Abbe Mouret's Transgression, by Emile Zola
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Abbe Mouret's Transgression, by Emile Zola
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Émile Zola is one of the greatest writers of the 19th century, and one of France’s best known citizens. In his life, Zola was the most important exemplar of the literary school of naturalism and a major figure in the political liberalization of France. Around the end of his life, Zola was instrumental in helping secure the exoneration of the falsely accused and convicted army officer Alfred Dreyfus, a victim of anti-Semitism. The Dreyfus Affair was encapsulated in the renowned newspaper headline J'Accuse.More than half of Zola's novels were part of this set of 20 collectively known as Les Rougon-Macquart. Unlike Honore de Balzac, who compiled his works into La Comedie Humaine midway through, Zola mapped out a complete layout of his series. Set in France's Second Empire, the series traces the "environmental" influences of violence, alcohol and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of a family: the respectable Rougons and the disreputable Macquarts for five generations. Zola explained, "I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world."
Abbe Mouret's Transgression, by Emile Zola - Amazon Sales Rank: #6188354 in Books
- Published on: 2015-11-25
- Original language: English
- Dimensions: 9.00" h x .55" w x 6.00" l,
- Binding: Paperback
- 240 pages
Abbe Mouret's Transgression, by Emile Zola About the Author ?mile Zola was a French writer who is recognized as an exemplar of literary naturalism and for his contributions to the development of theatrical naturalism. Zola s best-known literary works include the twenty-volume Les Rougon-Macquart, an epic work that examined the influences of violence, alcohol and prostitution on French society through the experiences of two families, the Rougons and the Macquarts. Other remarkable works by Zola include Contes ? Ninon, Les Myst?res de Marseille, and Th?r?se Raquin.
In addition to his literary contributions, Zola played a key role in the Dreyfus Affair of the late nineteenth and early twentieth century. His newspaper article J Accuse accused the highest levels of the French military and government of obstruction of justice and anti-semitism, for which he was convicted of libel in 1898. After a brief period of exile in England, Zola returned to France where he died in 1902. ?mile Zola is buried in the Panth?on alongside other esteemed literary figures Victor Hugo and Alexandre Dumas.
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1 of 1 people found the following review helpful. Paradise gained and lost By H. Schneider Zola's 20 volumes Rougon-Macqart series is full of surprises. The novel called `La Faute de l'abbé Mouret' is sparsely populated and almost non-historical. It is set in the time frame of the Second Empire, but purely by its place in the generations chart: the abbé is Serge Mouret, a grandson of the founders of the Rougon-Macquart clan (see vol.1). Serge lives with his retarded sister Desirée. His uncle gets involved with the plot, Doctor Pascal Rougon, who could be seen as Zola's idealized self-portrait. Actually, the family tree of the Rougon-Macqart, which is included in some of the 20 volumes, is said to have been put together by Pascal.There have been different translations of the book, and different titles: it has been called The Abbé's Sin or Abbé Mouret's Transgression, or the Sinful Priest. It is almost surprising to see that Zola himself used the harmless word `faute'= mistake. It may be a programmatic statement: what others call `sin' is in his eyes nothing more than a mistake by the rules of their, the clergy's game. Zola rejects their standards.The book is one of Zola's attacks on priesthood and church. While the Conquest of Plassans, the 4th volume, is about a politically scheming priest in the service of Bonapartism, the 5th is about nothing but the eternal fight between religion (chastity, celibacy, asceticism, civilization?) and nature. More than one book has been written about priests who fall from their vows into women's arms, or men's. This is what happens to our title hero: due to unusual events he finds himself in a paradise- like environment alone with a young woman, and nature takes its course. Things can't go well forever of course and the harshness of church discipline rules in the end, at the expense of a more human world.The book is organized in three parts of equal length: part 1 shows the priest in his `normal' world, doing his job in a miserable parish in the Provence, frequently celebrating mass alone. The parishioners are vine and olive growers who have other things on their minds. They are an inbred lot in an isolated region. Serge himself is happy with this state of the matter; he has from his mother an intense need for religious devotion (see vol.4) and an abhorrence for real life. Even his sister scares him: she is totally devoted to her menagerie of chickens, pigeons, geese, ducks, turkeys, rabbits, cats, goats, pigs... Serge has a phobia of everything related to blood and feces and whatever else is involved in body functions. He combines his fear of sex, of woman, with a deep and mystic devotion to the virgin. Mary is Eve reborn and beating Satan. We learn that Serge has had bouts of fever in the past and a new attack sets on at the end of part 1. We watch how Mary turns in his hallucinations into Albine, a young girl of the neighborhood who has been troubling him. Deep irritation at first sight. Normal people call it love or at least lust.Serge is all in all a good but weak and pitiable man. To give us a target for negative sentiments, Zola introduces a stern, judgmental, misogynic monk, a man who will accuse the virgin cult of undermining good manly discipline. Of the farmers in the village, this harsh man says that they like to `forniquer avec la terre' in broad daylight. (This subject and image is taken up again in a later volume, La Terre.)On a skeptical footnote: one should not make the mistake to interpret either Serge or his pal as typical village clergy. I am sure that there are plenty of practical priests in the Catholic world, who don't have Serge's kind of mental disease, nor the other's unfriendliness. It is always a questionable approach to use unusual characters for an attack on a system.Part 2 is the paradise/ sin part. It is pure fable, chapters of Genesis re-interpreted. Serge is recovering from a brain fever and is taken care of by young Albine. His recovery is slow. He has partial amnesia. The build up of physical relations is childlike and slow as well, like a puberty process. The naïve young couple is hard on our nerves with their constant enthusiasm.The place is a jungle, a former garden and park left decades ago to its own devices. Zola excels in poetic inventories. This one reminds of the greenhouse chapters in vol.2, La Curée. We get flowers and orchards and wild trees, it is a veritable botanical Noah's Ark.There are no other people in this world but Serge and Albine. Life is frankly great and the two play Adam and Eve. This goes on until she actually seduces him to come to a forbidden place with her, where nature conspires to make them commit `the fault', where after they feel wrong about being naked. The evil monk turns up, impersonates God, and the eviction from paradise follows.I was wondering: why was that place `forbidden'? There are forces at work that are not explained. We realize that this artificial paradise is no South Sea island as far as sexual mores are concerned. Was Zola himself stuck in the paradigm of guilt?Another skeptical footnote: I question the realism of the abundance of wild species after decades of wilderness. Has any botanist commented on it? I would expect that in reality things would not go on proliferating quite like that. Some species would dominate, others would disappear. There would hardly be a productive general free for all. Would there?And one more: while Zola often pays much attention to what his people eat, that aspect is oddly neglected here. We have some fruit eating orgies, fresh from the tree, but this is Europe after all, not a tropical paradise. There is such a thing as winter. Not all fruits grow always anyway. What do they eat when the cherries do not fall into their mouths?Bread is mentioned, but who bakes it? Fish is getting caught, but there is no fire.Conclusion: this is not meant to be `naturalism', despite all the botanical listing. This is pure fable, and never mind the technicalities.Part 3 is repentance and rebellion. The evil monk gets to set his foot down. His appropriate name is Archangias. He sees himself as God's gendarme. Paradise was an illusion. Serge abandons his female love and returns to his hard master, his God. He sinks into deeper exaltation and masochism. But he also resists and yearns to be back. He can't handle the conflict.Wise Doctor Pascal blames himself for the disaster he brought upon Albine by letting her care for Serge and philosophizes about Desirée's blessed dimness with her animals.Is it possible to see this as anything else but a strongly emotional anti-religious pamphlet?
1 of 2 people found the following review helpful. The Birth of "magic Realism" from the Head of Emile Zola By Gio I've just finished La Faute de l'Abbé Mouret, with great labor since it's stuffed with exotic vocabulary, most of it the names of plants/weeds/trees/flowers. Finally I realized that I had no idea what the specified flowers looked like or smelled like in English, so whenever I grasped that the unknown word was the name of another flower, I just sucked it up and accepted my own vague ignorance of nature. Then it went faster.And what a stunner! What a blind-side surprise! Old Zola invented the essence of Magic Realism long before the term was added to the critical lexicon, perfected it, exhausted it so that none of the later proponents of it had any chance of equaling him. "Faute" is completely unlike any other Zola novel. In fact, it's more a rapturous allegory than a novel by any usual definition. Take it on! I won't spoil it by any hints or evaluations until you've read it.Meanwhile, I find one previous review by the ever-insightful Herr Schneider, with whom I made a pact years ago to read all of Zola in French. Alas, he's far ahead of me. That we both relish this book amounts to a very strong recommendation.Je viens de finir La Faute de l'abbé Mouret, avec beaucoup de travail car il est bourré de vocabulaire exotique, la plus grande partie des noms de plantes / herbes / arbres / fleurs. Enfin, je compris que je ne savais pas ce que les fleurs spécifiées ressemblaient ou sentait en anglais, de sorte que chaque fois que je compris que le mot inconnu était le nom d'une autre fleur, je viens aspiré vers le haut et accepté ma propre ignorance vague de la nature. Ensuite, il est allé plus vite.Et qu'est-ce un produit étonnant! Quelle surprise aveugle côté! Vieux Zola inventé réalisme magique, perfectionné, épuisé de sorte qu'aucun des partisans ultérieures qu'il avait une chance de l'égaler. "Faute" est complètement différent de tout autre roman de Zola. En fait, il est plus une allégorie extatique d'un roman de toute définition habituelle. Prenez-le! Je ne vais pas la gâcher par des conseils ou des évaluations jusqu'à ce que vous l'avez lu.
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