How far does Zola absolve or condemn Nana
... 03 Emma Douglas Professor Gifford How far does Zola absolve or condemn Nana? In order to consider to what extent Zola condemns or absolves Nana we can refer to the words of Valerie Minogue in Emile Zola Centenary p.58, “ while it is Nana’s eyes that we have followed in the novel, it is of course Zola who controls the lens and the direction of her gaze, and, indeed, who provides the view.” Nana’s views, underwritten by the narrator are all open to question. Not forgetting the social and natural history between 1852 and 1870, of which Zola intimately describes in his Rougon-Macquart novels (of which Nana is the ninth), let us examine in what light she is portrayed and Zola’s intentions and/or perhaps underlying reasons for this. From the very beginning, the numerous characters in the novel (style characteristic of Zola’s works) invite us to focus on this one desirable, mysterious and exclusive Nana and to question exactly who it is that all the men of high aristocratic and bourgeois parisien society cannot help but talk about. As suggested by Bernice Chitnis in Reflecting on Nana (p.13), Zola can at times throughout the novel distance himself from the events and in this example he is not in omniscient awe of Nana yet portrays her male acquaintances denying knowledge of her existence, (Fauchery denies knowing her when Lucy asks), and a general ambiguity of how socially acceptable this Nana is or will become comes across very well. So the very first and very drawn out section of the climax until Nana finally appears on stage is both extremely powerful and ambiguous. ... Discussions of Nana continue at Mme Muffat’s house and it is clear that Zola is showing that Nana’s importance is not a social norm and men in high society are willing to take the risk of discussing such matters in the presence of their wives. The men obviously thought they would find themselves in agreement over the desirability of Nana. To further my point on Zola’s powerful portrayal of Nana in the opening scene, it is also very significant that we see her on the stage. “Nana’s life is a series of performances, both in and out of her bed.