arrack, crême de moka and raki drip among the mackerel nets and deluge the seaweed. In the presence of this extraordinary and fantastic bacchanal all the disputes of the rival families are forgotten, class prejudices are drowned, and the mayor’s rich daughter marries the poorest of the fisher-sons of the enemy’s camp. It is very amusingly and very picturesquely told, but spoiled a little by M. Zola’s pet sin—the overcrowding of details, the theatrical completeness and orchestral big-drum of the final scene. Too[Pg 37] many barrels of liqueur come in, the village becomes too universally drunk, the scene at last becomes too Lydian for credence.

[Pg 36]

[Pg 37]

In the two remaining stories of this collection—“Pour une Nuit d’Amour” and “L’Inondation”—the fault of mechanical construction is still more plainly obvious. Each of these narratives begins with a carefully accentuated picture of a serene life: in the first instance, that of a timid lad sequestered in a country town; in the second, that of a prosperous farmer, surrounded by his family and enjoying all the delights of material and moral success. In each case this serenity is but the prelude to events of the most appalling tragedy—a tragedy which does not merely strike or wound, but positively annihilates. The story called “L’Inondation,” which describes the results of a bore on the Garonne, would be as pathetic as it is[Pg 38] enthralling, exciting, and effective, if the destruction were not so absolutely complete, if the persons so carefully enumerated at the opening of the piece were not all of them sacrificed, and, as in the once popular song called “An ’Orrible Tale,” each by some different death of peculiar ingenuity. As to “Pour une Nuit d’Amour,” it is not needful to do more than say that it is one of the most repulsive productions ever published by its author, and a vivid exception to the general innocuous character of his short stories.

[Pg 38]

No little interest, to the practical student of literature, attaches to the fact that in “L’Inondation” M. Zola is really re-writing, in a more elaborate form, the fourth section of his “Jean Gourdon.” Here, as there, a farmer who has lived in the greatest prosperity, close to a great river, is stripped of[Pg 39] everything—of his house, his wealth, and his family—by a sudden rising of the waters. It is unusual for an author thus to re-edit a work, or tell the same tale a second time at fuller length, but the sequences of incidents will be found to be closely identical, although the later is by far the larger and the more populous 

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