French novelist, journalist, playwright, and poet (1840–1902)
Émile Édouard Charles Antoine Zola (2 April 1840 – 29 September 1902) was a French novelist, playwright, journalist, the best-known practitioner of the literary school of naturalism, and an important contributor to the development of theatrical naturalism.
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Like certain devotees, who think they can fool God and wrest a pardon by paying lip-service to prayer and adopting the humble attitude of the penitent, Therese humiliated herself, beat her chest, found words of repentance, without having anything in the bottom of her heart except fear and cowardice.
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His creation was a sort of new religion; the churches, gradually deserted by a wavering faith, were replaced by this bazaar, in the minds of the idle women of Paris. Women now came and spent their leisure time in his establishment, the shivering and anxious hours they formerly passed in churches: a necessary consumption of nervous passion, a growing struggle of the god of dress against the husband, the incessantly renewed religion of the body with the divine future of beauty.
Mais il avait oublié l’inventaire, il ne voyait pas son empire, ces magasins crevant de richesses. Tout avait disparu, les victoires bruyantes d’hier, la fortune colossale de demain. D’un regard désespéré, il suivait Denise, et quand elle eut passé la porte, il n’y eut plus rien, la maison devint noire.
In the midst of all his sadness, Pierre felt deep compassion penetrate his heart. He was upset by the thought that mankind should be so wretched, reduced to such a state of woe, so bare, so weak, so utterly forsaken, that it renounced its own reason to place the one sole possibility of happiness in the hallucinatory intoxication of dreams. Tears once more filled his eyes; he wept for himself and for others, for all the poor tortured beings who feel a need of stupefying and numbing their pains in order to escape from the realities of the world.
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Endless love and voluptuous appetite pervaded this stifling nave in which settled the ardent sap of the tropics. Renée was wrapped in the powerful bridals of the earth that gave birth to these dark growths, these colossal stamina; and the acrid birth-throes of this hotbed, of this forest growth, of this mass of vegetation aglow with the entrails that nourished it, surrounded her with disturbing odours. At her feet was the steaming tank, its tepid water thickened by the sap from the floating roots, enveloping her shoulders with a mantle of heavy vapours, forming a mist that warmed her skin like the touch of a hand moist with desire. Overhead she could smell the palm trees, whose tall leaves shook down their aroma. And more than the stifling heat, more than the brilliant light, more than the great dazzling flowers, like faces laughing or grimacing between the leaves, it was the odours that overwhelmed her. An indescribable perfume, potent, exciting, composed of a thousand different perfumes, hung about her; human exudation, the breath of women, the scent of hair; and breezes sweet and swooningly faint were blended with breezes coarse and pestilential, laden with poison. But amid this strange music of odours, the dominant melody that constantly returned, stifling the sweetness of the vanilla and the orchids' pungency, was the penetrating, sensual smell of flesh, the smell of lovemaking escaping in the early morning from the bedroom of newlyweds.