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
"It was I," he murmured, "who did right not to approach the sea at
Trouville."
Renée, lost in the depths of her painful dream, remained silent. It was
necessary for him to repeat his phrase.
"Why?" asked she, astonished and failing to understand.
"But the monster--"
And he gave vent to a little titter. This joke froze the young woman.
Everything was upset in her head. Ristori was no longer aught, but a
big puppet who tucked up her peplum and poked out her tongue to the
public like Blanche Müller in the third act of the _Belle Hélène_;
Theramene danced the cancan, and Hippolytos eat bread and jam while
stuffing his fingers into his nose.
When a more galling remorse made Renée shudder, she evinced superb
revolt. What was her crime after all, and why should she blush? Did she
not every day tread upon greater infamies? Did she not elbow at the
ministers', at the Tuileries, everywhere in fact, wretches like herself
who had millions on their flesh, and who were adored on both knees! And
she thought of the shameful friendship of Adeline d'Espanet and Suzanne
Haffner, at which one smiled, at times, at the Empress's Mondays.
And she recalled to herself the traffic of Madame de Lauwerens, whom
husbands celebrated for her good conduct, her order, and her exactitude
in settling her tradesmen's bills. She named Madame Daste, Madame
Teissière, the Baroness de Meinhold, those creatures whose luxury was
paid for by their lovers, and who were quoted in society like shares
are quoted upon change. Madame de Guende was so stupid and so well
formed, that she had three superior officers for her lovers at the same
time, and was unable to distinguish them from each other on account of
their uniforms. This made that demon of a Louise say that she first
of all made them strip to their shifts so as to know which of the
three she was talking to. As for the Countess Vanska, she remembered
the courtyards in which she had sung, the side-walks on which people
pretended they had again seen her, dressed in printed calico, and
prowling about like a she-wolf. Each of these women had her shame, her
triumphant, displayed sore. And, overtopping them all, the Duchess de
Sternich rose up, ugly, old, worn out, with the glory of having passed
a night in the Imperial bed; she typified official vice, from which she
derived the majesty of debauchery and a kind of sovereignty over this
band of illustrious hussies.
Public-domain text, read in full here on John Shaqi.
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