The Rush for the Spoil (La Curée): A Realistic NovelZola, Émile
General
The Rush for the Spoil (La Curée): A Realistic Novel
Zola, Émile
Paris (France) -- Social life and customs -- Fiction
Maxime returned every night. He came by way of the garden at about one
o'clock. Renée usually awaited him in the conservatory, which he had
to cross to reach the little drawing-room. They, moreover, displayed
perfect audacity, barely concealing themselves, and forgetting the most
classical precautions of adultery. It is true that this corner of the
house belonged to them. Baptiste, the husband's valet, alone had a
right to enter it; and Baptiste, like a serious man, took himself off
as soon as his duties were over. Maxime even pretended with a laugh
that he withdrew to go and write his memoirs. One night, however, when
the young fellow had just arrived, Renée shewed him Baptiste, who was
solemnly crossing the drawing-room with a candlestick in his hand. The
tall valet, with his minister-like figure, lighted by the yellow glow
of the wax, had a more dignified and severe physiognomy than usual.
As the lovers leaned forward, they saw him blow out his candle and go
towards the stables, where the horses and ostlers were asleep.
"He is going his round," said Maxime.
Renée remained quivering. Baptiste usually alarmed her. It often
happened to her to say that, with his coldness and his clear glances
which never fell upon women's shoulders, he was the only honest man in
the house.
They then evinced some prudence in seeing each other. They closed
the doors of the little drawing-room, and were able to dispose of
this room, with the conservatory and Renée's apartments, in all
tranquillity. It was a little world. And during the earlier months they
there tasted the most refined, the most delicately sought-for delights.
They promenaded their amours from the large grey and pink bed of the
sleeping-room, to the white and rosy nudity of the dressing-room, and
to the pale yellow symphony of the little drawing-room. Each chamber,
with its particular scent, its hangings, its special life, lent them
a different form of tenderness, and made Renée a different lover. She
was delicate and pretty on her padded great lady's couch, in the warm
aristocratic bedroom where love underwent a tasteful attenuation; she
showed herself a capricious, carnal female under the flesh-coloured
tent, amid the perfume and damp languor of the bath, on leaving which
she surrendered herself to Maxime, who preferred her thus; then
downstairs, in the bright sunrise of the little drawing-room, amid the
yellow aurora which gilded her hair, she became a goddess with her
fair Diana-like head, her bare arms which assumed chaste postures, her
beauteous form which reclined on the couches in attitudes revealing
noble outlines of antique gracefulness. But there was a spot which
Maxime was almost frightened of, and where Renée only led him on evil
days, the days when she felt the need of more bitter intoxication.
Then they loved in the conservatory. It was there that they tasted
incest.
Public-domain text, read in full here on John Shaqi.
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