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
"As for me I nearly burst out," said the marchioness, "when I saw
Monsieur Toutin-Laroche's big nose looking at me in the distance!"
"I think that I have a stiff neck," languidly remarked the fair-haired
Suzanne. "No, really, if it had lasted a minute longer I should have
replaced my head in a natural position, my neck hurt me so much."
From the embrasure into which Monsieur Hupel de la Noue had pushed
Mignon and Charrier, he cast nervous glances at the group formed around
the two young women; he was afraid that people were poking fun at him.
The other nymphs arrived one after the other; they had all resumed
their costumes as precious stones; the Countess Vanska, as coral,
met with prodigious success when one was able to closely examine the
ingenious details of her dress. Then Maxime entered, correct in his
dress coat and with a smiling air; and a flow of women enveloped him,
he was placed in the centre of the circle, he was joked about his
part as a flower, and his passion for looking-glasses. Without any
embarrassment, as if delighted with his part, he continued smiling,
answered the jokes, confessed that he adored himself, and that he was
sufficiently cured of women to prefer himself to them. People laughed
the louder at this, the group grew larger, and took possession of the
whole centre of the drawing-room, while the young man, drowned amid
this people of shoulders, this medley of bright costumes, retained his
perfume of monstrous love, his vicious fair flower's gentleness.
When Renée, however, at last came down, there was semi-silence. She
had attired herself in a new costume of such original grace and such
audacity that the gentlemen and the ladies, although accustomed to the
young woman's eccentricities, at first gave a movement of surprise.
She was dressed as an Otaheitian. This costume, it appears, is most
primitive: as she wore it, it comprised soft tinted tights which rose
from her feet to her bosom, leaving her shoulders and arms bare; and
over these tights a simple muslin blouse, short and trimmed with two
flounces so as to slightly hide the hips. In her hair a wreath of
wild flowers; and gold rings round her ankles and her wrists. Nothing
more. She was naked. The tights had the suppleness of flesh under the
paleness of the blouse; the pure line of her nudity could be detected
from her knees to her arm-pits, vaguely bedimmed by the flounces, but
reappearing at the slightest movement, and becoming more distinct
between the threads of the lace. She was an adorable savage, a
barbarous, voluptuous girl scarcely hidden by a white vapour, a patch
of sea fog, amid which her whole body could be divined.
Public-domain text, read in full here on John Shaqi.
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