By Dave Ingram
Paperback ebook on radio shortcuts and rigs.
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Both of these ideas are countered in Zola’s description of Jacques’s inability to kill Roubaud. Although Jacques constructs a rational argument for killing Roubaud and wishes to prove himself worthy of Séverine by doing so, he simply cannot bring himself to kill a defenceless man. He knows it is wrong. Zola excludes from this sense of ‘wrong’ any specific religious imperative; Jacques’s moral conscience is described as ‘no more than a vague assortment of ideas instilled by the slow workings of a centuries-old tradition of justice’ (IX).
In general terms Zola presents the trains, undoubtedly with a degree of hyperbole, as monsters belching smoke and flames, passing by with the force of a hurricane, making the ground shake like an earthquake and deafening the world with their noise. Descriptions of this sort provide a running accompaniment to the violence that pervades the novel. The sexually rooted nature of the violence that is done is also underscored by repeated descriptions of the railway and its trains in terms of sexual imagery.
Roubaud’s killing of Grandmorin, in the early part of the novel, is a crime of passion, conceived in the space of half an hour by an insanely jealous husband after discovering that his wife, Séverine, has been abused as a child. The immediate cause of Roubaud’s anger is a sense of outrage towards the man who has supposedly molested his wife, coupled with a feeling of resentment towards his wife at having concealed the incident from him. The violence of his reaction, however, is a product of his own unstable and irascible character.