eful that after two months of drudgery he threw it
up. Then followed a period of deep misery, but a period which must
have greatly influenced the work of the future novelist. Wandering the
streets by day and, when he could find money to buy a candle, writing
poems and short stories by night, he was gaining that experience in the
school of life of which he was later to make such splendid use. Meantime
his wretchedness was deep. A miserable lodging in a garret, insufficient
food, inadequate clothing, and complete absence of fire may be an
incentive to high endeavour, but do not render easy the pathway of
fame. The position had become all but untenable when Zola received
an appointment in the publishing house of M. Hachette, of Paris, at
a salary beginning at a pound a week, but soon afterwards increased.
During the next two years he wrote a number of short stories which were
published later under the title _Contes a Ninon_. The book did not prove
a great success, though its undoubted ability attracted attention to the
writer and opened the way to some journalistic work. About this time he
appears to have been studying Balzac, and the recently published _Madame
Bovary_ of Flaubert, which was opening up a new world not only in French
fiction, but in the literature of Europe. He had also read the _Germinie
Lacerteux_ of Edmond and Jules de Goncourt, on which he wrote an
appreciative article, and this remarkable book cannot have been without
its influence on his work. The effect was indeed immediate, for in
1865 he published his next book, _La Confession de Claud_, which showed
strong traces of that departure from conventional fiction which he
was afterwards to make more pronounced. The book was not a financial
success, though it attracted attention, and produced many reviews,
some favourable, others merciless. Influenced by the latter, the
Public Prosecutor caused inquiries regarding the author to be made at
Hachette's, but nothing more was done, and it is indeed doubtful if any
successful prosecution could have been raised, even at a period when it
was thought necessary to indict the author of _Madame Bovary_.

Zola's employers had, however, begun to look askance at his literary
work; they may have considered that it was occupying too much of the
time for which they paid, or, more probably, they were becoming alarmed
at their clerk's advanced views both on politics and literary art. As
Zola afterwards explained the matter, o