Manet, who was much taken with the description of the "precociously immoral" Nana in Zola's L'Assommoir gave the title "Nana" to his portrait of Henriette Hauser before Nana was published. [5] [ failed verification] Rougon-Macquart cycle: Work by Zola". Encyclopædia Britannica. Encyclopædia Britannica, Inc. Retrieved 3 November 2016. Philippe Hugon The elder son, who becomes infatuated with Nana, steals money from his command post, and is placed in prison.

Estelle The priggish daughter of the Muffats, who has a large dowry and who later marries Nana's earlier lover, Daguenet. Martyn, Lyons (2011). Books: a living history. Los Angeles: J. Paul Getty Museum. p.143. ISBN 9781606060834. OCLC 707023033. Zola in Exile in Weybridge" (PDF). Weybridge Society Newsletter. Weybridge Society. Spring 2019. p.24 . Retrieved 13 February 2023– via weybridgesociety.org.uk. Literary historian Alain Pagès believes that is likely true [42] and Zola's great-granddaughters, Brigitte Émile-Zola and Martine Le Blond-Zola, corroborate this explanation of Zola's poisoning by carbon monoxide. As reported in "L'Orient-Le Jour", Brigitte Émile-Zola recounts that her grandfather Jacques Émile-Zola, son of Émile Zola, told her at the age of eight that, in 1952, a man came to his house to give him information about his father's death. The man had been with a dying friend, who had confessed to taking money to plug Emile Zola's chimney. [43] Scope of the Rougon-Macquart series [ edit ] As Nana's reputation spreads, soon foreign dignitaries begin to come to the theater to see her. Count Muffat must accompany an English prince to the theater and while there can hardly constrain himself because Nana has aroused in him unknown desires. Before the prince takes her away for the evening, the count discovers that Steiner has bought her a country house close to a family he often visits. She tells him to come see her there.

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Ráadásul a leírások nagyon érzékletesek, például rögtön az elején a színház hátsó traktusának – és annak minden zugának, illatának (szagának), színének és érzetének leírása annyira hű volt, hogy teljesen ott éreztem magam a szűk folyosókon és én is bekukkantottam a különböző kis öltözőkabinokba-helyiségekbe… Csak a későbbiekben már unalmassá vált a leírások ilyen jellegű ömlesztése, tényleg nagyon kevés a párbeszéd és nagyon kevés a voltaképpeni cselekmény az egész történetben. Zola was initially buried in the Cimetière de Montmartre in Paris, but on 4 June 1908, just five years and nine months after his death, his remains were relocated to the Panthéon, where he shares a crypt with Victor Hugo and Alexandre Dumas. [40] The ceremony was disrupted by an assassination attempt by Louis Grégori [ fr], a disgruntled journalist and admirer of Edouard Drumont, on Alfred Dreyfus, who was wounded in the arm by the gunshot. Grégori was acquitted by the Parisian court which accepted his defense that he had not meant to kill Dreyfus, meaning merely to graze him. Zola died on 29 September 1902 of carbon monoxide poisoning caused by an improperly ventilated chimney. [35] His funeral on 5 October was attended by thousands. Alfred Dreyfus initially had promised not to attend the funeral, but was given permission by Zola's widow and attended. [36] [37] At the time of his death Zola had just completed a novel, Vérité, about the Dreyfus trial. A sequel, Justice, had been planned, but was not completed. One day, Satin takes Nana to meet Madame Robert, a lady whom Nana considers respectable and discreet, but the lady is not at home. Nana offers to take Satin the following day to a restaurant she has heard about. The restaurant is filled with women who are looking for other women. Suddenly, Madame Robert appears, and while Nana is occupied observing something else, Satin leaves with this lady. Nana is disgusted at the idea of a respectable lady acting as Madame Robert did. Rose Mignon The leading actress for the Variety Theater who sleeps with many of the same people as does Nana but is never as successful.

Swardson, Anne (14 January 1998). "The Dreyfus Affair's Living History". The Washington Post. Archived from the original on 7 September 2022 . Retrieved 7 September 2022. Because of Zola's article, ... the intellectual class was accorded the status it still holds as molder of public opinion. Zolát sokan tartják a naturalizmus szellemi atyjának, ugyanakkor meg kell jegyezni, hogy az irányzatra – melynek jelentős képviselői többek között Paul Bourget, Guy de Maupassant és Władysław Reymont – nagy hatással volt Hippolyte Taine francia irodalomtörténész is. A naturalizmusra jellemző, hogy továbbviszi a realizmus szemléletét, és olyan korábban hétköznapinak vagy esetleg taszítónak vélt emberi tulajdonságokat is ábrázolni kíván, melyekre korábban nem terjedt ki a művészet látóköre. At the second intermission, la Faloise pays his respects to Countess Muffat. He introduces his cousin Fauchery, who is received with cold dignity by the count. The countess, however, invites him to accompany la Faloise next Tuesday to their ancestral home. After they take their leave, they meet a streetwalker named Satin who is so vulgar that she is sometimes amusing.This Nana possesses no particularly outstanding traits. She has no wit, no talent, and no intellect. At times, she can respond spontaneously, as when she tries briefly to be true to Georges Hugon, or she can have a perverse sense of loyalty, as when she adheres to Fontan in spite of his brutality. But in general, she is a simple girl from the gutters of Paris who, by accident, possesses the most magnificent and lustful body of the age. Watt, Peter (21 September 2017). "Zola's bicycle women" (blog). The Great Wen . Retrieved 13 February 2023. The optimist is that other face of the scientific experimenter, the man with an unshakable belief in human progress. [ citation needed] Zola bases his optimism on innéité and on the supposed capacity of the human race to make progress in a moral sense. Innéité is defined by Zola as that process in which " se confondent les caractères physiques et moraux des parents, sans que rien d'eux semble s'y retrouver"; [57] it is the term used in biology to describe the process whereby the moral and temperamental dispositions of some individuals are unaffected by the hereditary transmission of genetic characteristics. Jean Macquart and Pascal Rougon are two instances of individuals liberated from the blemishes of their ancestors by the operation of the process of innéité. [ citation needed] In popular culture [ edit ] Dreyfus applied for a retrial, but the government countered by offering Dreyfus a pardon (rather than exoneration), which would allow him to go free, provided that he admit to being guilty. Although he was clearly not guilty, he chose to accept the pardon. Later the same month, despite Zola's condemnation, an amnesty bill was passed, covering "all criminal acts or misdemeanours related to the Dreyfus affair or that have been included in a prosecution for one of these acts", indemnifying Zola and Picquart, but also all those who had concocted evidence against Dreyfus. Dreyfus was finally completely exonerated by the Supreme Court in 1906. [32]

Whereas Nana was unable to play the role of a grand lady on the stage, she is "able to assume the role of an enchantress without effort." The house that Count Muffat bought her becomes, in Nana's hands, a show place filled with elegance and taste. She relies upon Labordette to help her hire the necessary personnel to look after the mansion, but by the end of the second month, the expenses for the house exceed three hundred thousand francs; therefore Count Muffat allots her twelve thousand a month for expenses. By this time, Nana has placed him on a firm understanding that he is to come visit her only at prescribed times. Having said that, Nana is a monstrously self-centred, needy character, and she leaves a trail of broken characters in her professional development as a prostitute. She is daring, energetic, intelligent (but without finesse), superficial and vicious. Nana is the perfect incarnation of the corrupt whore, a child of poverty with conservative taste and values, acquired by copying the men who fall for her sexual power. Living apart from so-called respectable society, she nevertheless cultivates aristocratic opinions and traditional artistic and literary taste. She would not have approved of the realistic descriptions in Zola's novels, leaving no space for romantic dreaming and escapism. Opportunistic and egotistical at heart, her only true desire is control. A modern psychologist would probably see that as a result of her insecure childhood. Nana herself has no need for explanations. She lives for herself. Period.Throughout the entire novel, the reader should be aware of how often the individual chapters are filled with crowd scenes. Perhaps no writer of the nineteenth century filled his novels with so many scenes of such great diversity. Few writers can equal Zola in his ability to render the emotion gripping an entire mass of people. This ability is amply illustrated in the first chapter of the novel, as Nana stands on the stage in her nudity and entrances an entire audience of diverse people. On an initial reading, Zola's beginning offers much difficulty for the inexperienced reader since he refuses to focus his attention on one dominant character. But his intent is to try to capture as much as possible the diverse elements which succumb to the spell of Nana's sexuality.

Nana; first trans. by Helen Constantine in 2020. Oxford World's Classics. ISBN 978-0198814269 (2000) Sacquin, Michèle; Cabannes, Viviane (2002). Zola et autour d'une oeuvre: Au bonheur des dames. Bibliothèque nationale de France. ISBN 9782717722161. Harrow, Susan (2010). Zola, the Body Modern: Pressures and Prospects of Representation. Legenda: London. ISBN 9781906540760. OCLC 9781906540760

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Zola's output also included novels on population ( Fécondité) and work ( Travail), a number of plays, and several volumes of criticism. He wrote every day for around 30 years, and took as his motto Nulla dies sine linea ("not a day without a line").