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Overview
On Christmas day, in the flurry of a snow storm, the Huberts discover a ragged nine year old girl sheltering under the neighbouring cathedral porch. Childless and pious, the couple take in and raise Angelique as their own. The girl is intensely passionate, and given to rage and disobedience as well as love and religious fervour. Inspired by The Golden Legend, Angelique creates a dream world all of her own, peopled with spirits. As part of her dream vision, she becomes convinced she will marry a rich and handsome young prince. Her wish seemingly comes true when she falls in love with a lord's son...
The sixteenth novel in the Rougon-Macquart series, The Dream marks a departure by Zola from the conventions of realism. Here, Zola explores the persistence of mysticism, but also blends elements of fairy tale with the naturalist techniques for which he had become known. This edition contains a wide-ranging introduction placing Zola's changing concerns in the context of his wider work, and illuminates key themes in the novel, such as architecture, heraldry, and the lives of the saints.
Product Details
| ISBN-13: | 9780198745983 |
|---|---|
| Publisher: | Oxford University Press |
| Publication date: | 12/01/2018 |
| Series: | Oxford World's Classics Series |
| Edition description: | Reprint |
| Pages: | 256 |
| Sales rank: | 529,786 |
| Product dimensions: | 5.00(w) x 7.60(h) x 0.70(d) |
About the Author
Paul Gibbard is Senior Lecturer in French Studies at the University of Western Australia. He has worked previously as an editor of the Complete Works of Voltaire at the Voltaire Foundation, Oxford, and at Monash University and the University of New England. His research interests lie in French literature from the eighteenth to the twentieth centuries, and he has also published on women's political thought during the Enlightenment and the French exploration of Australia.
Read an Excerpt
The Dream
By Emile Zola, Michael Glencross
Peter Owen Publishers
Copyright © 2005 Michael GlencrossAll rights reserved.
ISBN: 978-0-7206-1677-4
CHAPTER 1
DURING THE HARSH winter of 1860 the River Oise froze over and heavy falls of snow covered the plains of Lower Picardy. More than that, on Christmas Day a blizzard came in from the north-east and almost buried the town of Beaumont. The snow, which had begun to fall in the morning, grew heavier towards evening, and piled up throughout the night. In the upper part of the town, in the Rue des Orfèvres, which was blocked off at its far end by the north side of the cathedral transept, the snow swept along, whipped up by the wind, and beat against the doorway of St Agnes, an ancient Romanesque doorway but with elements of Gothic, highly decorated with sculptures in contrast to the spareness of the gable. By dawn the following morning there was almost three feet of snow lying there.
The street was still dozing, lazy from the festivities of the previous day. Six o'clock struck. In the darkness, softened to blue by the slow, stubborn falling of the snowflakes, the only sign of life was the indistinct shape of a young girl of nine, who, after seeking refuge under the archivolt of the doorway, had spent the night shivering, sheltering there as best she could. She was dressed in rags, her head covered with a tattered scarf, her bare feet in heavy, men's shoes. No doubt she had only ended up there after long hours of wandering the town, for she had collapsed from exhaustion. For her it was the end of the world, no one and nothing left, the final abandonment, the hunger that gnaws at the bone, the cold that kills. In her weakened state, crushed by the heaviness in her heart, she had ceased to struggle. All that was left in her was a bodily reflex, the instinct to move, to huddle against these ancient stones as the snow swirled in the gusting wind.
Hours and hours went by. For a long time she remained propped against the central pillar that divided the archway. The pillar bore a statue of St Agnes, the thirteen-year-old martyr, a young girl like her, carrying a palm branch and with a lamb at her feet. And in the tympanum, above the lintel, the whole legend of the virgin child, betrothed to Christ, was depicted in high relief, the expression of a naïve faith: her hair that grew long to clothe her when the governor, whose son she had spurned, sent her naked into the dens of iniquity; the flames of the pyre, which left her limbs unscathed but consumed her executioners as they set fire to the wood; the miracles wrought by her relics, as when Constance the Emperor's daughter was cured of leprosy, and the miracles worked by painted figures of her. Thus the priest Paulinus, tormented by the desire to take a wife and following the advice of the Pope, presented an emerald ring to the statue, which held out its finger, then withdrew it, retaining the ring that can still be seen on it today, so saving him from damnation. At the apex of the tympanum, set in a nimbus, Agnes is at last received into heaven, where Jesus her betrothed weds her, so small and so young, by giving her the kiss of eternal joy.
But when the wind blew along the street, the snow whipped straight in and white heaps were threatening to block the threshold of the doorway. Then the child stationed herself to the side, against the jamb statues of the virgins above the stylobate. These were St Agnes's companions, the saints forming her escort: three to her right, Dorothy, nourished in prison by miraculous bread, Barbara, who lived in a tower, and Genevieve, whose virginity saved Paris. On her left were three others: Agatha, her breasts twisted and torn, Christina, tortured by her father, who threw pieces of her own flesh in her face, and Cecilia who was loved by an angel. Above them were still more virgins, three serried ranks ascending with the arches of the keystones and decorating the three archivolts with a blossoming of triumphant, chaste bodies, below martyred, crushed and tortured but above welcomed by a flight of cherubim, and rapt with ecstasy amidst the heavenly host.
The child had been exposed to the elements for a long time when eight o'clock struck and daylight arrived. Had she not trodden it down, the snow would have been up to her shoulders. Behind her the ancient doorway was coated with it, as if clothed in ermine, as white as a wayside altar, at the base of the grey façade, so naked and so smooth that not a single snowflake clung to it. The large statues of saints, especially those on the splay, were clad in it, white from head to toe, radiant with purity. Higher up, the scenes on the tympanum and the smaller saints on the archivolts stood out in sharp detail, bright lines against a dark background. They continued up until the final scene of ecstasy, the wedding of Agnes, which the archangels seemed to be celebrating beneath a shower of white roses. Upright on her pillar with her white palm branch and her white lamb, the statue of the virgin child was white and pure, her body immaculate with snow, stiff and still in the cold that froze around her the mystical raptures of virginity triumphant. At her feet, the other, a poor and wretched child, also white with snow, stiff and white as if turned to stone, was no longer distinguishable from the tall virgins.
However, along the sleepy façades the banging of a shutter being pushed back made her look up. It came from her right on the first floor of the house next to the cathedral. A very beautiful, dark-haired, strong -looking woman of about forty had just leaned out and, despite the heavy frost, she kept her bare arm outside for a moment, as she had seen the child stir. Surprise mingled with pity brought sadness to her calm face. Then with a shiver she closed the window. She took away with her the fleeting image of a fair-haired young girl, glimpsed beneath a tattered scarf, with violet-coloured eyes, a long face and an especially slender neck that had the elegance of a lily, on sloping shoulders. Her tiny hands and feet, blue with cold, were half dead, and all that was living about her was the faint steam of her breath.
The child stayed staring up abstractedly at the house, a very ancient, narrow, single-storey building dating from about the end of the fifteenth century. It was embedded into the side of the cathedral, between two buttresses, like a wart between the toes of a giant. Joined up so, it had been perfectly preserved, with its stone base course, its timber-framed first floor decorated with facing bricks, its roof timbers that projected a metre out over the gable, and, in the left-hand corner, its turret staircase, where the narrow window still kept the original leading. The passage of time had, however, made certain repairs necessary. The roof tiles must have dated from the reign of Louis XIV. It was easy to tell the repairs made about that time: a small window inserted in the pedestal of the turret, frames with window bars replacing all the original stained-glass windows, the three joined-up bays on the first floor reduced to only two, with the middle one blocked up with bricks, all of which gave the façade the symmetrical proportions of the other, more recent buildings in the street. On the ground floor the changes were no less obvious: a moulded oak door instead of the old door with iron fittings under the staircase, and the great central arch, of which the bottom, sides and top had been filled in so as to leave only a rectangular opening, a sort of wide window instead of the pointed bay that had previously opened on to the cobbled street.
Unthinkingly the child continued to look at the venerable dwelling of this master craftsman, a well-kept house, and she was reading a yellow sign nailed to the left of the door saying Hubert vestment maker in old black lettering when once again the noise of a shutter being pushed back caught her attention. This time it was the shutter on the square window on the ground floor: now a man leaned out. His face looked anguished, he had a hooked nose and an uneven forehead, with a head of thick hair that had already turned grey, though he was barely forty-five, and he, too, forgot what he was doing for a moment as he looked at her carefully, his large, tender mouth creased with pain. Next she saw him still standing upright, behind the small greenish windows. He turned around, made a gesture, and his wife reappeared, looking very beautiful. Both of them, side by side, were motionless and kept looking at her with a deeply sad expression on their faces.
For four hundred years the Hubert lineage, vestment makers from father to son, had lived in this house. A master vestment maker had it built in the reign of Louis XI, another had it repaired in the reign of Louis XIV, and this was where, like all his predecessors, the present Hubert embroidered his vestments. When he was twenty he had fallen so madly in love with a young girl of sixteen, Hubertine, that after her mother, the widow of a magistrate, refused to give her consent, he eloped with the girl, then married her. She was remarkably beautiful, and that was the cause of their whole idyll, their joy and their unhappiness. When eight months later and pregnant she went to visit her dying mother, the old woman disinherited and cursed her, with the result that the baby, who was born that very night, died. Since then in the graveyard, from her tomb, the stubborn bourgeoise still would not forgive, for the couple had no more children, though they dearly wanted to. After twenty-four years they were still mourning the one they had lost, and had given up hope of ever making the dead woman relent.
Unsettled by the way they looked at her, the young girl shrank back behind the pillar of St Agnes. She was anxious, too, about the street coming to life: the shops were opening, people were beginning to venture out. The Rue des Orfèvres, the end of which comes right up against the side of the cathedral, would really be a dead end, blocked off on the apse side by the Huberts' house, were it not for the fact that the Rue Soleil, a narrow corridor, opened it up on the other side, running the length of the cathedral as far as the west front on the Place du Cloître. Two pious -looking women went past and cast a surprised eye on this little beggar girl, whom they had never seen before in Beaumont. The snow continued to fall slowly but insistently; the cold seemed to grow sharper with the wan daylight. All that could be heard was the far-off echo of voices in the dull thickness of the great white shroud covering the town.
But, frightened and shameful of having being abandoned as if she were guilty of some misdeed, the child drew further back until suddenly in front of her she saw Hubertine, who, not having a servant, had gone out to fetch bread.
'Little one, what are you doing there? Who are you?'
She made no reply but hid her face. However, she had lost all feeling in her limbs; she was losing consciousness as if her heart had turned to ice and had stopped beating. When the good woman had turned her back on her with a gesture of discreet pity, she sank to her knees, utterly exhausted, and slipped down on to the snow like a rag, while the snowflakes silently buried her. When she came back with the still warm bread, the woman noticed the girl now on the ground and went up to her again.
'Come, little one, you cannot stay under this doorway.'
At that moment Hubert, who had in turn come outside and was standing on the doorstep of the house, took the bread from his wife and said, 'Take her, then. Bring her in.'
Without another word, Hubertine took her in her strong arms. The child no longer recoiled. She was carried like an object, her teeth clenched, her eyes shut, completely cold, as light as a fledgling fallen from its nest.
They went inside, Hubert closing the door while Hubertine, weighed down by her burden, crossed the room looking on to the street, the one that they used as their parlour, and where a few pieces of embroidery were on show in front of the large square window. Then she went into the kitchen, formerly the main room, which had been preserved almost intact, with its exposed beams, its flagging repaired in numerous places and its huge chimney with a stone mantelpiece. On the shelves were the cooking utensils, pots, kettles and basins, a hundred or more years old, and ancient pieces of porcelain, earthenware and pewter. But in the hearth of the fireplace there was a modern stove, a large cast iron one with gleaming brass fittings. It was red hot and water could be heard bubbling away in a large pot. A saucepan, full of coffee and milk, was keeping warm at one end.
'Goodness, it's warmer here than outside,' said Hubert, putting the bread down on a heavy Louis XIII table that took up the middle of the room. 'Put the poor mite near the stove to thaw out.'
Hubertine was already sitting the child down and both of them watched her as she came round. The snow on her clothes melted, falling in heavy drops. Through the holes in her heavy, men's shoes could be seen her tiny, sore feet, while her flimsy dress showed the outline of her stiffened limbs, a pitiful body racked by poverty and pain. A long shiver ran through her and when she opened her eyes she had a lost, startled expression like an animal awaking to find itself caught in a trap. Her face seemed to withdraw beneath the tattered piece of cloth tied under her chin. They thought she had a bad right arm, because she held it firm and tight against her breast.
'Don't be afraid. We don't mean you any harm. Where are you from? Who are you?'
The more they spoke to her the more afraid she became, turning around as if someone was behind her and about to beat her. She studied the kitchen suspiciously, the stone floor, the beams and the gleaming cooking utensils, then she turned her gaze outside through the two irregular windows that had been let into the former opening and examined closely the garden down to the trees in the bishop's palace, their white silhouettes dominating the end wall. She seemed surprised to rediscover there, to the left down an alley, the cathedral with the Romanesque windows in the chapels of its apse. Another long shiver ran through her, a reaction to the heat from the stove that was beginning to enter her body, and she looked back down at the ground, but did not move.
'Are you from Beaumont? Who is your father?'
When she said nothing, Hubert supposed that she was perhaps too tense to reply.
'Instead of asking her so many questions,' he said, 'we'd be better advised to give her a good cup of hot coffee with milk.'
It was so obviously the sensible thing to do that Hubertine immediately handed over her own cup. As she cut her two thick slices of bread, the child remained distrustful and kept recoiling but the pangs of hunger were too strong and she ate and drank greedily. So as not to unsettle her, the couple remained silent, moved at seeing her tiny hand tremble so much that she had difficulty putting the food in her mouth. She made use only of her left hand; her right arm remained firmly pressed against her body. When she had finished she almost dropped the cup but caught it again with her elbow, awkwardly as if she were crippled.
'You've injured your arm, have you?' Hubertine asked. 'Don't be afraid, let me see, my sweet.'
But as she touched her the child reacted violently, getting to her feet and hitting out. In the struggle she moved her arm. A hard-covered booklet, which she had been hiding by holding it under her clothes, slipped out of a tear in her blouse. She tried to take it back and wrung her hands in anger when she saw these two strangers opening and reading it.
It was a record book, issued by the Board for Children in Care of the department of the Seine. On the first page, below an inset portrait of St Vincent de Paul, were printed headings: against the child's surname there was simply the stroke of a pen; then against the Christian names were written 'Angélique' and 'Marie'; against the dates were 'Born 22 January 1851' and 'Admitted 23 of the same month', with the roll number 1634. So father and mother were unknown; there were no documents, not even a birth certificate, nothing except this coldly impersonal record book, with its pale pink cloth cover. Nobody in the world, just an entry, abandonment reduced to statistics and categories.
'Oh! An abandoned child!' exclaimed Hubertine.
(Continues...)
Excerpted from The Dream by Emile Zola, Michael Glencross. Copyright © 2005 Michael Glencross. Excerpted by permission of Peter Owen Publishers.
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