His Excellency [Son Exc. Eugène Rougon]. Emile Zola
![His Excellency [Son Exc. Eugène Rougon] - Emile Zola](limg_read902240.jpg "His Excellency [Son Exc. Eugène Rougon] - Emile Zola")
did, are fathered upon Rougon. He embodies them all: he is the incarnation of that craving, that lust for power which impelled so many men of ability to throw all principle to the winds and become the instruments of an abominable system of government. And his transformation at the close of the story is in strict accordance with historical facts. He salutes the rise of the so-called 'Liberal' Empire in the very words of Billault—the most tyrannical of all the third Napoleon's 'band.'
Rougon has a band of his own—they all had bands in those days, like the Emperor himself; and since that time we have in a similar way seen Gambetta and his queue and Boulanger and his clique. And, curiously enough, as in Rougon's case, those historic coteries were in each instance the prime factors in their leader's overthrow. Thus we have only to turn to the recorded incidents of history to realise the full truth of M. Zola's account of the Rougon gang. It is a masterly account, instinct with accuracy, as real as life itself.
And Rougon, on whatever patchwork basis he may have been built, is a living figure, one of a nature so direct, so free from intricacy, that few ignorant of the truth would imagine him to be a patchwork creation at all. Surely, to have so fully assimilated in one personage the characteristics of half-a-dozen known men in such wise that, without any clashing of individual proclivities, the whole six are truthfully embodied in one, is a signal proof of that form of genius which lies in the infinite capacity for taking pains.
If we pass from Rougon to Marsy we find another embodiment of that principle of authority which both help to represent. Rougon, as M. Zola says, is the shaggy fist which deals the knock-down blow, while Marsy is the gloved hand which stabs or throttles. Years ago, when I was unacquainted with this comparison, and was contrasting the rising genius of Emile Zola with that of his great and splendid rival, Alphonse Daudet, I likened M. Zola to the fist and M. Daudet to the rapier. A French critic had previously called the former a cactus and the latter an Arab steed. The cactus comparison, as applied to M. Zola, was a very happy one; for I defy anybody, even the smuggest of hypocrites, to read M. Zola's works without some prickings of conscience. And verily I believe that most of the opposition to the author of the Rougon-Macquart series arises from that very cause.
But I must return to Marsy, though he need not detain me long, for he only flits across the following pages with his regal air and sardonic smile. For a fuller and, in some degree, a more favourable portrait, one must turn to the pages of Daudet, who of course could not write ill of the man to whom he owed his start in life. In the present work, slight as is the sketch, Marsy, or Morny, the name signifies little, is shown as he really was—venal, immoral, witty, and exquisitely polite. Then there is Delestang, who, physically, represents M. Magne; while in like way Beulin-d'Orchère, the judge whose sister marries Rougon, is copied from Delangle, whose bulldog face is alluded to by most of the anecdotiers of the Empire. La Rouquette is, by name at all events, a connection of Forcade de la Roquette—a step-brother of Marshal St. Arnaud—who rose to influence and power in the latter days of the Empire; and M. de Plouguern, the profligate old senator, reminds me in some respects of that cynical and eccentric Anglomaniac, the Marquis de Boissy. The various members of Rougon's band are sketched from less-known people. Kahn I cannot quite identify, but I suspect him to be the deputy who was mixed up in the scandal of the Graissesac railway line, to which M. Zola refers as the line from Niort to Angers. However, there is no member of the band that I like better than Béjuin, the silent deputy, who never asks a favour, and yet has favours continually showered upon him. I have known a man of that character connected with English public life.
To return to those of M. Zola's masculine characters who may be identified with real personages, none is more genially, more truthfully, portrayed than Chevalier Rusconi, the Italian or, more correctly, Sardinian, Minister in Paris. Here we have that most amiable of men, Chevalier Nigra, of whom Prosper Mérimée once said in my presence: 'C'est un bohème tombé dans la diplomatie.' Withal, Chevalier Nigra—who, though very aged, still serves his country, I believe, with distinction at Vienna—was a very good diplomatist indeed; one of Cavour's right-hand men, one of those to whom Italy owes union and liberty. And what a career was his in France, and what memoirs might he not write! Few diplomatists ever had stranger experiences: from all the secret plotting which so largely helped to make Victor Emmanuel King of Italy to the surveillance so adroitly practised over the Empress Eugénie, whose support of Pope Pius IX. was ever an obstacle to Italian aspirations. For her Nigra-Rusconi became the handsome, gallant courtier; he was a musician, could sing and dance, was proficient in every society accomplishment, and before long the Empress's Monday receptions at the Tuileries, those petits Lundis enlivened by the wit of Mérimée, were never complete without him. Yet, all the time, a stern duel was being fought between him and the consort of Napoleon III. And so long as her husband ruled France she kept her adversary at bay. Rome, capital of Italy, was but the fruit of Sedan. Yet Nigra was chivalrous. When the bitter hour of reckoning arrived, he stood by the woman who had so long thwarted him. He and Prince Richard Metternich smuggled her out of the Tuileries in order that she might escape to England, beyond the reach of the infuriated Parisians.
We catch a few glimpses of the Empress in the pages of His Excellency. We find her at Compiègne surrounded by the ladies of her Court; we also see her riding in state to Notre Dame to attend the baptism of her infant son. A great day it was, when the Empire reached its zenith: a gorgeous ceremony, too, attended by every pomp. On referring to the newspapers of the time I have found M. Zola's description of the function to be remarkably accurate. We espy the Man of December raising the Prince Imperial in his arms, presenting the heir of the Napoleons to the assembled multitude—even as once before, and in the same cathedral, the victor of Austerlitz presented the infant King of Rome to the homage of France. But neither the son of Marie-Louise nor the son of Eugénie de Montijo was destined to reign. And what a mockery now seems that grand baptismal ceremony, as well as all the previous discussion in the Corps Législatif, of which M. Zola gives such an animated account. What a lesson, too, for human pride, and, in the sequel, what a punishment for human perversity! I often read, I often hear, words of compassion for the Prince Imperial's widowed mother, but they cannot move me to pity, for I think of all the hundreds, all the thousands, of mothers who lost their sons in that most wicked and abominable of wars in the declaration of which the Empress Eugénie played so prominent a part. Her evil influence triumphed in that hour of indecision which came upon her ailing husband; and her war—ma guerre à moi—ensued, with fatal consequences, which even yet disturb the world. And so, however great, however bitter, her punishment, who will dare to say that it was undeserved?
But whilst I consider the Empress to have been, in more than one momentous circumstance, the evil genius of France, even as Marie Antoinette was the evil genius of the crumbling Legitimate monarchy, I am not one of those who believe in all the malicious reports of her to be found in la chronique scandaleuse. That she threw herself at the Emperor's head and compelled him to marry her, may be true, but that is all that can be alleged against her with any show of reason. She undoubtedly proved a faithful wife to a man who was notoriously a most unfaithful husband. There are those who may yet remember how one November morning in the year 1860 the Empress arrived in London, scarcely attended, drove in a growler to Claridge's Hotel, and thence hurried off to Scotland. Her flight from the Tuileries had caused consternation there. For four days the Moniteur remained ominously silent, and when it at last spoke out it was to announce with the utmost brevity that her Majesty was in very delicate health, and had betaken herself to Scotland—in November!—for a change of air. This ridiculous explanation deceived nobody. The simple truth was that the Empress had obtained proof positive of another of her husband's infidelities.
It is needless for me to enlarge upon the subject; I have only mentioned it in corroboration of the portrait of Napoleon III. which M. Zola traces in His Excellency. The Emperor was an immoral man—the Beauharnais if not the Bonaparte blood coursed in his veins—and the names of several of his mistresses are perfectly well known. For the rest, M. Zola pictures him very accurately: moody, reserved, with vague humanitarian notions, and as great a predilection for secret police spying as was evinced by Louis XV. The intrigue between him and M. Zola's heroine, Clorinde, is no extravagant notion. Here again a large amount of actual fact is skilfully blended with a little fiction. Clorinde Balbi at once suggests the beautiful Countess de Castiglione; but in the account of her earlier career