wise that after nine performances La
Renaissance closed its doors for the summer vacation, and "Thérèse
Raquin," as a play, was heard of no more.
Zola consoled himself with the comparative success of his novel, "Le
Ventre de Paris,"[3] which reached a second edition deservedly, for its
kaleidoscopic pictures of the Paris markets were the best descriptive
work that the author had as yet penned. Nevertheless, the book
encountered some severe criticism at the hands of the few reviewers
who condescended to notice it. Writers devoid of any Rabelaisian sense
denounced it as the apotheosis of gluttony; the transference of a
pork-butcher's shop to literature was regarded as outrageous; and a
certain "symphony of cheeses" gave one critic such a fit of nausea,
that an unsuspecting foreigner reading his remarks might have imagined
cheese to be an abomination to the delicately constituted Parisians,
whereas, in fact, they then consumed--and still consume to-day--a
greater amount and a greater variety of cheese, often with the
strangest flavours and odours, than any other community in the world.
Public-domain text, read in full here on John Shaqi.
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