The Downfall (La Débâcle). Emile Zola

      Published by Good Press, 2019

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      EAN 4064066247287

Table of Contents

       PREFACE

       THE DOWNFALL

       FROM THE RHINE TO THE MEUSE

       THE BATTLE OF SEDAN

       WOE TO THE VANQUISHED!

PREFACE

       Table of Contents

      Before the present translation of M. Zola's novel, 'La Débâcle,' appeared in 'The Weekly Times and Echo,' in which it was originally issued, the author was interviewed for that journal by Mr. Robert H. Sherard, whom he favoured with some interesting particulars concerning the scope and purport of his narrative. By the courtesy both of Mr. Sherard and of the proprietor of 'The Weekly Times,' the translator is here able to republish the remarks made by M. Zola on the occasion referred to. They will be found to supply an appropriate preface to the story:—

      '"La Débâcle" has given me infinitely more trouble than any of my previous works. When I began writing it, I had no conception of the immensity of the task which I had imposed on myself. The labour of reading up all that has been written on my subject in general, and on the battle of Sedan in particular, has been enormous, and the work of condensation of all that I have had to read has been all the more laborious that on no subject has more divergence of opinion been expressed … I have read all that has been written about the battle of Sedan, as well as about the unhappy adventures of the luckless Seventh Army Corps, in which is placed the fictitious regiment which plays the leading rôle in my novel. And the digestion has not been an easy task. Each general, for instance, has a different version to give of the why and the wherefore of the defeat. Each claims to have had a plan, which, if it had been followed, would have averted the disaster. Another difficulty has been that I took no part in that campaign, not having been a soldier, and that for my information on the life and experience of those who went through the campaign in general, and the battle of Sedan in particular, I have had to depend on outside testimony, often of a conflicting nature. I may say, however, that in this matter I have been greatly helped by the kindness of persons who are good enough to be interested in my work, and as soon as it became known that I was writing a book about the war and about Sedan, I received from all parts of France manuscript relations written by people of all classes who had been present at the battle, and who sent me their recollections. That was most excellent material—indeed, the best, because not to be found anywhere else. An "Anecdotal Account of the Battle of Sedan" was sent me by a gentleman who is now professor at one of the Universities in the South. A long, ill-spelt letter came to me from a gamekeeper in the North, in which he gave me a full account of the battle as it impressed him, who was a private soldier in the Seventh Army Corps at the time. I have masses of such documents, and it was my duty to go through everything that could throw any light on my subject.

      'The subject was to be War. I had to consider War in its relation to various classes of society—War vis-à-vis the bourgeois, War vis-à-vis the peasant, War vis-à-vis the workman. How the war was brought about—that is to say, the state of mind of men in France at the time—was a consideration which also supplied me with a number of characters. I had to show, in a series of types, France who had lost the use of liberty, France drunk with pleasure, France fated irrevocably to disaster. I had to have types to show France so prompt to enthusiasm, so prompt to despair. And then there were to be shown the immense faults committed, and to show by character how the commission of such faults was possible, a natural sequence of a certain psychological state of mind of a certain preponderating class, which existed in the last days of the Empire. Then each phase of action had to be typified. The question of the Emperor and his surroundings—I had to have characters to explain "the sick man" and his state at the time. I had to show how it was with the peasants of the period, and hence to equip a character or two for that purpose. The Francs-tireurs played an important part in the epoch; it therefore became necessary for me to incarnate these, to create a typical Franc-tireur. The spies and spying had their influence on the whole; I had to have a spy. By the way, the spy in my book is one of the few German characters that I have created—four or five—this spy and an officer or two. Then, having thus, with a stroke of the rake, dragged together all that I could find as likely to illustrate my period, both historically and psychologically considered, I wrote out rapidly—the work of one feverish morning—a maquette, or rough draft of all I wanted to do, some fifteen or twenty pages.

      'It then became necessary to see the places, to study the geography of my book, for at that period I did not know where my scenes were to be laid, whether on the banks of the Rhine, or elsewhere. So, with my rough draft in my pocket, and my head teeming with the shadows of my marionettes, and of the things that they were to do and to explain, I set off for Rheims and went carefully over the whole ground, driving from Rheims to Sedan, and following foot by foot the road by which the Seventh Corps—already then decided upon as the milieu in which my novel was to develop—marched to their disaster. During that drive I picked up an immense quantity of material, halting in farmhouses and peasants' cottages, and taking copious notes. Then came Sedan, and after a careful study of the place and the people, I saw that my novel must deal largely, for the full comprehension of my story, not only with the locality, but with the people of the town. This gave me the bourgeois of Sedan, who play an important part in my tale. Little by little, the geography gave me also the physiology of my book. Each new place that it became necessary to describe supplied its type, its characters.

      'So, on my return to Paris, I was in an immense workshop or yard surrounded with huge mountains of hewn stones, mortar and bricks, and all that remained then to do was to build the best structure that I could build of these materials. But before that, the architect's plan was necessary, and that I next carefully evolved. My plan of work is most rigorous. Each chapter is marked out in advance, but it is only as I am writing that the various incidents which I have collected fall into place. … My labour has been one of reconciliation of divergent statements in the first place, and of condensation in the second. I had to reduce to one page what I could easily, and without prolixity, have treated in a dozen pages; so that with each page, nay with each sentence, I have been confronted with the question what to leave out and what to say. Then, when each page was written, I began to torture myself with the doubt whether I had left unsaid things I ought to have said, whether I had sacrificed good to inferior material.

      '"La Débâcle" is divided into three parts. The first part treats of the action of the luckless Seventh Army Corps, in which is the fictitious regiment in which my hero or heroes are placed. I say heroes, because I have really two heroes in this story. One is Jean, of my novel 'La Terre,' who is a corporal in this regiment; the other is a new character named Maurice, who goes through Sedan as a private soldier. Between these two men a great friendship exists, and, indeed, it is from this friendship in the face of death and danger, this comradeship of arms malgré tout, that I draw the chief effects of sentiment with which my novel is seasoned. For "La Débâcle" is not a love story. The female characters in it play only secondary rôles; there is no love-making worth speaking about, at the most, only the "intention" of love, the indication of courtship. Jean and Maurice, my two heroes, moreover, present types of the France of the day. Maurice, who is represented as a young man who has recently been admitted to the bar, is the man of the world—light,