Émile Zola

Émile Zola (1840-1902) was the foremost proponent of the doctrine of naturalism in literature. He illustrated this doctrine chiefly in a series of 20 novels published between 1871 and 1893 under the general title "Les Rougon-Macquart."

Shortly after his birth in Paris on April 2, 1840, Émile Zola was taken to the south of France by his father, a gifted engineer of Venetian extraction, who had formed a company to supply Aix-en-Provence with a source of fresh water. He died before the project had been completed, leaving his widow to struggle with an increasinglyThe French novelist E difficult financial situation. Despite this, Émile's boyhood and schooling at Aix were, on the whole, a happy period of his life. He retained a lasting affection for the sunbaked countryside of this part of France. One of his closest friends at school and his companion on many a summer's ramble was Paul Cézanne, the future painter.

Early Years in Paris

In 1858 Zola and his mother moved to Paris, where he completed his rather sketchy education. He never succeeded in passing his baccalauréat examinations. For a few years after leaving school, he led a life of poverty verging on destitution. Finally, in 1862, he was given a job in the publishing firm of Hachette, which he kept for 4 years. Here he learned much about the business and promotional sides of publishing and met several distinguished writers, among them the philosopher and literary historian Hippolyte Taine, whose ideas strongly influenced the development of Zola's thought. It was one of Taine's sayings ("Vice and virtue are chemical products like vitriol and sugar") that Zola took as the epigraph of his early novel Thére‧se Raquin (1867). The formula was well suited to the uncompromising materialism that imbues this macabre story of adultery, murder, and suicide.

"Les Rougon-Macquart"

About 1868-1869, when Zola was working as a free-lance journalist, he conceived the idea of writing a series of interlinked novels tracing the lives of various members of a single family whose fortunes were to counterpoint the rise and fall of the Second Empire (1852-1870). He proposed in particular to demonstrate how the forces of heredity might influence the character and development of each individual descendant of a common ancestress. The scheme enabled him to apportion to each novel the analysis of a particular section of society, ranging from the upper stratum of high finance and ministerial authority down to the suffering masses starving in the slums or toiling in the mines. Les Rougon-Macquart was originally planned in ten volumes; but the design was so obviously promising that Zola eventually extended it to twice that number. The volumes were designed as social documents rather than as pure works of fiction, but his powerfully emotive imagination and primitive symbolism conferred on the best of them, nonetheless, many of the qualities of expressionistic prose poetry.

The first six volumes were largely ignored by the critics, although they included some powerful pieces of social satire. For example, La Curée (1872) dealt with real estate speculation; Le Ventre de Paris (1873) attacked the pusillanimous conservatism of the small-shopkeeper class; and Son Excellence Euge‧ne Rougon (1876) was an exposure of political jobbery. Only with the seventh, L'Assommoir (1877), did Zola finally produce a best seller that made him one of the most talked of writers in France and one of the most bitterly assailed. The plot of this novel is almost nonexistent. He contented himself with tracing the life story of a simpleminded, good-hearted laundress who lived in a working-class district in the north of Paris. By dint of hard work she achieves at first a modest prosperity, until her husband's increasing fecklessness and addiction to drink drag her down to utter destitution. For the title of his novel Zola used a contemporary slang word for a liquor store. The problem of alcoholism among the poor looms large in the book, as do the related problems of overcrowded housing conditions, prostitution, and the risk of starvation during the periods of prolonged unemployment. Though in no sense a work of propaganda, L'Assommoir succeeded in drawing attention to the wretched conditions in which the urban proletariat had been living throughout the 19th century.

Succeeding volumes of the Rougon-Macquartcycle included many others that were universally read, even though savagely condemned by conservative critics. Nana (1880) dealt with the lives of the demi-mondaines and their wealthy, dissipated clients. The heroine's career was modeled on the careers of a number of successful courtesans of the heyday of the Second Empire. Germinal (1885), doubtless Zola's masterpiece, narrated the preliminaries, outbreak, and aftermath of a coal miners' strike in northeast France; it was the first novel in which the possibility of a social revolution launched by the proletariat against the middle classes was seriously mooted. In his descriptions of the dangerous daily labor in the pits and of the rioting of the exasperated strikers, Zola achieved effects of agony and terror of a kind never before realized in literature. La Terre (1887) represents his attempt to do for the farm laborer what he had done for the miner in Germinal. The picture of rural life he offered was anything but idyllic, rape and murder being shown as the inevitable concomitants of the narrowness of the peasant's horizons and his atavistic land hunger. Finally, La Débâcle (1892) gave an epic dignity to the story of France's calamitous defeat at the hands of the Prussians in 1870.

Naturalism in Theory and Practice

The immense sales of his works enabled Zola, by 1878, to purchase a property outside Paris, at Médan, a hamlet where he lived quietly for most of the year, occasionally entertaining the younger writers who made up the vanguard of the short-lived naturalist school. Five of them collaborated with him in the production of a volume of short stories issued in 1880 under the title Soirées de Médan. Of these five, the two most talented, Guy de Maupassant and Joris Karl Huysmans, forswore their allegiance shortly afterward. Zola did, however, have important disciples outside France: Giovanni Verga in Italy, Eça de Queiros in Portugal, George Moore in England, and Frank Norris and Stephen Crane in the United States.

Zola set out his fundamental theoretical beliefs in Le Roman expérimental (1880), but even he adhered very loosely to them in practice. Naturalism embraced many of the tenets of the older realist movement, such as an interest in average types rather than above-average individuals, the cultivation of a pessimistic and disillusioned outlook, a studious avoidance of surprising incident, and a strict obedience to consequential logic in plot development. The special innovation of naturalism lay in its attempt to fuse science with literature. This meant, in practice, that human behavior had to be interpreted along strictly materialistic or physiological lines ("the soul being absent," as Zola put it) and that the individual was to be shown as totally at the mercy of twin external forces, heredity and environment. The emphasis placed on environment accounts for the immense pains that Zola took to document the setting he proposed to use in any particular novel.

Last Years

Zola's private life was not free of strains. He married in 1870, but this union was childless. Then, in 1888, he set up a second home with a young seamstress, who bore him two children. This unexpected blossoming of domestic happiness probably accounts for the sunnier tone of the books he wrote after the completion of Les Rougon-Macquart. They included a trilogy—Lourdes, Rome, and Paris (1894-1898)—dealing with the conflict between science and religion, and a tetralogy of utopian novels, Les Quatre Évangiles, of which only the first three were completed.

Zola's dramatic intervention on behalf of Alfred Dreyfus carried his name even further than had his literary work. Dreyfus, a Jewish officer in the French army, had been wrongfully condemned for espionage in 1894, and with much courage and recklessness of consequences Zola challenged the findings of the court-martial in an open letter to the President of the Republic (J'accuse, Jan. 13, 1898). Since his statement charged certain highranking army officers with falsification of evidence, Zola was put on trial. He lost his case, spent a year in hiding in England, and returned to France on June 5, 1899. His sudden death in Paris on Sept. 29, 1902, from carbon monoxide poisoning may not have been accidental as the inquest found. There is reason to believe that he was the victim of an assassination plot engineered by a few of the more fanatical of his political enemies.

Further Reading

The most detailed and authoritative study of Zola's life and work is F. W. J. Hemmings, Émile Zola (1953; 2d rev. ed. 1966). Other good general studies are Angus Wilson, Émile Zola: An Introductory Study of His Novels (1952), and Elliott M. Grant, Émile Zola (1966). John C. Lapp, Zola before the "Rougon-Macquart" (1964), is a highly suggestive study of Zola's early writings. An excellent brief account of the different aspects of Zola's literary method, with illustrative extracts, is Philip D. Walker, Émile Zola (1968). □

Émile Zola , 1840–1902, French novelist, b. Paris. He was a professional writer, earning his living through journalism and his novels. About 1870 he became the apologist for and most significant exponent of French naturalism , a literary school that maintained that the novel should be scientific in a strict sense. Inspired by his readings in social history and medicine, Zola decided to apply scientific techniques and observations to the depiction of French society under the Second Empire. He composed a vast series of novels in which the characters and their social milieus are impartially observed and presented in minute and often sordid detail.

Of his many novels, those considered most important are among the 20 that constitute the series Les Rougon-Macquart (1871–93), an account of the decay of a family as the result of heredity and environment, with special emphasis on alcoholism, disease, and degeneracy. Perhaps the best known of these are L'Assommoir (1877, tr. The Dram-Shop ), on lower-class life in Paris; Nana (1880); and Germinal (1885, tr. 1901), a "proletarian" novel involving coal mining in N France. He also began the socialistic Quatre Évangiles [four gospels], of which he finished Fécondité (1899, tr. Fruitfulness, 1900), Travail (1901, tr. Labor, 1901), and Vérité (1903, tr. Truth, 1903).

Zola had an ardent zeal for social reform. He was anti-Catholic and wrote many diatribes against the clergy and the Church. His part in the Dreyfus Affair (notably his article, "J'accuse," 1898) was his most conspicuous public action, and he became the special object of the hatred of the anti-Dreyfus party. Prosecuted for libel (1898), he escaped to England, where he remained a few months until an amnesty enabled his return to France. He was accidentally asphyxiated in his bedroom after inhaling fumes from a blocked chimney.

Bibliography: See biographies by A. Schom (1988) and F. Brown (1995); studies by F. W. J. Hemmings (2d ed. 1966), A. Wilson (1952, repr. 1973), and D. Baguley (1986).

Zola, Émile (b Paris, 2 Apr. 1840; d Paris, 29 Sept. 1902). French writer. One of the greatest novelists of the 19th century, he also wrote outspokenly on social and political issues and was a significant art critic. Just as his novels deal vividly with contemporary life, so he rejected academic conventions in art and was one of the first supporters of the group of artists who would become known as the Impressionists, writing about them in articles in the radical newspaper L'Événement from 1866. In particular he championed Manet, publishing a pamphlet on him in 1867; Manet returned the compliment by painting a superb portrait of Zola (1868, Mus. d'Orsay, Paris). Zola had grown up in Aix-en-Provence, where as a boy he became a close friend of Cézanne. However, their friendship ended in 1886, when Zola published his novel L'Œuvre, for Cézanne believed that the central character—a tormented artist who kills himself in front of his unfinished masterpiece—was based on him. They evidently never saw one another again, but when Zola died tragically in 1902—killed by fumes from a defective stove—Cézanne is said to have shut himself in his studio and wept all day.

Zola, Émile (1840–1902), the leading figure in the French school of naturalistic fiction, of which Thérèse Raquin (1867) is his earliest example. The first volume (La Fortune des Rougon) of his principal work, Les Rougon-Macquart, which he termed the ‘natural and social history of a family under the Second Empire’, appeared in 1871; in 19 more volumes (including L'Assommoir, 1877; Germinal, 1885; La Terre, 1887; La Bête humaine, 1890; La Débâcle, 1892), Zola produces an extraordinary panorama of mid-19th-cent. misery, poverty, and the violence of human instinct. Zola spent 11 months in exile in England (1898–9) as a result of his support of Dreyfus. His works were widely read in this country, but heavily censored, and his publisher Vizetelly was imprisoned in 1888 for publishing La Terre. He considerably influenced G. A. Moore, Bennett, and other realist writers.

Zola, Émile Edouard Charles Antoine (1840–1902) French novelist. Zola became widely known following the publication of his third book, the novel Thérèse Raquin (1867). For the next quarter of a century, he worked on what became the Rougon-Macquart sequence (1871–93) – a 20-novel cycle telling the story of a family during the Second Empire; it established Zola's reputation as the foremost exponent of naturalism in fiction. The sequence includes his famous novels The Drunkard (1877), Nana (1880), Germinal (1885), and The Human Animal (1890). In 1898, he wrote a famous letter, beginning “J'Accuse”, which denounced the punishment of Alfred Dreyfus. This led to a brief exile in England and, after the vindication of Dreyfus, a hero's return. See also Dreyfus Affair

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