The Three Cities Trilogy: Lourdes, Volume 3 — Background and Themes
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Pierre had been listening somewhat inquisitively to all this chatter. "And on this side, my side," said he, "isn't there a gentleman with two ladies, and a little boy who walks about with a crutch?"
"Yes, Monsieur l'Abbe, I know them. The aunt, Madame Chaise, took one of the two rooms for herself; and Monsieur and Madame Vigneron with their son Gustave have had to content themselves with the other one. This is the second year they have come to Lourdes. They are very respectable people too."
Pierre nodded. During the night he had fancied he could recognise the voice of M. Vigneron, whom the heat doubtless had incommoded. However, the servant was now thoroughly started, and she began to enumerate the other persons whose rooms were reached by the same passage; on the left hand there was a priest, then a mother with three daughters, and then an old married couple; whilst on the right lodged another gentleman who was all alone, a young lady, too, who was unaccompanied, and then a family party which included five young children. The hotel was crowded to its garrets. The servants had had to give up their rooms the previous evening and lie in a heap in the washhouse. During the night, also, some camp bedsteads had even been set up on the landings; and one honourable ecclesiastic, for lack of other accommodation, had been obliged to sleep on a billiard-table.
When the girl had retired and the two men had drunk their chocolate, M. de Guersaint went back into his own room to wash his hands again, for he was very careful of his person; and Pierre, who remained alone, felt attracted by the gay sunlight, and stepped for a moment on to the narrow balcony outside his window. Each of the third-floor rooms on this side of the hotel was provided with a similar balcony, having a carved-wood balustrade. However, the young priest's surprise was very great, for he had scarcely stepped outside when he suddenly saw a woman protrude her head over the balcony next to him--that of the room occupied by the gentleman whom M. de Guersaint and the servant had been speaking of.
And this woman he had recognised: it was Madame Volmar. There was no mistaking her long face with its delicate drawn features, its magnificent large eyes, those brasiers over which a veil, a dimming /moire/, seemed to pass at times. She gave a start of terror on perceiving him. And he, extremely ill at ease, grieved that he should have frightened her, made all haste to withdraw into his apartment. A sudden light had dawned upon him, and he now understood and could picture everything. So this was why she had not been seen at the hospital, where little Madame Desagneaux was always asking for her. Standing motionless, his heart upset, Pierre fell into a deep reverie, reflecting on the life led by this woman whom he knew, that torturing conjugal life in Paris between a fierce mother-in-law and an unworthy husband, and then those three days of complete liberty spent at Lourdes, that brief bonfire of passion to which she had hastened under the sacrilegious pretext of serving the divinity. Tears whose cause he could not even explain, tears that ascended from the very depths of his being, from his own voluntary chastity, welled into his eyes amidst the feeling of intense sorrow which came over him.
"Well, are you ready?" joyously called M. de Guersaint as he came back, with his grey jacket buttoned up and his hands gloved.
"Yes, yes, let us go," replied Pierre, turning aside and pretending to look for his hat so that he might wipe his eyes.
Then they went out, and on crossing the threshold heard on their left hand an unctuous voice which they recognised; it was that of M. Vigneron, who was loudly repeating the morning prayers. A moment afterwards came a meeting which interested them. They were walking down the passage when they were passed by a middle-aged, thick-set, sturdy-looking gentleman, wearing carefully trimmed whiskers. He bent his back and passed so rapidly that they were unable to distinguish his features, but they noticed that he was carrying a carefully made parcel. And immediately afterwards he slipped a key into the lock of the room adjoining M. de Guersaint's, and opening the door disappeared noiselessly, like a shadow.
M. de Guersaint had glanced round: "Ah! my neighbour," said he; "he has been to market and has brought back some delicacies, no doubt!"
The third volume of Zola's Lourdes opens on a Sunday morning with M. de Guersaint already dressed and Pierre still asleep, his cassock flung across a chair. The hotel's thin partitions and constant noise—"heavy footfalls," "gruff voices," and "frightful coughing"—create a sense of claustrophobic intimacy. Zola's narrative voice shifts between the mundane details of travel fatigue and the escalating frenzy of the pilgrimage, as bells ring and the town hums with activity.
Later, the procession becomes a hypnotic spectacle: endless tapers, the refrain "Ave, ave, ave Maria!" rising "with its frantic, importunate rhythm," and pilgrims' faces passing like "apparition from among the damned." M. de Guersaint, returning from the Calvary height, describes the lights as forming a "monstrance of burning gold," a rare moment of aesthetic wonder amid the suffering.
Thin Walls and Restless Sleep
Zola uses the hotel's physical structure to mirror the pilgrims' inner turmoil. Pierre and M. de Guersaint discuss the "thin partitions" and the house "crammed with people until it seemed as though the floors and the walls would collapse." The noise—"people suddenly rushed along the passages," "moaning and coughing"—keeps Pierre awake despite exhaustion. This attention to sensory detail grounds the spiritual journey in bodily discomfort, a recurring motif in the trilogy.
The contrast between the two men's responses is telling: M. de Guersaint wakes "fresh and gay," while Pierre, "his blood heated by insomnia," struggles to rise. Zola does not explain this difference, leaving the reader to infer the priest's deeper agitation. The hotel becomes a microcosm of the pilgrimage itself—crowded, noisy, and straining at its limits.
The Procession's Relentless Rhythm
The procession scene is built on repetition and accumulation. Tapers appear "with that mechanical kind of movement which seemed as though it would never cease." The canticle, the hymn of Bernadette, becomes a "huge indistinct clamour," with each batch of pilgrims chanting a different verse, their voices "ecstatic" and "intoxicated." The refrain "Ave, ave, ave Maria!" returns "with its frantic, importunate rhythm, above everything else." Zola's prose mimics this hypnotic quality, using long sentences and parallel structures to evoke a sense of vertigo.
Individual faces emerge briefly from the mass: Elise Rouquet with her "bare red face," Sophie Couteau playing with her taper, Madame Maze gliding "in a discreet, humble way" with tears streaming. These glimpses prevent the crowd from becoming abstract, reminding the reader of the personal suffering behind the spectacle.
M. de Guersaint's Artistic Eye
M. de Guersaint, an architect by profession, provides a counterpoint to Pierre's spiritual anguish. He describes the procession from the Calvary height as "the first beautiful thing that I have seen since I have been here," comparing the lights to "another heaven" and a "monstrance of burning gold." His language is visual and formal—"the base of which is outlined by the inclined ways, the stem by the two parallel paths, and the Host by the round lawn"—revealing an artist's sensibility.
This aesthetic detachment contrasts sharply with Marie's and Pierre's immersion in suffering. When Marie gently urges him to rest, she adds, "you'll see, you'll see—" before stopping short, hinting at her own hopes for a miracle. Zola lets the architect's wonder stand without judgment, suggesting that even within the pilgrimage's pain, there is room for a different kind of transcendence.
Zola's narrative voice in this volume oscillates between clinical observation and lyrical intensity, never settling into a single register. The reader is left to weigh the exhaustion of the body against the fervor of faith, the individual against the crowd. Pay attention to how the prose itself changes pace—from the cramped hotel room to the open procession—as a guide to the novel's emotional geography.
That hotel corridor in Zola—how the thin walls seemed to hold every sigh and shuffled step—brought me back to a feverish night I once spent in a youth hostel. I couldn't sleep for hearing a stranger weep. Much later, reading about the quiet weight of ordinary courage in Death of a hero — Themes and Context, I felt that same hush between one person's pain and another's witness.
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