Unique handwritten manuscript in French by Emile Zola and Alfred Bruneau for their joint article "Messidor," published in Le Figaro on February 20, 1897. The manuscript consists of fifteen pages penned by Zola, with headings "Messidor" and "Le Poeme," boldly signed at the conclusion, "Emile Zola," followed by nine pages penned by Bruneau, headed "La Musique," signed at the conclusion, "Alfred Bruneau." These sheets were prepared for publication with cuts (without loss) and notes in blue pencil, then mounted on tabs on strong paper sheets bound in a volume of red half-morocco with corners, smooth spine with gilt title along with black leather border on the covers, gilt top edge, presented in a marbled slipcase.
Zola writes, in part (translated): "I believe that the role of the poet is to give the musician a broad theme, where the general ideas, the great human feelings develop. I have taken a burning subject that is very current, I have treated it in a simple and colorful environment, and, while making it take place in our days, I thought I had to include the legend. Véronique is the ancient faith, still so great, and which waits to be replaced by the new faith. At the denouement, when she sings of life and its fecundity, she indicates herself where faith goes. It is the ploughman Guillaume who triumphs, it is Hélène, the beloved, the necessary, who will give birth tomorrow. And, after the death of the destroyer Mathias, after the great black poetry of nothingness, it is the Shepherd who returns up there, in the light, to lead men to the great pure air of health and joy. I will be simply happy, if I gave the musician the opportunity to affirm this joy, this health, the eternal happy fertility, the great clear and powerful sun of our old land of France." In fine condition.
In 1897, Emile Zola published a novel under the title "Messidor," intending it to be a happy echo of 'Germinal' and a lyrical counterpart to 'Travail.' Having already collaborated twice with his friend, composer Alfred Bruneau, for stage adaptations accompanied by music ('Le Rêve' (1891) and 'L'Attaque du Moulin' (1893)), he again turned to him to bring "Messidor" to the stage. The work premiered at the Paris Opera on February 19, 1897. Sparking controversy, the two men decided to explain the meaning of their work in the article published in Le Figaro the next day.
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