[translation by Havelock Ellis, 1894] With a sudden impulse she hung on to him, seeking his mouth and pressing her own passionately to it. The darkness lighted up, she saw the sun again, and she laughed a quiet laugh of love. He shuddered to feel her thus against his flesh, half naked beneath the tattered jacket and trousers, and he seized her with a reawakening of his virility. It was at length their wedding night, at the bottom of this tomb, on this bed of mud, the longing not to die before they had had their happiness, the obstinate longing to live and make life one last time. They loved each other in despair of everything, in death.
After that there was nothing more. Étienne was seated on the ground, always in the same corner, and Catherine was lying motionless on his knees. Hours and hours passed by. For a long time he thought she was sleeping; then he touched her; she was very cold, she was dead. He did not move, however, for fear of arousing her. The idea that he was the first who had possessed her as a woman, and that she might be pregnant, filled him with tenderness. Other ideas, the desire to go away with her, joy at what they would both do later on, came to him at moments, but so vaguely that it seemed only as though his forehead had been touched by a breath of sleep. He grew weaker, he only had strength to make a little gesture, a slow movement of the hand, to assure himself that she was certainly there, like a sleeping child in her frozen stiffness. Everything was being annihilated; the night itself had disappeared, and he was nowhere, out of space, out of time. Something was certainly striking beside his head, violent blows were approaching him; but he had been too lazy to reply, benumbed by immense fatigue; and now he knew nothing, he only dreamed that she was walking before him, and that he heard the slight clank of her sabots. Two days passed; she had not stirred; he touched her with his mechanical gesture, reassured to find her so quiet.
Étienne felt a shock. Voices were sounding, rocks were rolling to his feet. When he perceived a lamp he wept. His blinking eyes followed the light, he was never tired of looking at it, enraptured by this reddish point which scarcely stained the darkness. But some mates carried him away, and he allowed them to introduce some spoonfuls of soup between his clenched teeth. It was only in the Réquillart gallery that he recognized someone standing before him, the engineer, Négrel; and these two men, with their contempt for each other--the rebellious workman and the sceptical master--threw themselves on each other's necks, sobbing loudly in the deep upheaval of all the humanity within them. It was an immense sadness, the misery of generations, the extremity of grief into which life can fall.
At the surface, Maheude, stricken down near dead Catherine, uttered a cry, then another, then another--very long, deep, incessant moans. Several corpses had already been brought up, and placed in a row on the ground: Chaval, who was thought to have been crushed beneath a landslip. a trammer, and two hewers, also crushed, with brainless skulls and bellies swollen with water. Women in the crowd went out of their minds, tearing their skirts and scratching their faces. When Étienne was at last taken out, after having been accustomed to the lamps and fed a little, he appeared fleshless, and his hair was quite white. People turned away and shuddered at this old man. Maheude left off crying to stare at him stupidly with her large fixed eyes.

«Ger-mi-nal, Ger-mi-nal, Ger-mi-nal...», este era el grito que el 5 de octubre de 1902 una delegación de mineros franceses coreaba al arrojar sus ramos de rosas rojas sobre la tumba de Émile Zola: cinco mil parisienses habían recorrido las calles de París con el féretro del escritor que había abanderado el enfrentamiento con el sector más conservador de la sociedad francesa a raíz del conocido como «affaire Dreyfus». Émile Zola, el padre del naturalismo, describe en Germinal, de una forma descarnada, el mundo sombrío y mísero de la mina, retratando a un grupo de personas que vive ahogado en condiciones infrahumanas y por cuyas venas Zola hace correr el odio y el rencor, seres humanos que se extenúan trabajando en medio de una terrible frustración. Los sueños de juventud, la búsqueda del amor, todo choca contra la realidad siniestra de la mina, que se cobra vidas y apenas permite vivir a los que logran salir de su oscuro pozo. Pero cuando falta el pan, cuandpo el sueño se convierte en pesadilla, los mineros se alzan contra las fuerzas de la destrucción: la huelga hace brotar de todos y cada uno lo mejor y lo peor del ser humano. Con Germinal, Zola escribe una epopeya radicalmente moderna: la denuncia de una realidad se convierte en mito.