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INTRODUCTION

BORN in the middle year of the nineteenth century, and fated unfortunately never to see its close, Guy de Maupassant was probably the most versatile and brilliant among the galaxy of novelists who enriched French literature between the years 1800 and 1900. Poetry, drama, prose of short and sustained effort, and volumes of travel and description, each sparkling with the same minuteness of detail and brilliancy of style, flowed from his pen during the twelve years of his literary life.

Although his genius asserted itself in youth, he had the patience of the true artist, spending his early manhood in cutting and polishing the facets of his genius under the stern though paternal mentorship of Gustave Flaubert. Not until he had attained the age of thirty did he venture on publication, challenging criticism for the first time with a volume of poems.

Many and various have been the judgments passed upon Maupassant's work. But now that the perspective of time is lengthening, enabling us to form a more deliberate, and therefore a juster, view of his complete achievement, we are driven irresistibly to the conclusion that the force that shaped and swayed Maupassant's prose writings was the conviction that in life there could be no phase so noble or so mean, so honorable or so contemptible, so lofty or so low as to be unworthy of chronicling, – no groove of human virtue or fault, success or failure, wisdom or folly that did not possess its own peculiar psychological aspect and therefore demanded analysis.

To this analysis Maupassant brought a facile and dramatic pen, a penetration as searching as a probe, and a power of psychological vision that in its minute detail, now pathetic, now ironical, in its merciless revelation of the hidden springs of the human heart, whether of aristocrat, bourgeois, peasant, or priest, allow one to call him a Meissonier in words.

The school of romantic realism which was founded by Merimee and Balzac found its culmination in De Maupassant. He surpassed his mentor, Flaubert, in the breadth and vividness of his work, and one of the greatest of modern French critics has recorded the deliberate opinion, that of all Taine's pupils Maupassant had the greatest command of language and the most finished and incisive style. Robust in imagination and fired with natural passion, his psychological curiosity kept him true to human nature, while at the same time his mental eye, when fixed upon the most ordinary phases of human conduct, could see some new motive or aspect of things hitherto unnoticed by the careless crowd.

It has been said by casual critics that Maupassant lacked one quality indispensable to the production of truly artistic work, viz: an absolutely normal, that is, moral, point of view. The answer to this criticism is obvious. No dissector of the gamut of human passion and folly in all its tones could present aught that could be called new, if ungifted with a viewpoint totally out of the ordinary plane. Cold and merciless in the use of this point de vue De Maupassant undoubtedly is, especially in such vivid depictions of love, both physical and maternal, as we find in "L'histoire d'une fille de ferme" and "La femme de Paul." But then the surgeon's scalpel never hesitates at giving pain, and pain is often the road to health and ease. Some of Maupassant's short stories are sermons more forcible than any moral dissertation could ever be.

Of De Maupassant's sustained efforts "Une Vie" may bear the palm. This romance has the distinction of having changed Tolstoi from an adverse critic into a warm admirer of the author. To quote the Russian moralist upon the book:

"'Une Vie' is a romance of the best type, and in my judgment the greatest that has been produced by any French writer since Victor Hugo penned 'Les Miserables.' Passing over the force and directness of the narrative, I am struck by the intensity, the grace, and the insight with which the writer treats the new aspects of human nature which he finds in the life he describes."

And as if gracefully to recall a former adverse criticism, Tolstoi adds:

"I find in the book, in almost equal strength, the three cardinal qualities essential to great work, viz: moral purpose, perfect style, and absolute sincerity… Maupassant is a man whose vision has penetrated the silent depths of human life, and from that vantage-ground interprets the struggle of humanity."

"Bel-Ami" appeared almost two years after "Une Vie," that is to say, about 1885. Discussed and criticised as it has been, it is in reality a satire, an indignant outburst against the corruption of society which in the story enables an ex-soldier, devoid of conscience, honor, even of the commonest regard for others, to gain wealth and rank. The purport of the story is clear to those who recognize the ideas that governed Maupassant's work, and even the hasty reader or critic, on reading "Mont Oriol," which was published two years later and is based on a combination of the motifs which inspired "Une Vie" and "Bel-Ami," will reconsider former hasty judgments, and feel, too, that beneath the triumph of evil which calls forth Maupassant's satiric anger there lies the substratum on which all his work is founded, viz: the persistent, ceaseless questioning of a soul unable to reconcile or explain the contradiction between love in life and inevitable death. Who can read in "Bel-Ami" the terribly graphic description of the consumptive journalist's demise, his frantic clinging to life, and his refusal to credit the slow and merciless approach of death, without feeling that the question asked at Naishapur many centuries ago is still waiting for the solution that is always promised but never comes?

In the romances which followed, dating from 1888 to 1890, a sort of calm despair seems to have settled down upon De Maupassant's attitude toward life. Psychologically acute as ever, and as perfect in style and sincerity as before, we miss the note of anger. Fatality is the keynote, and yet, sounding low, we detect a genuine subtone of sorrow. Was it a prescience of 1893? So much work to be done, so much work demanded of him, the world of Paris, in all its brilliant and attractive phases, at his feet, and yet – inevitable, ever advancing death, with the question of life still unanswered.

This may account for some of the strained situations we find in his later romances. Vigorous in frame and hearty as he was, the atmosphere of his mental processes must have been vitiated to produce the dainty but dangerous pessimism that pervades some of his later work. This was partly a consequence of his honesty and partly of mental despair. He never accepted other people's views on the questions of life. He looked into such problems for himself, arriving at the truth, as it appeared to him, by the logic of events, often finding evil where he wished to find good, but never hoodwinking himself or his readers by adapting or distorting the reality of things to suit a preconceived idea.

Maupassant was essentially a worshiper of the eternal feminine. He was persuaded that without the continual presence of the gentler sex man's existence would be an emotionally silent wilderness. No other French writer has described and analyzed so minutely and comprehensively the many and various motives and moods that shape the conduct of a woman in life. Take for instance the wonderfully subtle analysis of a woman's heart as wife and mother that we find in "Une Vie." Could aught be more delicately incisive? Sometimes in describing the apparently inexplicable conduct of a certain woman he leads his readers to a point where a false step would destroy the spell and bring the reproach of banality and ridicule upon the tale. But the catastrophe never occurs. It was necessary to stand poised upon the brink of the precipice to realize the depth of the abyss and feel the terror of the fall.

Closely allied to this phase of Maupassant's nature was the peculiar feeling of loneliness that every now and then breaks irresistibly forth in the course of some short story. Of kindly soul and genial heart, he suffered not only from the oppression of spirit caused by the lack of humanity, kindliness, sanity, and harmony which he encountered daily in the world at large, but he had an ever abiding sense of the invincible, unbanishable solitariness of his own inmost self. I know of no more poignant expression of such a feeling than the cry of despair which rings out in the short story called "Solitude," in which he describes the insurmountable barrier which exists between man and man, or man and woman, however intimate the friendship between them. He could picture but one way of destroying this terrible loneliness, the attainment of a spiritual – a divine – state of love, a condition to which he would give no name utterable by human lips, lest it be profaned, but for which his whole being yearned. How acutely he felt his failure to attain his deliverance may be drawn from his wail that mankind has no UNIVERSAL measure of happiness.

"Each one of us," writes De Maupassant, "forms for himself an illusion through which he views the world, be it poetic, sentimental, joyous, melancholy, or dismal; an illusion of beauty, which is a human convention; of ugliness, which is a matter of opinion; of truth, which, alas, is never immutable." And he concludes by asserting that the happiest artist is he who approaches most closely to the truth of things as he sees them through his own particular illusion.

Salient points in De Maupassant's genius were that he possessed the rare faculty of holding direct communion with his gifts, and of writing from their dictation as it was interpreted by his senses. He had no patience with writers who in striving to present life as a whole purposely omit episodes that reveal the influence of the senses. "As well," he says, "refrain from describing the effect of intoxicating perfumes upon man as omit the influence of beauty on the temperament of man."

De Maupassant's dramatic instinct was supremely powerful. He seems to select unerringly the one thing in which the soul of the scene is prisoned, and, making that his keynote, gives a picture in words which haunt the memory like a strain of music. The description of the ride of Madame Tellier and her companions in a country cart through a Norman landscape is an admirable example. You smell the masses of the colza in blossom, you see the yellow carpets of ripe corn spotted here and there by the blue coronets of the cornflower, and rapt by the red blaze of the poppy beds and bathed in the fresh greenery of the landscape, you share in the emotions felt by the happy party in the country cart. And yet with all his vividness of description, De Maupassant is always sober and brief. He had the genius of condensation and the reserve which is innate in power, and to his reader could convey as much in a paragraph as could be expressed in a page by many of his predecessors and contemporaries, Flaubert not excepted.

Apart from his novels, De Maupassant's tales may be arranged under three heads: Those that concern themselves with Norman peasant life; those that deal with Government employees (Maupassant himself had long been one) and the Paris middle classes, and those that represent the life of the fashionable world, as well as the weird and fantastic ideas of the later years of his career. Of these three groups the tales of the Norman peasantry perhaps rank highest. He depicts the Norman farmer in surprisingly free and bold strokes, revealing him in all his caution, astuteness, rough gaiety, and homely virtue.

The tragic stage of De Maupassant's life may, I think, be set down as beginning just before the drama of "Musotte" was issued, in conjunction with Jacques Normand, in 1891. He had almost given up the hope of interpreting his puzzles, and the struggle between the falsity of the life which surrounded him and the nobler visions which possessed him was wearing him out. Doubtless he resorted to unwise methods for the dispelling of physical lassitude or for surcease from troubling mental problems. To this period belong such weird and horrible fancies as are contained in the short stories known as "He" and "The Diary of a Madman." Here and there, we know, were rising in him inklings of a finer and less sordid attitude 'twixt man and woman throughout the world and of a purer constitution of existing things which no exterior force should blemish or destroy. But with these yearningly prophetic gleams came a period of mental death. Then the physical veil was torn aside and for Guy de Maupassant the riddle of existence was answered. {signature}

MADEMOISELLE FIFI

The Major Graf¹ von Farlsberg, the Prussian commandant, was reading his newspaper, lying back in a great armchair, with his booted feet on the beautiful marble fireplace, where his spurs had made two holes, which grew deeper every day, during the three months that he had been in the chateau of Urville.

A cup of coffee was smoking on a small inlaid table, which was stained with liquors burnt by cigars, notched by the penknife of the victorious officer, who occasionally would stop while sharpening a pencil, to jot down figures, or to make a drawing on it, just as it took his fancy.

When he had read his letters and the German newspapers, which his baggage-master had brought him, he got up, and after throwing three or four enormous pieces of green wood on to the fire – for these gentlemen were gradually cutting down the park in order to keep themselves warm – he went to the window. The rain was descending in torrents, a regular Normandy rain, which looked as if it were being poured out by some furious hand, a slanting rain, which was as thick as a curtain, and which formed a kind of wall with oblique stripes, and which deluged everything, a regular rain, such as one frequently experiences in the neighborhood of Rouen, which is the watering-pot of France.

For a long time the officer looked at the sodden turf, and at the swollen Andelle beyond it, which was overflowing its banks, and he was drumming a waltz from the Rhine on the window-panes, with his fingers, when a noise made him turn round; it was his second in command, Captain Baron von Kelweinstein.

The major was a giant, with broad shoulders, and a long, fair beard, which hung like a cloth on to his chest. His whole, solemn person suggested the idea of a military peacock, a peacock who was carrying his tail spread out on to his breast. He had cold, gentle, blue eyes, and the scar from a sword-cut, which he had received in the war with Austria; he was said to be an honorable man, as well as a brave officer.

The captain, a short, red-faced man, who was tightly girthed in at the waist, had his red hair cropped quite close to his head, and in certain lights almost looked as if he had been rubbed over with phosphorus. He had lost two front teeth one night, though he could not quite remember how. This defect made him speak so that he could not always be understood, and he had a bald patch on the top of his head, which made him look rather like a monk, with a fringe of curly, bright, golden hair round the circle of bare skin.

The commandant shook hands with him, and drank his cup of coffee (the sixth that morning) at a draught, while he listened to his subordinate's report of what had occurred; and then they both went to the window, and declared that it was a very unpleasant outlook. The major, who was a quiet man, with a wife at home, could accommodate himself to everything; but the captain, who was rather fast, being in the habit of frequenting low resorts, and much given to women, was mad at having been shut up for three months in the compulsory chastity of that wretched hole.

There was a knock at the door, and when the commandant said, "Come in," one of their automatic soldiers appeared, and by his mere presence announced that breakfast was ready. In the dining-room, they met three other officers of lower rank: a lieutenant, Otto von Grossling, and two sub-lieutenants, Fritz Scheunebarg, and Count von Eyrick a very short, fair-haired man, who was proud and brutal toward men, harsh toward prisoners, and very violent.

Since he had been in France, his comrades had called him nothing but "Mademoiselle Fifi." They had given him that nickname on account of his dandified style and small waist, which looked as if he wore stays, from his pale face, on which his budding mustache scarcely showed, and on account of the habit he had acquired of employing the French expression, fi, fi donc, which he pronounced with a slight whistle, when he wished to express his sovereign contempt for persons or things.

The dining-room of the chateau was a magnificent long room, whose fine old mirrors, now cracked by pistol bullets, and Flemish tapestry, now cut to ribbons and hanging in rags in places, from sword-cuts, told too well what Mademoiselle Fifi's occupation was during his spare time.

There were three family portraits on the walls; a steel-clad knight, a cardinal, and a judge, who were all smoking long porcelain pipes, which had been inserted into holes in the canvas, while a lady in a long, pointed waist proudly exhibited an enormous pair of mustaches, drawn with a piece of charcoal.

The officers ate their breakfast almost in silence in that mutilated room, which looked dull in the rain, and melancholy under its vanquished appearance, although its old, oak floor had become as solid as the stone floor of a public-house.

When they had finished eating, and were smoking and drinking, they began, as usual, to talk about the dull life they were leading. The bottles of brandy and of liquors passed from hand to hand, and all sat back in their chairs, taking repeated sips from their glasses, and scarcely removing the long, bent stems, which terminated in china bowls painted in a manner to delight a Hottentot, from their mouths.

As soon as their glasses were empty, they filled them again, with a gesture of resigned weariness, but Mademoiselle Fifi emptied his every minute, and a soldier immediately gave him another. They were enveloped in a cloud of strong tobacco smoke; they seemed to be sunk in a state of drowsy, stupid intoxication, in that dull state of drunkenness of men who have nothing to do, when suddenly, the baron sat up, and said: "By heavens! This cannot go on; we must think of something to do." And on hearing this, Lieutenant Otto and Sub-lieutenant Fritz, who pre-eminently possessed the grave, heavy German countenance, said: "What, Captain?"

He thought for a few moments, and then replied "What? Well, we must get up some entertainment; if the commandant will allow us."

"What sort of an entertainment, captain?" the major asked, taking his pipe out of his mouth.

"I will arrange all that, commandant," the baron said. "I will send Le Devoir to Rouen, who will bring us some ladies. I know where they can be found. We will have supper here, as all the materials are at hand, and, at least, we shall have a jolly evening."

Graf von Farlsberg shrugged his shoulders with a smile: "You must surely be mad, my friend."

But all the other officers got up, surrounded their chief, and said: "Let the captain have his own way, commandant; it is terribly dull here."

And the major ended by yielding. "Very well," he replied, and the baron immediately sent for Le Devoir.

The latter was an old corporal who had never been seen to smile, but who carried out all the orders of his superiors to the letter, no matter what they might be. He stood there, with an impassive face while he received the baron's instructions, and then went out; five minutes later a large wagon belonging to the military train, covered with a miller's tilt, galloped off as fast as four horses could take it, under the pouring rain, and the officers all seemed to awaken from their lethargy, their looks brightened, and they began to talk.

Although it was raining as hard as ever, the major declared that it was not so dull, and Lieutenant von Grossling said with conviction, that the sky was clearing up, while Mademoiselle Fifi did not seem to be able to keep in his place. He got up, and sat down again, and his bright eyes seemed to be looking for something to destroy. Suddenly, looking at the lady with the mustaches, the young fellow pulled out his revolver, and said: "You shall not see it." And without leaving his seat he aimed, and with two successive bullets cut out both the eyes of the portrait.

"Let us make a mine!" he then exclaimed, and the conversation was suddenly interrupted, as if they had found some fresh and powerful subject of interest. The mine was his invention, his method of destruction, and his favorite amusement.

When he left the chateau, the lawful owner, Count Fernand d'Amoys d'Urville, had not had time to carry away or to hide anything, except the plate, which had been stowed away in a hole made in one of the walls, so that, as he was very rich and had good taste, the large drawing-room, which opened into the dining-room, had looked like the gallery in a museum, before his precipitate flight.

Expensive oil-paintings, water-colors, and drawings hung upon the walls, while on the tables, on the hanging shelves, and in elegant glass cupboards, there were a thousand knickknacks: small vases, statuettes, groups in Dresden china, grotesque Chinese figures, old ivory, and Venetian glass, which filled the large room with their precious and fantastical array.

Scarcely anything was left now; not that the things had been stolen, for the major would not have allowed that, but Mademoiselle Fifi WOULD HAVE A MINE, and on that occasion all the officers thoroughly enjoyed themselves for five minutes. The little marquis went into the drawing-room to get what he wanted, and he brought back a small, delicate china teapot, which he filled with gunpowder, and carefully introduced a piece of German tinder into it, through the spout. Then he lighted it, and took this infernal machine into the next room; but he came back immediately and shut the door. The Germans all stood expectantly, their faces full of childish, smiling curiosity, and as soon as the explosion had shaken the chateau, they all rushed in at once.

Mademoiselle Fifi, who got in first, clapped his hands in delight at the sight of a terra-cotta Venus, whose head had been blown off, and each picked up pieces of porcelain, and wondered at the strange shape of the fragments, while the major was looking with a paternal eye at the large drawing-room which had been wrecked in such a Neronic fashion, and which was strewn with the fragments of works of art. He went out first, and said, with a smile: "He managed that very well!"

But there was such a cloud of smoke in the dining-room, mingled with the tobacco smoke, that they could not breathe, so the commandant opened the window, and all the officers, who had gone into the room for a glass of cognac, went up to it.

The moist air blew into the room, and brought a sort of spray with it, which powdered their beards. They looked at the tall trees which were dripping with the rain, at the broad valley which was covered with mist, and at the church spire in the distance, which rose up like a gray point in the beating rain.

The bells had not rung since their arrival. That was the only resistance which the invaders had met with in the neighborhood. The parish priest had not refused to take in and to feed the Prussian soldiers; he had several times even drunk a bottle of beer or claret with the hostile commandant, who often employed him as a benevolent intermediary; but it was no use to ask him for a single stroke of the bells; he would sooner have allowed himself to be shot. That was his way of protesting against the invasion, a peaceful and silent protest, the only one, he said, which was suitable to a priest, who was a man of mildness, and not of blood; and everyone, for twenty-five miles round, praised Abbe Chantavoine's firmness and heroism, in venturing to proclaim the public mourning by the obstinate silence of his church bells.

The whole village grew enthusiastic over his resistance, and was ready to back up their pastor and to risk anything, as they looked upon that silent protest as the safeguard of the national honor. It seemed to the peasants that thus they had deserved better of their country than Belfort and Strassburg, that they had set an equally valuable example, and that the name of their little village would become immortalized by that; but with that exception, they refused their Prussian conquerors nothing.

The commandant and his officers laughed among themselves at that inoffensive courage, and as the people in the whole country round showed themselves obliging and compliant toward them, they willingly tolerated their silent patriotism. Only little Count Wilhelm would have liked to have forced them to ring the bells. He was very angry at his superior's politic compliance with the priest's scruples, and every day he begged the commandant to allow him to sound "ding-dong, ding-dong," just once, only just once, just by way of a joke. And he asked it like a wheedling woman, in the tender voice of some mistress who wishes to obtain something, but the commandant would not yield, and to console HERSELF, Mademoiselle Fifi made A MINE in the chateau.

The five men stood there together for some minutes, inhaling the moist air, and at last, Lieutenant Fritz said, with a laugh: "The ladies will certainly not have fine weather for their drive." Then they separated, each to his own duties, while the captain had plenty to do in seeing about the dinner.

When they met again, as it was growing dark, they began to laugh at seeing each other as dandified and smart as on the day of a grand review. The commandant's hair did not look as gray as it did in the morning, and the captain had shaved – had only kept his mustache on, which made him look as if he had a streak of fire under his nose.

In spite of the rain, they left the window open, and one of them went to listen from time to time. At a quarter past six the baron said he heard a rumbling in the distance. They all rushed down, and soon the wagon drove up at a gallop with its four horses, splashed up to their backs, steaming and panting. Five women got out at the bottom of the steps, five handsome girls whom a comrade of the captain, to whom Le Dervoir had taken his card, had selected with care.

They had not required much pressing, as they were sure of being well treated, for they had got to know the Prussians in the three months during which they had had to do with them. So they resigned themselves to the men as they did to the state of affairs. "It is part of our business, so it must be done," they said as they drove along; no doubt to allay some slight, secret scruples of conscience.

They went into the dining-room immediately, which looked still more dismal in its dilapidated state, when it was lighted up; while the table covered with choice dishes, the beautiful china and glass, and the plate, which had been found in the hole in the wall where its owner had hidden it, gave to the place the look of a bandits' resort, where they were supping after committing a robbery. The captain was radiant; he took hold of the women as if he were familiar with them; appraising them, kissing them, valuing them for what they were worth as LADIES OF PLEASURE; and when the three young men wanted to appropriate one each, he opposed them authoritatively, reserving to himself the right to apportion them justly, according to their several ranks, so as not to wound the hierarchy. Therefore, so as to avoid all discussion, jarring, and suspicion of partiality, he placed them all in a line according to height, and addressing the tallest, he said in a voice of command:

"What is your name?"

"Pamela," she replied, raising her voice.

Then he said: "Number One, called Pamela, is adjudged to the commandant."

Then, having kissed Blondina, the second, as a sign of proprietorship, he proffered stout Amanda to Lieutenant Otto! Eva, "the Tomato," to Sub-lieutenant Fritz, and Rachel, the shortest of them all, a very young, dark girl, with eyes as black as ink, a Jewess, whose snub nose confirmed by exception the rule which allots hooked noses to all her race, to the youngest officer, frail Count Wilhelm von Eyrick.

They were all pretty and plump, without any distinctive features, and all were very much alike in look and person, from their daily dissipation, and the life common to houses of public accommodation.

The three younger men wished to carry off their women immediately, under the pretext of finding them brushes and soap; but the captain wisely opposed this, for he said they were quite fit to sit down to dinner, and that those who went up would wish for a change when they came down, and so would disturb the other couples, and his experience in such matters carried the day. There were only many kisses; expectant kisses.

Suddenly Rachel choked, and began to cough until the tears came into her eyes, while smoke came through her nostrils. Under pretense of kissing her, the count had blown a whiff of tobacco into her mouth. She did not fly into a rage, and did not say a word, but she looked at her possessor with latent hatred in her dark eyes.

They sat down to dinner. The commandant seemed delighted; he made Pamela sit on his right, and Blondina on his left, and said, as he unfolded his table napkin: "That was a delightful idea of yours, captain."

Lieutenants Otto and Fritz, who were as polite as if they had been with fashionable ladies, rather intimidated their neighbors, but Baron von Kelweinstein gave the reins to all his vicious propensities, beamed, made doubtful remarks, and seemed on fire with his crown of red hair. He paid them compliments in French from the other side of the Rhine, and sputtered out gallant remarks, only fit for a low pot-house, from between his two broken teeth.