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
attics, the roof came to an end, and the gutter alone continued
on its way to discharge the rain water into the pipes placed for
the purpose. And what tended to increase still further the austere
bareness of the frontage was the total absence of any blind or shutter,
for at no season of the year did the sun ever shine on these pale
and melancholy stones. This frontage, with its venerable air, its
middle-class severity, slumbered solemnly amid the peacefulness of
the neighbourhood, the silence of the street, seldom disturbed by the
passage of vehicles.
In the interior of the mansion was a square courtyard surrounded by
arcades, a kind of Place Royale on a reduced scale, paved with enormous
flags, which finished giving to this lifeless abode the appearance
of a cloister. Facing the porch a fountain, a lion's head half worn
away, the gaping jaws of which were alone distinguishable, discharged
from an iron tube a thick and monotonous water into a trough all green
with moss, its edges polished by wear. This water was icy cold. Tufts
of grass sprouted up between the flagstones. In summer-time a narrow
ray of sunshine entered the courtyard, and this occasional visit had
whitened a corner of the frontage on the south side, whilst the three
other walls, morose and blackish, were streaked with mildew. There, in
the depths of this courtyard as chilly and silent as a well, lighted
with the white glimmer of a wintry day, one could have thought oneself
a thousand leagues away from that new Paris wherein was flaring
every passionate enjoyment, amidst the hubbub of the millions. The
apartments of the mansion possessed the sad calm, the cold solemnity
of the courtyard. Reached by a broad staircase with an iron handrail,
where the footsteps and the coughing of visitors resounded as in the
aisle of a church, they extended in long suites of vast and lofty
rooms, in which the ancient furniture of dark woodwork and squat
design seemed lost; and the pale light was only peopled by the figures
on the tapestries, whose great colourless bodies were just vaguely
distinguishable. All the luxury pertaining to the old Parisian middle
classes was there, a stiff and wear-resisting luxury, chairs the oak
seats of which are scarcely covered with a handful of tow, beds of
inflexible material, linen chests in which the roughness of the boards
would peculiarly compromise the slender existence of modern dresses.
Monsieur Béraud Du Châtel had selected his apartments in the darkest
portion of the mansion, on the first floor, between the street and the
courtyard. He was there in a marvellous surrounding of peacefulness,
silence and shade. When he pushed open the doors, traversing the
solemnity of the rooms with his slow and serious step, one could
have fancied him one of those members of the old parliaments, whose
portraits adorned the walls, returning home wrapt in reverie after
discussing and refusing to sign an edict of the king's.
Public-domain text, read in full here on John Shaqi.
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