i68 tisane. A droite, c'est la lorette jeune, indolente, judgment, the structures of viewing in the picture Notes insouciante et tapageuse, une reine de la tribu constitute a "voyeuristic mise en abyme, composed to Pages des chignons rouges qui croit a 1'eternite de ces of viewer-gazing- at- viewer-gazing-at-object-of - 67-71 vingt-deux printemps; a gauche, en regard, c'est desire" (Emily Apter, "Cabinet Secrets: Fetishism, la lorette vieillie, ratatinee et sordide qui pro- Prostitution, and the Fin de Siecle Interior," As- mene sa misere en haillons et cherche pature dans semblage: A Critical Journal of Architecture and 1'inconnu sinistre de la fange et du ruisseau: — Design Culture 9 [June 1989]: 10). 'Les poetes de mon temps m'ont couronnee 48. Sander Oilman, Difference and Pathology: des roses . . . [ellipsis in original] et ce matin je Stereotypes of Sexuality, Race and Madness, Ithaca, n'ai pas eu ma goutte! et pas de tabac pour mon N.Y., 1985, p. 102. And Oilman noticed that Ma- pauvre nez!' - II etait facile de glisser dans la net gave Nana a "Darwin's ear." cynisme de la satire. Le sujet etant admis, il faut 49. For the record, Francoise Cachin agrees reconnaitre que M. Duez est reste elegant et bien (Manet, 1832 — 1883, Paris: Editions de la Reunion eleve" (Let us not insist upon the literary, moral des musees nationaux, 1983, p. 393), while Anne and philosophical aspect, that is to say the pre- Coffin Hanson (Manet and the Modern Tradition, tentious and antipictorial side, of the subject it- New Haven, 1977, p. 66) disagrees. self, that alludes a bit too closely to a memory of 50. "Das Madchen Nana ist gleichsam eine Gavarni, and let us consider only the pictorial moderne Allegoric der Kauflichkeit. Der Mann ist quality of the painting. . . . Before anything else, eine Allegoric des betrogenen Kaufers" (Gotthard he saw in the opposition between the two figures a Jedlicka, Edouard Manet, Zurich, 1941, p. 191; decorative motif. ... It is a diptych, a panel of two quoted in Werner Hofmann, Nana: Mythos und compartments that frames the two terms of the Wirklichkeit, Koln, 1973, p. 46). comparison: the alpha and the omega, the begin- 51. See my remarks on Simmel's ideas about ning and the finish, the high and low points of the prostitution in chap. i. Georg Simmel, "Pros- courtesan. At right, it is the young lorette, indo- titution" [1907], in On Individuality and Social lent, insouciant and showy, a queen of the tribe of Forms, Donald N. Levine (ed.), Chicago, 1971, red chignons who believes in the eternity of her pp. 121 — 26. twenty-second springtime; at left, by comparison, 52. See Hofmann's discussion of this in Nana, it is the old lorette, shrivelled and sordid who p. 46-47. promenades her misery in tatters and seeks ref- 53. Beauvoir, Second Sex, p. 536. uge in the sinister unknown of the mire and the 54. Hofmann, Nana, p. 66; Robert Herbert, Im- gutter: — "The poets of my day crowned me pressionism: Art, Leisure and Parisian Society, New with roses . . . and this morning I haven't had my Haven, 1988, p. 113. Herbert has also suggested drink! and no tobacco for my poor nose!" — It was (p. 113) that the possible identifiability of Manet's easy to slip into the cynicism of satire. Having ad- model, the actress Henriette Hauser, then the mitted the subject, we must recognize that Mr. mistress of the Prince of Orange, may have helped Duez remained elegant and correct). to impute a note of immodesty to the picture. 44. "Elle doit se dorer pour etre adoree" (Bau- 55. Hofmann, Nana, pp. 21, 22; and George delaire, "Le Peintre," p. 492). Holden, in his introduction to Nana, Middlesex, 45. See my discussion of this concept in chap. 4, Penguin, 1972, p. 14. "Working Women for Sale?" 56. Cachin (Manet, p. 393) argues that Zola was 46. Eunice Lipton was the first to study this in clearly responsible for providing the title for the her "Manet: A Radicalized Female Imagery," painting before its submission to the Salon. For Artforum (Mar. 1975): 48-53. additional materials regarding the connection be- 47. Emily Apter has written persuasively about tween the two Nanas, see my "Representations the presence of "visual feasting" in Manet's Nana. of Prostitution in Early Third Republic France," According to Apter, "The picture perfectly cap- Ph.D. diss., University of California at Los An- tures the built-in stereoscopy of the cabinet: a geles, 1984, pp. 280—81. scene of secret beholding is itself 'caught in the act 57. See Cachin, Manet, pp. 392-93; and Hof- of looking' because of the projection of an imagi- mann, Nana, pp. 21—23, f°r detailed discussions nary spectator, who, though anonymous and in- of this question. tangible, is no less fully present." And, in her 58. By the end of 1868, Zola had settled on the