ppointment as commander. Son
Excellence Eugene Rougon.

JOIRE (ABBE), Cure of Montsou. He pretended not to interest himself in
anything, so as not to vex either the workers or the masters. During
the strike he took his walks at night, to prevent himself from being
compromised by the miners. He obtained promotion, and was replaced by
Abbe Ranvier. Germinal.

JONCQUIER, a lover of Rose Mignon, who deserted her for a time in favour
of Laure. Nana.

JONCQUOY (MADAME DU), an old friend of the Muffats. Years ago she had
met Bismarck, who struck her as stupid; she was unable to understand his
later success. Nana.

JORDAN (PAUL), a journalist, whose father, a Marseilles banker, had
committed suicide in consequence of some disastrous speculations. He
married a daughter of M. Maugendre, to whom he had been betrothed in
more prosperous days. His wife brought him no dowry, as her parents were
against the marriage on the ground of Jordan's occupation and want
of means. Having made the acquaintance of Saccard, he received an
appointment on the staff of the newspaper purchased to support the
policy of the Universal Bank. He did not speculate, however, and
remained in comparative poverty, until the success of a novel which he
had written put him in more comfortable circumstances, and even enabled
him to give assistance to his wife's parents after they were ruined by
the failure of the bank. L'Argent.

JORDAN (MADAME MARCELLE), wife of the preceding. She was the only child
of M. Maugendre, who was ruined by the failure of the Universal Bank.
L'Argent.

JORY (EDOUARD), was the son of a magistrate of Plassans, whom he drove
crazy by his profligate conduct. In the end he ran off with a music-hall
singer under the pretext of going to Paris to follow the literary
profession. Notwithstanding the fact that his profligacy went to even
greater lengths in the city, he was successful in journalism, and soon
earned between seven and eight thousand francs a year as a leader-writer
and art critic. His first success was gained in a series of articles
in a little newspaper called _Le Tambour_, in which he fell foul of the
accepted canons of art, and hailed Claude Lantier and his companions as
the founders of a new school. Later he claimed to have made Fagerolles
by his articles, in the same manner as he formerly took credit for
making Lantier. He gradually dropped his old friends, however, finding
that the public only laughed at their productio