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By G G Zerffi

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Additional resources for A manual of the historical development of art, pre-historic, ancient, classic, early Christian : with special reference to architecture, sculpture, painting, and ornamentation

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I have to take it. But if someone gave it to me when I wanted to steal, I would not be happy. On the contrary, this would stop my pleasure. From my 39th year the thefts have been the same—silk thefts. Silk gives me a voluptuous feeling. Oh silk, I could not tear it apart—it would be too…velvet is also nice to touch. I love the soft materials. Heavy silk that ‘screams’. I could never carry it, it would excite me too much. I would love to sleep in silk but how could I ever sleep in it? It would burn me.

This novel is clearly uninteresting as an individual drama. When one woman is detached from the crowd of women she becomes dangerous to the organization. Zola teaches us how destructive individualism is to organizations. It seems that even Denise does not desire Mouret as an individual. On her first encounter with the Ladies Paradise, the organization, her cheeks flush and “the woman was aroused within her”. No doubt she is fascinated, not by Mouret the man, but by his organizational machine. What Mouret does is not so much rather detach Denise from the crowds of anonymous women, but to run the risk of drifting away from his own organization.

Probably, those criticisms were addressed to the literary scene of a century later where the only literature accepted was the one that showed positive relationships between Poles and Jews—everything else being either a lie or author’s antisemitism. I would rather follow one of Prus’ contemporary critics who said that in The Doll the author gave a “picture of the positivist era in times of its decay: we see there the new formations growing in its body: mysticism, antisemitism, Jewish nationalism, students’ socialism… Above all those formations floats the spirit of romanticism…”(Feldman, 1908/1988, p.

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