His Masterpiece Émile Zola (e textbook reader TXT) 📖

fruitless and solitary battling, he left home as early as eight in the morning, banging his door violently, and feeling so disgusted with himself that he swore he would never take up a brush again. When he was unhinged by one of these attacks there was but one remedy, he had to forget himself, and, to do so, it was needful that he should look up some comrades with whom to quarrel, and, above all, walk about and trudge across Paris, until the heat and odour of battle rising from her paving-stones put heart into him again.

That day, like every other Thursday, he was to dine at Sandoz’s, in company with their friends. But what was he to do until the evening? The idea of remaining by himself, of eating his heart out, disgusted him. He would have gone straight to his friend, only he knew that the latter must be at his office. Then the thought of Dubuche occurred to him, but he hesitated, for their old friendship had lately been cooling down. He felt that the fraternity of the earlier times of effort no longer existed between them. He guessed that Dubuche lacked intelligence, had become covertly hostile, and was occupied with ambitions different from his own. However, he, Claude, must go somewhere. So he made up his mind, and repaired to the Rue Jacob, where the architect rented a small room on the sixth floor of a big frigid-looking house.

Claude was already on the landing of the second floor, when the doorkeeper, calling him back, snappishly told him that M. Dubuche was not at home, and had, in fact, stayed out all night. The young man slowly descended the stairs and found himself in the street, stupefied, as it were, by so prodigious an event as an escapade on the part of Dubuche. It was a piece of inconceivable bad luck. For a moment he strolled along aimlessly; but, as he paused at the corner of the Rue de Seine, not knowing which way to go, he suddenly recollected what his friend had told him about a certain night spent at the Dequersonnière studio⁠—a night of terrible hard work, the eve of the day on which the pupils’ designs had to be deposited at the School of Arts. At once he walked towards the Rue du Four, where the studio was situated. Hitherto he had carefully abstained from calling there for Dubuche, from fear of the yells with which outsiders were greeted. But now he made straight for the place without flinching, his timidity disappearing so thoroughly before the anguish of loneliness that he felt ready to undergo any amount of insult could he but secure a companion in misfortune.

The studio was situated in the narrowest part of the Rue du Four, at the far end of a decrepit, tumble-down building. Claude had to cross two evil-smelling courtyards to reach a third, across which ran a sort of big closed shed, a huge outhouse of board and plaster work, which had once served as a packing-case maker’s workshop. From outside, through the four large windows, whose panes were daubed with a coating of white lead, nothing could be seen but the bare whitewashed ceiling.

Having pushed the door open, Claude remained motionless on the threshold. The place stretched out before him, with its four long tables ranged lengthwise to the windows⁠—broad double tables they were, which had swarms of students on either side, and were littered with moist sponges, paint saucers, iron candlesticks, water bowls, and wooden boxes, in which each pupil kept his white linen blouse, his compasses, and colours. In one corner, the stove, neglected since the previous winter, stood rusting by the side of a pile of coke that had not been swept away; while at the other end a large iron cistern with a tap was suspended between two towels. And amidst the bare untidiness of this shed, the eye was especially attracted by the walls which, above, displayed a litter of plaster casts ranged in haphazard fashion on shelves, and disappeared lower down behind forests of T-squares and bevels, and piles of drawing boards, tied together with webbing straps. Bit by bit, such parts of the partitions as had remained unoccupied had become covered with inscriptions and drawings, a constantly rising flotsam and jetsam of scrawls traced there as on the margin of an ever-open book. There were caricatures of the students themselves, coarse witticisms fit to make a gendarme turn pale, epigrammatic sentences, addition sums, addresses, and so forth; while, above all else, written in big letters, and occupying the most prominent place, appeared this inscription: “On the 7th of June, Gorfu declared that he didn’t care a hang for Rome.⁠—Signed, Godemard.”7

Claude was greeted with a growl like that of wild beasts disturbed in their lair. What kept him motionless was the strange aspect of this place on the morning of the “truck night,” as the embryo architects termed the crucial night of labour. Since the previous evening, the whole studio, some sixty pupils, had been shut up there; those who had no designs to exhibit⁠—“the niggers,” as they were called⁠—remaining to help the others, the competitors who, being behind time, had to knock off the work of a week in a dozen hours. Already, at midnight, they had stuffed themselves with brawn, saveloys, and similar viands, washed down with cheap wine. Towards one o’clock they had secured the company of some “ladies”; and, without the work abating, the feast had turned into a Roman orgy, blended with a smoking competition. On the damp, stained floor there remained a great litter of greasy paper and broken bottles; while the atmosphere reeked of burnt tallow, musk, highly seasoned sausages, and cheap bluish wine.

And now many voices savagely yelled: “Turn him out. Oh, that mug! What does he want, that guy? Turn him out, turn him out.”

For a moment Claude, quite dazed, staggered beneath the violence of the onslaught. But the