la Saint-Louis, i. e. la fête Saint-Louis, Aug

Page 5 9. — 1. Allez! Goahead! Fire !

Page 61. — 1. toute une niasse sombre, a great dark mass. This use of tout un in an intensive sensé, a favorite one with Zola, is f requently heard in colloquial French ; cf. in English : " a whole crowd " ; "a whole string of fish," etc.

Page 63. — 1. Amusez-les, see vocabulary.

Page 64. — 1. compagnies franches, independent companies of volunteers not incorporated in any régiment.

Page 66. — 1 . On ne fusillait pas, etc., tkey had no right (Ae said) to shoot people in that way. He 'd see about that. 2xÀ2l often plunges abruptly into indirect discourse, without using any verb of saying or thinking to mark the transition.

Page 77. — x. Mais je saurais, etc., But if I did know where Dominique is, I couldiït choose.

Page 80. — 1. La noce sera pour dans huit jours, etc., the wedditig will be ar r ange d for a week from today.

Page 85* — 1. Ah! le pauvre moulin ! Zolalike Daudet, does not hesitate to express his personal émotions in the course of his narrative. This, as ail subjective tendencies, was abhorrent to Flaubert and to his disciple Maupassant.

2. eut, gave. Avoir is very frequently used by Zola in place of a more spécifie word, especially bef ore the nouns geste, exclamation, and crû Cf. Gaufinez, Langue de Zola, p. 45. (Bonn 1894).

3. C'était Pâme, etc. Zola, like Hugo, has a universal tendency to personify inanimate objects, often developing them into grandiose symbols. Thus they become the principal characters in his novels, in comparison with which his men and women are insignificant

4. le coupe-gorge, etc. This description savors strongly of romanticism. Ail nature is transformed to harmonize with the e vents of the story. Thus the charming trou de verdure in the gay opening scène becomes a coupe-gorge, and the parc enchanté a cirque^ while the eaux courantes qui chantent are hère described as sobbing. (Cf. the first three paragraphs of the story.)