Truth [Vérité]

Conspicuous among the writings which influenced the great changes witnessed by the world at the end of the eighteenth century were the 'Nouvelle Héloise,' the 'Contrat Social,' the 'Émile ou l'Éducation' of Jean-Jacques Rousseau. At the close of the nineteenth, the advent of the twentieth century, one finds three books, 'Fécondité,' 'Travail,' and 'Vérité,' the works of Émile Zola, Rousseau's foremost descendant. It is too soon by far to attempt to gauge the extent of the influence which these works may exercise; but, disseminated in French and in many other languages to the uttermost ends of the earth, they are works which will certainly have to be reckoned with in a social as well as a literary sense. The writings of Rousseau, violently assailed by some, enthusiastically praised by others, ended by leaving their mark on the world at large. Very few may read them nowadays, but in certain essential respects their spirit pervaded the nineteenth century, and their influence is not dead yet, for the influence which springs from the eternal truths of nature cannot die. As for the critics who will undoubtedly arise to dispute the likelihood of any great influence being exercised by the last writings of Émile Zola, I adjourn them to some twenty years hence. Rome was not built in a day, many long years elapsed before the spirit of Rousseau's writings became fully disseminated, and, although the world moves more quickly now than it did then, time remains a factor of the greatest importance.

Moreover, the future alone can decide the fate of Émile Zola's last books; for, while dealing with problems of the present time, they are essentially books which appeal to the future for their justification. Each of those three volumes, 'Fécondité,' 'Travail,' and 'Vérité,' takes as its text an existing state of things, and then suggests alterations and remedies which can only be applied gradually, long years being required to bring about any substantial result. It is known that the series was to have comprised a fourth and concluding volume, which would have been entitled 'Justice'; and indeed the actual writing of that volume would have been begun on September 29 last if, at an early hour on that very day, the hand of Émile Zola had not been stayed for ever by a tragic death, which a few precautions would undoubtedly have prevented. At an earlier stage it was surmised--on many sides I see by the newspaper cuttings before me--that this unwritten book, 'Justice,' would deal chiefly with the Dreyfus case, in which Zola played so commanding and well-remembered a part. But that was a mistake, a misconception of his intentions. Though his work would have embraced the justice dispensed in courts of law, his chief thought was social justice, equity as between class and class, man and man. And thus the hand of death at least robbed those who are in any way oppressed of a powerful statement of their rights.

As for the Dreyfus case, it figures in the present volume, or rather it serves as the basis of one of the narratives unfolded in it. The Dreyfus case certainly revealed injustice; but it even more particularly revealed falsehood, the most unblushing and the most egregious mendacity, the elevation of the suppressio veri and the suggestio falsi to the dignity of a fine art. The world has known greater deeds of injustice than the Dreyfus case, but never has it known--and may it never again know--such a widespread exhibition of mendacity, both so unscrupulous and so persevering, attended too by the most amazing credulity on the part of nine-tenths of the French nation--for small indeed (at the beginning, at all events) was the heroic band which championed the truth. Behind all the mendacity and credulity, beyond the personages directly implicated in the case, stood one of the great forces of the world, the Roman Catholic Church. Of all the ministers of that Church in France, only one raised his voice in favour of the truth, all the others were tacitly or actively accomplices in the great iniquity. And that will explain much which will be found in Émile Zola's last book.