''^^''^^^V^T^.^t^^MA BOOK 843.8.Z74E c.2 ZOLA # DRAM SHOP 3 T153 D001325b 5 ^1 7P T^ T> THE DRAM-SHOP \ THE DRAM-SHOP [UASSOMMOIR] BY ^MILE ZOLA EDITED BY ERNEST A. VIZETELLY SOLE AUTHORISED ENGLISH VE^^SION THE MARION COMPANY NEW YORK 1915 INTRODUCTION The Assommoir is the book which made ^fimile Zola famous. Previous to its publication he was virtually an un- known quantity in the spheres of literature and social reform. To the version of his story which is here offered the title of * The Dram-shop ' has been given ; this title conveying, it is thought, a good idea of the book's subject and purpose, which last is to stay the ravages of strong drink. * Drink ' in itself is, of course, an obvious title for such a work ; but it was taken by the late Charles Reade for his well-known dramatic arrangement of M. Zola's story, and to have borrowed it for the present volume would only have led to confusion. More- over, there are certain reasons for giving this translation a title which shall fully distinguish it from all previous ones. In the French title, L'Assomvioir, there lurks a particular meaning, which may here be briefly explained. An assommoir is Uterally a heavy bludgeon, but the word may be applied to almost any weapon that will fell, stun, or kill. Many yeara ago the nickname of assommoir was given in a spirit oi sarcasm to a certain tavern in the Parisian faubourg ol Belleville — an estabhshment notorious for the potency of the liquors it dispensed. The idea, of course, was that the drams consumed at this tavern fairly dealt one a knockdown blow. However, the landlord of the premises, a shrewd man of business, who well knew what class of people he had to deal with, in no wise resented the nickname bestowed upon his house. On the contrary, he formally adopted it, painted it above his windows, and in a few years made his fortune. And in course of time, among the working-classes of Paris, any low-drinking haunt noted for its fiery spirits became vi THE DRAM-SHOP known as an assommoir. M. Zola, en passant, picked up the word, and in some degree extended its meaning, so that it has come to signify in a measure drink itself, which, like the bludgeon, fells, stuns, and ultimately kills its victims. It has been mentioned above that L' Assommoir was the work which made M. Zola famous. Its first appearance in serial form, in the columns of a Paris newspaper, Le Bien Public, of which M. Thiers was chief proprietor, provoked such frantic protests that it had to be withdrawn. And when it was subsequently issued in book form the outcry became terrific. It was denounced upon all sides as a most atrocious libel upon the French working-classes. And yet this was but few years after the Commune of Paris— a movement largely due to drink, for half of the Parisian proUtariat had acquired tippling, slothful habits during the German siege, when work was at a standstill, food scarce, and wine and brandy so plentiful that, had it been possible for the Parisians to have lived upon alcohol alone, they might have kept the investing armies at bay for nearly another twelvemonth. Moreover, subsequent to the Commune and prior to the publication of L' Assommoir, the French National Assembly for the first time in the annals of France had found it absolutely necessary to pass a law against the growing vice of drunkenness. Looking backward, I do not think anybody can nowa- days deny that L' Assommoir was quite a necessary book. To plead, to urge, is all very well at times; but in some matters people cannot be roused unless they are absolutely shocked. Some years ago on a certain subject an English journalist urged and pleaded in vain. Then he iindertook to shock people, and for his pains he was dragged through the mire and saw his newspaper ignominiously turned out of almost every London club. But time brought him his revenge, as it always brings revenge to every man who stands up for a good cause ; and nowadays among the statutes of Great Britain there figures a certain amended law which is for all time forward that journalist's vindication. And in like way the author of L'Assommoi/r has been INTRODUCTION vii vindicated. No thinking man in France now regards his book as libellous. The evils denounced in its pages have become too apparent. Publicists do not weary of expatiating on them ; numerous societies have been founded to combat them; philanthropists give time and money to the cause. With my knowledge of France and French life I do not hesitate to say that M. Zola's writings, taken en bloCj have done an infinity of good by laying bare so many social sores, and thus rousing the national conscience. Critics have often imputed to him as a crime the fact that he does not pause to moralise, that he allows his readers to draw their own inferences from his narratives. But surely each of those narratives is presented in such fashion that its moral becomes obvious to the dullest intellect. Moreover, whatever M. Zola may have had to write respecting vice in its various forms, he has never sought — as George Sand, for instance, invariably did — to render it in any wise attractive. One of the best defences of M. Zola from this point of view was penned some years ago by Signor Edmondo de Amicis, and may well be quoted here : — ' Zola is one of the most moral novelists of France, and it is really astonishing how anyone can doubt it. He makes us note the stench, not the perfume, of vice ; his nude figures are those of the anatomical table, which inspire no immoral thought whatever ; there is not one of his books, not even the crudest in language, that does not leave in the soul, pure, firm, and immutable, either repugnance or scorn for the base passions of which he treats. He is not, like the younger Alexandre Dumas, linked by unconquerable sympathy to hideous women, to whom he says " Infamous creatures ! " aloud and ** Dear ones ! " just above his breath. Brutally, pitilessly, and without hypocrisy he exposes vice, and holds it up to ridicule, standing so far away from it himself that he does not graze it with his garments. Forced by his hand, it is Vice itself that shouts the injunction : " Detest me and pass by I " ' When all is considered it will be found — at least such is my own opinion — that the great quarrel between the critics viii THE DRAM-SHOP and M. Zola has been chiefly caused by his outspokenness. He has invariably made it his practice to call a spade a spade ; and in his desire to be absolutely true to life, such as it un- happily is, he has recoiled from no expression, however horrible or loathsome it may be, when it has fitted in with the thoughts or the vernacular of his characters. This is particularly the case in L'Assommoir, and to it may be traced much if not all of the denunciation with which this work has been visited. Farther on the reader will find a trans- lation of M. Zola's own preface to the book, in which he rephes to the attacks levelled at him on this particular sub- ject. He states his case clearly from the philological stand- point, and even those who do not hold the same views as himself must, I think, concede that for students of language his work possesses a keen and abiding interest. At the same time, whatever philological importance and interest may attach to the original, must largely disappear in a transla- tion, particularly when, as in the present case, this translation has been made not for philological purposes, but chiefly to diffuse the wholesome lessons against drink, sloth, and ignorance with which the work abounds. Nevertheless, I have endeavoured to preserve some of the spirit of the original by giving the words and thoughts of the various characters in a more or less slangy form, whilst seeking milder exple- tives and less coarseness of expression generally than will be found in the French work. I have also slightly modified some incidents in my desire that this version may prove ac- ceptable to the general public. I may add that it is based on a translation now not generally accessible ; however, I have made such a vast number of corrections and modifications in the former text that the translation has become almost entirely my own. It will be found that here and there I have added to the narrative some brief notes, chiefly of an explanatory character. E. A. V. Merton, Surrey. AUTHOR'S ORIGINAL PREFACE The * Rougon-Macquart ' series will be composed of some twenty novels. Ever since 1869, the general plan has been settled, and I follow it with extreme precision. The Assom- moir has come in its due place and season ; I have written it as I shall write the other volumes, without deviating for a second from my straight line. Therein hes my strength. I have a goal towards which I am advancing. When the Assommoir appeared in a newspaper, it was attacked with unexampled brutality, denounced, accused of every crime. Is it really necessary to explain here in a few lines my intentions as a writer ? I have sought to picture the fatal downfall of a family of workpeople, in the pestilential atmosphere of our faubourgs. After drunkenness and sloth come the loosening of family ties, filth engendered by pro- miscuity, progressive forgetfulness of all upright sentiments, and then, as finish, shame and death. The book is simply a lesson in morality. The Assommoir is certainly the most chaste of my works. Often have I had to point to far more frightful sores. The form which I have given to the book alone has shocked people. Anger has been roused by mere words. My crime consists in having yielded to literary curiosity to gather the language of the people together and run it through a well-prepared mould. Ah ! the form, the style of the book, therein Hes its great crime 1 Yet slang dictionaries exist, men of letters study slang and enjoy its piquancy, its unexpectedness, and the force of its imagery. It is a treat for burrowing gram- X THE DRAM-SHOP marians. Nevertheless, no one has perceived that my wish was to produce a philological work, which I believe to be of keen historical and social interest. I do not seek to defend myself, however. My work will defend me. It is a work of truth, the first novel about the masses which does not lie and which has an odour of the masses. And one must not conclude from what I have written that the masses are entirely bad; for my own characters are not bad, they are simply ignorant and spoilt by the surroundings of hard drudgery and misery amidst which they live. Only, it is necessary to read my novels, to understand them, to see them clearly as a whole, before pronouncing such grotesque, odious, preconceived judgments as those which circulate about my person and my works. Ah ! if it were only known how my friends laugh at the amazing legend which serves to amuse the multitude ! If it were only known that the blood-drinker, the ferocious novelist, is a quiet citizen, a man of study and of art, who lives discreetly in his Httle nook, and whose sole ambition is to leave behind him a work as broad and as lifelike as he can construct ! But I contradict no tittle-tattle ; I work ; and I leave to time and public good faith the task of unearthing me from beneath all the nonsense and abuse that have been piled upon me. Paris. :fiMILB ZOLA. CONTENTS I. DESSBTION • • ^ • ' • • I • • I n. COURTSHIP ;*^-^sij