Fruitfulness

  Fruitfulness

  Эмиль Золя

  Emile Zola. Fruitfulness

  Produced by Dagny, dagnypg@yahoo.com and David Widger, widger@cecomet.net

  FRUITFULNESS

  (FECONDITE)

  BY

  EMILE ZOLA

  Translated and edited by

  Ernest Alfred Vizetelly

  TRANSLATOR'S PREFACE

  "FRUITFULNESS" is the first of a series of four works in which M. Zola proposes to embody what he considers to be the four cardinal principles of human life. These works spring from the previous series of The Three Cities: "Lourdes," "Rome," and "Paris," which dealt with the principles of Faith, Hope, and Charity. The last scene in "Paris," when Marie, Pierre Froment's wife, takes her boy in her arms and consecrates him, so to say, to the city of labor and thought, furnishes the necessary transition from one series to the other. "Fruitfulness," says M. Zola, "creates the home. Thence springs the city. From the idea of citizenship comes that of the fatherland; and love of country, in minds fed by science, leads to the conception of a wider and vaster fatherland, comprising all the peoples of the earth. Of these three stages in the progress of mankind, the fourth still remains to be attained. I have thought then of writing, as it were, a poem in four volumes, in four chants, in which I shall endeavor to sum up the philosophy of all my work. The first of these volumes is 'Fruitfulness'; the second will be called 'Work'; the third, 'Truth'; the last, 'Justice.' In 'Fruitfulness' the hero's name is Matthew. In the next work it will be Luke; in 'Truth,' Mark; and in 'justice,' John. The children of my brain will, like the four Evangelists preaching the gospel, diffuse the religion of future society, which will be founded on Fruitfulness, Work, Truth, and Justice."

  This, then, is M. Zola's reply to the cry repeatedly raised by his hero, Abbe Pierre Froment, in the pages of "Lourdes," "Paris," and "Rome": "A new religion, a new religion!" Critics of those works were careful to point out that no real answer was ever returned to the Abbe's despairing call; and it must be confessed that one must yet wait for the greater part of that answer, since "Fruitfulness," though complete as a narrative, forms but a portion of the whole. It is only after the publication of the succeeding volumes that one will be able to judge how far M. Zola's doctrines and theories in their ensemble may appeal to the requirements of the world.

  While "Fruitfulness," as I have said, constitutes a first instalment of M. Zola's conception of a social religion, it embodies a good deal else. The idea of writing some such work first occurred to him many years ago. In 1896 he contributed an article to the Paris Figaro, in which he said: "For some ten years now I have been haunted by the idea of a novel, of which I shall, doubtless, never write the first page. . . . That novel would have been called 'Wastage'. . . and I should have pleaded in it in favor of all the rights of life, with all the passion which I may have in my heart."* M. Zola's article then proceeds to discuss the various social problems, theories, and speculations which are set forth here and there in the present work. Briefly, the genesis of "Fruitfulness" lies in the article I have quoted.

  * See Nouvelle Campagne (1896), par Emile Zola.

  Paris, 1897, pp. 217-228.

  "Fruitfulness" is a book to be judged from several standpoints. It would be unjust and absurd to judge it from one alone, such, for instance, as that of the new social religion to which I have referred. It must be looked at notably as a tract for the times in relation to certain grievous evils from which France and other countries-though more particularly France-are undoubtedly suffering. And it may be said that some such denunciation of those evils was undoubtedly necessary, and that nobody was better placed to pen that denunciation than M. Zola, who, alone of all French writers nowadays, commands universal attention. Whatever opinion may be held of his writings, they have to be reckoned with. Thus, in preparing "Fruitfulness," he was before all else discharging a patriotic duty, and that duty he took in hand in an hour of cruel adversity, when to assist a great cause he withdrew from France and sought for a time a residence in England, where for eleven months I was privileged to help him in maintaining his incognito. "Fruitfulness" was entirely written in England, begun in a Surrey country house, and finished at the Queen's Hotel, Norwood.

  It would be superfluous for me to enter here into all the questions which M. Zola raises in his pages. The evils from which France suffers in relation to the stagnancy of its population, are well known, and that their continuance-if continuance there be-will mean the downfall of the country from its position as one of the world's great powers before the close of the twentieth century, is a mathematical certainty. That M. Zola, in order to combat those evils, and to do his duty as a good citizen anxious to prevent the decline of his country, should have dealt with his subject with the greatest frankness and outspokenness, was only natural. Moreover, absolute freedom of speech exists in France, which is not the case elsewhere. Thus, when I first perused the original proofs of M. Zola's work, I came to the conclusion that any version of it in the English language would be well-nigh impossible. For some time I remained of that opinion, and I made a statement to that effect in a leading literary journal. Subsequently, however, my views became modified. "The man who is ridiculous," wrote a French poet, Barthelemy, "is he whose opinions never change," and thus I at last reverted to a task from which I had turned aside almost in despair.

  Various considerations influenced me, and among them was the thought that if "Fruitfulness" were not presented to the public in an English dress, M. Zola's new series would remain incomplete, decapitated so far as British and American readers were concerned. After all, the criticisms dealing with the French original were solely directed against matters of form, the mould in which some part of the work was cast. Its high moral purpose was distinctly recognized by several even of its most bitter detractors. For me the problem was how to retain the whole ensemble of the narrative and the essence of the lessons which the work inculcates, while recasting some portion of it and sacrificing those matters of form to which exception was taken. It is not for me to say whether I have succeeded in the task; but I think that nothing in any degree offensive to delicate susceptibilities will be found in this present version of M. Zola's book.

  The English reviews of the French original showed that if certain portions of it were deemed indiscreet, it none the less teemed with admirable and even delightful pages. Among the English reviewers were two well-known lady writers, Madame Darmesteter (formerly Miss Mary Robinson), and Miss Hannah Lynch. And the former remarked in one part of her critique: "Even this short review reveals how honest, how moral, how human and comely is the fable of Fecondite,"* while the latter expressed the view that the work was "eminently, pugnaciously virtuous in M. Zola's strictly material conception of virtue." And again: "The pages that tell the story of Mathieu and Marianne, it must be admitted, are as charming as possible. They have a bloom, a beauty, a fragrance we never expected to find in M. Zola's work. The tale is a simple one: the cheerful conquest of fortune and the continual birth of offspring."**

  * Manchester Guardian, October 27, 1899.

  ** Fortnightly Review, January 1900.

  Of course, these lady critics did not favor certain features of the original, and one of them, indeed, referred to the evil denounced by M. Zola as a mere evil of the hour, whereas it has been growing and spreading for half a century, gradually sapping all the vitality of France. But beside that evil, beside the downfall of the families it attacks, M. Zola portrays the triumph of rectitude, the triumph which follows faith in the powers of life, and observance of the law of universal labor. "Fruitfulness" contains charming pictures of homely married life, delightful glimpses of childhood and youth: the first smile, the first step, the first word, followed by the playfulness and the flirtat
ions of boyhood, and the happiness which waits on the espousals of those who truly love. And the punishment of the guilty is awful, and the triumph of the righteous is the greatest that can be conceived. All those features have been retained, so far as my abilities have allowed, in the present version, which will at the same time, I think, give the reader unacquainted with the French language a general idea of M. Zola's views on one of the great questions of the age, as well as all the essential portions of a strongly conceived narrative.

  E. A. V.

  MERTON, SURREY, ENGLAND: April, 1900.

  FRUITFULNESS

  I

  THAT morning, in the little pavilion of Chantebled, on the verge of the woods, where they had now been installed for nearly a month, Mathieu was making all haste in order that he might catch the seven-o'clock train which every day conveyed him from Janville to Paris. It was already half-past six, and there were fully two thousand paces from the pavilion to Janville. Afterwards came a railway journey of three-quarters of an hour, and another journey of at least equal duration through Paris, from the Northern Railway terminus to the Boulevard de Grenelle. He seldom reached his office at the factory before half-past eight o'clock.

  He had just kissed the children. Fortunately they were asleep; otherwise they would have linked their arms about his neck, laughed and kissed him, being ever unwilling to let him go. And as he hastily returned to the principal bedroom, he found his wife, Marianne, in bed there, but awake and sitting up. She had risen a moment before in order to pull back a curtain, and all the glow of that radiant May morning swept in, throwing a flood of gay sunshine over the fresh and healthy beauty of her four-and-twenty years. He, who was three years the elder, positively adored her.

  "You know, my darling," said he, "I must make haste, for I fear I may miss the train-and so manage as well as you can. You still have thirty sous left, haven't you?"

  She began to laugh, looking charming with her bare arms and her loose-flowing dark hair. The ever-recurring pecuniary worries of the household left her brave and joyous. Yet she had been married at seventeen, her husband at twenty, and they already had to provide for four children.

  "Oh! we shall be all right," said she. "It's the end of the month to-day, and you'll receive your money to-night. I'll settle our little debts at Janville to-morrow. There are only the Lepailleurs, who worry me with their bill for milk and eggs, for they always look as if they fancied one meant to rob them. But with thirty sous, my dear! why, we shall have quite a high time of it!"

  She was still laughing as she held out her firm white arms for the customary morning good-by.

  "Run off, since you are in a hurry. I will go to meet you at the little bridge to-night."

  "No, no, I insist on your going to bed! You know very well that even if I catch the quarter-to-eleven-o'clock train, I cannot reach Janville before half-past eleven. Ah! what a day I have before me! I had to promise the Moranges that I would take dejeuner with them; and this evening Beauchene is entertaining a customer-a business dinner, which I'm obliged to attend. So go to bed, and have a good sleep while you are waiting for me."

  She gently nodded, but would give no positive promise. "Don't forget to call on the landlord," she added, "to tell him that the rain comes into the children's bedroom. It's not right that we should be soaked here as if we were on the high-way, even if those millionnaires, the Seguins du Hordel, do let us have this place for merely six hundred francs a year."

  "Ah, yes! I should have forgotten that. I will call on them, I promise you."

  Then Mathieu took her in his arms, and there was no ending to their leave-taking. He still lingered. She had begun to laugh again, while giving him many a kiss in return for his own. There was all the love of bounding health between them, the joy that springs from the most perfect union, as when man and wife are but one both in flesh and in soul.

  "Run off, run off, darling! Remember to tell Constance that, before she goes into the country, she ought to run down here some Sunday with Maurice."

  "Yes, yes, I will tell her-till to-night, darling."

  But he came back once more, caught her in a tight embrace, and pressed to her lips a long, loving kiss, which she returned with her whole heart. And then he hurried away.

  He usually took an omnibus on his arrival at the Northern Railway terminus. But on the days when only thirty sous remained at home he bravely went through Paris on foot. It was, too, a very fine walk by way of the Rue la Fayette, the Opera-house, the Boulevards, the Rue Royale, and then, after the Place de la Concorde, the Cours la Reine, the Alma bridge, and the Quai d'Orsay.

  Beauchene's works were at the very end of the Quai d'Orsay, between the Rue de la Federation and the Boulevard de Grenelle. There was hereabouts a large square plot, at one end of which, facing the quay, stood a handsome private house of brickwork with white stone dressings, that had been erected by Leon Beauchene, father of Alexandre, the present master of the works. From the balconies one could perceive the houses which were perched aloft in the midst of greenery on the height of Passy, beyond the Seine; whilst on the right arose the campanile of the Trocadero palace. On one side, skirting the Rue de la Federation, one could still see a garden and a little house, which had been the modest dwelling of Leon Beauchene in the heroic days of desperate toil when he had laid the foundations of his fortune. Then the factory buildings and sheds, quite a mass of grayish structures, overtopped by two huge chimneys, occupied both the back part of the ground and that which fringed the Boulevard de Grenelle, the latter being shut off by long windowless walls. This important and well-known establishment manufactured chiefly agricultural appliances, from the most powerful machines to those ingenious and delicate implements on which particular care must be bestowed if perfection is to be attained. In addition to the hundreds of men who worked there daily, there were some fifty women, burnishers and polishers.

  The entry to the workshops and offices was in the Rue de la Federation, through a large carriage way, whence one perceived the far-spreading yard, with its paving stones invariably black and often streaked by rivulets of steaming water. Dense smoke arose from the high chimneys, strident jets of steam emerged from the roof, whilst a low rumbling and a shaking of the ground betokened the activity within, the ceaseless bustle of labor.

  It was thirty-five minutes past eight by the big clock of the central building when Mathieu crossed the yard towards the office which he occupied as chief designer. For eight years he had been employed at the works where, after a brilliant and special course of study, he had made his beginning as assistant draughtsman when but nineteen years old, receiving at that time a salary of one hundred francs a month. His father, Pierre Froment,* had four sons by Marie his wife-Jean the eldest, then Mathieu, Marc, and Luc-and while leaving them free to choose a particular career he had striven to give each of them some manual calling. Leon Beauchene, the founder of the works, had been dead a year, and his son Alexandre had succeeded him and married Constance Meunier, daughter of a very wealthy wall-paper manufacturer of the Marais, at the time when Mathieu entered the establishment, the master of which was scarcely five years older than himself. It was there that Mathieu had become acquainted with a poor cousin of Alexandre's, Marianne, then sixteen years old, whom he had married during the following year.

  * Of Lourdes, Rome, and Paris.

  Marianne, when only twelve, had become dependent upon her uncle, Leon Beauchene. After all sorts of mishaps a brother of the latter, one Felix Beauchene, a man of adventurous mind but a blunderhead, had gone to Algeria with his wife and daughter, there to woo fortune afresh; and the farm he had established was indeed prospering when, during a sudden revival of Arab brigandage, both he and his wife were murdered and their home was destroyed. Thus the only place of refuge for the little girl, who had escaped miraculously, was the home of her uncle, who showed her great kindness during the two years of life that remained to him. With her, however, were Alexandre, whose companionship was rather dull, and his younger sister,
Seraphine, a big, vicious, and flighty girl of eighteen, who, as it happened, soon left the house amid a frightful scandal-an elopement with a certain Baron Lowicz, a genuine baron, but a swindler and forger, to whom it became necessary to marry her. She then received a dowry of 300,000 francs. Alexandre, after his father's death, made a money match with Constance, who brought him half a million francs, and Marianne then found herself still more a stranger, still more isolated beside her new cousin, a thin, dry, authoritative woman, who ruled the home with absolute sway. Mathieu was there, however, and a few months sufficed: fine, powerful, and healthy love sprang up between the young people; there was no lightning flash such as throws the passion-swayed into each other's arms, but esteem, tenderness, faith, and that mutual conviction of happiness in reciprocal bestowal which tends to indissoluble marriage. And they were delighted at marrying penniless, at bringing one another but their full hearts forever and forever. The only change in Mathieu's circumstances was an increase of salary to two hundred francs a month. True, his new cousin by marriage just vaguely hinted at a possible partnership, but that would not be till some very much later date.

  As it happened Mathieu Froment gradually became indispensable at the works. The young master, Alexandre Beauchene, passed through an anxious crisis. The dowry which his father had been forced to draw from his coffers in order to get Seraphine married, and other large expenses which had been occasioned by the girl's rebellious and perverse conduct, had left but little working capital in the business. Then, too, on the morrow of Leon Beauchene's death it was found that, with the carelessness often evinced in such matters, he had neglected to leave a will; so that Seraphine eagerly opposed her brother's interests, demanding her personal share of the inheritance, and even suggesting the sale of the works. The property had narrowly escaped being cut up, annihilated. And Alexandre Beauchene still shivered with terror and anger at the recollection of that time, amidst all his delight at having at last rid himself of his sister by paying her in money the liberally estimated value of her share. It was in order to fill up the void thus created in his finances that he had espoused the half-million represented by Constance-an ugly creature, as he himself bitterly acknowledged, coarse male as he was. Truth to tell, she was so thin, so scraggy, that before consenting to make her his wife he had often called her "that bag of bones." But, on the other hand, thanks to his marriage with her, all his losses were made good in five or six years' time; the business of the works even doubled, and great prosperity set in. And Mathieu, having become a most active and necessary coadjutor, ended by taking the post of chief designer, at a salary of four thousand two hundred francs per annum.