The Works of Guy de Maupassant Volume V Part 1

The works of Guy de Maupa.s.sant.

Vol. 5.

by Guy de Maupa.s.sant 1850-1893.

INTRODUCTION

By Edmund Gosse

The most robust and masculine of recent French novelists is a typical Norman, sprung from an ancient n.o.ble family, originally of Lorraine, but long settled in the Pays de Caux. The traveler from England towards Paris, soon after leaving Dieppe, sees on his left hand, immediately beyond the station of St. Aubin, a handsome sixteenth-century house, the Chateau de Miromesnil, on a hill above the railway. Here, surrounded by the relics of his warlike and courtly ancestors, Henri Rene Albert Guy de Maupa.s.sant was born on the 5th of August, 1850. He was early a.s.sociated with the great Norman master of fiction, Gustave Flaubert, who perceived his genius and enthusiastically undertook the training of his intelligence. Through 1870 and 1871 the young man served in the war as a common soldier. He was somewhat slow in taking up the profession of letters, and was thirty years of age before he became in any degree distinguished. In 1879 the Troisieme Theatre Francais produced a short play of his, _Histoire du Vieux Temps_ (An Old-World Story), gracefully written in rhyme, but showing no very remarkable apt.i.tude for the stage.

It was in 1880 that De Maupa.s.sant was suddenly made famous by two published volumes. The one was a volume of Verses (_Des Vers_), twenty pieces, most of them of a narrative character, extremely brilliant in execution, and audacious in tone. One of these, slightly exceeding its fellows in crudity, was threatened with a prosecution in law as an outrage upon manners, and the fortune of the volume was secured. The early poems of De Maupa.s.sant like those of Paul Bourget, are not without sterling merit as poetry, but their main interest is that they reflect the characteristics of their author's mind. Such pieces as "Fin-d'Amour," and "Au Bord de l'Eau," in the 1880 volume, are simply short stories told in verse, instead of in prose. In this same year, Guy de Maupa.s.sant, who had thrown in his lot with the Naturalist Novelists, contributed a short tale to the volume called _Les Soirees de Medan_, to which Zola, Huysmans, Hennique, Ceard and Paul Alexis also affixed their names. He was less known than any of these men, yet it was his story, _Boule de Suif_ (Lump of Suet, or Ball of Fat), which ensured the success of the book. This episode of the war, treated with cynicism, tenderness, humor and pathos mingled in quite a new manner, revealed a fresh genius for the art of narrative. There was an instant demand for more short stories from the same pen, and it was soon discovered that the fecundity and resource of the new writer were as extraordinary as the charm of his style and the objective force of his vision.

It is unnecessary to recount here the names of even the chief of De Maupa.s.sant's stories. If we judge them merely by their vivacity, richness and variety, they are the best short tales which have been produced anywhere during the same years. But it is impossible not to admit that they have grave faults, which exclude them from all possible recommendation to young and ingenuous readers. No bibliography of them can be attempted, the publishers of M. Guy de Maupa.s.sant having reprinted his lesser stories so frequently, and with such infinite varieties of arrangement, that the positive sequence of these little masterpieces has been hopelessly confused. Three stories in particular, however, may be mentioned, _La Maison Tellier_, 1881; _Les Soeurs Rondoli_, 1884, and _Miss Harriett_, 1885, because the collections which originally bore these names were pre-eminently successful in drawing the attention of the critics to the author's work.

It was not until he had won a very great reputation as a short story-teller, that De Maupa.s.sant attempted a long novel. He published only six single volume stories, all of which are included in the present edition. The first was _Une Vie_ (A Life), 1883, a very careful study of Norman manners, highly finished in the manner of Flaubert, whom he has styled "that irreproachable master whom I admire above all others." In certain directions, I do not think that De Maupa.s.sant has surpa.s.sed _Une Vie_, in fidelity to nature, in a Dutch exact.i.tude of portraiture, in a certain distinction of tone; it was the history of an unhappy gentlewoman, doomed throughout life to be deceived, impoverished, disdained and overwhelmed. _Bel-Ami_, 1885, which succeeded this quiet and Quaker-colored book, was a much more vivid novel, an extremely vigorous picture of the rise in social prominence of a penniless fellow in Paris, without a brain or a heart, who depends wholly upon his impudence and his good looks. After 1885 De Maupa.s.sant published four novels--_Mont-Oriol_, 1887; _Pierre et Jean_, 1888; _Fort comme la Mort_ (As _Strong as Death_, or The Ruling Pa.s.sion), 1889; and _Notre Coeur_ (Our Heart), 1890.

Of these six remarkable books, the _Pierre et Jean_ is certainly the most finished and the most agreeable. In _Mont-Oriol_, a beautiful landscape of Auvergne mountain and bath enshrines a singularly pessimistic rendering of the adage "He loved and he rode away." Few of the author's thoughtful admirers will admit that in _Fort comme la Mort_ he has done justice to his powers. In _Notre Coeur_ he has taken up one of the psychological problems which have hitherto lain in the undisputed province of M. Bourget, and has shown how difficult it is in the musky atmosphere of fashionable Paris for two hearts to recover the Mayday freshness of their impulses, the spontaneous flow of their illusions; he displays himself here in a new light, less brutal than of old, more delicate and a.n.a.lytical. With regard to _Pierre et Jean_, it would be difficult to find words wherewith to describe it and its relation to the best English fiction more just or more felicitous than those in which Mr. Henry James welcomed its first appearance:--"_Pierre et Jean_ is, so far as my judgment goes, a faultless production.... It is the best of M.

de Maupa.s.sant's novels, mainly because M. de Maupa.s.sant has never before been so clever. It is a pleasure to see a mature talent able to renew itself, strike another note, and appear still young.... The author's choice of a _milieu_, moreover, will serve to English readers as an example of how much more democratic contemporary French fiction is than that of his own country. The greater part of it--almost all the work of Zola and of Daudet, the list of Flaubert's novels, and the best of those of the brothers De Goncourt--treat of that vast, dim section of society, which, lying between those luxurious walks on whose behalf there are easy suppositions and that darkness of misery which, in addition to being picturesque, brings philanthropy also to the writer's aid, const.i.tutes really, in extent and expressiveness, the substance of every nation. In England, where the fashion of fiction still sets mainly to the country-house and the hunting-field, and yet more novels are published than anywhere else in the world, that thick twilight of mediocrity of condition has been little explored. May it yield triumphs in the years to come!"

The great merit of M. de Maupa.s.sant as a writer is his frank and masculine directness. He sees life clearly, and he undertakes to describe it as he sees it, in concise and vigorous language. He is a realist, yet without the gloominess of Zola, over whom he claims one great advantage, that of possessing a rich sense of humor, and a large share of the old Gallic wit. His pessimism, indeed, is inexorable, and he pushes the misfortune, or more often the degradation, of his characters to its extreme logical conclusion. Yet, even in his saddest stories, the general design is rarely sordid. For a long while he was almost exclusively concerned with impressions of Normandy; a little later he became one of the many painters of Paris. Then he traveled widely, in the south of Europe, in Africa; wherever he went he took with him a quick and sensitive eye for the aspects of nature, and his descriptive pa.s.sages, which are never pushed to a tiresome excess of length, are often faultlessly vivid. He attempted, with a good deal of cleverness, to a.n.a.lyze character, but his real power seems to lie in describing, in a sober style and with a virile impartiality, the superficial aspects of action and intrigue.

UNE VIE

(A WOMAN'S LIFE)

I

Jeanne, having finished her packing, went to the window, but it had not stopped raining.

All night long the downpour had pattered against the roofs and the window-panes. The low, heavy clouds seemed as though they had burst, and were emptying themselves on the world, to reduce it to a pulp and melt it as though it were a sugar-loaf. A hot wind swept by in gusts; the murmur of the overflowing gutters filled the empty streets, and the houses, like sponges, absorbed the moisture which, penetrating to the interior, made the walls wet from cellar to attic.

Jeanne, who had left the convent the day before, free at last and ready for all the happiness of a life of which she had dreamed for so long, feared that her father would hesitate about starting if the weather did not clear up, and, for the hundredth time since the morning, she studied the horizon.

Looking round, she saw that she had forgotten to put her almanac in her traveling bag. She took from the wall the little card which bore in the center of a design, the date of the current year 1819 in gilt letters, and crossed out with a pencil the first four columns, drawing a line through each saint's name till she came to the second of May, the day she had left the convent.

A voice outside the door called: "Jeannette!"

Jeanne answered: "Come in, papa." And her father appeared.

The Baron Simon-Jecques Le Perthuis des Vauds was a gentleman of the old school, eccentric and good-hearted. An enthusiastic follower of Jean-Jacques Rousseau, he had a loving tenderness for all nature; for the fields, the woods, and for animals. An aristocrat by birth, he hated '93 by instinct; but of a philosophical temperament and liberal by education, he loathed tyranny with an inoffensive and declamatory hatred. The strongest, and at the same time the weakest, trait in his character was his generosity; a generosity which had not enough arms to caress, to give, to embrace; the generosity of a creator which was utterly devoid of system, and to which he gave way with no attempt to resist his impulses, as though part of his will were paralyzed; it was a want of energy, and almost amounted to a vice.

A man of theories, he had thought out a whole plan of education for his daughter, wishing to make her happy and good, straightforward and affectionate. Till she was twelve years old she had stayed at home; then, in spite of her mother's tears, she was sent to the Sacred Heart Convent. He had kept her strictly immured there, totally ignorant of worldly things, for he wished her to return to him, at the age of seventeen, innocent, that he might himself immerse her in a sort of bath of rational poetry; and, in the fields, surrounded by the fertile earth, he meant to instruct her, and enlighten her by the sight of the serene laws of life, the innocent loves and the simple tenderness of the animals.

And now she was leaving the convent, radiant and brimful of happiness, ready for every joy and for all the charming adventures that, in the idle moments of her days and during the long nights, she had already pictured to herself.

She looked like a portrait by Veronese, with her shining, fair hair, which looked as though it had given part of its color to her skin, the creamy skin of a high-born girl, hardly tinted with pink and shaded by a soft velvety down, which could just be seen when she was kissed by a sun-ray. Her eyes were blue, an opaque blue, like the eyes of a Dutch china figure. On her left nostril was a little mole, another on the right side of her chin, where curled a few hairs so much like the color of the skin that they could hardly be seen. She was tall, with a well-developed chest and supple waist. Her clear voice sometimes sounded too shrill, but her merry laugh made everyone around her feel happy. She had a way of frequently putting both hands to her forehead, as though to smooth her hair.

She ran to her father, put her arms around his neck and kissed him.

"Well, are we going to start?" she asked.

He smiled, shook back his white hair, which he wore rather long, and pointing towards the window:

"How can you think of traveling in such weather?" he said.

Then she pleaded coaxingly and affectionately, "Oh, papa, please do let us start. It will be fine in the afternoon."

"But your mother will never consent to it."

"Oh, yes, I promise you she shall; I will answer for her."

"Well, if you can persuade your mother, I am quite willing to start."

She hastened towards the baroness's room, for she had looked forward to this day with great impatience. Since she had entered the convent she had not left Rouen, as her father would allow no distracting pleasures before the age he had fixed. Only twice had she been taken to Paris for a fortnight, but that was another town, and she longed for the country.

Now she was going to spend the summer on their estate, Les Peuples, in an old family chateau built on the cliff near Yport; and she was looking forward to the boundless happiness of a free life beside the waves. And then it was understood that the manor was to be given to her, and that she was to live there always when she was married; and the rain which had been falling incessantly since the night before was the first real grief of her life.

In three minutes she came running out of her mother's room, crying:

"Papa! papa! Mamma is quite willing. Tell them to harness the horses."

The rain had not given over in the least, in fact, it was coming down still faster when the landau came round to the door. Jeanne was ready to jump in when the baroness came down the stairs, supported on one side by her husband, and on the other by a tall maid, whose frame was as strong and as well-knit as a boy's. She was a Normandy girl from Caux, and looked at least twenty years old, though she really was scarcely eighteen. In the baron's family she was treated somewhat like a second daughter, for she was Jeanne's foster-sister. She was named Rosalie, and her princ.i.p.al duty consisted in aiding her mistress to walk, for, within the last few years, the baroness had attained an enormous size, owing to an hypertrophy of the heart, of which she was always complaining.

Breathing very hard, the baroness reached the steps of the old hotel; there she stopped to look at the court-yard where the water was streaming down, and murmured:

"Really, it is not prudent."

Her husband answered with a smile:

"It was you who wished it, Madame Adelade."

She bore the pompous name of Adelade, and he always prefaced it by "Madame" with a certain little look of mock-respect.

She began to move forward again, and with difficulty got into the carriage, all the springs of which bent under her weight. The baron sat by her side, and Jeanne and Rosalie took their places with their backs to the horses. Ludivine, the cook, brought a bundle of rugs, which were thrown over their knees, and two baskets, which were pushed under their legs; then she climbed up beside old Simon and enveloped herself in a great rug, which covered her entirely. The concierge and his wife came to shut the gate and wish them good-bye, and after some parting instructions about the baggage, which was to follow in a cart, the carriage started.

Old Simon, the coachman, with his head held down and his back bent under the rain, could hardly be seen in his three-caped coat; and the moaning wind rattled against the windows and swept the rain along the road.

The horses trotted briskly down to the quay, pa.s.sed the row of big ships, whose masts and yards and ropes stood out against the gray sky like bare trees, and entered the long Boulevard du Mont Riboudet. Soon they reached the country, and from time to time the outline of a weeping-willow, with its branches hanging in a corpse-like inertness, could be vaguely seen through the watery mist. The horses' shoes clattered on the road; and the four wheels made regular rings of mud.

Inside the carriage they were silent; their spirits seemed damped, like the earth. The baroness leaned back, rested her head against the cushions, and closed her eyes. The baron looked out mournfully at the monotonous, wet fields, and Rosalie, with a parcel on her knees, sat musing in the animal-like way in which the lower cla.s.ses indulge. But Jeanne felt herself revive under this warm rain like a plant which is put into the open air after being shut up in a dark closet; and the greatness of her joy seemed to prevent any sadness reaching her heart.

Although she did not speak, she wanted to sing and to put her hand outside and drink the water with which it would be filled; and the desolate look of the country only added to the enjoyment she felt at being carried along so swiftly, and at feeling herself sheltered in the midst of this deluge.