His Masterpiece by Émile Zola (classic novels for teens .TXT) 📕
Description
His Masterpiece, sometimes translated as “The Work” or “The Masterpiece,” is Zola’s 14th entry in his Rougon-Macquart series of novels. In it we see Claude Lantier, a painter with obvious talent, struggle to leave a revolutionary mark on the art world of 19th-century Paris. The novel deftly explores the themes of genius, poverty, purity in art, art as a beaurocratic institution, obsession, and madness.
The book is notable not just for its accurate portrayal of the art world of the time, but also for the interesting personal details Zola incorporated into the book. Lantier is a pastiche of several famous painters Zola personally knew, including Paul Cézanne, Claude Monet, and Édouard Manet; Lantier’s masterpiece is based on Manet’s revolutionary painting Le Déjeuner sur l’herbe; and the novel’s accuracy is even blamed on ending the long friendship between Zola and Cézanne. Zola himself includes a self-portrait, as the character Pierre Sandoz.
Vizetelly’s translation is fresh and readable, and Zola’s rendition of Paris and the surrounding countryside is vibrant and engrossing. Rarely do we get such a close and engaging window into bohemian life in old Paris.
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- Author: Émile Zola
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“Here you are,” he said; “I’m going.”
He was already hastening away, taking long strides, and gesticulating like a madman. Without even closing the door which had been opened, she darted off, bent on following him. In the Rue Lepic she drew near; but for fear of exciting him still more she contented herself with keeping him in sight, walking some thirty yards in the rear, without his knowing that she was behind him. On reaching the end of the Rue Lepic he went down the Rue Blanche again, and then proceeded by way of the Rue de la Chaussée d’Antin and the Rue du Dix Decembre as far as the Rue de Richelieu. When she saw him turn into the last-named thoroughfare, a mortal chill came over her: he was going towards the Seine; it was the realisation of the frightful fear which kept her of a night awake, full of anguish! And what could she do, good Lord? Go with him, hang upon his neck over yonder? She was now only able to stagger along, and as each step brought them nearer to the river, she felt life ebbing from her limbs. Yes, he was going straight there; he crossed the Place du Théâtre Français, then the Carrousel, and finally reached the Pont des Saints-Pères. After taking a few steps along the bridge, he approached the railing overlooking the water; and at the thought that he was about to jump over, a loud cry was stifled in her contracted throat.
But no; he remained motionless. Was it then only the Cité over yonder that haunted him, that heart of Paris which pursued him everywhere, which he conjured up with his fixed eyes, even through walls, and which, when he was leagues away, cried out the constant summons heard by him alone? She did not yet dare to hope it; she had stopped short, in the rear, watching him with giddy anxiety, ever fancying that she saw him take the terrible leap, but resisting her longing to draw nearer, for fear lest she might precipitate the catastrophe by showing herself. Oh, God! to think that she was there with her devouring passion, her bleeding motherly heart—that she was there beholding everything, without daring to risk one movement to hold him back!
He stood erect, looking very tall, quite motionless, and gazing into the night.
It was a winter’s night, with a misty sky of sooty blackness, and was rendered extremely cold by a sharp wind blowing from the west. Paris, lighted up, had gone to sleep, showing no signs of life save such as attached to the gas-jets, those specks which scintillated and grew smaller and smaller in the distance till they seemed but so much starry dust. The quays stretched away showing double rows of those luminous beads whose reverberation glimmered on the nearer frontages. On the left were the houses of the Quai du Louvre, on the right the two wings of the Institute, confused masses of monuments and buildings, which became lost to view in the darkening gloom, studded with sparks. Then between those cordons of burners, extending as far as the eye could reach, the bridges stretched bars of lights, ever slighter and slighter, each formed of a train of spangles, grouped together and seemingly hanging in midair. And in the Seine there shone the nocturnal splendour of the animated water of cities; each gas-jet there cast a reflection of its flame, like the nucleus of a comet, extending into a tail. The nearer ones, mingling together, set the current on fire with broad, regular, symmetrical fans of light, glowing like live embers, while the more distant ones, seen under the bridges, were but little motionless sparks of fire. But the large burning tails appeared to be animated, they waggled as they spread out, all black and gold, with a constant twirling of scales, in which one divined the flow of the water. The whole Seine was lighted up by them, as if some fête were being given in its depths—some mysterious, fairy-like entertainment, at which couples were waltzing beneath the river’s red-flashing windowpanes. High above those fires, above the starry quays, the sky, in which not a planet was visible, showed a ruddy mass of vapour, that warm, phosphorescent exhalation which every night, above the sleep of the city, seems to set the crater of a volcano.
The wind blew hard, and Christine, shivering, her eyes full of tears, felt the bridge move under her, as if it were bearing her away amid a smash up of the whole scene. Had not Claude moved? Was he not climbing over the rail? No; everything became motionless again, and she saw him still on the same spot, obstinately stiff, with his eyes turned towards the point of the Cité, which he could not see.
It had summoned him, and he had come, and yet he could not see it in the depths of the darkness. He could only distinguish the bridges, with their light framework standing out blackly against the sparkling water. But farther off everything became confused, the island had disappeared, he could not even have told its exact situation if some belated cabs had not passed from time to time over the Pont-Neuf, with their lamps showing like those shooting sparks which dart at times through embers. A red lantern, on
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