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JOSE RIZAL MEMORIAL STATE UNIVERSITY

Main Campus Dapitan City

A DRAMA ANALYSIS ON

Therese Raquin by Emile Zola

A Midterm Requirement
for the Course

Principles and Practices in Creative Expressions Overview III-Drama 3

(Dramaturgy and Aesthetics in Philippine and Non-Philippine Theater
Classics)

Submitted to

JANN DAINVER L. MARAVILLA, MA

Course Instructor

Submitted by

Reymond Pahulas

Gezer Von Limosnero

John Ariel Gregorio Baliar

October 2023
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EMILE ZOLA
NATURALISM

INTRODUCTION

Émile Zola (1840-1902) was a prominent French novelist, playwright, and

journalist known for his significant contributions to literature and his role in the
Naturalist literary movement.
Zola is best known for his extensive literary works, including novels, essays, and
plays. He played a pivotal role in the development of Naturalism, a literary movement
that sought to depict human behavior and society in a scientific and objective manner.
His most famous literary series is " Thérèse Raquin," which consists of 20 novels
exploring different branches of a single family and their interactions with French society
in the 19th century.
Émile Zola was a novelist and naturalist writer rather than a playwright, but his
works, including his novels, exhibit various types of imitation and mimicry, as is
common in literature.
 Psychological Imitation: Zola was interested in the portrayal of human
psychology, and his characters often imitate the complexities and contradictions
of real individuals. In "Thérèse Raquin," for example, he delves into the
psychological torment and passions of his characters.

FORM
The choice of stage format for a theatrical production of "Thérèse Raquin" can
change based on the director's artistic vision and the objectives of the particular
production. Consider performing "Thérèse Raquin of the following theatrical genre is

I. Stage- Stage with a proscenium arch: In the 1980s, stage designs frequently used this
type of arch. It has a sizable, framed stage with a distinct wall separating the spectators
from the actors. Plays with complex set designs and period-specific staging frequently
worked well with this conventional stage design.
II. Blocking- "Thérèse Raquin" is a classic, numerous blocking styles and techniques
may have been employed in different performances throughout history to express the
plot.
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Act 1: The Haberdashery

 The haberdashery serves as the primary location in the opening scene. A
character's interactions and dynamics would be established by placing them at
various locations throughout the store.
 To indicate their positions in the family business, Thérèse and Camille can be
positioned behind the counter.
 The fact that Madame Raquin may be confined to her position by the stove
suggests that she is unwell.
 The way Laurent interacts with Thérèse and Camille may be carefully
orchestrated to show his growing attraction to Thérèse. He may come in as a
customer.

Act 2: The Laurents' Apartment

 The blocking in the Laurents' apartment would depict the tension between the
characters as well as the shifts in Thérèse and Laurent's relationship.
 Characters would get closer to one another in intimate scenes depicting their
affair to indicate their passion and hidden feelings.
 Madame Raquin would sit motionless and watchful in scenes when she was
present, adding a sense of dread.

Act 3: The Seine Riverbank

 The blocking in the riverbank scenes could involve dynamic movement and
staging to create a sense of freedom and escape.
 Thérèse and Laurent might be shown in a passionate embrace to emphasize their
affair.
 The characters' movement near the water could symbolize the danger and their
entrapment in their actions.

Act 4: The Art Gallery

 The tension and conflict between the characters would be reflected in the
blocking in the art gallery.
 Madame Raquin might be positioned prominently, with the other characters
attempting to divert her attention or fool her.
 Thérèse and Laurent's movements and body language would indicate how
uncomfortable they were.

Act 5: The Raquin's Apartment

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 The characters' claustrophobia and psychological torment may be highlighted

by the blocking in the final act.
 Moving around the apartment may indicate the characters' emotional distress
and the pressure building around them.

III. Approach- Productions in the 1980s may have adopted a form of theatrical
naturalism given the source material's naturalist roots. This would entail a focus on
portraying life and society as they are, showing the characters as products of their
surroundings, and emphasizing the grim and harsh elements of the narrative.

IV. Length- As with any play, the length or duration of a "Thérèse Raquin" stage
production in 1980 could differ depending on a number of elements, including the
director's intent, the actors' pacing, and whether any changes or adaptations were made
to the script. But an average stage production of "Thérèse Raquin" lasts between two
and five hours, not including intermissions.

The possible distribution of this time is as follows:

Act I: This act typically introduces the characters and establishes their connections.
Thérèse, Laurent, Madame Raquin, Camille, and other important characters are
introduced. Act I can last for about 30 to 45 minutes.

Act II: Usually the longest and lasting anywhere between 45 and an hour, Act II is
where the main action of the book takes place, including the affair between Thérèse and
Laurent, the murder of Camille, and the cover-up.

Act III: This act explores the effects of the murder, the mounting tension, and the
characters' psychological suffering. It usually lasts for 30 to 45 minutes.

Act IV: The play's climax and resolution, which sets up the tragic conclusion, take place
in this act, which can vary but is typically between 30 and 45 minutes long.

One or more intermissions, which typically last between 10-15 minutes each,
may be included in the play. As well as allowing for scene changes and other
production needs, intermissions give the audience a break.

V. Technicalities- The production of "Thérèse Raquin" in the 1980s would have to take
into account the technical aspects of the time and the available technology. An overview
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of the technical requirements for performing a play like "Thérèse Raquin" in the 1980s is
provided below:

Setting Design
 The set design would entail creating historical settings like the riverbank, the
Laurents' apartment, and the haberdashery owned by Raquin. Scenic design
technology in the 1980s made it possible to create detailed, realistic sets with
movable components.
Lighting:
 Traditional theatrical lighting tools like ellipsoidal reflector spotlights, Fresnel
lights, and PAR cans would have been used in lighting design in the 1980s.
 Using dimmers and lighting control, designers would create lighting cues to
establish the mood and atmosphere for various scenes boards.
Costumes:
 With access to a wide variety of historical costume patterns and fabrics, costume
design would concentrate on accurately recreating 19th-century French fashion.
 To enable quick costume changes in the 1980s, costume designers might
incorporate innovations like quick-change mechanisms.
Props:
 To increase the production's authenticity, prop designers and master carpenters
would create furniture and other small items that were appropriate for the time
period.
Designing sound:
 Analog audio tools like reel-to-reel tape recorders and cassette players would be
used for sound design.
 During performances, music and sound effects would be played back through
the theater's sound system.
Stage movement and blocking:
 Without the aid of digital technology, stage blocking and movement would be
choreographed and practiced traditionally.
 During performances, stage managers would coordinate the cast and crew using
paper scripts and cue sheets.
Projections Used:
 In the 1980s, projections were used, but they were typically used with overhead
projectors or slide projectors for straightforward visual effects.
 Complex video projections, like those used in modern theater, were less
common.
Special Results:
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 In the 1980s, stagehands would frequently operate practical effects and

mechanisms for special effects. These might consist of fog machines, trapdoors,
and mechanical rain effects equipment.
Dramatic Elements
 Theater practices like symbolism and abstraction were permitted in the 1980s,
but they had to be used in more conventional ways without the modern digital
tools and technology.

MAJOR CRITICISM
Since it was released, "Thérèse Raquin" by Émile Zola has gotten both positive and
negative reviews. Major criticisms of the book include, among others;

 Morality and Decadence: "Thérèse Raquin" was initially regarded as scandalous

since it explored topics like adultery, murder, and the psychological
ramifications of guilt. The novel's depiction of immoral and corrupt individuals
disturbed some critics.
 Determinism and Naturalism: Some people took issue with Zola's commitment
to naturalism, which maintains that environment and heredity dictate human
behavior. The characters in the book, according to critics, had much free will or
agency and were unduly deterministic.
 Lack of Empathy: Some reviewers and readers had trouble connecting with the
book's characters. Readers can find it challenging to identify with or support the
characters because they are imperfect and frequently morally repugnant.
 Pessimism: "Thérèse Raquin" has frequently come under fire for its gloomy and
negative perspective on human nature and society. It may seem unduly gloomy
and devoid of optimism given the story's inexorable spiral into tragedy and
misery.
 Sensationalism: Zola's depiction of strong, frequently violent emotions and
dramatic occurrences may be viewed as sensationalistic. He is accused by some
detractors of relying too heavily on shock value to draw readers in.
 Lack of Subtlety: Some reviewers felt Zola's prose lacked clarity. Overly explicit
language is used throughout the story to describe the characters' motivations and
internal conflict.
Lack of Character Development: The novel's characters may not have undergone
much development, according to critics. They frequently demonstrate unchangeable
characteristics or remain constant throughout the story.
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AUTHOR INTENT
When he wrote "Thérèse Raquin," Émile Zola had a clear vision of his goals and
purposes. The "Thérèse Raquin" novel by Zola, a major player in the naturalist literary
movement, embodies many of the ideals and tenets of naturalism. The work was
written with the 3 following main goals in mind by Zola

 Zola tried to portray human nature and society in a way that was both realistic
and objective. He was a firm believer in portraying life honestly, without
idealizing or romanticizing it. The goal of Zola's writing was to expose readers to
the darker sides of human nature in an unflinching and unvarnished way.
 Zola used "Thérèse Raquin" to criticize a number of aspects of 19th-century
French society. He looked at how women were constrained, how bourgeois life
was oppressive and hypocritical, and how social norms affected how people
behaved. Zola wanted to show how damaging societal restrictions can be.
 Zola was devoted to naturalist principles, which claimed that literature should
be an impartial and scientific study of humanity. He attempted to incorporate
these ideas into "Thérèse Raquin" by developing realistic characters and
scenarios.

Therefore, Émile Zola wanted to portray human nature and society in "Thérèse
Raquin" in a way that was realistic, unbiased, and unvarnished. He used the book to
examine how environment and upbringing affect character, critique societal norms and
restrictions, explore the psychological states of the characters, and spark debate on
significant social and moral issues. The foundational piece "Thérèse Raquin" exemplifies
the goals and tenets of the naturalist literary movement.

ELEMENT & SUBSTANCE

PLOT- "Thérèse Raquin" by Émile Zola is a dark and psychological novel that tells the
story of a woman trapped in a loveless marriage who becomes embroiled in a web of
passion, murder, and guilt. Here are the following summary of the plot:

Part 1: Introduction
The novel begins by introducing the main characters: Thérèse Raquin, a young
woman who has been raised by her aunt, Madame Raquin, after her parents died;
Camille, Thérèse's cousin, and Madame Raquin's son, whom she eventually marries;
and Laurent, a friend of Camille's who becomes involved in the Raquin family's life.
Part 2: Loveless Marriage
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Thérèse's marriage to Camille is loveless and dull. The couple moves to Paris,
and Thérèse becomes increasingly frustrated with her life. She meets Laurent, and they
are drawn to each other.
Part 3: The Affair
Thérèse and Laurent begin an affair, and their passion becomes all-consuming.
They plot to get rid of Camille so they can be together without hindrance.
Part 4: The Murder
The lovers' plan culminates in a fateful boat trip on the Seine. They drown
Camille and make it look like an accident.
Part 5: The Aftermath
Thérèse and Laurent are tormented by guilt and paranoia after the murder. They
marry to avoid suspicion and attempt to carry on with their lives. Madame Raquin, who
is aware of her son's murder but unable to speak due to a stroke, becomes a silent
witness to their suffering.
Part 6: Psychological Torture
As Thérèse and Laurent struggle with their guilt, the ghost of Camille seems to
haunt them. They also experience physical and psychological deterioration.
Part 7: The Final Confrontation
Laurent's obsession with Camille's ghost and Thérèse's despair lead to a final
confrontation between the lovers. They confess their crime and are driven to madness.
Part 8: Tragic Conclusion
The novel concludes with a tragic and violent climax. The truth about the murder
is revealed, and the characters' lives unravel in a violent and deadly manner, leading to
a bleak and devastating ending.

"Thérèse Raquin" is a story of psychological torment, passion, and guilt. It

explores the darker aspects of human nature and the consequences of a loveless
marriage and a murder committed in the name of passion. Émile Zola's novel is a
powerful and harrowing examination of the human psyche and the destructive power
of suppressed emotions.

SETTING- Émile Zola's novel "Thérèse Raquin" is primarily set in and around Paris,
France, during the 19th century. The novel features several key settings that play a
significant role in the story:

The Haberdashery: Much of the novel's early action takes place in a small, dimly lit
haberdashery shop in the Passage du Pont-Neuf, a narrow, gloomy arcade in Paris. The
haberdashery is where the main characters, Thérèse, her husband Camille, and his
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mother, Madame Raquin, live and work. The shop serves as a symbol of the stifling and
oppressive environment that contributes to the characters' feelings of entrapment.

The Laurents' Apartment: After a pivotal event in the story, Thérèse and Laurent decide
to move to a new location, an apartment in the same building. This new setting
represents their attempt to escape the past and begin a new life together. However, this
move does not alleviate their guilt or suffering.

The Seine Riverbank: A significant portion of the novel is set by the Seine Riverbank.
This location plays a central role in the story, as it is where a key event occurs that sets
the plot in motion. The riverbank is a place of both romantic escape and guilt-ridden
dread for Thérèse and Laurent.

The Oise Countryside: In the latter part of the novel, the story shifts to the Oise
countryside, located outside of Paris. This is where some of the most dramatic and
tragic events of the novel take place.

CHARACTERIZATION-Thérèse Raquin, the title character in Émile Zola's novel

"Thérèse Raquin," is a significant and complex figure. In order to give her character a
thorough and frequently unflinching portrayal, Zola uses naturalistic techniques.

Repressed and Stifled: Thérèse is introduced as a young woman who has grown up in a
repressive and stifling environment. Her aunt, Madame Raquin, has raised her after her
parents' death, and this upbringing has shaped her introverted and passive personality.

Marriage to Camille: Thérèse's marriage to her cousin Camille is arranged by her aunt.
She is unhappily married to Camille, whom she finds weak, sickly, and unattractive.
This marriage contributes to her sense of entrapment and unhappiness.

Sexuality and Repression: A significant aspect of Thérèse's characterization is her

repressed sexuality. She feels trapped in a loveless marriage and is sexually frustrated.
Her passion and desires remain largely unexpressed, contributing to her emotional
turmoil.

Transformation through Laurent: Thérèse undergoes a significant transformation when

she begins a passionate and illicit affair with Laurent. Her character becomes more
vibrant and assertive as she indulges in this affair. The relationship brings out her
passionate and sensual side.
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Guilt and Psychological Turmoil: Thérèse's character experiences intense guilt and
psychological turmoil after she and Laurent murder Camille. Her internal struggle and
her inability to escape the consequences of her actions are central to her character
development.

Physical Appearance: Zola provides descriptions of Thérèse's physical appearance,

emphasizing her dark hair, pale skin, and hauntingly beautiful features. Her physical
attributes are often contrasted with her emotional and psychological state.

Naturalist Determinism: Thérèse's character is shaped by the naturalist principles of

heredity and environment. Zola suggests that heredity (including her family's history of
madness) and her constrained upbringing contribute to her actions and fate.

Tragic and Complex Heroine: Thérèse Raquin can be seen as a tragic and complex
heroine. She is both a victim of circumstances and a participant in her own downfall.
Her character embodies the naturalist belief that individuals are shaped by external
forces and their own innate nature.

Thérèse Raquin is a character defined by her internal conflicts, passions, and the
results of her decisions overall. As she struggles with desire, guilt, and fate, Zola's
naturalistic approach to character development offers a rich and unvarnished portrayal
of her psychological and emotional turmoil.
CONFLICT-Émile Zola's "Thérèse Raquin" is driven by a number of interrelated
conflicts that determine the course of the story and the fates of the characters. The
tension and tragedy of the story are primarily based on these conflicts. The novel's main
conflicts are as follows:

Conflict of Desire vs. Duty:

Thérèse Raquin is trapped in a loveless marriage to her cousin Camille, and she
is torn between her desires and her sense of duty. Her passion for Laurent leads her to
betray her marital vows, creating an internal conflict between her love for Laurent and
her obligation to her husband.

Conflict of Passion vs. Morality:

Thérèse's passionate love affair with Laurent goes against the societal and moral
norms of the time. The characters are consumed by their desire and lust, which conflict
with the conventional moral standards of 19th-century France. The guilt and moral
dilemmas they face intensify as the story unfolds.
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Conflict of Guilt and Conscience:

After committing murder to be together, Thérèse and Laurent are plagued by
guilt and the weight of their crime. The psychological torment they experience is a
central conflict in the novel, as they struggle to suppress their consciences and deal with
the consequences of their actions.

Conflict of Fate and Determinism:

Zola's naturalistic perspective introduces the concept of fate and determinism
into the story. The characters' actions and destinies are shaped by their heredity and
environment. This deterministic view creates a sense of inevitability and conflict
between the characters' desires and the forces that control their lives.

Conflict of Betrayal and Deceit:

Deceit and betrayal are recurring themes in the novel. Thérèse and Laurent
deceive Camille, who is not aware of their affair, and their subsequent betrayal takes
the form of murder. The conflicts arising from these acts of deceit drive the plot's darker
elements.

Conflict of Social Constraints:

The novel also explores the conflict between individual desires and the
constraints of society. The characters are bound by societal expectations and norms,
which limit their choices and lead to tragic consequences when they transgress these
boundaries.

Conflict of Revenge:
Later in the story, there is a conflict of revenge when certain characters seek
retribution for past wrongs. This thirst for vengeance complicates the already intricate
web of conflicts in the narrative.

These conflicts intersect and intensify as the story unfolds, leading to the novel's
tragic and inevitable conclusion. The characters in "Thérèse Raquin" are trapped in a
web of passion, guilt, and societal constraints, and their struggles with these conflicts
ultimately shape their tragic destinies.

MOTIF-Émile Zola employs a number of motifs in "Thérèse Raquin" to draw attention

to crucial concepts and deliver a more profound message.
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Water: Water is a recurring motif in the novel and is often associated with fate and the
characters' emotions. The river that runs alongside the Raquin's haberdashery
symbolizes the characters' entrapment, as well as the drowning feeling of guilt and
desire. The riverbank becomes the site of Camille's murder, emphasizing the
inescapable consequences of their actions.

Sickly Atmosphere: The stifling and oppressive atmosphere of the haberdashery,

particularly the back room, is a recurring motif that represents the oppressive nature of
the characters' lives. It conveys a sense of entrapment and foreboding.

Animals: Animals and animalistic imagery are used to describe the characters' behavior
and instincts. Thérèse, in particular, is often associated with a cat-like or predatory
demeanor, reflecting her sensuality and the predatory nature of her relationship with
Laurent.

Mortality and Death: Death is a significant motif in the novel. It is prevalent from the
beginning, as Camille's death sets the story in motion. Death is a reminder of the
inescapable consequences of the characters' actions and a symbol of their moral decay.

Guilt and Madness: The motif of guilt is central to the novel. It haunts the characters,
leading to madness and hallucinations. The guilt motif underscores the psychological
torment experienced by Thérèse and Laurent as they grapple with the consequences of
their crime.

The Green Curtain: The green curtain in the back room of the haberdashery serves as a
symbol of secrecy and concealment. It is where Thérèse and Laurent plan and commit
their crime, and it represents the hidden desires and actions that lead to their downfall.

Winter and Cold: The novel takes place during a cold and bleak winter. The harsh
weather serves as a backdrop to the characters' emotional coldness and the chilling
events that unfold.

Physical Illness: Physical ailments and illnesses are mentioned throughout the novel.
They mirror the moral and emotional sickness of the characters, particularly Thérèse
and Laurent, whose guilt-ridden state affects their physical health.

The atmosphere, themes, and overall narrative of the novel are all influenced by
these motifs. They support the central themes of entrapment, guilt, and moral decay
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and are consistent with Émile Zola's naturalist theory of literature, which holds that
characters' lives are influenced by their upbringing and environment.

HISTORICAL BACKGROUND- The story of Émile Zola's 1867 novel "Thérèse

Raquin" takes place in 19th-century France. In order to appreciate the novel's context
and the social setting in which the story is set, it is crucial to understand its historical
setting. The historical background of "Thérèse Raquin" is summed up as follows:

The novel is set during the era of the Second French Empire, which began in 1852
when Louis-Napoleon Bonaparte, nephew of the famous Napoleon Bonaparte, assumed
power as Emperor Napoleon III. This period was marked by authoritarian rule and a
focus on industrialization and modernization. It was also a time of significant political
and social change.

The mid-19th century witnessed rapid industrialization in France. Urban centers

grew, and the industrial revolution brought about significant changes in the economy
and society. The novel depicts characters living in the gritty and crowded urban
environment of Paris, which was a reflection of the industrialization taking place.

During the Second Empire, the bourgeoisie, or the middle class, gained economic
and political power. They formed the backbone of the French society depicted in the
novel. The Raquin family in the story represents a lower-middle-class background.

"Thérèse Raquin" reflects the limited roles and opportunities available to women
in 19th-century France. Thérèse's constrained life and the expectations placed on her as
a wife and daughter-in-law are indicative of the societal norms of the time.

SOCIAL BACKGROUND- The 19th-century French setting of Émile Zola's "Thérèse

Raquin" is firmly rooted in the social and cultural milieu of the era. The book offers a
vivid portrait of the time period by reflecting the societal constraints, expectations, and
conditions of 19th-century French society. The social background of "Thérèse Raquin"
can be summarized in the following ways.

Bourgeois Society, the novel primarily takes place within the urban, middle-
class, and bourgeois society of 19th-century France. The characters' lives revolve around
the small haberdashery owned by Madame Raquin, which serves as a microcosm of
bourgeois life. Zola critiques the stifling and hypocritical aspects of this social stratum.
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Gender Roles, the novel vividly portrays the traditional gender roles and
expectations of the time. Women were often relegated to domestic spheres, and their
roles were largely confined to being wives and mothers. Thérèse's character is a
reflection of the limited options and expectations placed on women in this society.

Marriage and Morality, Marital fidelity and moral virtue were highly valued in
19th-century France. Adultery was considered a grave sin, and the characters'
transgressions in the novel challenge societal norms. The affair between Thérèse and
Laurent and the subsequent murder of Camille are central to the story's critique of
societal morality.

Industrialization and Urbanization, the 19th century saw significant

industrialization and urbanization in France. The novel features the industrial setting of
the railway office where Laurent works, highlighting the impact of these societal
changes.

Social Constraints, Zola's characters are bound by societal constraints and

expectations. They feel trapped in their roles and their inability to escape their
circumstances, which leads to psychological distress and tragic consequences.

Naturalism and Determinism, "Thérèse Raquin" is a product of the naturalist

literary movement, which emphasized the influence of heredity and environment on
human behavior. Zola's portrayal of his characters as products of their environment
reflects the naturalist belief in determinism.

Critique of Hypocrisy,the novel critically examines the hypocrisy that often

existed within this society. The characters live double lives, concealing their true
feelings and actions, and the novel exposes the facade of respectability.

Social Injustice, "Thérèse Raquin" highlights the plight of the working class, with
characters like Grivet and Michaud representing the lower strata of society. The novel
also underscores the exploitation of workers in the industrial setting.

SYMBOLS- Émile Zola's "Thérèse Raquin" employs various symbols and motifs to
enhance the themes and elements of the novel.

The River: The Seine River is a prominent and recurring symbol in the novel. It
represents the characters' entrapment and the inescapable consequences of their actions.
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The river is the site of Camille's murder, and it haunts Thérèse and Laurent, reflecting
their guilt and the inevitability of their doom.

The Paintings: Camille's passion for painting and his unfinished landscapes symbolize
his own incomplete life and ambitions. After his death, the unfinished works serve as a
reminder of his existence, influencing the psychological state of Thérèse and Laurent.
The Cat: Thérèse and Laurent's cat, François, becomes a symbol of their guilt and their
own entrapment. The cat's presence reminds them of their crime, adding to their
paranoia and psychological torment.
The Jewelry: Camille's gift of jewelry to Thérèse, which she later gives to Laurent,
represents her marital bondage and her desire for escape. It is a physical reminder of
her connection to Camille and her desire to sever that connection.
The Laundry Shop: The Raquin family's laundry shop serves as a symbol of their
mundane and oppressive existence. It represents the constraints of societal norms and
expectations, especially on women like Thérèse.

The Blanket: The thick blanket that covers Camille's corpse after his murder is a symbol
of concealment. It conceals the crime committed by Thérèse and Laurent, but it also
represents the burden of their guilt.
The Train: The train is a recurring motif that symbolizes the inevitability of fate and the
characters' entanglement in a tragic course of events. Trains are central to Zola's
depiction of modernity, and they underscore the mechanical and deterministic aspects
of life.
Thérèse's Black Attire: Thérèse often wears black clothing, which symbolizes her
mourning and her emotional and psychological state. It also represents her suffocation
within her marriage and her desire to escape it.
The Forest: In contrast to the suffocating and oppressive atmosphere of the laundry
shop, the forest symbolizes freedom, desire, and the passionate relationship between
Thérèse and Laurent. The forest serves as a backdrop to their secret meetings and illicit
romance.

These symbols and motifs in "Thérèse Raquin" add depth and layers to the
narrative, enhancing the themes of guilt, entrapment, and the characters' psychological
turmoil. They contribute to the overall atmosphere and meaning of the novel, making it
a rich and complex work of naturalistic fiction.

THEME- Thérèse Raquin by Émile Zola explores the suffering that results when two
lovers put their passion and pleasure before everything else, including morality.
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Thérèse and Laurent allow their desires to lead them through life, which is highlighted
in the book.

Guilt, the novel delves deeply into the psychological torment and guilt experienced by
Thérèse and Laurent after committing murder.
Passion and Obsession, the intense and destructive passion between Thérèse and
Laurent is a central theme, leading to their downfall.
Determinism, Zola explores the idea that characters' actions are determined by their
heredity and environment, as central to the naturalist literary movement.

GIST- Thérèse Raquin is a young woman who, following the death of her parents, is
forced into a marriage with her cousin Camille, a man she does not love. They move to
Paris, where Camille takes a job as a clerk and the couple lives with Camille's mother,
Madame Raquin.

Thérèse's life takes a dramatic turn when she meets Laurent, a friend of
Camille's, and they begin an affair. Their passionate relationship quickly becomes all-
consuming, and they decide to get rid of Camille. Together, they plot and execute
Camille's murder during a boat trip on the Seine River. They stage the death as an
accident, and no one suspects foul play.

After Camille's death, Thérèse and Laurent are haunted by guilt and the
oppressive presence of Madame Raquin, who seems to sense that they are responsible
for her son's death. The novel explores their psychological torment and the
consequences of their actions. Madame Raquin's condition worsens, and she is unable
to communicate her knowledge of the truth.

As the guilt-stricken lovers struggle to maintain their relationship, their lives

unravel. The novel reaches its tragic climax with a harrowing and violent conclusion.
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THÉRÈSE RAQUIN
By Émile Zola

Translated and edited with a preface by Edward Vizetelly

CHAPTER I
At the end of the Rue Guénégaud, coming from the quays, you find the Arcade of the
Pont Neuf, a sort of narrow, dark corridor running from the Rue Mazarine to the Rue de
Seine. This arcade, at the most, is thirty paces long by two in breadth. It is paved with
worn, loose, yellowish tiles which are never free from acrid damp. The square panes of
glass forming the roof, are black with filth.

On fine days in the summer, when the streets are burning with heavy sun, whitish light
falls from the dirty glazing overhead to drag miserably through the arcade. On nasty
days in winter, on foggy mornings, the glass throws nothing but darkness on the sticky
tiles—unclean and abominable gloom.

To the left are obscure, low, dumpy shops whence issue puffs of air as cold as if coming
from a cellar. Here are dealers in toys, cardboard boxes, second-hand books. The articles
displayed in their windows are covered with dust, and owing to the prevailing
darkness, can only be perceived indistinctly. The shop fronts, formed of small panes of
glass, streak the goods with a peculiar greenish reflex. Beyond, behind the display in
the windows, the dim interiors resemble a number of lugubrious cavities animated by
fantastic forms.

To the right, along the whole length of the arcade, extends a wall against which the
shopkeepers opposite have stuck some small cupboards. Objects without a name, goods
forgotten for twenty years, are spread out there on thin shelves painted a horrible
brown colour. A dealer in imitation jewelry has set up shop in one of these cupboards,
 18

and there sells fifteen sous rings, delicately set out on a cushion of blue velvet at the
bottom of a mahogany box.

Above the glazed cupboards, ascends the roughly plastered black wall, looking as if
covered with leprosy, and all seamed with defacements.

The Arcade of the Pont Neuf is not a place for a stroll. You take it to make a short cut, to
gain a few minutes. It is traversed by busy people whose sole aim is to go quick and
straight before them. You see apprentices there in their working-aprons, work-girls
taking home their work, persons of both sexes with parcels under their arms. There are
also old men who drag themselves forward in the sad gloaming that falls from the
glazed roof, and bands of small children who come to the arcade on leaving school, to
make a noise by stamping their feet on the tiles as they run along. Throughout the day a
sharp hurried ring of footsteps resounds on the stone with irritating irregularity.
Nobody speaks, nobody stays there, all hurry about their business with bent heads,
stepping out rapidly, without taking a single glance at the shops. The tradesmen
observe with an air of alarm, the passers-by who by a miracle stop before their
windows.

The arcade is lit at night by three gas burners, enclosed in heavy square lanterns. These
jets of gas, hanging from the glazed roof whereon they cast spots of fawn-coloured
light, shed around them circles of pale glimmer that seem at moments to disappear. The
arcade now assumes the aspect of a regular cut-throat alley. Great shadows stretch
along the tiles, damp puffs of air enter from the street. Anyone might take the place for
a subterranean gallery indistinctly lit-up by three funeral lamps. The tradespeople for
all light are contented with the faint rays which the gas burners throw upon their
windows. Inside their shops, they merely have a lamp with a shade, which they place at
the corner of their counter, and the passer-by can then distinguish what the depths of
these holes sheltering night in the daytime, contain. On this blackish line of shop fronts,
the windows of a cardboard-box maker are flaming: two schist-lamps pierce the
shadow with a couple of yellow flames. And, on the other side of the arcade a candle,
stuck in the middle of an argand lamp glass, casts glistening stars into the box of
imitation jewelry. The dealer is dozing in her cupboard, with her hands hidden under
her shawl.

A few years back, opposite this dealer, stood a shop whose bottle-green woodwork
excreted damp by all its cracks. On the signboard, made of a long narrow plank,
figured, in black letters the word: MERCERY. And on one of the panes of glass in the
door was written, in red, the name of a woman: Thérèse Raquin. To right and left were
deep show cases, lined with blue paper.

During the daytime the eye could only distinguish the display of goods, in a soft,
obscured light.
 19

On one side were a few linen articles: crimped tulle caps at two and three francs apiece,
muslin sleeves and collars: then undervests, stockings, socks, braces. Each article had
grown yellow and crumpled, and hung lamentably suspended from a wire hook. The
window, from top to bottom, was filled in this manner with whitish bits of clothing,
which took a lugubrious aspect in the transparent obscurity. The new caps, of brighter
whiteness, formed hollow spots on the blue paper covering the shelves. And the
coloured socks hanging on an iron rod, contributed sombre notes to the livid and vague
effacement of the muslin.

On the other side, in a narrower show case, were piled up large balls of green wool,
white cards of black buttons, boxes of all colours and sizes, hair nets ornamented with
steel beads, spread over rounds of bluish paper, fasces of knitting needles, tapestry
patterns, bobbins of ribbon, along with a heap of soiled and faded articles, which
doubtless had been lying in the same place for five or six years. All the tints had turned
dirty grey in this cupboard, rotting with dust and damp.

In summer, towards noon, when the sun scorched the squares and streets with its
tawny rays, you could distinguish, behind the caps in the other window, the pale, grave
profile of a young woman. This profile issued vaguely from the darkness reigning in the
shop. To a low parched forehead was attached a long, narrow, pointed nose; the pale
pink lips resembled two thin threads, and the short, nervy chin was attached to the neck
by a line that was supple and fat. The body, lost in the shadow, could not be seen. The
profile alone appeared in its olive whiteness, perforated by a large, wide-open, black
eye, and as though crushed beneath thick dark hair. This profile remained there for
hours, motionless and peaceful, between a couple of caps for women, whereon the
damp iron rods had imprinted bands of rust.

At night, when the lamp had been lit, you could see inside the shop which was greater
in length than depth. At one end stood a small counter; at the other, a corkscrew
staircase afforded communication with the rooms on the first floor. Against the walls
were show cases, cupboards, rows of green cardboard boxes. Four chairs and a table
completed the furniture. The shop looked bare and frigid; the goods were done up in
parcels and put away in corners instead of lying hither and thither in a joyous display
of colour.

As a rule two women were seated behind the counter: the young woman with the grave
profile, and an old lady who sat dozing with a smile on her countenance. The latter was
about sixty; and her fat, placid face looked white in the brightness of the lamp. A great
tabby cat, crouching at a corner of the counter, watched her as she slept.

Lower down, on a chair, a man of thirty sat reading or chatting in a subdued voice with
the young woman. He was short, delicate, and in manner languid. With his fair hair
devoid of lustre, his sparse beard, his face covered with red blotches, he resembled a
sickly, spoilt child arrived at manhood.
 20

Shortly before ten o’clock, the old lady awoke. The shop was then closed, and all the
family went upstairs to bed. The tabby cat followed the party purring, and rubbing its
head against each bar of the banisters.

The lodging above comprised three apartments. The staircase led to a dining-room
which also did duty as drawing-room. In a niche on the left stood a porcelain stove;
opposite, a sideboard; then chairs were arranged along the walls, and a round table
occupied the centre. At the further end a glazed partition concealed a dark kitchen. On
each side of the dining-room was a sleeping apartment.

The old lady after kissing her son and daughter-in-law withdrew. The cat went to sleep
on a chair in the kitchen. The married couple entered their room, which had a second
door opening on a staircase that communicated with the arcade by an obscure narrow
passage.

The husband who was always trembling with fever went to bed, while the young
woman opened the window to close the shutter blinds. She remained there a few
minutes facing the great black wall, which ascends and stretches above the arcade. She
cast a vague wandering look upon this wall, and, without a word she, in her turn, went
to bed in disdainful indifference.
 21

REFERENCE

itcharts.com/lit/therese-raquin/themes/passion-and-pleasure#:~:text=Émile%20Zola's
%20novel%20Thérèse%20Raquin,to%20guide%20them%20through%20life.

https://literariness.org/2018/01/08/the-naturalism-of-emile-zola/#:~:text=The
%20novels%20of%20the%20French,than%20supernatural%20or%20divine%20causes.

https://digital.library.unt.edu/ark:/67531/metadc699423/m2/1/high_res_d/
1002503281-Blackburn.pdf

https://files.eric.ed.gov/fulltext/EJ1081555.pdf

https://pseudointellectualreviews.wordpress.com/2013/07/24/therese-raquin-emile-
zola/

https://www.gradesaver.com/therese-raquin/study-guide/summary-zolas-preface-
to-the-1868-edition

https://en.wikipedia.org/wiki/Th%C3%A9r%C3%A8se_Raquin

https://mro.massey.ac.nz/bitstream/handle/10179/14210/02_whole.pdf

https://www.researchgate.net/publication/
296482635_Framed_Fact_Fiction_and_Frame_Tale_in_Adaptations_of_Zola's_Therese_
Raquin
22