His Masterpiece. Emile Zola
I’ll eat it. Come, to work, to work, lazy-bones.’
And he snatched up his palette and caught his brushes, saying, as he did so, ‘Dubuche is coming to fetch us this evening, isn’t he?’
‘Yes, about five o’clock.’
‘Well, that’s all right then. We’ll go down to dinner directly he comes. Are you ready? The hand more to the left, and your head a little more forward.’
Having arranged some cushions, Sandoz settled himself on the couch in the required attitude. His back was turned, but all the same the conversation continued for another moment, for he had that very morning received a letter from Plassans, the little Provencal town where he and the artist had known each other when they were wearing out their first pairs of trousers on the eighth form of the local college. However, they left off talking. The one was working with his mind far away from the world, while the other grew stiff and cramped with the sleepy weariness of protracted immobility.
It was only when Claude was nine years old that a lucky chance had enabled him to leave Paris and return to the little place in Provence, where he had been born. His mother, a hardworking laundress,4 whom his ne’er-do-well father had scandalously deserted, had afterwards married an honest artisan who was madly in love with her. But in spite of their endeavours, they failed to make both ends meet. Hence they gladly accepted the offer of an elderly and well-to-do townsman to send the lad to school and keep him with him. It was the generous freak of an eccentric amateur of painting, who had been struck by the little figures that the urchin had often daubed. And thus for seven years Claude had remained in the South, at first boarding at the college, and afterwards living with his protector. The latter, however, was found dead in his bed one morning. He left the lad a thousand francs a year, with the faculty of disposing of the principal when he reached the age of twenty-five. Claude, already seized with a passion for painting, immediately left school without even attempting to secure a bachelor’s degree, and rushed to Paris whither his friend Sandoz had preceded him.
At the College of Plassans, while still in the lowest form, Claude Lantier, Pierre Sandoz, and another lad named Louis Dubuche, had been three inseparables. Sprung from three different classes of society, by no means similar in character, but simply born in the same year at a few months’ interval, they had become friends at once and for aye, impelled thereto by certain secret affinities, the still vague promptings of a common ambition, the dawning consciousness of possessing greater intelligence than the set of dunces who maltreated them. Sandoz’s father, a Spaniard, who had taken refuge in France in consequence of some political disturbances in which he had been mixed up, had started, near Plassans, a paper mill with new machinery of his own invention. When he had died, heart-broken by the petty local jealousy that had sought to hamper him in every way, his widow had found herself in so involved a position, and burdened with so many tangled law suits, that the whole of her remaining means were swallowed up. She was a native of Burgundy. Yielding to her hatred of the Provencals, and laying at their door even the slow paralysis from which she was suffering, she removed to Paris with her son, who then supported her out of a meagre clerk’s salary, he himself haunted by the vision of literary glory. As for Dubuche, he was the son of a baker of Plassans. Pushed by his mother, a covetous and ambitious woman, he had joined his friends in Paris later on. He was attending the courses at the School of Arts as a pupil architect, living as best he might upon the last five-franc pieces that his parents staked on his chances, with the obstinacy of usurers discounting the future at the rate of a hundred per cent.
‘Dash it!’ at last exclaimed Sandoz, breaking the intense silence that hung upon the room. ‘This position isn’t at all easy; my wrist feels broken. Can I move for a moment?’
Claude let him stretch himself without answering. He was now working at the velveteen jacket, laying on the colour with thick strokes, However, stepping backward and blinking, he suddenly burst into loud laughter at some reminiscence.
‘I say, do you recollect, when we were in the sixth form, how, one day, Pouillaud lighted the candles in that idiot Lalubie’s cupboard? And how frightened Lalubie was when, before going to his desk, he opened the cupboard to take his books, and found it transformed into a mortuary chapel? Five hundred lines to every one in the form.’
Sandoz, unable to withstand the contagion of the other’s gaiety, flung himself back on the couch. As he resumed his pose, he remarked, ‘Ah, that brute of a Pouillaud. You know that in his letter this morning he tells me of Lalubie’s forthcoming marriage. The old hack is marrying a pretty girl. But you know her, she’s the daughter of Gallissard, the haberdasher – the little fair-haired girl whom we used to serenade!’
Once on the subject of their recollections there was no stopping them, though Claude went on painting with growing feverishness, while Pierre, still turned towards the wall, spoke over his shoulders, shaking every now and then with excitement.
First of all came recollections of the college, the old, dank convent, that extended as far as the town ramparts; the two courtyards with their huge plane trees; the slimy sedge-covered pond, where they had learned to swim, and the class-rooms with dripping plaster walls on the ground floor; then the refectory, with its atmosphere constantly poisoned by the fumes of dish-water; the dormitory of the little ones, famous for its horrors, the linen room, and the infirmary, full of gentle sisters, nuns in black gowns who looked so sweet beneath their white coifs. What a to-do there had been when Sister Angela, she whose Madonna-like face had turned the heads of all the big fellows, disappeared one morning with Hermeline, a stalwart first-form lad, who, from sheer love, purposely cut his hands with his penknife so as to get an opportunity of seeing and speaking to her while she dressed his self-inflicted injuries with gold-beater’s skin.
Then they passed the whole college staff in review; a pitiful, grotesque, and terrible procession it was, with such heads as are seen on meerschaum pipes, and profiles instinct with hatred and suffering. There was the head master, who ruined himself in giving parties, in order to marry his daughters – two tall, elegant girls, the butt of constant and abominable insults, written and sketched on every wall; there was the comptroller Pifard, whose wonderful nose betrayed his presence behind every door, when he went eavesdropping; and there were all the teachers, each befouled with some insulting nickname: the severe ‘Rhadamantus,’ who had never been seen to smile; ‘Filth,’ who by the constant rubbing of his head had left his mark on the wall behind every professional seat he occupied; ‘Thou-hast-deceived-me-Adele,’ the professor of physics, at whom ten generations of schoolboys had tauntingly flung the name of his unfaithful wife. There were others still: Spontini, the ferocious usher, with his Corsican knife, rusty with the blood of three cousins; little Chantecaille, who was so good-natured that he allowed the pupils to smoke when out walking; and also a scullion and a scullery maid, two ugly creatures who had been nicknamed Paraboulomenos and Paralleluca, and who were accused of kissing one another over the vegetable parings.
Then came comical reminiscences; the sudden recollection of practical jokes, at which they shook with laughter after all those years. Oh! the morning when they had burned the shoes of Mimi-la-Mort, alias the Skeleton Day Boarder, a lank lad, who smuggled snuff into the school for the whole of the form. And then that winter evening when they had bagged some matches lying near the lamp in the chapel, in order to smoke dry chestnut leaves in reed pipes. Sandoz, who had been the ringleader on that occasion, now frankly avowed his terror; the cold perspiration that had come upon him when he had scrambled out of the choir, wrapt in darkness. And again there was the day when Claude had hit upon the sublime idea of roasting some cockchafers in his desk to see whether they were good to eat, as people said they were. So terrible had been the stench, so dense the smoke that poured from the desk, that the usher had rushed to the water pitcher, under the impression that the place was on fire. And then their marauding expeditions; the pillaging of onion beds while they were out walking; the stones thrown at windows, the correct thing being to make the breakage resemble a well-known geographical map. Also the Greek exercises, written beforehand in large characters on the blackboard, so that every dunce might easily read them though the master remained unaware of it; the wooden seats of the courtyard sawn off and carried round the basin like so many corpses, the boys marching in procession and singing funeral dirges. Yes! that had been a capital prank. Dubuche, who played the priest, had tumbled
Gervaise of ‘The Dram Shop’(L’Assommoir). – ED.