Next came _La Conquete de Plassans_, an excellent story, to be followed
by _La Faute de l'Abbe Mouret_, one of Zola's most romantic books,
and the first to attain any considerable success. He next wrote _Son
Excellence Eugene Rougon_, in which he dealt with the political side
of the Second Empire and sketched the life of the Imperial Court at
Compiegne. For this task he was not particularly well equipped, and the
book was only moderately successful. Then came _L'Assommoir_, and
with it fame and fortune for the writer. It is a terrible story of
working-class life in Paris, a study of the ravages wrought by drink.
Again to quote Mr. Andrew Lang, "It is a dreadful but not an immoral
book. It is the most powerful temperance tract that ever was written. As
M. Zola saw much of the life of the poor in his early years, as he once
lived, when a boy, in one of the huge lodging-houses he describes, one
may fear that _L'Assommoir_ is a not untruthful picture of the lives of
many men and women in Paris."

In order to heighten the effect, Zola deliberately wrote the whole
of _L'Assommoir_ in the argot of the streets, sparing nothing of its
coarseness and nothing of its force. For this alone he was attacked by
many critics, and from its publication onwards an unexampled controversy
arose regarding the author and his methods. Looking backwards it is
difficult to see why such an outcry should have arisen about such a
masterpiece of literature, but water has flowed beneath many bridges
since 1877, and, largely by the influence of Zola's own work, the limits
of convention have been widely extended. At the time, however, the
work was savagely attacked, and to the author the basest motives
were assigned, while libels on his own personal character were freely
circulated. Zola replied to these attacks in a manner so calm and so
convincing that quotation may be permitted. "It would be well," he said,