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It must be admitted at once that many of Maupassant's earlier short-stories have to do with the lower aspects of man's merely animal activity. Maupassant had an abundance of what the French themselves called "Gallic salt." His humor was not squeamish; it delighted in dealing with themes that our Anglo-Saxon prudery prefers not to touch.
His realities came to him from a genuine source, from this universe of vain appearances wherein we men have found everything to make us proud, sorry, exalted, and humble. Maupassant's renown is universal, but his popularity is restricted. It is not difficult to perceive why. Maupassant is an intensely national writer.
Who ever shuddered with bitter alliterative kisses before Swinburne, and who has failed to do so since? Per contra, the ingenuous spinster taking her notions of love from Maupassant's "Bel-Ami," or Gabriele d'Annunzio's "Trionfo della Morte," becomes a man-hater. Yes, I fear that the artistic treatment of life has a good deal to answer for.
I will not dwell on Guy de Maupassant's younger days. His relatives, his old friends, he himself, here and there in his works, have furnished us in their letters enough valuable revelations and touching remembrances of the years preceding his literary debut.
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.
From his childhood he had entertained a secret fear that he had inherited heart disease, and like Maupassant's "Coward," who committed suicide rather than meet a man in a duel, he had tried in vain to get away from the horrible, ever-present thought by plunging into perilous adventures.
In such stories as Björnson's The Father and Maupassant's The Piece of String this simplicity is equal to that of the anecdote, but in no case can an anecdote possess the dramatic possibilities of these simple short-stories; for a short-story must always have that tensity of emotion that comes only in the crucial tests of life.
"Now there's De Maupassant's Fort comma la Mort quite the most interesting variation shows the turn a genius can give. There the triangle is the man of middle age, the mother he has loved in his youth and the daughter he comes to love. It forms, you might say, the head of a whole subdivision of modern continental literature."
Tolstoi, informed by something of the rage of the old ascetics, is too iconoclast; Maupassant's stories sometimes suggest a cynicism as profound as Chamfort's or that old French poet's who wrote: Femme, plaisir de demye heure, Et ennuy qui sans fin demeure. Ibsen is as idealistic as Strindberg is materialist.
His artistic standard was lofty; and he did his best not to lie about life. And in some ways this veracity of his may be accepted, if not as an equivalent for morality, at least as a not wholly unworthy substitute. The most of Maupassant's earlier tales were not a little hard and stern and unsympathetic; and here again Maupassant was the disciple of Flaubert.
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