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 Merimée 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.

http://etext.lib.virginia.edu/etcbin/browse-mixed-new?id=MauStor&images=
images/modeng&data=/texts/english/modeng/parsed&tag=public