Places Discussed (Cyclopedia of Literary Places)
Montsou (mon-sew). Company-owned coal mining town in northeastern France, Montsou is the center of all the novel’s actions. The town is actually a congested ghetto of buildings into which the miners and their families are crowded. Montsou becomes a microcosmic symbol for a world into which all workers have been forced. This setting permits Zola to confine his realistic portrayal of workers’ lives to a recognizable location instead of being obliged to depend upon mere rhetoric. Zola’s dividing the world of Montsou into its various components—especially the homes, the company store, and the mine pit itself—shows the complex society in which the miners and their families must live.
Maheu home (mah-HEW). Instead of the loving, domestic picture often presented in literature, the homes in Germinal, most clearly represented by that of the Maheu family, show how the most positive of symbols can be altered. The life presented depicts the economic deprivation and moral depravity created by the totalitarian world in which the miners live. In contrast, the Grégoire home shows the luxury in which the mine owners live, marking the sharp contrast between the owners and the workers, a situation which eventually results in the climactic labor strike to which all earlier actions lead. The reader sees this contrast most clearly when Maheude Maheu takes her small children to beg sustenance from a...
(The entire section is 456 words.)
Want to Read More?
Subscribe now to read the rest of this article. Plus get complete access to 30,000+ study guides!
Bibliography (Cyclopedia of Literary Characters, Revised Third Edition)
Berg, William J., and Laurey K. Martin. Émile Zola Revisited. Boston: Twayne, 1992. Textual analysis of Zola’s twenty-volume series Les Rougon-Macquart and discusses naturalism’s debt to positivism. Devotes a major part of chapter 3 to a study of the ideological ambiguity of Germinal and explores Zola’s functional use of imagery.
Grant, Elliot M. Émile Zola. Boston: Twayne, 1966. Examines the historical context as well as the literary devices (color, symbolism, and anthropomorphism) used in Germinal. Detailed critique of the major characters.
King, Graham. Garden of Zola: Émile Zola and His Novels for English Readers. London: Barrie & Jenkins, 1978. Explains some of the choices Zola made while writing Germinal. Concludes that there are no villains, only victims, and that the main character of Germinal is the community.
Nichols, Brian. Zola and the Bourgeoisie. London: Macmillan, 1983. Offers a structural anal-ysis of Zola’s treatment of the values of the capitalist class. Germinal figures prominently in the first part of the book’s analysis.
Walker, Philip. Zola. London: Routledge and Kegan Paul, 1985. Compares Germinal to an intricately crafted fresco teeming with mythic imagery. Argues that Zola’s blend of archetypal and historic forms is responsible for the book’s epic grandeur and universality.