His Masterpiece by Émile Zola (classic novels for teens .TXT) 📕
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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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Already at that time Claude, in addition to his powder-flask and cartridge-belt, took with him an album, in which he sketched little bits of country, while Sandoz, on his side, always had some favourite poet in his pocket. They lived in a perfect frenzy of romanticism, winged strophes alternated with coarse garrison stories, odes were flung upon the burning, flashing, luminous atmosphere that enwrapt them. And when perchance they came upon a small rivulet, bordered by half a dozen willows, casting grey shadows on the soil all ablaze with colour, they at once went into the seventh heaven. They there by themselves performed the dramas they knew by heart, inflating their voices when repeating the speeches of the heroes, and reducing them to the merest whisper when they replied as queens and lovesick maidens. On such days the sparrows were left in peace. In that remote province, amidst the sleepy stupidity of that small town, they had thus lived on from the age of fourteen, full of enthusiasm, devoured by a passion for literature and art. The magnificent scenarios devised by Victor Hugo, the gigantic fantasies which fought therein amidst a ceaseless crossfire of antithesis, had at first transported them into the fullness of epic glory; gesticulating, watching the sun decline behind some ruins, seeing life pass by amidst all the superb but false glitter of a fifth act. Then Musset had come to unman them with his passion and his tears; they heard their own hearts throb in response to his, a new world opened to them—a world more human—that conquered them by its cries for pity, and of eternal misery, which henceforth they were to hear rising from all things. Besides, they were not difficult to please; they showed the voracity of youth, a furious appetite for all kinds of literature, good and bad alike. So eager were they to admire something, that often the most execrable works threw them into a state of exaltation similar to that which the purest masterpieces produce.
And as Sandoz now remarked, it was their great love of bodily exercise, their very revels of literature that had protected them against the numbing influence of their ordinary surroundings. They never entered a café, they had a horror of the streets, even pretending to moult in them like caged eagles, whereas their schoolfellows were already rubbing their elbows over the small marble tables and playing at cards for drinks. Provincial life, which dragged other lads, when still young, within its cogged mechanism, that habit of going to one’s club, of spelling out the local paper from its heading to the last advertisement, the everlasting game of dominoes no sooner finished than renewed, the same walk at the selfsame hour and ever along the same roads—all that brutifies the mind, like a grindstone crushing the brain, filled them with indignation, called forth their protestations. They preferred to scale the neighbouring hills in search of some unknown solitary spot, where they declaimed verses even amidst drenching showers, without dreaming of shelter in their very hatred of town-life. They had even planned an encampment on the banks of the Viorne, where they were to live like savages, happy with constant bathing, and the company of five or six books, which would amply suffice for their wants. Even womankind was to be strictly banished from that camp. Being very timid and awkward in the presence of the gentler sex, they pretended to the asceticism of superior intellects. For two years Claude had been in love with a ’prentice hat-trimmer, whom every evening he had followed at a distance, but to whom he had never dared to address a word. Sandoz nursed dreams of ladies met while travelling, beautiful girls who would suddenly spring up in some unknown wood, charm him for a whole day, and melt into air at dusk. The only love adventure which they had ever met with still evoked their laughter, so silly did it seem to them now. It consisted of a series of serenades which they had given to two young ladies during the time when they, the serenaders, had formed part of the college band. They passed their nights beneath a window playing the clarinet and the cornet-à-piston, and thus raising a discordant din which frightened all the folk of the neighbourhood, until one memorable evening the
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