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Updated: May 10, 2025
It seems to me that he looks with an eye of profound pity upon their troubles, deceptions and misery. But he looks at them all. He sees and does not turn away his head. As a matter of fact he is courageous. Courage and justice are not popular virtues. In the majority of us, who want to be left alone with our illusions, courage inspires a vague alarm. This is what is felt about Maupassant.
Guy de Maupassant, in his valuable preface to "Pierre et Jean," has spoken very wisely on this point. The ideal critic, he says, should demand of the artist merely to "create something beautiful, in the form most convenient to him, according to his temperament."
"But I have not forgiven you that June!" she flashed at him; then she resumed: "The library, too, is the same as ever. Do you remember how we used to read Maupassant together in there?" Kseniya Ippolytovna approached the library-door, opened it, and went in.
=Authors as companions.= Having learned or sensed these distinctions, he elects to consort with Burns, Keats, Shelley, Southey, Homer, Dante, Virgil, Hawthorne, Scott, Maupassant, Goethe, Schiller, and George Eliot. In such society he never has occasion to explain or apologize for his companions. He reads their books in the open and gains a feeling of elation and exaltation.
During these long years of his novitiate Maupassant had entered the social literary circles. He would remain silent, preoccupied; and if anyone, astonished at his silence, asked him about his plans he answered simply: "I am learning my trade."
She made ill whole hundreds, perhaps even thousands...And when she was dying in a hospital, she recalled this with joy and with pride... But then, those were enemies, trampling upon her fatherland and slaughtering her brothers...But you, you, Jennechka! ..." This story is Lit. No. 29, by Guy de Maupassant. Trans. "But I all, just all!
In the case of Flaubert, of De Maupassant, of Dostoievsky, of Poe, and a score of others, though the organic system was more or less flawed, the work remains touched with that universal quality that gives artistic permanence even to perceptions born of the abnormal." Mr. Newman might have added other names to his list, those of Michael Angelo and Beethoven and Swinburne.
She even went so far as to say that Guy did it in a spirit of revenge. Madame Laure de Maupassant made inquiries about the patriotic little sinner so as to help her. It was too late. She had died in extreme poverty. The heroine of Mademoiselle Fifi was a brunette, Rachel by name; the hero was a young German officer, Baron William d'Eyrick.
Of Flaubert's harmonious and imaginatively coloured manner, Maupassant shows no trace in his six novels and his two hundred and odd tales. Maupassant was not altogether faithful to Flaubert's injunctions regarding the publication of his early attempts. He made many secret flights under different pen-names, though Boule de Suif was the first prose signed by him.
Meredith look at life in the large; they try to "see it whole" and to reproduce the chaos of its intricate relations: but Poe, de Maupassant, and Mr. Kipling aim rather to "see steadily" a limited phase of life, to focus their minds upon a single point of experience, and then to depict this point briefly and strikingly.
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