Å·±¦ÓéÀÖ

“Did not one spend the first half of one's days in dreams of happiness and the second half in regrets and terrors?”
― Émile Zola, The Joy of Life

“Boredom was at the root of Lazare's unhappiness, an oppressive, unremitting boredom, exuding from everything like the muddy water of a poisoned spring. He was bored with leisure, with work, with himself even more than with others. Meanwhile he blamed his own idleness for it, he ended by being ashamed of it.”
― Émile Zola, The Joy of Life

“She wanted to live, and live fully, and to give life, she who loved life! What was the good of existing, if you couldn't give yourself?”
― Émile Zola, The Joy of Life

“It [the charcuterie] was almost on the corner of the Rue Pirouette and was a joy to behold. It was bright and inviting, with touches of brilliant colour standing out amidst white marble. The signboard, on which the name QUENU-GRADELLE glittered in fat gilt letter encircled by leaves and branches painted on a soft-hued background, was protected by a sheet of glass. On the two side panels of the shop front, similarly painted and under glass, were chubby little Cupids playing in the midst of boars' heads, pork chops, and strings of sausages; and these still lifes, adorned with scrolls and rosettes, had been designed in so pretty and tender a style that the raw meat lying there assumed the reddish tint of raspberry jam. Within this delightful frame, the window display was arranged. It was set out on a bed of fine shavings of blue paper; a few cleverly positioned fern leaves transformed some of the plates into bouquets of flowers fringed with foliage. There were vast quantities of rich, succulent things, things that melted in the mouth. Down below, quite close to the window, jars of rillettes were interspersed with pots of mustard. Above these were some boned hams, nicely rounded, golden with breadcrumbs, and adorned at the knuckles with green rosettes. Then came the larger dishes--stuffed Strasbourg tongues, with their red, varnished look, the colour of blood next to the pallor of the sausages and pigs' trotters; strings of black pudding coiled like harmless snakes; andouilles piled up in twos and bursting with health; saucissons in little silver copes that made them look like choristers; pies, hot from the oven, with little banner-like tickets stuck in them; big hams, and great cuts of veal and pork, whose jelly was as limpid as crystallized sugar. Towards the back were large tureens in which the meats and minces lay asleep in lakes of solidified fat. Strewn between the various plates and sishes, on the bed of blue shavings, were bottles of relish, sauce, and preserved truffles, pots of foie gras, and tins of sardines and tuna fish. A box of creamy cheeses and one full of snails stuffed with butter and parsley had been dropped in each corner. Finally, at the very top of the display, falling from a bar with sharp prongs, strings of sausages and saveloys hung down symmetrically like the cords and tassels of some opulent tapestry, while behind, threads of caul were stretched out like white lacework. There, on the highest tier of this temple of gluttony, amid the caul and between two bunches of purple gladioli, the alter display was crowned by a small, square fish tank with a little ornamental rockery, in which two goldfish swam in endless circles.”
― Émile Zola

“The sea with its perpetual oscillation, that obstinate swell sweeping up to the cliffs twice a day, exasperated him: it was senseless force, indifferent to his grief, wearing down the same rocks for centuries while never mourning the death of a single human being. it was too vast, too cold; and he would hurry home and shut himself indoors, to feel less insignificant, less crushed between the dual infinities of sea and sky.”
― Émile Zola, The Bright Side of Life

“What scum respectable people are!”
― Émile Zola

“I've done a Russian movie," Claire said. "Thank God they're still stuck in realism, Zola-crazy. Subtitling their films is like captioning a child's picture book.”
― Paula Fox, Desperate Characters

“The ground was shaking beneath their feet and they clung to the resolutions they had made in calmer moments, to avoid plunging into the abyss.”
― Émile Zola, The Bright Side of Life

“Well, my friends, don’t let my ways surprise you. I have read Malatesta, Tolstoy and Zola, so I have understood many things that I couldn’t before”
― Luisa Capetillo

“Thus, Symbolism and Decadence are not a separate new school which arose in France and spread throughout all of Europe: they represent the end and culmination of a certain other school whose links were very extensive and whose roots go back to the beginning of the modern age. Symbolism, easily deduced from Maupassant, can also be deduced from Zola, Flaubert, and Balzac, from Ultra-realism as the antithesis of the previous Ultra-idealism Romanticism and "renascent" Classicism. It is precisely this element of ultra - the result of ultra manifested in life itself, in its mores, ideas, proclivities, and aspirations - that has wormed into literature and remained there ever since, expressing itself, finally, in such a hideous phenomenon as Decadence and Symbolism. The ultra without its referent, exaggeration without the exaggerated object, preciosity of form conjoined with total disappearance of content, and "poetry" devoid of rhyme, meter, and sense - that is what constitutes Decadence.”
― Vasily Rozanov

“It is not the experience which leads him to the problem, but the problem which leads him to the experience. That is also Zola’s method and procedure. He begins a new novel as the German professor of the anecdote begins a new course of lectures, in order to obtain more exact information about a subject with which he is unfamiliar.”
― Arnold Hauser, The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age

“I spite of his scientific attitude he is a romantic, and indeed much more whole-heartedly so than the other less radical naturalists of his day. His one-sided, undialectical rationalization and schematization of reality is already boldly and ruthlesslyromantic. And the symbols to which he reduces motley, many-sided, contradictory lifeâ€� the city, the machine, alcohol, prostitution, the department store, the markethall, the stock exchange, the theatre, etc.—are all the more the visions of a romantic systematizer, who sees allegories instead of concrete individual phenomena everywhere.”
― Arnold Hauser, The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age

“Her pride in self-abnegation had left her, and she accepted that her loved ones could find happiness without her help.”
― Émile Zola, The Bright Side of Life

“His was the sceptical boredom of a whole generation, no longer the romantic ennui of a Werther or a Rene lamenting the passing of old beliefs, but the boredom of the new doubting heroes, the young chemists who angrily proclaim the world intolerable because they have not immediately found life at the bottom of their test tubes.”
― Émile Zola, The Bright Side of Life

“If the world is to die in misery, let it at least go out with a song on its lips, and pity for itself.”
― Émile Zola, The Bright Side of Life

“Pour moi, la rue de Bruxelles est demeurée tout entière dans le petit hôtel de Zola, où il recevait gentiment ses amis. Il était gourmand, il zézayait et, d'un air futé, disait de la bécasse flambée : «La fair (la chair) est quelconque, mais la faufe (la sauce) est bonne. » Sa maison était décorée de blocs de pierre sans intérêt, rapportés d'Italie, et qui excitaient l'hilarité de Goncourt, de quleques belles toiles de Manet, Cézanne et autres, et de meubles riches, qu'il croyait anciens, mais que le même Goncourt affirmait rafistolés. Son goût, sauf en peinture, était moyenâgeux et incompétent. Mon père disait : «Il aime les stalles et les cathèdres. »”
― Léon Daudet, Paris Vécu - 1ère série: Rive Droite

“Per un istante, temendo di svenire a quell'odore di donna che ritrovava più caldo, moltiplicato, sotto il soffitto basso, si sedette sul bordo del divano imbottito, tra le due finestre. Ma si rialzò immediatamente, tornò accanto alla toeletta, senza guardare più niente, gli occhi vacui, ripensando a un mazzo di tuberose che una volta era appassito nella sua stanza e l'aveva fatto quasi morire. Le tuberose, quando si decompongono, hanno un odore umano.”
― Émile Zola, Nana

“Elle aimait ce garçon de cette tendresse bavarde que les vieilles femmes ont pour les gens qui viennent de leur pays, apportant avec eux des souvenirs du passé.”
― Zola, Thérèse Raquin

“Parfois, ils se forçaient à l’espérance, ils cherchaient à reprendre les rêves brûlants d’autrefois, et ils demeuraient tout étonnés, en voyant que leur imagination était vide.”
― Zola, Thérèse Raquin

“Au fond une pensée unique les rongeait : ils s’irritaient contre leur crime, ils se désespéraient d’avoir a jamais troublé leur vie.”
― Zola, Thérèse Raquin

“«Come vedi», continuò «tutti i mezzi conosciuti sono malvagi».”
― Émile Zola, Thérèse Raquin