A few weeks later, that is on February 15, "Nana" appeared in book form, the passages omitted from "Le Voltaire" being reinstated in the text. Large orders having been received from various parts of the world, M. Charpentier had ordered fifty-five thousand copies to be printed, but on the very day of publication he found it necessary to order ten thousand more.[22] In the case of "Nana," as in that of "L'Assommoir," the public gave no heed to the critics, who, of course, raised their customary protests. In certain matters of detail their objections were well founded. Zola had made a few mistakes in dealing with some of the _minutiæœ_ of theatrical and turf life, and, as Madame Edmond Adam remarked in the "Nouvelle Revue"--and as the author himself subsequently admitted--Nana was shown accomplishing in few years what, in actual life, would have taken a woman much longer to accomplish. That, however, was forced upon Zola by the scheme of his series, the incidents recorded in which had to occur between the years 1852 and 1870.[23] When all is said, taking "Nana" in its _ensemble_, it was certainly the most truthful picture ever traced of the so-called Parisian world of pleasure in Imperial times. Of course the book was denounced as immoral. The Parisian smart set shrieked loudly, many a Boulevardian journalist, whose looseness of life was notorious, perorated in club and café respecting the amazing depravity of that man Zola, and in addition to abusive newspaper articles, there again came scurrilous pamphlets and parodies after the fashion of those which had followed "L'Assommoir." Zola did not reply immediately; but in 1881, when "Nana" had been dramatised, he contributed a few articles to "Le Figaro" on the subject, besides penning a longer paper on "Immorality in Literature," in which he contended that writers of the Idealist school made vice all roses and rapture, whereas the Naturalists made it repulsive. And he was absolutely convinced, he said, that far more heads had been turned, more young men and girls and women led into dangerous courses, by the works of George Sand, Octave Feuillet, Barbey d'Aurévilly, and even Sir Walter Scott, than by the writings of Flaubert, Balzac, Goncourt, and their followers. As for "Nana," said he, it had given offence because it was a true picture, and therefore spoilt the pleasure of the _viveurs_ of Paris, who wished to see everything _couleur de rose_ beneath a cloud of _poudre-de-riz_.[24]