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228 pages

English

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Fruitfulness (1899) is a novel by French author Émile Zola. Published as the first installment of his Les Quatre Évangiles, a series of four novels inspired by the New Testament gospels and aimed at investigating prominent social issues, Fruitfulness was written while Zola was living in exile in England following his advocacy on behalf of Alfred Dreyfus, a French Jew falsely convicted of spying. An inspired secularist and socialist, Zola foresaw his final literary project as an essential step forward in human consciousness and societal evolution, a vision tragically cut short by his death only several years later. In nineteenth-century France, following the collapse of the Second Empire, widespread economic instability has led to a dangerously low birthrate. Forced to make impossible decisions for the lives of their families, people have given up raising more than one or two children, leading to a strain on the workforce and creating a society without the joys of youth. Against all odds, and despite the harsh judgment of their peers, Mathieu and Marianne Froment attempt to raise a family of twelve children. Grounded in love and solidarity, the Froment family becomes a symbol of perseverance and a model for their beleaguered community. With a beautifully designed cover and professionally typeset manuscript, this edition of Émile Zola’s Fruitfulness is a classic work of French literature reimagined for modern readers.

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Publié par	Mint Editions
Date de parution	03 août 2021
Nombre de lectures	0
EAN13	9781513286075
Langue	English
Poids de l'ouvrage	1 Mo

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Fruitfulness
É mile Zola

Fruitfulness was first published in 1899.
This edition published by Mint Editions 2021.
ISBN 9781513281056 | E-ISBN 9781513286075
Published by Mint Editions®
minteditionbooks.com
Publishing Director: Jennifer Newens
Design & Production: Rachel Lopez Metzger
Project Manager: Micaela Clark
Translated by Ernest Alfred Vizetelly
Typesetting: Westchester Publishing Services

C ONTENTS I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI XXII XXIII

I
T hat morning, in the little pavilion of Chantebled, on the verge of the woods, where they had now been installed for nearly a month, Mathieu was making all haste in order that he might catch the seven-o’clock train which every day conveyed him from Janville to Paris. It was already half-past six, and there were fully two thousand paces from the pavilion to Janville. Afterwards came a railway journey of three-quarters of an hour, and another journey of at least equal duration through Paris, from the Northern Railway terminus to the Boulevard de Grenelle. He seldom reached his office at the factory before half-past eight o’clock.
He had just kissed the children. Fortunately they were asleep; otherwise they would have linked their arms about his neck, laughed and kissed him, being ever unwilling to let him go. And as he hastily returned to the principal bedroom, he found his wife, Marianne, in bed there, but awake and sitting up. She had risen a moment before in order to pull back a curtain, and all the glow of that radiant May morning swept in, throwing a flood of gay sunshine over the fresh and healthy beauty of her four-and-twenty years. He, who was three years the elder, positively adored her.
“You know, my darling,” said he, “I must make haste, for I fear I may miss the train—and so manage as well as you can. You still have thirty sous left, haven’t you?”
She began to laugh, looking charming with her bare arms and her loose-flowing dark hair. The ever-recurring pecuniary worries of the household left her brave and joyous. Yet she had been married at seventeen, her husband at twenty, and they already had to provide for four children.
“Oh! we shall be all right,” said she. “It’s the end of the month to-day, and you’ll receive your money to-night. I’ll settle our little debts at Janville to-morrow. There are only the Lepailleurs, who worry me with their bill for milk and eggs, for they always look as if they fancied one meant to rob them. But with thirty sous, my dear! why, we shall have quite a high time of it!”
She was still laughing as she held out her firm white arms for the customary morning good-by.
“Run off, since you are in a hurry. I will go to meet you at the little bridge to-night.”
“No, no, I insist on your going to bed! You know very well that even if I catch the quarter-to-eleven-o’clock train, I cannot reach Janville before half-past eleven. Ah! what a day I have before me! I had to promise the Moranges that I would take dejeuner with them; and this evening Beauchene is entertaining a customer—a business dinner, which I’m obliged to attend. So go to bed, and have a good sleep while you are waiting for me.”
She gently nodded, but would give no positive promise. “Don’t forget to call on the landlord,” she added, “to tell him that the rain comes into the children’s bedroom. It’s not right that we should be soaked here as if we were on the high-way, even if those millionaires, the Seguins du Hordel, do let us have this place for merely six hundred francs a year.”
“Ah, yes! I should have forgotten that. I will call on them, I promise you.”
Then Mathieu took her in his arms, and there was no ending to their leave-taking. He still lingered. She had begun to laugh again, while giving him many a kiss in return for his own. There was all the love of bounding health between them, the joy that springs from the most perfect union, as when man and wife are but one both in flesh and in soul.
“Run off, run off, darling! Remember to tell Constance that, before she goes into the country, she ought to run down here some Sunday with Maurice.”
“Yes, yes, I will tell her—till to-night, darling.”
But he came back once more, caught her in a tight embrace, and pressed to her lips a long, loving kiss, which she returned with her whole heart. And then he hurried away.
He usually took an omnibus on his arrival at the Northern Railway terminus. But on the days when only thirty sous remained at home he bravely went through Paris on foot. It was, too, a very fine walk by way of the Rue la Fayette, the Opera-house, the Boulevards, the Rue Royale, and then, after the Place de la Concorde, the Cours la Reine, the Alma bridge, and the Quai d’Orsay.
Beauchene’s works were at the very end of the Quai d’Orsay, between the Rue de la Federation and the Boulevard de Grenelle. There was hereabouts a large square plot, at one end of which, facing the quay, stood a handsome private house of brickwork with white stone dressings, that had been erected by Leon Beauchene, father of Alexandre, the present master of the works. From the balconies one could perceive the houses which were perched aloft in the midst of greenery on the height of Passy, beyond the Seine; whilst on the right arose the campanile of the Trocadero palace. On one side, skirting the Rue de la Federation, one could still see a garden and a little house, which had been the modest dwelling of Leon Beauchene in the heroic days of desperate toil when he had laid the foundations of his fortune. Then the factory buildings and sheds, quite a mass of grayish structures, overtopped by two huge chimneys, occupied both the back part of the ground and that which fringed the Boulevard de Grenelle, the latter being shut off by long windowless walls. This important and well-known establishment manufactured chiefly agricultural appliances, from the most powerful machines to those ingenious and delicate implements on which particular care must be bestowed if perfection is to be attained. In addition to the hundreds of men who worked there daily, there were some fifty women, burnishers and polishers.
The entry to the workshops and offices was in the Rue de la Federation, through a large carriage way, whence one perceived the far-spreading yard, with its paving stones invariably black and often streaked by rivulets of steaming water. Dense smoke arose from the high chimneys, strident jets of steam emerged from the roof, whilst a low rumbling and a shaking of the ground betokened the activity within, the ceaseless bustle of labor.
It was thirty-five minutes past eight by the big clock of the central building when Mathieu crossed the yard towards the office which he occupied as chief designer. For eight years he had been employed at the works where, after a brilliant and special course of study, he had made his beginning as assistant draughtsman when but nineteen years old, receiving at that time a salary of one hundred francs a month. His father, Pierre Froment, 1 had four sons by Marie his wife—Jean the eldest, then Mathieu, Marc, and Luc—and while leaving them free to choose a particular career he had striven to give each of them some manual calling. Leon Beauchene, the founder of the works, had been dead a year, and his son Alexandre had succeeded him and married Constance Meunier, daughter of a very wealthy wall-paper manufacturer of the Marais, at the time when Mathieu entered the establishment, the master of which was scarcely five years older than himself. It was there that Mathieu had become acquainted with a poor cousin of Alexandre’s, Marianne, then sixteen years old, whom he had married during the following year.
Marianne, when only twelve, had become dependent upon her uncle, Leon Beauchene. After all sorts of mishaps a brother of the latter, one Felix Beauchene, a man of adventurous mind but a blunderhead, had gone to Algeria with his wife and daughter, there to woo fortune afresh; and the farm he had established was indeed prospering when, during a sudden revival of Arab brigandage, both he and his wife were murdered and their home was destroyed. Thus the only place of refuge for the little girl, who had escaped miraculously, was the home of her uncle, who showed her great kindness during the two years of life that remained to him. With her, however, were Alexandre, whose companionship was rather dull, and his younger sister, Seraphine, a big, vicious, and flighty girl of eighteen, who, as it happened, soon left the house amid a frightful scandal—an elopement with a certain Baron Lowicz, a genuine baron, but a swindler and forger, to whom it became necessary to marry her. She then received a dowry of 300,000 francs. Alexandre, after his father’s death, made a money match with Constance, who brought him half a million francs, and Marianne then found herself still more a stranger, still more isolated beside her new cousin, a thin, dry, authoritative woman, who ruled the home with absolute sway. Mathieu was there, however, and a few months sufficed: fine, powerful, and healthy love sprang up between the young people; there was no lightning flash such as throws the passion-swayed into each other’s arms, but esteem, tenderness, faith, and that mutual conviction of happiness in reciprocal bestowal which tends to indissoluble marriage. And they were delighted at marrying penniless, at bringing one another but their full hearts forever and forever. The only change in Mathieu’s circumstances was an increase of salary to two hundred francs a month. True, his new cousin by marriage just vaguely hinted at a possible partnership, but that would not be till some very much later date.
As it happened Mathieu Froment gradually became indispensable at the works. The young master, Alexandre Beauchene, passed through an anxious crisis. The dowry which his father had been forced to draw from his coffers in order to get Seraphine married, and other large expens