viDc vniuvetstti? of Cbicago 
 
 etsttv 
 
 FLAUBERT AND MAUPASSANT 
 A LITERARY RELATIONSHIP 
 
 A DISSERTATION 
 
 SUBMITTED TO THE lACULTY 
 
 OF THE GRADUATE SCHOOI. OF ARTS ;\ND LIT^.RATURE 
 
 IN CANDIDACY FCR THE DEGREE OF 
 
 DOCTOR OF PxilJOSOPHY 
 
 DEPARTMENT OF ROMANCE LANGUAGES AJTD Llir..Ar uF' 
 
 BY 
 
 /^CN.-'? RUTHERFORD RIDDELL 
 
 THE UNIVERSITY OF CHICAGO PRESS 
 CHICAGO. ILLINOIS 
 
X 
 
u 
 
Ube mnivctsit^ ot Cbicago 
 
 FLAUBERT AND MAUPASSANT 
 A LITERARY RELATIONSHIP 
 
 A DISSERTATION 
 
 SUBMITTED TO THE FACULTY 
 
 OF THE GRADUATE SCHOOL OF ARTS AND LITERATURE 
 
 IN CANDIDACY FOR THE DEGREE OF 
 
 DOCTOR OF PHILOSOPHY 
 
 DEPARXliENT OF ROMANCE LANGUAGES AND LITERATURES 
 
 BY 
 
 AGNES RUTHERFORD RIDDELL 
 
 THE UNIVERSITY OF CHICAGO PRESS 
 CHICAGO, ILLINOIS 
 
COPYBIGHT 1920 By 
 
 The University of Chicago 
 
 All Rights Reserved 
 
 Published Febniary 1920 
 
 
 Composed and Printed By 
 
 The University of Chicagro Press 
 
 Chicaso, Illinois. U.S.A. 
 
PREFACE 
 
 The publication of this dissertation has been delayed by the war, 
 as it has been impossible to visit the libraries of Europe for books 
 and articles not to be found on this side of the Atlantic. Permission 
 to publish has now been granted the writer by the Department of 
 Romance Languages and Literatures, with the understanding that, 
 if necessary, additions to or revisions of the dissertation may be 
 issued by her after she has examined the material in Europe. 
 
 This dissertation has been written under the direction of Pro- 
 fessor E. P. Dargan, to whose invaluable and untiring encouragement 
 and counsel the writer acknowledges with pleasure her very great 
 indebtedness. She desires further to express her thanks for much 
 valuable advice to Professor Nitze, head of the Department of 
 Romance Languages and Literatures. To Professor Pietsch, Pro- 
 fessor Jenkins, Professor Wilkins, Professor Coleman, Assistant 
 Professor Parmenter, and others who have assisted her from time 
 to time during the composition of the dissertation with facts and sug- 
 gestions, she wishes also to record her gratitude. 
 
 ■?; 
 
 433141 
 
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TABLE OF CONTENTS 
 
 PAGB 
 
 Abbreviations ...» ix 
 
 CHAPTER 
 
 I. History of the Personal Relationship i 
 
 II. Discussion and Exemplification of Definitely Stated 
 
 Theories Regarding Life (with Introduction) . .11 
 
 III. Discussion and Exemplification of Definitely Stated 
 
 Theories Regarding Literary Procedure .... 21 
 
 IV. Likeness in Employment of General Realistic Devices . 38 
 
 V. Resemblances in Plot, Incident, Characterization, Ideas 
 
 AND Wording 63 
 
 VI. Summary and Conclusion 109 
 
 Bibliography iii 
 
ABBREVIATIONS 
 
 In referring to the works of Flaubert and Maupassant, the following 
 abbreviations are used throughout the notes of the dissertation in order 
 to save space. Where the reference is to a short story, the title of the 
 volume in which it is contained is given first, and then the name of the 
 story (abbreviated in many cases). 
 
 Flaubert 
 
 M.B. . Madame Bovary 
 
 L'Ed.S L'Education sentimentale 
 
 Sal Salammbo 
 
 T.C (U.C.S. ; L.L.d.S.J.l'H ;Trois Contes (Un Coeur simple; La Legende 
 
 Her.) de Saint Julien I'Hospitalier, Herodias) 
 
 L.T.d.S.-A La Tentation de Saint-Antoine 
 
 O.d.J Oeuvres de jeunesse 
 
 N.d.V Notes de voyages 
 
 P.l.C.e.p.l.G Par les Champs et par les Greves 
 
 Corr Correspondance 
 
 B.e.P. ...... Bouvard et Pecuchet 
 
 Maupassant 
 
 D.V Des Vers '" 
 
 B.d.S Boule de Suif -^ 
 
 P.e.J Pierre et Jean ^ 
 
 Mlle.F Mademoiselle Fifi ^ 
 
 M.Par Monsieur Parent u 
 
 L.R.d.M.H Le Rosier de Madame Husson - 
 
 Au S Au Soleil > 
 
 L.M.G La Main Gauche 
 
 U.V UneVie 
 
 L.P.R La Petite Roque 
 
 S.l'E Surl'Eau 
 
 F.c.l.M Fort comme la Mort 
 
 N.C Notre Coeur 
 
 L.M.T La Maison Tellier 
 
 L.V.E La Vie Errante 
 
 L.H Le Horla 
 
 C.d.l.B. or Bee Contes de la Becassc 
 
 ix 
 
X FLAUBERT AND MAUPASSANT 
 
 O.P Oeuvres posthumes ' 
 
 M.Har Miss Harriet 
 
 L.S.R Les Soeurs Rondoli ^ 
 
 M.-O Mont-Oriol 
 
 C.d J.e.d.l.N Contes du Jour et de la Nuit • 
 
 L'l.B L'inutile Beaute - 
 
 B.-A Bel-Ami ^ 
 
 C.d.L. . Clair de Lune ^ 
 
 Italicized words in quotations marked thus * are italicized in the text. 
 Where this mark is not used the italics are the writer's. 
 
CHAPTER I 
 HISTORY OF THE PERSONAL RELATIONSHIP 
 
 Flaubert's connection with the Maupassant family began through 
 the friendship between his mother and the mother of his companions, 
 Alfred and Laure Le Poittevin,^ the latter of whom became, in 1850, 
 the mother of Guy de Maupassant.^ The relationship with Alfred 
 Le Poittevin continued until the latter 's death in 1848,^ as is evi- 
 denced by the frequent mention of him in the Correspondance and 
 elsewhere in Flaubert's works,* by the letters addressed to him,^ 
 and by the dedication to him of La Tentation de Saint-Antoine and 
 of two youthful attempts.® Some years older than Gustave, Alfred 
 Le Poittevin seems to have had upon him considerable influence. 
 For present purposes the friendship is interesting mainly because 
 it gives rise to the speculation as to how far Flaubert's relationship 
 with the nephew is traceable to his friendship with the uncle. 
 
 With Laure Le Poittevin, who married, in 1846, Gustave de 
 Maupassant, Flaubert maintained his friendship as long as he lived.^ 
 She seems, however, to have passed out of his ken during the early 
 years of her married life.® The first letter to her included in the 
 Correspondance dates from 1863.^ Others follow in 1866, 1872, and 
 1873 (2).^^ In these letters reference is made to Alfred; mention 
 also occurs of Laure's son Guy and of the growing affection of 
 Flaubert for him, partly on the lad's own account and partly because 
 
 ^ Flaubert, Corr., I : Souvenirs intimes de Mme. de Commanville, p. ix. 
 -" 2 Maynial, La vie et I'oeuvre de Maupassant, p. 24. / 
 
 8 Ibid., p. 21. 
 
 4 For example, Corr., I, 24, 33, 35, 39, 45, 54, 60, 62, 74, 77, 96, 167, 191, 207, 
 298, 301, 402, 459; II, 23, 92, 191-93; N.d.V., I, 89; P.l.C.e.p.l.G., pp. 337, 339, 
 etc. 
 
 5 Corr., I, 147, 150, 153, 159, 162, 173 (1845), 187, 188 (1846). 
 « 0.d.J., 1, 401 ; II, 121. 
 
 ^ Maynial, op. cit., pp. 23 and 21. Maynial gives a very full account of the 
 personal relationship between Flaubert and Maupassant, to which the present 
 chapter is much indebted. The acknowledgment is made here once for all, 
 except in the case of specific references. 
 
 8 Ibid., p. 22. 9 Corr., Ill, 384, 418; IV, 138, 158, 185. 10 Ibid. 
 
:»'•' I ;•" ; ' c ' ; . . . i?LA UBERT AND MA UP ASS ANT 
 
 of his strong resemblance to his uncle." This is the beginning of 
 a letter in Correspondance, IV, 158: 
 
 Tu m'as prevenu, ma chere Laure, car depuis un mois je voulais 
 t'ecrire pour te faire une declaration de tendresse a I'endroit de ton fils. 
 Tu ne saurais croire comme je le trouve charmant, intelligent, bon enfant, 
 sense et spirituel, bref (pour employer un mot a la mode) sympathique! 
 Malgre la difference de nos ages je le regarde comme «un ami,» et puis 
 il me rappelle tant mon pauvre Alfred ! J'en liuis meme parfois effraye, 
 surtout lorsqu'il baisse la tete, en recitant des vers. 
 
 Flaubert advises her to encourage her son in his taste for verse 
 writing and holds out hope that in time the young man may accom- 
 plish something worthy of literary fame. In a letter in Correspon- 
 dance (IV, 185), Flaubert again expresses his affection for Guy and 
 ^declares himself willing to do all in his power to help him. 
 
 The letters to Guy de Maupassant himself included in the Cor- 
 respondance begin in 1873 and continue until the year of Flaubert's 
 death. They are thirty-seven in number ^^ and contain criticism, 
 warning, and advice regarding literary and other matters, requests 
 for information and for counsel, explanation of commissions to 
 execute, thanks for services rendered, messages to Mme de Maupas- 
 sant and to friends, accounts of the older man's own doings, and 
 current gossip. In one Flaubert calls Guy "mon tres aime disciple. "^^ 
 Another is a species of manifesto on the relation of art to morality. 
 It upholds "le culte de la femme" on the authority of great writers 
 of ancient and modern times and enunciates the theories, to be 
 discussed in later chapters of this thesis, of "art for art's sake," 
 and of the persecution of literature by the public.^* This epistle, 
 cast in a tone of ironic exasperation at the "betise" of the prosecu- 
 tion occasioning the letter, was written for insertion in the Gaulois 
 to defend Maupassant against a threatened lawsuit, brought on by 
 the unauthorized publication of fragments from one of his poems. 
 It now appears, somewhat changed, as a preface to the latter's 
 volume of verses.^** The personal literary advice contained in the 
 
 " Corr,, IV, 185. 
 
 12 Corr., IV, 166, 223, 266, 269, 273, 278, 285, 313, 315, 319, 335, 345, 34^, 349, 
 350, 357, 363, 382, 386, 388, 391, 396, 397, 401, 405, 411, 414, 417, 418, 423, 425, 427, 
 427, 428, 429, 430, 431. 
 
 13 Corr., IV, 391- 
 
 1* See below, pp. 36, 20. ^^ D.V., pp. xxvii-xxxi. 
 
PRESONAL RELATIONSHIP 3 
 
 letters is valuable here because it throws light upon the method of 
 training to which Flaubert subjected his pupil. The older man shows 
 keen interest in everything written by the younger and is constantly 
 asking for news of his efforts. When Maupassant is trying to 
 secure a position on the journals, Flaubert suggests to him subjects 
 for articles.^^ An article on himself wins his thanks; another is 
 "fine," a third "good."^^ The last-mentioned, however — on French 
 poetry — does not do justice to Ronsard. Remarks on individual 
 works are very specific, praise being tempered with blame. The 
 following are examples of generally commendatory criticism. 
 
 Cest trks bien votre Venus* Je n'y vois rien a reprendre que deux 
 petites incorrections grammaticales, mais elles peuvent se defendre.^* 
 
 Quant a votre mur* ^^ plain de vers splendides, il y a des disparates 
 de ton. Ainsi le mot bagatelle* vous verse une douche glacee. L'effet 
 comique arrive trop tot, mais admettons que je n'aie rien dit; il faut 
 voir I'ensemble.^o 
 
 The following passage is a sample of severe criticism. Although 
 somewhat long, it is quoted in its entirety because it shows with 
 what vigorous censure the master corrected the disciple on occasion. 
 
 Maintenant causons de Desirs.* Eh bien! mon jeune homme, la 
 dite piece ne me plait pas du tout. Elle indique une facilite deplorable. 
 
 Un de mes chers desirs* un desir qui est cher! Avoir des ailes* 
 parbleu ! le souhait est commun. Les deux vers suivants sont bons, mais 
 au quatrieme les oiseaux surpris* ne sont pas surpris puisque tu es a 
 les poursuivre. A moins que surpris ne veuille dire etonnes? 
 
 1^ For example, Corr., IV, 274. The numerous articles which Maupassant 
 wrote for reviews and journals have, with few exceptions, never been reprinted 
 (Maynial, op. cit., p. 213). It is impossible, therefore, at the present moment, 
 for the writer of this thesis to say from personal observation how far these 
 suggestions of Flaubert's were carried out. 
 
 Mahn, Guy de Maupassant, sein Leben und seine Werke, gives, in his chap- 
 ter entitled "Der Journalist," pp. 125-66, an account of his researches on the 
 subject of these articles at the Bibliotheque Nationale. Maupassant wrote espe- 
 cially for Le Gaulois and Le Gil Bias, as well as for numerous other journals. 
 The content of the articles, as described by Mahn, does not differ in kind from 
 that of the author's collected works. 
 
 17 Corr., IV, 273, 319, 285. 18 Corr., IV, 386. 
 
 i^A reference apparently to Maupassant's poem Le Mur. The word mur 
 is printed in the Conard edition of Flaubert's Correspondance with a small 
 letter. 
 
 20 Corr., IV, 397. 
 
4 FLAUBERT AND MAUPASSANT 
 
 Je voudrais, je voudrais* Avec une pareille tournure on peut aller 
 indefiniment tant qu'on a de I'encre ! Et la composition ? Ou est-elle ? 
 
 Ainsi qu'tm grand flambeau * I'image me semble comique; outre 
 qu'un flambeau ne laisse pas de flamme, puisqu'il la porte. 
 
 Des fronts en cheveux noirs aux fronts en cheveux roux. 
 
 Charmant, mais rappelle trop le vers de Menard : 
 
 Sous tes cheveux chatains et sous tes cheveux gris. 
 
 «Oui je voudrais.* Pourquoi ouif* 
 
 Clair de lune* excellent. 
 
 L'affolante bataille* atroce! 
 
 En somme je t'engage a supprimer cette piece, elle n'est pas a la 
 hauteur des autres. 
 
 La-dessus ton vieux t'embrasse. Severe, mais juste.^i 
 
 In the foregoing three passages the form of criticism is that of 
 specific comment, with some general remarks. No point is allowed 
 to pass which offends against Flaubert's uncompromising standards 
 of originality, of correctness, of artistic fitness. Venus, for example, 
 contains "two slight grammatical errors." The word "bagatelle" 
 in le Mur has "a chilling effect." The poem Desirs shows "a deplor- 
 able facility." Avoir des diles is a commonplace expression. The 
 word "surpris" is ambiguous, the word "oui" superfluous. The 
 image of the torch is inappropriate. The line quoted is a plagiarism. 
 And so on. The strictures on these poems illustrate certain of 
 Flaubert's literary theories which will be considered later in this 
 thesis, as, for instance, his insistence on the "mot juste," his dislike 
 of "idees regues," etc.^^ As the poems now appear in the volume 
 Des Vers we may observe that the expressions criticized have gen- 
 erally been altered,^^ showing Maupassant's deference to the opin- 
 ions of Flaubert. 
 
 In commenting on Boule de Suif, the "conte rouennais" con- 
 cerning which Maupassant had apparently thrown out mysterious 
 hints before its appearance in the Soirees de Me dan, Flaubert is 
 most enthusiastic.^* It is the best thing in the volume, a real 
 masterpiece, original, well thought out, excellently written. Land- 
 
 21 Corr., IV, 424. The poem was not "suppressed," as it appears in the vol- 
 ume Des Vers (pp. 67-68), but some of the expressions censured have been 
 changed. 
 
 22 See below, pp. 28-31, 27. 
 
 23 Cf. Maynial, op. cit, p. 89; £>. V., pp. 67-68. 
 
 24 Corr., IV, 392, 397-99. 
 
PERSONAL RELATIONSHIP 5 
 
 scapes and characters are vividly conceived; the psychology is 
 "strong" ; Cornudet is "immense et vrai" ; the nun with the small- 
 pox marks on her face is "parfaite"; the scene where Boule de 
 Suif weeps while Cornudet sings the "Marseillaise" is "sublime." 
 Then comes the minute reservation of the conscientious mentor : 
 
 Eh bien, precisement* parce que c'est raide de fond et embetant 
 pour les bourgeois, j'enleverais deux choses, qui ne sont pas mauvaises 
 du tout, mais qui peuvent faire crier les imbeciles, parce qu'elles ont 
 
 I'air de dire: "Moi je m'en f ": 1° dans quelles f rises, etc., ce 
 
 jeune homme jette de la fange a nos armes; et 2° le mot tetons* Apres 
 quoi le gout le plus begueule n'aurait rien a vous reprocher [p. 398] . 
 
 In a subsequent letter, after saying that he has re-read Boule de 
 Suif, Flaubert adds: "Tache d'en faire une douzaine comme ca! 
 et tu seras un homme !"-^ Such advice gives some ground for the 
 remark of Mme de Maupassant, quoted farther on,^^ that it was 
 Flaubert who wished to make a novelist of her son.^^ That the older 
 man personally knew the young Guy mainly as a writer of verses 
 and an aspirant for dramatic honors, especially the former, is true, 
 however, as one can gather from what Maynial says^® and from 
 the comments in the letters. Maupassant tells us that he tried his 
 hand at all kinds of composition during his seven years' appren- 
 ticeship.^^ Verse writing nevertheless seems to have predominated. 
 His early fondness for this form may be, in part, a residue from 
 the influence of Bouilhet, under which he passed two years before 
 he knew Flaubert.^^ Maynial suggests also that verse came more 
 spontaneously than prose to Maupassant, and satisfied better than 
 prose the young writer's desire for immediate productiveness.^^ 
 There is a certain tone of curiosity or of delighted surprise in 
 Flaubert's remarks on Boule de Suif which seems to indicate that 
 the pupil had exceeded the master's expectations, giving hints of 
 possibilities hardly suspected hitherto. Hence the advice to aim, 
 if possible, at persistence in the same type of performance. Mean- 
 while references to the verses continue. When the volume Des Vers 
 appears shortly after the publication of the Soirees de Medan, 
 Flaubert expresses his approval,^^ as he has done in the case of 
 
 25 Corr., IV, 426. 29 See below, p. 9. 
 
 26 See below, p. 7. ^^P.e.J.: ^Le Romans, p. xxii. 
 
 27 D. v., p. xxi ; Maynial, op. cit., p. 44. si Maynial, op. cit., p. 80. 
 
 28 Ibid., p. 80. 82 Corr., IV, 427. 
 
 1 
 
6 FLAUBERT AND MAUPASSANT 
 
 Bottle de Suif. What pleases him about this effort is that it is 
 "personal" and does not adopt the formula of any school. "Pas 
 de chic! pas de pose! ni parnassien, ni realiste (ou impressioniste, 
 ou naturaliste)." (Flaubert especially detested these modern shib- 
 / boleths.) He wishes Maupassant to collect for him everything that 
 is published on Boule de Suif and on the verses.^^ In this we see 
 \^ the eager interest of the master in a favorite disciple. 
 
 We have given examples of Flaubert's specific criticism of 
 Maupassant; more general literary advice is not lacking. Guy 
 must not allow his mode of life to interfere with his art. A man 
 who aspires to the name of "artist" has no right to live as do 
 others ; his only principle must be the necessity of sacrificing every- 
 thing to art. He warns the young man also against brooding and 
 conjures him to work harder. "II faut,* entendez-vous, jeune 
 homme, il faut * travailler plus que ga. ... Vous etes ne pour f aire 
 des vers, f aites-en !"^* 
 
 Another form of literary training probably not less important 
 than the above-mentioned, because it furnished the example to estab- 
 lish the precept, is emphasized by Maynial.^^ Flaubert associated 
 his pupil with himself in the composition of Bouvard et Pecuchet, 
 seeking from him precise information on many points and detailing 
 at length his own efforts toward accuracy and precision. For in- 
 stance, he needs for a particular episode in his story a certain kind of 
 hillside slope, and Maupassant must suggest to him a place near 
 Havre which will fulfil the requirements.^^ Or the young man 
 becomes the confidant of Flaubert's chagrin at M. Baudry's question- 
 ing of his botanical exactness.^^ Other examples of a like nature are 
 to be found in the Correspondance. 
 
 In letters from Flaubert to various persons during the later years 
 / of his life there is frequent mention of Maupassant and of the young 
 man's mother, the former being often called "mon disciple," occa- 
 sionally "mon eleve."^* These letters are sometimes written to help 
 the beginner in his prospects, or refer to Guy's doings and to the 
 writer's interest in him.^^ 
 
 S3 Corr., IV, 427. 35 Maynial, op. cit., pp. 68-69. 
 
 8* Corr., IV, 336. ^« Corr., IV, 3i3-i5- 
 
 37 Corr., IV, 429 ff- 
 
 38 For example, Corr., V, 323, 421. 
 
 39 For example, Corr., IV, 384, 395"96; V, 445, 452, 455, etc. 
 
PERSONAL RELATIONSHIP 7 
 
 Besides the letters of Flaubert there are several from Mme de 
 Maupassant and from her son to their common friend which give 
 evidence of the relationship between the two men. In the "Notes" 
 to the volume containing Flaubert's Theatre there is an epistle by 
 Mme de Maupassant in which she speaks of the friendship and says, 
 "Comme le disciple appartient au maitre !"*** In the volume of Mau- 
 passant's verses there are some letters from his mother to Flaubert 
 in which she often mentions her two sons, refers to her anxiety 
 regarding Guy's future, asks for her old friend's advice and assis- 
 tance in the matter, thanks him for his kindness to the young man, 
 or assures him of the latter's affection.*^ In one place she speaks of 
 Flaubert's having called Guy his "fils adoptif " ; in another she says, 
 "C'est Flaubert qui voulut en faire un romancier."*^ The likeness to 
 the uncle, Alfred Le Poittevin, is referred to by her,^^ as well as by 
 Flaubert's mother in a short note preceding the selections from Mau- 
 passant's correspondence in the volume entitled Boule de Suif}^ In 
 the same volume are included some letters of Maupassant's to 
 Flaubert,''^ in which he generally addresses the latter as "mon cher 
 maitre" and speaks of missing their "causeries de chaque semaine."*' 
 He asks for advice or gives information regarding what he is writing 
 and recounts the events of his official life, his efforts to obtain a place 
 on the journals, the happenings about him, news of mutual friends. 
 In the other letters of Maupassant — letters to his mother and his 
 friends — there are various short personal references to Flaubert.*^ 
 The last instance of this dates from a time after the latter's death 
 and reads as follows : 
 
 Je ne saurais vous dire combien je pense a Flaubert, il me hante et me 
 poursuit. Sa pensee me revient sans cesse, j'entends sa voix, je retrouve 
 ses gestes, je le vois a tout moment debout devant moi avec sa grande robe 
 brune, et ses bras leves en parlant. C'est comme une solitude qui s'est 
 faite autour de moi, le commencement des horribles separations qui se 
 continueront maintenant d'annee en annee, emportant tous les gens qu'on 
 aime, ou qui sont nos souvenirs, avec qui nous pouvions le mieux causer 
 des choses intimes.*^ 
 
 *o Flaubert, Theatre, p. 515. *i D. V., pp. ix-xxiii. 
 
 *2 D. v., p. xxi ; Maynial, op. cit., p. 44 ; cf . above, p. 5. 
 *3 D. v., pp. xi, xvi. *^ Ibid., pp. xcv-cxxiv. 
 
 ^*B.d.S.: Corr., p. xciv. *^ Ibid., pp. xcv-cxiii, etc. 
 
 *'^ For example, B.d.S.: Corr., pp. cxxxv, cxli, cxliii-iv. 
 ^^B.d.S.: Corr., pp. cxliii-iv. 
 
8 FLAUBERT AND MAUPASSANT 
 
 We see in this passage how the very memory of Flaubert seems 
 to evoke the keen mental vision of individual characteristics which 
 the master advocated,*® as well as to call forth the sense of isolation 
 and of the imminence of death which constantly overshadowed Mau- 
 passant's outlook on life.^" It will be observed that the closing words 
 suggest a relationship of mental sympathy. 
 
 Also to be noted, from the point of view of the one author's influ- 
 ence on the other, are certain additional direct statements of Mau- 
 passant's. After the letter-preface to the verses there appeared, in 
 the third edition of the volume, a few lines on Flaubert's death, which 
 had occurred very shortly before. In them Maupassant pays the 
 following tribute to his friend : 
 
 Depuis que ce livre a paru (il y a un mois a peine) le merveilleux 
 ecrivain a qui il etait dedie est mort, Gustave Flaubert est mort. 
 
 Je ne veux point ici parler de cet homme de genie, que f admire avec 
 passion, et dont je dirai plus tard la vie quotidienne, et la pensee familiere, 
 et le coeur exquis, et I'admirahle grandeur. 
 
 Mais, en tete de la nouvelle edition de ce volume «dont la dedicace 
 Ta fait pleurer,» m'ecrivait-il, car il m'aima aussi, je veux reproduire 
 la superhe lettre qu'il m'adressa pour defendre un de mes poemes : Au bord 
 de I'eau*^^ contre le parquet d'Etampes qui m'attaquait. 
 
 Je fais cela comme un supreme hommage a ce mort, qui a emporte 
 assurement la plus vive tendresse que j'aurai pour un homme, la plus 
 grande admiration que je vouerai a un ecrivain, la veneration la plus 
 absolue que m'inspirera jamais un etre quel qu'il soit. 
 
 These paragraphs have been quoted because they show, especially 
 in the expressions italicized, the grateful affection and the extrava- 
 gant admiration with which Maupassant regarded Flaubert — an 
 affection and admiration which would lead naturally to the influ- 
 encing of the one writer by the other, even without the close connec- 
 tion of master and disciple which has been noted as existing between 
 them. 
 
 To the intimacy of this relationship Maupassant himself bears 
 witness in his article on "Le Roman," printed at the beginning of the 
 volume entitled Pierre et Jean. He tells how he ventured to submit 
 some of his attempts to Flaubert ; how the latter kindly read them 
 
 *» See below, pp. 25-26. ^^ See below, p. IS- 
 
 81 cf . on this point Maynial, op. cit., pp. 84-85, 89-96. There is some con- 
 fusion in the references to the poem. 
 
PERSONAL RELATIONSHIP 9 
 
 and encouraged him to hope that time and work would reveal the 
 possession of talent by their author. For seven years thereafter the 
 master labored with the disciple. The story is told in Maupassant's 
 own words : 
 
 Pendant sept ans je fis des vers, je fis des contes, je fis des nouvelles, 
 je fis meme un drame detestable. II n'en est rien reste. Le maitre lisait 
 tout, puis le dimanche suivant, en dejeunant, developpait ses critiques 
 et enfongait en moi, peu a peu, deux ou trois principes qui sont le resume 
 de ses longs et patients enseignements. «Si on a une originalite. disait-il, 
 il f aut avant tout la degager ; si on n'en a pas, il f aut en acquerir une.»^2 
 
 We should take account of Maupassant's statement here that none 
 of all the attempts of his seven years' apprenticeship was allowed to 
 survive. We possess, therefore, in all probability, no further speci- 
 mens than those already mentioned^^ of the work done by him under 
 the eye of the master. We must seek for the literary influence then 
 in considerable measure, as Maupassant's remarks in the foregoing 
 passage suggest, in the general application by the latter, throughout 
 his subsequent work, of the principles inculcated by the former. 
 What these are is indicated in the succeeding well-known paragraphs 
 of the article from which quotation has already been made.^* They 
 will be discussed in a subsequent chapter of this thesis. ^° 
 
 In 1885 Maupassant wrote an article on Flaubert which served as 
 a preface to the Quaritin edition of Bouvard et Pecuchet. This has 
 been inserted in Maupassant's Oeuvres Posthumes, II. Some account 
 will be given of it in a subsequent section of this thesis.^* Maupas- 
 sant's first published volume, containing his verses, was dedicated 
 "a Gustave Flaubert, a I'illustre et paternel ami que j'aime de toute 
 ma tendresse, a I'irreprochable maitre que j 'admire avant tous." This 
 is the dedication which Maupassant says made Flaubert weep.'^ 
 Again, in his reply to M. Sarcey, Maupassant quotes Flaubert and 
 others as being "justement irrites de la pretention des critiques 
 d'imposer un genre aux romanciers."^^ Finally, other references to 
 his memories of Flaubert, not particularized now because not con- 
 sap.^./.; 4^L.R>, p. xxiii. 
 
 58 See above, p. 8. ^^ gge below, pp. 21 ff. 
 
 ^^P.eJ.: «L.i?.», pp. xxiii-xxv. ^7 See above. 
 
 55 See below, pp. 21-37. ^^Mlle.F,; Appendix, p. 275. 
 
lO FLAUBERT AND MAUPASSANT 
 
 cemed with literary theory, are to be found here and there in his 
 works.*^ 
 
 In this chapter we have studied then the direct personal relation- 
 ship between Gustave Flaubert and Guy de Maupassant. We have 
 seen that it began through the general friendship of the Flaubert and 
 Le Poittevin families, strengthened by the comradeship of Flaubert 
 and Alfred Le Poittevin. The influence of the latter was still felt 
 when Flaubert came to know Guy de Maupassant, the nephew, to 
 whom he was attracted at first partly by his remembrance of the 
 uncle. There soon grew up, however, between the older and the 
 younger man a very strong mutual affection which led in time to the 
 establishment of the master and pupil relationship. This affection 
 was reinforced in the case of Maupassant by an admiration which led 
 him to submit to a most rigorous censorship of his literary efforts, and 
 which opened the way for Flaubert virtually to impose his own 
 theories on the younger artist. 
 
 59 For example, M. Par., p. 264; L.R.d.M.H., pp. 239, 241-44; AuS., pp. 7» 
 191, 196-97. 
 
CHAPTER II 
 
 DISCUSSION AND EXEMPLIFICATION OF DEFINITELY 
 
 STATED THEORIES REGARDING LIFE (WITH 
 
 INTRODUCTION) 
 
 Before going on to consider the theories of Flaubert and Maupas- 
 sant regarding the world in general and literary matters in particular, 
 it will be well to look for a short time at certain similarities in their 
 lives which will have to be taken into account in tracing likenesses 
 in their works. Both were Norman on the mother's side and passed 
 their youth and much of their later life in Normandy. It was pos- 
 sible thus for them to obtain from personal observation that knowl- 
 edge of Norman life, character, and landscape which they display. 
 They were also acquainted with Parisian life, although not both to the 
 same extent, and moved in Paris in the same literary circle. 
 
 Throughout life the two men were confronted by circumstances 
 which tended to sadden. Flaubert spent his youth in close proximity 
 to the sights and sounds of a hospital; Maupassant early gained a 
 perception of the unfortunate relations existing between his father 
 and mother. Both were unhappy in much of their school life and 
 were in later days attacked by the law for alleged offences against 
 morality in their works. Each passed through the shattering expe- 
 riences of the War of 1870, Flaubert as a national guard,^ Maupas- 
 sant in the fighting force. For a considerable portion of their 
 respective careers they lived lives of solitary laboriousness. Robust 
 in early youth, they were subsequently assailed by maladies which 
 embittered existence. 
 
 Besides all this, the tastes of the two men were similar in many 
 respects. Each had a liking for the grotesquely comic.^ Both 
 
 1 Corr., IV, 33, etc. The facts regarding the life of Flaubert are taken 
 partly from the Souvenirs of Mme. de Commanville prefixed to Correspon- 
 dance, I, and partly from the introductory note to Madame B ovary; those con« 
 cerning Maupassant come from Maynial. Other authorities are indicated where 
 necessary. 
 
 2 For example, Maxime du Camp, Souvenirs litthaires, I, 164-65, etc. ; F. 
 Brunetiere, Le Roman naturaliste, pp. 402-3, etc. Maynial notes this charac- 
 teristic in Maupassant. 
 
12 FLAUBERT AND MAUPASSANT 
 
 showed an early interest in literature, an especial fondness for Shake- 
 speare, and a desire to try their hands at many forms of literary 
 composition. They were friends of Louis Bouilhet, coming under 
 his influence at the formative period. They delighted in nature. 
 They had in common a passion for traveling and looked to the visiting 
 of foreign scenes as a means of escape from irksome circumstances. 
 It is interesting to note here that in the course of their travels they 
 visited very much the same places — ^Algeria, Corsica, Sicily, Italy, 
 Southern France, Switzerland, Brittany — so that we frequently find 
 the same itinerary described by both.^ 
 
 A very curious resemblance is the reciprocal attraction which they 
 describe themselves as possessing toward men and women deprived 
 of reason.* In the case of Maupassant we naturally connect this with 
 his subsequent madness ; in that of Flaubert it appears to be related 
 to his morbid fondness for the abnormal and the grotesque. 
 
 In the light of all these similarities it would be strange if there 
 were not coincidences in the works of the two, even without the lit- 
 erary friendship which we have studied in the previous chapter. We 
 are met here by the difficulty of distinguishing the likenesses in their 
 writings due to the influence of the one man upon the other from 
 those which arise out of the general thought and practice of the epoch 
 and school to which both belong. Resemblances then, to be of value 
 in determining the extent of the relationship between the two authors, 
 must be specific, showing agreement in form, or in content, or in 
 \ both. In the succeeding pages of this thesis special attention will be 
 paid to the more concrete instances of similarity. 
 
 Regarding the likenesses between the two authors the critics have 
 comparatively little to say. The younger man is hailed on all sides 
 as the disciple of the older ; but the resemblance is not analyzed, or is 
 analyzed only in the scantiest way. It is generally agreed that such 
 ' influence as exists is observable chiefly in Maupassant's earlier work, 
 before he had quite evolved his own method. Examples of the kind 
 of comparison of the two to be discovered in criticism are as follows. 
 Brunetiere, in speaking of some earlier works of Maupassant's, says, 
 "There is too much Flaubert in him."^ Lemaitre finds that the older 
 
 3 See below, p. 84. 
 
 *For example, N.d.V., I, 50; Corr., I, 164; L.M.g.: Madame Hermet, pp. 
 253-55. 
 
 ^ Brunetiere, Le Roman naturaliste, p. 342. 
 
THEORIES REGARDING LIFE 13 
 
 man has influenced the younger in irony of general treatment and in 
 precision of form.® Again we have indication of certain books of 
 Maupassant's or scenes therein which derive more or less directly 
 from certain books or scenes of Flaubert's, as, for example, Une Vie 
 from Madame Bovary, Bel-Ami from UEducation sentimentale, 
 Olivier Bertin's excursion to the Champs-Elysees from that of 
 Frederic Moreau to the same place,^ and so on. Apart from such 
 suggestions one can gain on the subject in hand little direct help 
 from the critics. 
 
 There remains yet another point to be touched upon before pro- 
 ceeding to the discussion of similar theories. One conclusion regard- 
 ing Guy de Maupassant which is of importance in connection with the 
 question of influence — that he was not eminently inventive — 
 forces itself upon us as we peruse his works. Over and over again 
 we find repeated the same subjects, the same situations, the same 
 characters, the same ideas, even the same wording.* In order to 
 recognize the truth of this assertion one has only to remember, for 
 instance, how large a proportion of his work deals with illicit passion, 
 with the circumstances of its indulgence, and with the men or women 
 who are possessed by it. A constantly recurring idea is that of the 
 uselessn ^ss of combating the fatality which binds humanity.® A good 
 example of similarity in wording is the passage describing a rustic 
 ball, which is used almost word for word in Ma Femme and in Une 
 Vie}^ Much of this repetition is to be accounted for by the fact that 
 Maupassant consciously circumscribed his range.^^ It is also hardly 
 surprising that a man who produced as much as he within the short 
 space of eleven years,^^ and who, in the nature of the case, must often 
 have written hastily,^^ should sometimes return upon himself. We 
 have indication of lack of inventiveness in his letters, where we find 
 him asking that subjects be suggested to him.^* He also, according 
 
 8 Lemaitre, Les Contemporains, V, 1-12. 
 
 "^ E.-L. Ferrere, L'Esthetique de Gustave Flaubert, pp. 254-55 ; Brunetiere, 
 Le Rom. Nat., pp. 342-43, 
 
 ® Cf. Maynial, La Composition dans les romans de Maupassant, R.B., XX 
 (1903), 562-65, 604-8. 
 
 » For example, U.V., p. 323; L.p.R., p. 46; S.VE., pp. 40-44; F.c.l.m., pp. 340- 
 41 ; N.C., pp. 224-25 ; etc. 
 
 ^^L.M.T., pp. 267-68; U.V., pp. 79-80. 11 P.^./.; <i-L.R.-», pp. xi-xii. 
 
 12 The years 1880-90. See Maynial, La Vie et Voeuvre de Maupassant, p. 119. 
 
 ^^Ihid., pp. 120-21, 122-23. ^^B.d.S.: Corr., p. cxxxi. 
 
14 FLAUBERT AND MAUPASSANT 
 
 to the testimony of Doumic," drew extensively upon his own expe- 
 rience to supply him with material for writing. Here then, in the 
 acceptance of suggestions afterwards to be worked out in his own 
 way, we see possibilities for influence upon him. If any such sugges- 
 tions can be traced back to Flaubert they will probably furnish evi- 
 dences of relationship between the two.^® We must not forget, on the 
 other hand, that Flaubert, according to his disciple, warned the latter 
 against imitation, and that Maupassant passed on the warning. ^^ 
 Similarities will, therefore, probably result rather from the uncon- 
 scious reproduction of unforgettable memories than from conscious 
 copying.^® Their occurrence will be rendered all the more likely by 
 the fact that both men are engaged with subjects of somewhat similar 
 nature, and that the younger has an unbounded admiration for the 
 older.i^ 
 
 The two authors make definite statements regarding similar 
 theories, beliefs, and likes or dislikes. In the case of Flaubert these 
 are contained for the most part in his letters, with occasional refer- 
 ences in his other writings. With Maupassant such personal expres- 
 sions are found distributed more or less throughout his works. 
 A general outline will now be given of the theories held in common by 
 the two, in so far as we can gain a knowledge of these from their 
 own utterances. Sometimes we have, in addition to the individual 
 statements of each, Maupassant's report of Flaubert's doctrine. Any 
 new point thus brought out will be noted. We shall also endeavor to 
 observe as we go along how far they carry out in their works the 
 theories which we may, from definite pronouncement, discover them 
 to hold in common. 
 
 '' To both Flaubert and Maupassant present reality is odious,^^ 
 the world is more or less of an illusion,^^ and all things are subject 
 to an inexorable fatality.^^ It is the sordid, the commonplace, the dis- 
 
 ^^"L'Oeuvre de Guy de Maupassant," R.D.M. (November i, 1893), pp. 
 187 ff. 
 
 16 For example, see below, pp. 63-65, 87, 90, 97, loo-ioi, 102-103. 
 ^"^ P.eJ.: ^L.R.T^, pp. xxiii-xxiv; B.d.S.: Corr., pp. clii-cliii. 
 18 Cf. Ferrere, I'EstheHique de Gustave Flaubert, p. 261. 
 18 See above, pp. 8, 9. 
 
 20 For example, Corr., II, 140; III, 85, 181-82, 232-33; IV, 243; V. 382. 
 
 21 For example, Corr., IV, 336; B.d.S.: Corr., p. cxlv; S.VE., p. 45. 
 
 22 For example, Corr., V, 512; B.d.S.: Corr., p. cvi; cf. ibid., pp. ex, cxii. 
 
THEORIES REGARDING LIFE 15 
 
 agreeable, or the horrible, that is generally represented by them. Mis- 
 ery or degradation is the almost universal lot of their personages. 
 Should happiness seem at times to flit within the grasp of some excep- 
 tionally fortunate man or woman, it is only that disenchantment and 
 sadness all the deeper may result. The one great word which Charles 
 Bovary is represented as uttering — "c'est la f aute de la f atalite !"^^ — 
 might be taken as the motto for their picture of life. Unhappy beings 
 are trampled by the inexorable march of events, or are made to suffer 
 for giving way to passions to which they can no more help yielding 
 than they can avoid being born. Death, with its repulsive physical 
 concomitants, is for man the end of all things ; the idea of immortality 
 is but an invention of the presumptuous imagination.^* The general 
 effect of such a presentation is painful ; there results from it for both 
 writers a keen sense of sadness and of individual isolation.^^ Escape 
 from actuality is sought through excursions, either in person or in 
 thought, to far-off countries and times which possess the romantic 
 glamor of distant enchantment.^* Thus their personages — Emma 
 Bovary, Rosanette, Pierre Roland, Andre MarioUe, and others — long 
 to fly from present reality to future possibility.^^ General resem- 
 blance in "atmosphere" of gloom between the works of Flaubert and 
 those of Maupassant must not, however, be considered as proving in 
 itself the influence of one upon the other, as it may derive equally 
 well from the spirit of the materialistic epoch in which both lived. 
 The next point in the argument for relationship is perhaps more 
 important, because more distinctive, than a pessimistic outlook upon 
 life. It is the insistence of both men on the universal "betise" of 
 humanity — a "betise" pervading all ranks, from the superstitious and 
 stolid peasants to the inert and ineffective "Anciens" of Carthage, or 
 the inane representatives of modern French society encountered by 
 
 23 M.B., p. 480. 
 
 2* For example, O.dJ., I, 407 ; P.lC.e.p.lG., pp. 175-76 ; Corr., I, 168, 194, 
 232, 299; IV, 26-28; B.dS.: Corr., p. cxliv; L.p.R., p. 7; L.V.E., pp. 69-75- 
 
 25 For example, Corr., IV, 14, 152, 357; V, 275; B.d.S.: Corr., pp. cxxx, 
 cxlv ; S.l'E., pp. 128-29. 
 
 29 For example, Corr., Ill, 85, 181-82, 203, 232-33; IV, 29, 243; V, 382; S.VE., 
 pp. 92 if. 
 
 ^'^ M.B., pp. 271-72, etc. ; L'Ed.S., p. 459. etc.; P.e.J., p. 204; N.C., pp. 223-24, 
 etc. 
 
l6 FLAUBERT AND MAUPASSANT 
 
 Maupassant in Southern France.^* Its special exponent is the respec- 
 table "bourgeois," who stands rather for an attitude of narrow com- 
 placency or dogmatism than for any particular class — Homais, with 
 his pompous and ridiculous speeches; M. Patissot, with his mania 
 for exercise; the government functionary, who plays his part in 
 guiding "the chariot of state through the incessant perils of a stormy 
 sea" f^ the "honnetes f emmes," who despise their unfortunate sisters 
 while being not one whit better than they.^^ One particular form of 
 "betise" exhibited by this "bourgeois" is that of seeking for decora- 
 tions. Examples are furnished by Homais in Madame Bovary and 
 M. Sacrement in Maupassant's nouvelle entitled Decore,^^ Another 
 manifestation of stupidity is subservience to habit. Both authors 
 hated monotony and the life of habit and strove in their restlessness 
 to escape from it, especially, as we have seen, by traveling.^^ This 
 hatred they express in their works. The stupid Charles is a creature 
 of habit, as are the dull employees of UHeritageP Emma and 
 Jeanne owe part, at least, of their unhappiness to the monotonous 
 tenor of their daily existence. The unvarying life of the country, of 
 the provincial town, of the bureaucratic or industrial community in 
 Paris, is constantly portrayed, together with the deteriorating or 
 exasperating effects of that life.^* Scornful hatred of the "bourgeois" 
 and of man in general becomes with Flaubert and Maupassant an 
 obsession, as is evidenced by the following quotations: 
 
 Flaubert Maupassant 
 
 Uinsupportahilite de la sottise II flotte dans Paris tant de hetises 
 
 humaine est devenue ches moi une venues de tous les coins du monde, 
 
 maladie, et le mot est faible. qu'on en eprouve comme un ac- 
 
 Presque tous les humains ont le don cahlement [B.d.S.: Corr., p. cviii]. 
 
 28 For example, P.lC.e.p.l.G., p. io8; M.B., p. 40; M. Par.: Le Bapteme, pp. 
 135-44; Sal., p. 120, etc. ; S.l'E., pp. 24 flf. 
 
 29 M.B., p. 197. 
 
 30 For example, M.B., pp. 1 10-12, 180, etc.; O.P., II: Les Dimanches d'un 
 bourgeois de Paris, pp. 7, 11-14, etc. ; M.B., pp. 197 ff. ; M.Har.: L'Hiritage, pp. 
 41-163 ; M.B., pp. 422-23 ; B.d.S., pp. 60-77. 
 
 31 M.B., pp. 477-78, 481 ; L.S.R., pp. 243-53. 32 gge above, p. 12. 
 
 38 For example, M.B., p. 61 ; M.Har., pp. 41-163. 
 
 8* For example, M.B., pp. 31, 62, etc.; T.C.: U.C.S., pp. S-6, etc.; B.e.P., p. 
 13; L.M.T.: En Famille, pp. 139-41; L.S.R.: Suicides, pp. 232-33; Yvette: 
 Promenade, pp. 201-4; C dJ.e.d.l.N.: Le Pere, p. 38; M.Par., pp. 49 ff. ; L'LB.: 
 L'Bpreuve, pp. 137-44. 
 
THEORIES REGARDING LIFE 17 
 
 de m'exasperer, et je ne respire Je vois des choses, farces, farces, 
 librement que dans le desert {^Corr., farces, et d'autres qui sont tristes, 
 IV, 411]. 25 tristes, tristes; en somme, tout le 
 
 monde est bete, bete, bete, ici comme 
 ailleurs [B.dS.: Corr., p. cxxii]. 
 
 Such an attitude of exasperation as that evidenced by the fore- 
 going paragraphs seems to us excessive. It explains, however, the 
 cynical tone which characterizes the work of the two men. How far, 
 ^we are led to ask, was this exasperation and the resulting cynicism 
 an inheritance from the older man in the case of the younger, and 
 how far was it an inherent idiosyncrasy? In the first of the fore- 
 going quotations from Maupassant and in other passages of his letters 
 to Flaubert^^ there is a suggestion that the expressions are dictated 
 by the fact that the disciple is writing to the master. The second 
 paragraph from the younger man produces, however, a greater im- 
 pression of sincerity and can be supported by further evidence in the 
 same direction. We may at least say this, that, if Maupassant had a 
 natural bent toward scorn of humanity, as seems unquestionable, it 
 was certainly not diminished through his intercourse with Flaubert. 
 Human "betise" was specially emphasized by the latter, as his disciple 
 tells us, in Bouvard et Pecuchet.^'^ Both men hold that the only hope 
 for anyone who would maintainhis individuality is to keep himself 
 entirely separate from ordinary humanity.^^ Among the supreme" 
 follies of the day, thinks eacE7~is democratic government, with all its 
 implications.^^ Modern tyranny is "bete," to be sure, but some form 
 of aristocracy is at any rate preferable to democracy.*" In modern 
 life "grace" or pardon is substituted for justice, Flaubert laying the 
 blame for this on Christianity ,"Maupassant on romanticism.*^ War 
 is an evidence^ of the ineradicable brutality and unreason of the 
 
 23 Cf . also on "betise" and scorn of humanity, Corr., I, 43 ; II, 2, 43, 44, 69, 
 70, 103, 126, 179, 184-85, 196, 222-23, 282, 299, 308, 326, 445; III, 25, 112, 262; IV, 
 203, 367, 422 ; V, 274 ; etc. 
 
 26 For example, B,dS.: Corr., pp. xcix, ciii, cxiv, etc. 
 
 27 O.P., II; £tude sur Gustave Flaubert, pp. 104, 106 ff., 137. 
 
 28 Corr., IV, 80; B.d.S.: Corr., pp. cl-cli; cf. S.l'E., pp. iio-ii. 
 
 29 Corr., IV, 34, 60; B.d.S.: Corr., p. civ. 
 
 *o Corr., I, 196; IV, 61 ; L.V.E., pp. 2-3, 6-9, 36-39, etc. 
 
 *i Corr., IV, 80; cf. IV, 60; B.d.S.: Les Soirees de Midau, p. 82. 
 
i8 FLAUBERT AND MAUPASSANT 
 
 human race.*^ The barbarities of warfare are exhibited both 
 through the cruelties practised by Carthaginians and mercenaries in 
 Salammbo, and through the atrocities perpetrated by the Prussians 
 and wreaked on them by way of vengeance in the stories of 
 Maupassant.*^ 
 
 To the two men religion, which each admits to be universally pres- 
 ent in one form or another,** furnishes but additional illustrations of 
 betise and hate fulness. What more stupid than man's affirmations 
 and negations regarding the supernatural?*" What more detesta- 
 ble than existing ecclesiasticism ?*^ In its essence religion is either 
 a superstition, a habit, or a romantic extravagance, and is con- 
 nected not infrequently with sensual indulgence. The peasant is the 
 principal exponent of superstition in both writers, examples being 
 found wherever religion is mentioned in connection with peasant life. 
 Felicite confusing her parrot with the Holy Spirit*^ and the "fille de 
 ferme" attributing superhuman powers of insight to her cure*^ are 
 typical of their class. Religion as a habit is exhibited in the taking 
 for granted by all ranks of the religious ceremonies attendant on the 
 different stages of life. Even by the indifferent or the hostile it is 
 considered but natural that the Church should preside over the initial 
 stages of life, over marriage and death, and should dignify with her 
 blessing the ordinary occupations of man on land or sea.*^ Religion 
 as romantic extravagance is illustrated in the cases of Emma Bovary 
 and of Jeanne in Une Vie, both of whom experience violent parox- 
 ysms of religious fervor produced by circumstances and fostered by 
 romantic sentiments."® Emma serves further as an example of the 
 connecting of religion with sensuality,"^ in which she resembles 
 Julien, Jeanne's husband, and similar characters of Maupassant's."^ 
 
 « Corr., IV, 48-49; S.l'E., pp. Si-59. 
 
 *^ Sal., for example, pp. 128-35, etc.; for example, Mile. F., pp. 3-27', 
 C.d.l.Bic: La Folle, pp. 37-43- 
 
 ^^Corr., II, 151, 202, 232; C.dJ.e.d.lN.: Le Gueux, pp. 178-79. 
 
 45 Corr., IV, 351, 385, etc. ; S.l'E., pp. 39-40. 
 
 *« Corr., IV, 38, 353, 37i, 377; B.d.S., pp. 7, 30, 62; etc. 
 
 *7 T.C.: U.C.S., pp. 53-54. ^»''P=M:3^,: Histoire d'une fille de ferme, p. 66. 
 
 *»For example, M.B., pp. 9, 37, 125, 464-67; T.C.: U.C.S, pp. 61-64; B.e.P., 
 pp. 297, 314-16; U.V., pp. 58-61, 75-76, 196; B.-A., pp. 273 ff., 561-73. 
 
 50 For example, M.B., pp. 49, 52, 295-98; U.V., pp. 263, 265-66. 
 
 51 M.B., pp. 298, 446. 52 uy^^ p_ 266; cf. also B.-A., pp. 551-52, etc. 
 
THEORIES REGARDING LIFE 19 
 
 Priests and other representatives of the church are made by each 
 writer stupid, commonplace, or hateful.^^ Attacks on ordinary reU- 
 gious beHefs and statements of "philosophical" religion are put into 
 the mouths of Homais, of "le baron," of Moiron, of Renardet, and of 
 many other characters in the works of both men.^* 
 
 Neither author holds any very high conception of womankind. 
 Each speaks of woman as incomprehensible, unreasonable, perfid- 
 ious.^® They agree that there is little variety in feminine character.^^f 
 Maupassant says that Flaubert was disdainful of women, judging!* 
 them severely from a distance, but exhibiting a certain tendernes^j 
 toward them when brought into closer relationship.®^ The olderl 
 man himself expresses a somewhat similar thought where he speaks \ 
 of the "souverain mepris" with which women are regarded essen- 
 tially, while being treated outwardly with deference.®^ As one would 
 expect, the usual presentation of women, love, and marriage given 
 by the two writers is cynical, with practical elimination of the ideal. 
 If, by chance, we find a good woman like Mme Arnoux or Jeanne,®^ 
 she is almost certain to be either commonplace or stupid. Occasion- 
 ally, indeed, we have glimpses, if not of the ideal, at least of a less 
 sordid and unpleasing conception. Examples are the childish devo- 
 tion of Justin to Emma in Madame Bovary,^^ the faithfulness of such 
 simple creatures as Felicite in Un Coeur simple or Rosalie in Une 
 Vie,^^ and the constant affection of the woman in Corsica who had 
 given up everything for the man she loved and expressed herself as 
 perfectly satisfied after fifty years of the hard life to which she had 
 
 53 For example, cf. L'abbe Bournisien in M.B., pp. 155-59, etc. ; I'abbe Picot 
 and l'abbe Tolbiac in U.V., pp. 177, 182, 234, 263-64, etc. ; the "bonnes soeurs" of 
 B.dS., pp. 62-64, 73, 74, 76. 
 
 54 For example, M. B., pp. 106-7, 454-55, etc.; B.e.P., pp. 318 ff.; U.V., p. 
 267; C.d.L.: Moiron, pp. 201-3; L.p.R., pp. 49-50; L'l.B., pp. 25 ff. 
 
 55 For example, P.l.C.e.p.l.G., p. 299; Corr., Ill, 334; IV, 13; II, 129-30; 
 I, 209; II, 6; C.dJ.e.d.lN., p. 25; C.d.L., p. 216; M.Par. pp. 44, 45-46; 
 L.R.d.M.H., p. 80; M.Par., p. 40; C.d.L., p. 93; Mile. F., p. 73; etc. 
 
 56 Corr., IV, 385; Mile F.: Reponse a M.F.S., pp. 278-79; cf. C.d.J.e.d.l.N.: 
 La Parure, pp. 59-60. 
 
 57 O.P., II, 91, 144. 
 
 58 Corr., II, 122. 
 
 ^^M.B., for example, pp. 299, 469. 
 
 «i For example, U.C.S., p. 42; U.V., pp. 318-23. 
 
20 FLAUBERT AND MAUPASSANT 
 
 devoted herself.®^ Such presentations are, however, the exception; 
 the general picture is pessimistic in the extreme. 
 
 An idea mentioned by the two men — in the case of Maupassant 
 apparently, from the reference, as a reflection from Flaubert — is that 
 of the hatred of literature entertained by governments,®^ an echo of 
 the romantic doctrine of the literary man's martryrdom, expressed, 
 for instance, by De Vigny. Suffering for the sake of art confers, of 
 course, a certain distinction, and raises those who endure it far above 
 such banalities as official decorations, for which both men, as we 
 should expect, feel contempt.®* 
 
 In striking contrast with their hatred of man is the very definite 
 love they cherish for external nature. This is thus expressed by 
 Flaubert in writing to Alfred Le Poittevin: "Tu me dis que tu 
 deviens de plus en plus amoureux de la nature, moi, j'en deviens 
 eff rene. Je regarde quelquefois les animaux et meme les arbres avec 
 une tendresse qui va jusqu'a la sympathie; j'eprouve presque des 
 sensations voluptueuses rien qu'a voir, mais quand je vois bien."®'^ 
 Similarly Maupassant speaks of "certaines minutes d'amour avec la 
 Terre, le souvenir d'une sensation delicieuse et rapide, comme de la 
 caresse d'un paysage. . . . "®® As one would then expect, fine descrip- 
 tions of nature are among the most common and most characteristic 
 features of the writings of both. Examples are universally present. 
 As we saw at the beginning of the chapter, the environment of 
 Flaubert and Maupassant tended to give them a pessimistic outlook, 
 itvhich expresses itself in their contempt for the world and for man, 
 \ /especially for the "bourgeois." Government, religion, womankind, 
 //all come under their scorn. In the midst of the general stupidity the 
 \l literary man is a martyr for his cause. On the contrary, love of 
 If external nature furnishes to each the satisfaction which he does not 
 / find in man. 
 
 I th 
 
 ^^ C.dJ.e.d.l.N.: Le Bonheur, pp. 81-87. Maupassant subsequently spoils 
 this story, where, repeating it in Sur I'Eau, he makes the woman commit 
 suicide upon discovering the unfaithfulness of her husband. Cf. Mahn's 
 remark on this story, p. 282 of his volume on Maupassant. 
 
 «3 Corr., IV, 421, 430; V, 412; B.d.S.: Corr., p. cxvi. 
 
 «* Corr., IV, 350, 363 ; B.d.S. : Corr., pp. cliii-clv. 
 
 <*' Corr., I, 163-64. 
 
 ^^M.Par.: A Vendre, p. 95. 
 
CHAPTER III 
 
 DISCUSSION AND EXEMPLIFICATION OF DEFINITELY 
 
 STATED THEORIES REGARDING LITERARY 
 
 PROCEDURE 
 
 In studying the similar literary theories of Flaubert and Maupas- 
 sant we shall take account, as in the treatment of their general outlook 
 upon life, not only of what each says regarding his own doctrines, 
 but also of what Maupassant records concerning the tenets of 
 Flaubert, as well as of the carrying out in practice of the theories 
 stated. 
 
 In the mind of both writers if^personality is a fundamental neces- 
 sity in the work of an author.^ ^Maupassant calls Flaubert's imper- 
 sonality "impassible" rather than impersonal.^ Flaubert uses, and 
 Maupassant reports his use of, the figure of a mirror applied to the 
 artist representing truth. 
 
 Flaubert Maupassant 
 
 Soyons des miroirs grossissants . . . I'auteur . . . devait etre le 
 
 de la verite externe [Corr., II, 394]. miroir des faits, mais un miroir qui 
 
 les reproduisait en leur dormant ce 
 reflet inexprimahle, ce je ne sais 
 quoi de presque divin qui est I'art 
 iO.P., Vol. II, E.S. G.F., p. 96]. 
 
 It will be observed that the "mirror" here is not a mere reflecting mir- 
 ror but one which transforms what it reflects. This, as it differen- 
 tiates, is important for what immediately follows. 
 
 Impersonality, both writers confess, is hard to maintain.^ The 
 exhibition of personal love or hate Flaubert regards as inadmissible, 
 but considers that an author can never have too much "sympathy" — 
 by which he seems to mean the ability to interest himself in anything 
 
 '^Corr., II, 182, 389, 394; III, 1 12-13; IV, 164, 244-45; Mile. F.: Reponse 
 a M.FS., p. 274; P.eJ.: «L./?.», p. xii. 
 
 2 J'., II : £tude sur Gustave Flaubert, p. 96. 
 
 ^Corr., II, 1 12-13; I, 213; III, 501; IV, 244-45; P.eJ.: ^L.R.», pp. xi-xii, 
 xviii, xix-xx. 
 
/ 
 
 22 FLAUBERT AND MAUPASSANT 
 
 and everything.* Maupassant gives a clearer definition of imperson- 
 ality and also a more general statement regarding the appearance of 
 an author in his work. He recognizes that such appearance is inev- 
 itable, seeing that any man's view of the world, if it be original, must 
 be derived from personal observation and reflection. Thus also in 
 the case of the characters in a book. The author can but imagine how 
 he would feel and act in their place, and in picturing them he in a 
 sense reproduces himself. Impersonality is then to Maupassant not 
 the absence of an author from his work — that is impossible — ^but the 
 artistic concealment of the author's inescapable presence in his work.^ 
 Flaubert had expressed the same conclusion when he said : "L'auteur 
 dans son oeuvre doit etre comme Dieu dans I'univers, present partout 
 et visible nulle part" f but he had not worked out the argument as 
 Maupassant has worked it out. In actual practice both authors 
 adhere to impersonality to a certain extent, but only to a certain 
 extent. ^Flaubert is on the whole impersonal in Madame Bovary and 
 in UEducation sentimentale. It is difficult there to tell what his own 
 opinion is regarding the majority of the personages and events. 
 When we come to Bouvard et Pecuchet, however, the treatment is too 
 ironical to be impersonal, there is too evidently a set purpose in the 
 constant ridiculous inefficiency of the two "bonshommes." In the 
 effort after impersonality there is also a tendency to overshoot the 
 mark and arrive at impassibility, shown in what strikes one as the 
 heartless recitation of the abnormal cruelties in SalammbdJ Some- 
 times Flaubert departs from impersonality in the other direction, 
 exhibiting a decided sympathy for his characters. This is true in 
 certain of his pictures of humble, usually peasant life, as, for example, 
 ^ in the case of "le pere Roualt," of Justin, of the old servant of the 
 '/'Comices" in Madame Bovary, as well as of Felicite in Un Coeur 
 "^iSimple.^ Maupassant, who sees, as was noted,® the difficulty of 
 impersonality more clearly than Flaubert, also forsakes the imper- 
 sonal attitude more usually and often more completely than does 
 
 his master. Some of his work, like Flaubert's, is impersonal on the 
 
 f 
 
 ( 4 Corr., Ill, 524. 6 Corr., II, 182. 
 
 ^P.eJ.: <lL.R.^, pp. xi-xx. ^ For example, pp. 185, 215, 348-50. 
 
 8 For example, M.B., pp. 41-42, 237-238, 461, A'^2-6z, 2gg, 469, 208-9; T.C., 
 pp. 3-64. 
 
 ^ See above. 
 
THEORIES REGARDING LITERARY PROCEDURE 23 
 
 whole ; for example, stories like Bel-Ami, La Parure, UHeritage,^^ 
 and those tales of peasant and fisher life which seem to em- 
 body the stolid acceptance of fact characteristic of the classes they 
 represent/^ Many stories, such as the earliest, Boule de Suif, 
 written possibly with the Bouvard et Pecuchet attitude toward 
 humanity prominently in mind, are, like the similar efforts of Flau- 
 bert, too ironical to be impersonal. Sometimes Flaubert's irony is 
 humorous,^^ as where he makes people say ridiculous things ; here 
 Maupassant goes further than Flaubert, occasionally eliminating, 
 or almost eliminating, the irony and leaving the humor in the 
 ascendant/^ Brutally impassible also Maupassant can be in his 
 depiction of horrible things. Examples are nouvelles like Ulvrogne 
 and Une Vendetta}^ On the other hand he possesses to no small 
 extent the gift of exciting sympathy by the simple narration of the 
 facts of real life.^^ This is especially true in connection with his 
 stories of ill-treated animals and children, and of those unfortunates 
 whose crimes or distresses, as he pictures them, have apparently been 
 forced upon them by a pitiless society.^^ In his later writings 
 Maupassant tends more and more to give up the impersonal attitude 
 and to express, either directly or through the mouths of his char- 
 acters, his sympathy for various forms of suflfering,^^ or the record 
 of his own distresses.^® All through their work both authors do in 
 fact transgress the bounds of impersonality either by direct com- 
 ment^^ or by putting into the mouths of their characters the expres- 
 
 ^^C.dJ.e.d.LN., pp. 59-74; M.Har., pp. 41-163. 
 
 11 For example, L.S.R.: Le petit Put, pp. 79-89; C.dJ.e.d.l.N.: Le Vieux, 
 pp. 91-104; C.d.l.Bec: En Mer, pp. 129-39. 
 
 12 For example, M.B., p. 180 (speech of Homais). 
 18 For example, Toine. 
 
 14 C.dJ.e.d.l.N., pp. 125-34, 137-45- 
 
 1^ Cf. Lombroso, Souvenirs sur Maupassant, p. 162. 
 
 i« For example, M.Har.: L'Ane, pp. 189-94; C.dJ.e.d.l.N.: Coco, pp. 150- 
 56; L.M.T.: Le Papa de Simon, pp. 119-34; C.dJ.e.d.l.N.: Le Gueux, pp. 
 173-82; L.M.G.: Le Port, Part II, pp. 207-17. 
 
 I'^For example, M.-O., pp. 323-26; N.C., pp. 200-205, 224-25, 233-37, etc. 
 
 18 For example, S.l'E., pp. 77-92. 
 
 19 For example, M.B., pp. 92, 148, 390; L'Ed.S., pp. 47, 261-62, 266, 383, 
 407; P.eJ., pp. 59, 178; B.d.S., pp. 10, 30; U.V., pp. 34, 69, 75, 100, 123, 212, 
 248, 330; etc. In comparison with most writers Flaubert has very little of 
 this intervention of the author in person. 
 
24 FLAUBERT AND MAUPASSANT 
 
 sion of thoughts which the latter could not naturally have.*® Mau- 
 passant also frequently talks in the first person where such pro- 
 cedure is evidently not a mere realistic detail.*^ It is further true, 
 as has been pointed out by critics,** that both men embody in their 
 works their own lives and surroundings, as seems indeed to be 
 inevitable when personal observation is insisted on as the main 
 source of information. 
 
 The two authors hold that the great task of the novelist is to 
 reproduce nature "truthfully." *^ Maupassant thinks that Flaubert's 
 novels accomplish this, for they exhibit "la vie meme apparue."** 
 They agree also as to the meaning here of "truthfully." The faithful 
 representation of nature denotes not the servile transcription of 
 facts but rather the "translation" of those facts in terms of proba- 
 bility, through the subordination of the less to the more important, 
 and through the selection of the universal and constant to the 
 exclusion of the accidental and ephemeral.*^ Maupassant thus 
 describes, for instance, Flaubert's construction of character. The 
 latter, he says, imagined types and, proceeding by deduction, made 
 them perform acts characteristic of their temperaments.*^ One must 
 acknowledge that it is a rather narrow "nature" which the two 
 men picture. It is admitted, however, by those who discuss the 
 matter that the presentation is faithful in its way. For instance, 
 Flaubert is said to be too true for the theatre *'^ ; while Brunetiere 
 declares regarding Maupassant that the latter renders even that 
 which one has not noticed in the real.*^ As far as one's personal 
 knowledge or experience goes, it would seem to confirm the verdict 
 of the critics. Again and again one is struck by the absolute agree- 
 ment of the picture with what one knows or can imagine of the 
 
 20 For example, MS., p. 475. 21 por example, S.l'E. 
 
 22 For example, P. Bourget, Essais de psychologie contemporaine, I, 148, 
 156; Dumesnil, Flaubert et la Medecine, p. 277. 
 
 ^^Corr., II, 213-14; III, 486-87; B.d.S.: L.s.d.M., p. 84. 
 24 O.P., II : £.tude sur Gustave Flaubert, p. 96. 
 
 26 Corr., Ill, 183, 449; IV, 24s, 375; II, 1 12-13; III, 129, 193; P.eJ.: ^L.R.>, 
 pp. xiii-xiv, XV, xii; Mile F.: R. a MA. Wolff, p. 282; Mile F.: R. a M.F.S., 
 p. 277. 
 
 ^^O.P.,U:E.s.G.F.,p. 99- 
 
 27 R. Descharmes et R. Dumesnil, Autour de Flaubert, I, 242-43. 
 
 28 F. Brunetiere, "Trois Romans," R.D.M. (March i, 1887), pp. 202-14. 
 
THEORIES REGARDING LITERARY PROCEDURE 25 
 
 actuality represented. The methods of producing the effect of 
 reality will be discussed in subsequent paragraphs. 
 
 In order to acquire the knowledge requisite for a truthful repro- 
 duction of nature keen observation is the first necessity. It is also 
 the indispensable condition of originality. Maupassant says that 
 Flaubert enjoined upon him the practice of looking long enough at 
 what he desired to represent to discover in it an aspect which had 
 not been seen nor recorded by anyone before him-^** Very similar 
 passages on this subject are found in the two authors. 
 
 Flaubert Maupassant 
 
 Flaubert is writing to Mme de "Le talent provient de I'ori- 
 
 Maupassant of her son : ginalite, qui est une manikre speciale 
 
 "Avec le tepips il gagnera de de penser, de voir, de comprendre et 
 
 Voriginalite, une maniere indivi- de juger" [P.eJ.: «L./?.,» p. viii]. 
 
 duelle de voir et de sentir (car tout Flaubert's "de voir et de sentir" 
 
 est la) ... [^Corr., IV, 160]. is expanded in Maupassant. 
 
 A second passage contains another phrase of Flaubert's, ''Voir *.• 
 tout est Id et voir juste." ^^ 
 
 To Flaubert seeing is "absorbing" the object. In connection with 
 the composition of Un Coeur simple he writes : "Depuis un mois 
 j'ai sur ma table un perroquet empaille afin de «peindre» d'apres la 
 nature. Sa presence commence a me fatiguer. N'importe! je le 
 garde afin de m'emplir Tame de perroquet." ^^ 
 
 Maupassant thus reports Flaubert's advice to him : 
 
 Quand vous passez, me disait-il, devant un epicier assis sur sa porte, 
 devant un concierge qui fume sa pipe, devant une station de fiacres, 
 ^ montrez-moi cet epicier et ce concierge, leur pose, toute leur apparence 
 physique contenant aussi, indiquee par I'adresse de I'image, toute leur 
 nature morale, de faqon a ce que je ne les confonde avec aucun autre 
 epicier ou avec aucun autre concierge, et faites-moi voir, par un seul mot, 
 en quoi un cheval de fiacre ne ressemble pas aux cinquante autres qui le 
 suivent et le precedent.^^ 
 
 In the passage from Flaubert we have simply a slightly ironic 
 description of one application of the method of "seeing." In that 
 from Maupassant we have a description not only of the method of 
 "seeing" but also of its results — the definite impression produced 
 
 ^^P.eJ.: <L.R.i^, pp. xxiii-iv. " Cofr., IV, 268. 
 
 ^^.BJS.: Com, p. cli. ^^P.eJ.: «L.i?.,» p. xxiv. 
 
26 FLAUBERT AND MAUPASSANT 
 
 and the rendering of the impression in few and skilful words. The 
 same quotation will be seen to develop the idea of the "character- 
 istic detail." Such observation as has been indicated involves, of 
 course, precise attention to all detail, but especially to the "charac- 
 teristic detail," on which Maupassant insists. The advice to find 
 out and render this "characteristic detail" seems at first sight to 
 contradict the other counsel to avoid the accidental and picture 
 only the constant. The "characteristic detail," however, is not acci- 
 dental ; it is inherent by nature in the object described ; it has only 
 not yet been discovered or presented. Flaubert himself explains 
 what he means by the accidental in the following passage : "Je me 
 suis tou jours eflforce d'aller dans Tame des choses et de m'arreter 
 aux generalites les plus grandes, et je me suis detourne expres de 
 I'accidental et du dramatique. Pas de monstres et pas de herosT^^ 
 The object represented is to be an average object; the originality 
 of the author is to consist in exhibiting a hitherto unknown aspect 
 of the average object which has become, to him, characteristic 
 of it. To illustrate — ^both Flaubert and Maupassant would have 
 described one particular red carnation in order to distinguish it 
 from all other red carnations, but would probably have avoided the 
 description of a green carnation. 
 
 On observing the actual practice of the two men we find that 
 the "characteristic detail" is, in general, introduced less strikingly 
 in the work of Flaubert than in that of Maupassant. Its functions 
 in either case are various. By Flaubert it is sometimes used to 
 unify a description, all other details being made subordinate to it. 
 For instance, at the beginning of the third chapter of Salammho, 
 Carthage is depicted according to the lights and shadows caused by 
 the moonlight falling upon it.^* Often, however, in this writer, the 
 multitude of minor details introduced in the effort after complete- 
 ness blurs the impression, so that it is difficult to distinguish a 
 "characteristic detail" if such is present.^^ In Maupassant, on the 
 other hand, owing to the constant use of the "characteristic detail," 
 outlines are sharp ; descriptions are easily grasped and, once grasped, 
 may usually be summarized in one or two words and remembered 
 without difficulty. Good examples may be found in almost any of 
 
 88 Corr., IV, 245. ^* Sal, pp. 55-56. 
 
 85 For example, M.B., pp. 130-31. Is the river the "characteristic detail" 
 of the scene here? 
 
THEORIES REGARDING LITERARY PROCEDURE 27 
 
 his works.^^ ; The "characteristic detail" is emphasized by both men, | 
 again by Maupassant more distinctly and more often than by Flau- I 
 bert, through recurring mention. An example is the repeated ref- | 
 erence, in Flaubert to the awkward and common personal appearance | 
 of Charles Bovary, which seems to symbolize that man's stupidity,^'' I 
 and in Maupassant to the elegance of Julien, which furnishes an I 
 indication, according as it waxes or wanes, of the state of the | 
 latter's amorous affairs.^^ Other examples from Flaubert are the 
 insistence on the lack of energy of Frederic Moreau in UEducation 
 sentimentale, the designation of the mercenaries in Hannibal's gar- 
 den each by a distinctive trait, and the use of the "characteristic 
 detail" as a conclusion in the case of Salammbo's veil floating behind 
 her when she is seen in the chariot.^® '^nrre^ipnnding- inrtnnrp^ 
 from Maupassant are the dwelling on Forestier's ill-health and M me 
 Forest ier's smile in Bel-Ami, the ch aracterizin g one by one o f the 
 travelers in the jiligence of Boule de Suif, and the concluding of the 
 story entitled Le Pere with a sentence giving the outstanding aspect 
 of the conduct of the "father. "^« 
 
 In order to accomplish distinctive as well as accurate presenta- 
 tion both Flaubert and Maupassant seek to avoid hackneyed expres- 
 sions. A certain use of "idees regues" is made, however, in Flaubert 
 and more occasionally in Maupassant in the conversations of per- 
 sonages to whom it is desired to give the characteristic of "betise." 
 Good examples are to be found throughout Bouvard et Pecuchet 
 and in the remarks of Homais, the Abbe Bournisien, etc., in 
 Madame Bovary. ^^ In Maupassant instances are to be sought among 
 ecclesiastical pronouncements, such as the address of the curS in 
 La Maison Tellier, or in the conversation of "gens du monde," like 
 that between the two women in the stagecoach towards the end of 
 Boule de Suif}^ 
 
 86 For example, the representation of the characters in Une Vie, pp. 3-46, 
 8-9, 30-34, 35, etc. 
 
 37 M.B., pp. 2, 59, 76, 85, 141, etc. 
 
 3« U.V., pp. 39, 57, 126, 131, 188, etc. 
 
 ^^L'£dS., pp. 12, 30, 32, 34-35, 92-93, no, etc.; Sal, pp. 3 and 25. 
 
 ^^B.-A., pp. 8-9, 120, 127, 191, etc.; 31, 33, 46, 64, 99, 119, 120, 126, etc.; 
 B.d.S., pp. 14-20 ; C.d.J.e.d.l.N., p. 44. 
 
 *i For example, B.e.P., pp. 4, 5, 8, 11, 17, 24, etc.; M.B., pp. 102-7, 156-59, etc. 
 
 ^^LM.T., pp. 37-38; Uy., p. 234; B,d.S., p. 7r, U.V., p. 136. 
 
28 FLAUBERT AND MAUPASSANT 
 
 Corresponding to the "characteristic detail" in description and 
 necessary for its delimitation is the "mot juste" in language. 
 Flaubert had said that it was time to give to art the precision of the 
 physical sciences.*^ Maupassant had maintained that art was 
 mathematical, and that great effects were to be obtained by simple 
 and well-combined means.** The "mot juste" is among the most 
 important of these means. Both men dwell on the subject, Maupas- 
 sant relating how Flaubert insisted upon precise expression.*^ With 
 the master the "mot juste" is usually connected with his idea of the 
 inevitable correspondence between sound and sense; with the pupil 
 the emphasis is rather on the actual just esse of the mot. The fol- 
 lowing quotations will illustrate what is meant. 
 
 Flaubert says : 
 
 Ce souci de la beaute exterieure que vous me reprochez est pour moi 
 une methode* Quand je decouvre une mauvaise assonance ou une repeti- 
 tion dans une de mes phrases, je suis sur que je patauge dans le faux; 
 a force de chercher, je trouve I' expression juste qui etait la seule et qui 
 est, en meme temps, I'harmonieuse.'^^ 
 
 Flaubert, then, finds the mot juste with the aid of the harmonious 
 word. 
 
 Maupassant, reporting Flaubert's advice to him, speaks as 
 follows : 
 
 Obsede par cette croyance absolue qu'i/ n'existe qu'une maniere 
 d'exprimer une chose, un mot pour la dire, un adjectif pour la qualifier 
 et un verhe pour I'animer, il se livrait a un labeur surhumain pour decou- 
 vrir, a chaque phrase, ce mot, cette epithete et ce verbe. // croyait ainsi 
 a une harmonie mysterieuse des expressions, et quand un terme juste ne 
 lui semblait point euphonique, il en cherchait un autre avec une invincible 
 patience, certain qu'il ne tenait pas le vrai, Tunique.*' 
 
 We find in these words the mot juste defined as "a noun, an adjec- 
 tive, or a verb." Otherwise the passage simply states again the 
 theory of Flaubert quoted in the preceding paragraph. 
 
 In another passage, after speaking of Flaubert, Maupassant 
 goes on with his special definition of the mot juste as "a noun, an 
 adjective, or a verb." He then continues : "II faut done chercher, 
 
 « Corr., Ill, 113. *« Corr., IV, 251. 
 
 ^^B.d.S.: Corr.,^.c\\\. ^"^ O. P., II: E.S.G.F., p. 130. 
 
 *5For example, P.eJ.: €L.R.,> pp. xxiv-xxv. 
 
THEORIES REGARDING LITERARY PROCEDURE 29 
 
 jusqu' a ce qu'on les ait decouverts, ce mot, ce verbe et cet adjectif, 
 et ne jamais se contenter de Va peu pres, ne jamais avoir recours 
 a des supercheries, meme heureuses, a des clowneries de langage 
 pour eviter la difficulte." *^ The mot juste is to be sought then, pre- 
 sumably, among the ordinary expressions of ordinary good usage. 
 In this and the following paragraphs Maupassant is deprecating 
 especially the employment of the "ecriture artiste" (like that of 
 the Goncourts and others supposedly)."*® We find in the same place 
 the additional idea that the relative position of a word must be 
 taken into account in determining its exact meaning. He seems 
 also towards the end of the passage, to advocate an attention to 
 sound similar to that of Flaubert. "Ayons," he says, "moins de 
 noms, de verbes et d'adjectifs aux sens presque insaisissables, mais 
 plus de phrases differentes, diversement construites, ingenieusement 
 coupees, pleines de sonorites et de rythmes savants." This sentence 
 reminds one not a little of the older man's attitude, quoted on a 
 preceding page. 
 
 In practice Maupassant here again, as in the case of the "char- 
 acteristic detail," often makes a deeper impression than Flaubert 
 because there is with him less softening down of the effect. Exam- 
 ples of the "mot juste" may be discovered on practically every page 
 of both writers. Study of its nature reveals the fact that it is, gener- 
 ally speaking, as Maupassant has told us it will be, "a noun, a verb, 
 or an adjective," more usually a verb or an adjective than a noun. 
 It is also sometimes an adverb. It is often a word used in the 
 ordinary sense, but when so it does not catch the attention, nor 
 indeed can it be expected to do so under such circumstances. We 
 are not particularly struck upon hearing a spade called a "spade," 
 although "spade" is no doubt the "mot juste" for that instrument. 
 The word which impresses us with its peculiar fitness for definition 
 of a person, an object, or a situation is very frequently one used 
 figuratively. Again the "mot juste" will at times be a phrase, where 
 one word does not seem to meet the occasion. The effort after this 
 "mot juste" results often in Maupassant, less frequently in Flaubert, 
 in the employment of a succession of words, usually verbs or adjec- 
 tives, aiming at the effect sought. Illustration of the "mot juste" 
 is difficult because of the great abundance of examples. It seems 
 necessary, however, because of the importance of the subject in the 
 
 ^^P.eJ.: 4:L.i^.,» p. XXV. ^^ /6td., pp. xxv-vi. 
 
30 FLAUBERT AND MAUPASSANT 
 
 doctrine of the two authors. An attempt will therefore be made 
 to illustrate the "mot juste" by means of the following examples, 
 chosen more or less at random. It has not been thought advisable 
 to include instances of words used merely in their ordinary sense. 
 The mot juste in Flaubert as a single word : 
 
 "Elle entrait dans quelque chose de merveilleux ou tout serait pas- 
 sion, extase, delire; une immensite hleudtre rentourait, les sommets du 
 sentiment ^/mc^/aiVn^ sous sa pensee ... " [Said of Emma at the begin- 
 ning of her intrigue with Rodolphe] (M.B., p. 225). 
 
 "... tout autour de la peninsule carthaginoise une ceinture d'ecume 
 blanche oscillait." [Of the waves breaking on the shore.] (Sal., p. 21.) 
 
 "Des candelabres, brulant sur les tables alignees dans toute la longueur 
 du vaisseau, faisaient des buissons de feux, ... " (T.C.: Herodias, p. 
 
 173). 
 
 "Emma, des le vestibule, sentit tomber sur ses epaules, comme un 
 
 linge humide, le froid du platre" (M.S., p. 117). 
 
 "Le ciel, d'un bleu tendre, arrondi comme un dome, s'appuyait a 
 I'horizon sur la dentelure des bois" {L'Ed.S., p. 469 y 
 
 " . . . le chagrin s'engouffrait dans son ame avec des hurlements doux, 
 comme fait le vent d'hiver dans les chateaux abandonnes" {M.B., p. 171). 
 
 "La conversation de Charles etait plate comme un trottoir de rue, 
 ... »' (M.R, p. 57). 
 
 "... puis venait une file de minces bouleaux, inclines dans des 
 attitudes elegiaques: ..." {L'Ed.S., p. 466). 
 
 The mot juste in Maupassant as a single word : 
 "U arsenal de Tesprit paysan fut vide" {C.d.l. Bee: Farce Normande, 
 p. 91). 
 
 "Un flot de soleil tombait sur la riviere endormie et luisante." [Of the 
 Seine on a hot day.] {Yvette, p. 56.) 
 
 "La torche . . . illuminait le grand rideaii de sapins" {U.V., p. 210). 
 
 "Le platane et le tilleul se devetaient rapidement sous les rafales'" 
 (C7.F.,p. 124). 
 
 "Le long de la route, I'herbe, que ne couvrait point encore I'ombre 
 impenetrable des cimes, etaite drue, luisante, vernie de seve nouvelle" 
 (iV.C, p. 230). 
 
 "II etait laid, noueux comme un tronc d'olivier." [Of Corsican ban- 
 dit.] (Au S.: Les Bandits Corses, p. 207.) 
 
 On reading the words italicized above, one has the feeling that 
 they are exactly the expressions required in the places where they 
 occur. Some examples will now be given of phrases as "mots 
 justes." 
 
THEORIES REGARDING LITERARY PROCEDURE 31 
 
 Flaubert : 
 
 "Ainsi se tenait, devant ces bourgeois epanouis, ce demi-siecle de servi- 
 tude." [This phrase is appHed to the old servant of the "Cornices" who 
 receives a medal for fifty years of slavish service.] {M.B., p. 209.) 
 
 "Quand elle eut ainsi un pen battu le briquet sur son coeur sans en 
 fair jaillir une etincelle, ..." [Of Emma, trying to "give herself 
 love."] {M.B., p. 61.) 
 
 Maupassant : 
 
 "Dans cet apaisement du soleil absent, toutes les senteurs de la terre 
 se repandaient." [The phrase in italics describes the peace of night.] 
 (U.V.,p. 18.) 
 
 "Une grosse femme, bdtie en forteresse, remplaqait Rosalie ..." 
 {U.V., p. 186). 
 
 Besides striking combinations of words, such as are illustrated 
 above, both Flaubert and Maupassant employ somewhat vague 
 phrases which seem to contain rather an effort after the "mot juste" 
 than the attainment of it. Examples are given below. 
 
 Flaubert : 
 
 "Quelque chose des vitalites planetaires le penetrait. ..." [Said 
 of Hannibal meditating in the "maison-amiral."] {Sal, p. 142.) 
 
 "C'etait comme une montagne lumineuse, quelque chose de surhumain, 
 ecrasant tout de son opulence et de son orgueil." [Said of the Temple, 
 seen by Herod from his citadel.] {T.C.: Her., p. 141.) 
 
 Maupassant : 
 
 " ... sa voisine, . . . portait en elle ce quelque chose de fripe, d'arti- 
 ficiel qu'ont, en general, les anciennes actrices, ..." (B.-A., p. 75). 
 
 Maupassant frequently uses "une sorte de" in such phrases, 
 instead of "quelque chose de." 
 
 "Le murmure des voix montait, . . . une sorte de poussiere de bruit." 
 [Of voices of crowd heard from some distance.] (M.-O., pp. 38-39). 
 
 The use of a succession of words in striving for the mot juste 
 is much more common in Maupassant than in Flaubert, but is 
 occasionally found also in the latter. 
 
 Flaubert Maupassant 
 
 Elle entrait dans quelque chose II lui demandait conseil, pitie, 
 
 de merveilleux ou tout serait pas- secours, protection, consolation, 
 
 sion, extase, delire. [M.5., p. 225] . . . [L'l.B., pp. 54-55]. 
 
32^ FLAUBERT AND MAUPASSANT 
 
 We come now to consider the attitude of the two writers on the 
 question of beauty in general effect apart from the specific details 
 producing the result. This was the supreme concern of Flaubert. 
 Form and idea were indeed, in his eyes, inextricably interdependent, 
 but, of the two, form was the more important.^" He seems to have 
 . imagined "style" as something abstracted from and superior to the 
 content which it clothed. There was, however, in practice an. un- 
 breakable connection between sound and sense, between the mot 
 euphonique and the mot juste. His final test for accuracy of expres- 
 sion was to read a passage aloud. If, thus read aloud, it did not 
 satisfy his fastidious ear, he set to work to alter it. He says him- 
 self : "Les phrases mal ecrites ne resistent pas a cette epreuve ; elles 
 oppressent la poitrine, genent les battements du coeur, et se trouvent 
 ainsi en dehors des conditions de la vie." ^^ All this shows flaubert!^.. 
 extreme care for the rhythm of his prose. From what he has said 
 in other passages we gather the idea that style was to him that part 
 of an author's work where the intangible something which we call 
 "genius" would become apparent. "Dans la precision des assem- 
 blages, la rarete des elements, le poli de la surface, I'harmonie de 
 I'ensemble, n'y a-t-il pas une vertu intrinseque, une espece de force 
 divine, quelque chose d'eternel comme un principe?"^^ He even 
 goes so far as to declare : 
 
 Ce qui me semble beau, ce que je voudrais faire, c'est un livre sur rien, 
 un livre sans attache exterieure, qui se tiendrait de lui-meme par la force 
 interne de son style, comme la terre sans etre soutenue se tient en I'air, 
 un livre qui n'aurait presque pas de sujet ou du moins ou le sujet serait 
 presque invisible, si cela se peut. Les oeuvres les plus belles sont celles 
 oil il y a le moins de matiere ; plus Texpression se rappoche de la pensee, 
 plus le mot colle dessus et disparait, plus c'est beau.^^ 
 
 Maupassant, reporting Flaubert, notes the fact that to the latter 
 the form was the work itself, and form and content were inter- 
 dependent.^* He furnishes us besides with a description of Flau- 
 bert's process of reading aloud (to which the word "gueuler" is 
 attached by those who mention it, Flaubert himself included). 
 
 Quelquefois . . . il prenait la feuille de papier, I'elevait a la hauteur 
 du regard, et s'appuyant sur un coude, declamait d'une voix mordante 
 
 ^^Corr., I, 196, 244; II, 129, 426, 430, etc.; Ill, 113, 162, 268; IV, 246. 
 
 51 Corr., IV, Appendix, p. 457. ^s Corr., II, 86. 
 
 52 Corr., IV, 252-53. 5* O.P., II : E.s.G.F., pp. 129-30. 
 
THEORIES REGARDING LITERARY PROCEDURE S3 
 
 et haute. II ecoutait le rythme de sa prose, s'at'retait comme pour saisir 
 une sonorite fuyante, combinait les tons, eloignait les assonances, dis- 
 posait les virgules avec science comme les haltes d'un long chemin.^^ 
 
 After having once discovered a harmonious phrase Flaubert 
 found it, says Maupassant, impossible to change, even where such 
 change would have been to the advantage of the sense.^^ He quotes 
 a long pronouncement of Flaubert's on the rare difficulty and dignity 
 of rhythm in prose. ^^ He gives also two definitions of what seems 
 to him to be Flaubert's conception of style. In one place he says 
 that style to Flaubert is not a mere matter of words but includes all 
 the qualities of the thinker and writer.^^ In another passage on the 
 same page he distinguishes between "styles" — the separate manners 
 of writing peculiar to separate individuals — and "style" — something 
 which has almost a being of its own apart from content, and which 
 does not vary from one author to another. It seems here to 
 mean rather what we should call "the inspiration of genius" than 
 anything else. The two definitions are not necessarily contradictory, 
 but the latter seems to come nearer than the former to what we 
 have seen to be Flaubert's own idea of "style." 
 
 Maupassant, when he comes to speak for himself, says that the^ 
 true power of literature lies not so much in what is said as in the J 
 method of preparation and presentation. The expression must accord .; 
 with the idea, such agreement possessing a certain beauty not per- '} 
 ceptible by the crowd.^^ 
 
 As we turn now from theory to practice a general perusal of 
 the works of the two men leads to the impression that their styles 
 are, on the whole, not closely similar. One misses, for example, 
 in the precision of the younger man the general romantic atmosphere 
 of the typical Flaubertian passage. Neither does one usually find 
 in Maupassant the striking phrases with rhythmical effect common 
 especially in the earlier work of the older writer. Where one does 
 find such phrases, contrary to custom, in Maupassant, one might 
 be led to suspect an influence, especially where thought or wording 
 or both are at all alike. The two following phrases suggest such 
 a resemblance : 
 
 25 Ibid., p. 131. 58 Jbid., p. 129. 
 
 56 Ibid., p. 132. 59 ji^id^^ p. 128. 
 
 57 Ibid., pp. 132-33. 
 
34 FLAUBERT AND MAUPASSANT 
 
 Flaubert Maupassant 
 
 L'oblique genuflexion des de- L'onde onctueuse des consola- 
 
 vots presses [M.B., p. 331]. tions ecclesiastiques [U.V., p. 233]. 
 
 The rhythm of these two phrases is very similar, and the ideas 
 are at least related. 
 
 In two other respects there is a resemblance between Flaubert 
 apd Maupassant in point of style. On the one hand, both attain to 
 a considerable degree of "justesse" of tone as well as of word. As 
 examples from Flaubert one might cite the generally poetic effect 
 of La Legende de Saint Julien I'Hospitalier compared with the sim- 
 plicity of Un Coeur simple. The same quality is very evident in 
 practically all of Maupassant's stories of peasant life, as, for in- 
 stance, in the laconic recital of the accident in En Mer, or in the 
 familiar conversation of La Bete a Matt' BelhVmme.^^ On the other 
 hand, there is frequently a disparity more or less distinctly felt 
 between style and subject. In Flaubert we have, as in Madame 
 Bovary, the opposition between romantic style and commonplace 
 subject ; in Maupassant we meet often the contrast between charm- 
 ing style and utterly disagreeable subject. Both men employ many 
 similar technicalities of style ; these will be taken up in later 
 paragraphs.®^ 
 
 The two authors agree that there must be harmony between word 
 and idea, not only in separate passages of a work but also throughout 
 the whole work. Such unity is frequently attained through the 
 ironical presentation of Hfe, which results in large measure from the 
 scorn of humanity entertained by either. Nothing escapes their 
 irony ; all classes, all conditions, all situations, and all events touched 
 by them come alike under the lash. In expressing itself this irony 
 assumes various forms. Sometimes it manifests itself in circum- 
 stances. People are constantly being duped or disenchanted. Emma 
 Bovary, for example, despises the one man who ever truly loves 
 her and seems to be touched by some faint realization of her mis- 
 take only at the eleventh hour.®^ Mme Loisel wears herself out in 
 order to replace a necklace which turns out to have been of false 
 
 ^^ C.d.lBec, pp. 129-39; M.Par., pp. 79-91. 
 
 ®^ After Madame Bovary the style of Flaubert tends to lose its figurative 
 quality, so that in his later works it approximates the dryness and simplicity 
 of Maupassant's manner. 
 
 «2M.5., pp. 437, 438. 
 
THEORIES REGARDING LITERARY PROCEDURE 35 
 
 stones, and is informed of the fruitlessness of her labor only after 
 she has lost forever youth, beauty, and happiness.^^ Sometimes the 
 ironical effect is increased by a process of cumulation, as in Boule de 
 Suif, where the "respectable" characters appear one after another 
 as knaves and hypocrites beside the woman they despise, or in 
 Bouvard et Pecuchet, where Flaubert takes up successively the dif- 
 ferent departments of human thought, only to show the folly of all. 
 The idea that thought is one of the worst things in life because it 
 makes men wretched is expressed in so many words towards the 
 beginning of this book, and occurs more than once in Maupassant.^* 
 An illustration of its acceptance by both men is that they describe 
 most sympathetically those characters least distinguished by think- 
 ing — the simple, animal-like peasants. In the pursuit of irony the 
 characters are sometimes made to say ridiculous things ; for instance, 
 in the manner of Homais and the Homais-like personages in Mau- 
 passant.^^ Sometimes a remark by the author supplies the point of 
 irony, as where Arnoux is said to seek "le sublime a bon marche," 
 or where "mon oncle Sosthene" is described as "libre penseur par 
 betise."®^ The effect of much of the irony of both authors is that of 
 sardonic humor — an attribute of authorship which Flaubert expresses 
 himself as desirous of developing in order to accomplish the ironic 
 picture after which he strives. Maupassant thinks that his master 
 has attained this particularly in Bouvard et Pecuchet. The passages 
 expressing these ideas are as follows : 
 
 Flaubert Maupassant 
 
 Le comique arrive a rextreme, Maupassant finds in Bouvard et 
 
 le comique qui ne vous fait pas Pecuchet "un comique tout particu- 
 rire, le cynisme dans la blague, est Her, un comique sinistre" \_0.P., II, 
 pour moi tout ce qui me fait le plus 105]. 
 envie comme ecrivain [Corr., II, 
 140]. 
 
 Even in less apparently ironical humorous situations in Maupas- 
 sant there is often a sting in the very extremity of the absurdity.^^ 
 
 ^^C.dJ.e.d.l.N.: La Parure, pp. 69-74. 
 «-* For example, B.e.P., p. 13; L'LB,, pp. 30-31 ; B.-A., p. 211. 
 65 For example, M.B., pp. 111-12, etc.; C.d.L.: Un Coup d'etat, pp. 3-31, 
 32, etc. 
 
 ^^U£dS., p. 56; LS.R.: M.OS., p. 109. 
 
 6'^ For example, Toine; Marius in Une Vie, pp. 132-33, 139; etc. 
 
36 FLAUBERT AND MAUPASSANT 
 
 Maupassant is at times frankly and gratuitously vulgar,*^ or exhibits 
 a coarseness which appears also in Flaubert, and from which he was 
 at least not discouraged by the latter.^^ In the later works of 
 Maupassant and to a much smaller degree of Flaubert, as sympathy 
 increases irony tends to disappear, although never perhaps entirely 
 absent.'^" 
 
 With regard to subjects, both men hold that any subject is 
 admissible, but that the author should choose what is suited to his 
 temperament/^ Flaubert concedes so much to temperament that he 
 declares subjects are not chosen but impose themselves through 
 its influence. Masterpieces may be written on any subject, even the 
 most insignificant and vulgar. The author, seeing that he is to be 
 controlled by his own temperament, must be free from the interfer- 
 ence of external criticism. In these points Maupassant agrees with 
 his master either explicitly or implicitly. Upon investigation we dis- 
 cover that the subjects actually selected by the two are for the most 
 part "realistic" — the representation of middle-class mediocre human- 
 ity in the provinces or in Paris, of the peasant on his native soil, of 
 the government functionary in the performance of his monotonous 
 duties, of illicit love, of birth, marriage, and death. Even in the pic- 
 turing of more "far-off" matters, as in Salammho or in Maupassant's 
 stories of fanciful beings or occurrences,^^ the "realistic" method is 
 used, such procedure and details being adopted in presentation as 
 will give the impression of actual fact. What the method of devel- 
 opment is will be discussed in the succeeding chapter of this thesis. 
 
 If all subjects are equally worthy, and if form is the supreme con- 
 cern of art, it will follow that the artist will write for the sake of art 
 alone. As a matter of fact, Flaubert held very strongly the theory 
 of "art for art's sake," of the non-concern of art with morality or 
 utility. Maupassant thus sums up his master's teaching on this mat- 
 ter: All great writers have protested against making their works 
 didactic. Principles are indispensable to the social order, but letters 
 and the social order have nothing in common. The chief concern 
 
 «8 For example, certain elements in the story of Toine. 
 «» For example, Sal, p. 153 ; S.l'E., p. 103. 
 ^0 See above, pp. 21-24. 
 
 " Corr., II, 82, 84-85, 86-87, 293; III, 147, 304, 542; IV, 255; P-eJ.: ^L.R.,> 
 pp. vii-viii, x; Mile P.: R. d M.F.S., pp. 275 ff. 
 '2 For example, Le Horla, pp. 3-48. 
 
THEORIES REGARDING LITERARY PROCEDURE 37 
 
 of novelists is to observe and describe human passions, good or bad. 
 Their mission is not to moralize or instruct. Every book advocating 
 a cause ceases thereby to be an artistic book.^^ 
 
 Finally both men were conscious of the fundamental need of pro- 
 longed and incessant work in order to attain success in writing. Both 
 exemplified this belief in practice. Maupassant records the fact of 
 Flaubert's unremitting labor ;^* we have noted above the latter's 
 advice to the former on the necessity of work;^^ and the younger 
 man himself must have undergone extreme toil in order to complete 
 what we have from his pen within the space of his comparatively 
 short literary career. 
 
 In considering the literary theories of Flaubert and Maupassant 
 reference has been made only to such beliefs as the two hold in com- 
 mon. We have not attempted to give a complete statement of the 
 doctrine of either. Yet what has been said includes the more impor- 
 tant tenets of both. We have seen how, in some cases, Maupassant 
 develops a particular aspect of a theory further than does Flaubert 
 and perhaps passes lightly over what the latter emphasizes. A good 
 example of this is to be found in the case of the mot juste, where, 
 as we saw, Maupassant dwells upon the justesse of the mot, Flaubert 
 rather upon its euphony. In general we may say that Maupassant's 
 theory, with its insisting upon but one or two points, is less elabo- 
 rately worked out than Flaubert's. In practice the theory of each 
 expands or becomes more clearly differentiated. Impersonality, for 
 instance, is found to present different aspects or different degrees 
 of intensity, "nature" to have a certain specific meaning. On 
 the whole the case for the influence of one man on the other is 
 strengthened when theories which in their statement might have 
 indicated merely repetition of the one by the other are observed to 
 be effectively operative in both. 
 
 73 O.P., II, 97- 
 
 74 Ibid., pp. 124, 130, 134-35. 
 ''^ See above, p. 6. 
 
CHAPTER IV 
 
 UKENESS IN EMPLOYMENT OF GENERAL 
 REALISTIC DEVICES 
 
 Besides the literary devices of Flaubert and Maupassant already 
 discussed, which result from the theories definitely stated by them, 
 there are additional literary procedures employed by both which, for 
 the most part, they share in common with the other realists of the 
 day. In tracing the relationship between the two men it would not 
 be wise to omit consideration of such procedures, for certain of them 
 may come from the one to the other instead of being a common 
 heritage. In any event, when taken along with less disputable cases 
 of influence, the assemblage of them will possess a cumulative weight 
 of proof for the relationship. 
 
 Many of these procedes, now to be considered, may be grouped 
 together under the head of "realistic details." The first of these 
 details is the practice of beginning in medias res, which is the usual 
 procedure of both men in their novels and a frequent one of Maupas- 
 sant's in his short stories. Closely akin to this is the ending with a 
 kind of "broken-off " effect, leaving in the reader's mind the idea of 
 an action still continuing, as in real life. So conclude Flaubert's 
 Madame B ovary, U Education sentimentale, and Herodias, and Mau- 
 passant's Notre Coeur, Pierre et Jean and Bel-Ami, besides some of 
 the latter's short stories.^ 
 
 Definite time indications are exceedingly common in both authors. 
 The year, the month, the day, the hour, of an event is often men- 
 tioned with extreme exactitude. In some stories one can date exactly 
 or approximately almost every episode. Examples would be Un 
 Coeur simple and Une Vie. On the other hand there are narratives 
 with little or no definite dating, like Flaubert's Saint Julien I'Hos- 
 pitalier or Maupassant's Mont-Oriol. Dating is often from the age 
 of a character or characters,^ or from a well-known and definitely 
 fixed event — a historical fact, for instance, such as some political 
 
 1 For example, in C.d.L., Un Coup d'etat, Le Pere, etc. 
 
 2 See Un Coeur simple and Une Vie, already mentioned, where some of the 
 definite dating is done through mention of ages. 
 
 38 
 
LIKENESS IN GENERAL REALISTIC DEVICES 39 
 
 occurrence. L'Education sentimentale furnishes many examples of 
 this latter method, as do also Maupassant's stories of the Franco- 
 Prussian War.^ Lapse of time is sometimes denoted in so many 
 words,* sometimes implied through the use of the imperfect tense 
 or in the multitude of happenings.^ Occasionally it is suggested by 
 the reappearance of some thing to which attention has been called 
 before, and which has then been lost from view for a time. An 
 example in Flaubert is the wedding bouquet of Madame Bovary, put 
 aside by her on the evening of her arrival in Tostes, and discovered 
 in a drawer when she is about to leave the place, after long-continued 
 experience of disenchantment.^ A similar instance in Maupassant is 
 furnished by the calendar marking for Jeanne the day of her depar- 
 ture from school life to expected happiness in the future, which, 
 found by her, with other calendars, in the attic, after long years of 
 disappointment, is utilized in her effort to reconstruct the past.^ The 
 actual mention of the time in both writers is often made in the most 
 casual way, as befits the realistic method. "Un apres-midi (c'etait le 
 20 Janvier 1839), Bouvard etant a son comptoir regut une lettre, 
 apportee par le facteur."® "C'etait en 1827, au mois de juillet. Je me 
 trouvais a Rouen en garnison."^ 
 
 A special method of time indication, perhaps more distinctive of 
 Flaubert and Maupassant than those already discussed, is that given 
 by means of some happening denoting the season of the year. This 
 is fairly frequent in Flaubert, and it is possible that Maupassant may 
 have taken it from him. Well-known examples are the splashing of 
 drops of melting snow on Emma's parasol, and the falHng of the ripe 
 peach from against the wall when Rodolphe and Emma are in the 
 garden together.^*^ A frequent instance in Maupassant is the rather 
 commonplace mention of falling leaves to suggest the autumn sea- 
 son.^^ The "heavy heat" of summer is noted by both men.^^ Some- 
 
 3 For example, L'Ed.S., pp. 38 ff., 311, 409 flf., 456 ff., 475 ff-; Mile F., pp. 
 3-27; Mile F.: Deux Amis, pp. 209-21. 
 
 4 T.C.: U.C.S., p. 57; U.V., p. 288. 
 
 5 For example, T.C.: SJ.VH., pp. 82-89, etc.; M.-O., pp. 121 ff., etc. 
 « M.B., pp. 44-45, 94- ^ B.e.P., p. 14. 
 
 7 U.V., pp. 2, 367. 9 C.d.L.: Apparition, p. 157. 
 
 ^^M.B., pp. 23, 275; cf. Brunetiere, Le Roman naturaliste, pp. 181-83. 
 
 11 For example, U.V., pp. 118- 19; L.p.R., pp. 32-33; etc. 
 
 12 For example, M.B., p. 284; L'£dS., pp. 466-67; U.V., p. 70; L.M.T.: 
 En Famille, p. 137. 
 
40 FLAUBERT AND MAUPASSANT 
 
 times the time of day is indicated thus characteristically, as well as 
 the time of year. Both men, for instance, call attention to another 
 generally observed circumstance, the "peeping" or fluttering of the 
 birds in the very early morning.^^ 
 
 A common method of giving vividness to a narration is that of 
 "taking things for granted," explanation being omitted, as if one were 
 dealing with a well-known object or current event. Flaubert has 
 sometimes carried this practice so far that the result is a sense 
 of vagueness, present, for instance, on reading many passages of 
 Salammbo}^ When not pushed to excess, however, the procedure 
 lends an effect of reality to a picture, the author, as it were, asso- 
 ciating the reader with himself in his knowledge. A good example 
 is the introduction of Charles Bovary into the schoolroom at the 
 beginning of Madame Bovary, when the writer and others are sup- 
 posed to be witnesses of his advent.^^ Another instance in the same 
 book is the mention, without comment, of the "pavilion at the angle 
 of the wall," to which Emma directs her solitary walks at Tostes. 
 The practice of participation by the author is common in Maupassant, 
 one of whose regular precedes is to begin the relation of an adventure 
 as if it were something pertaining to current gossip, or an incident 
 told among friends. His "I" corresponds in these cases to Flaubert's 
 "we" at the beginning of Madame Bovary. His own creations are 
 brought in as if they were events known in the world familiar to 
 author and reader alike.^® 
 
 Another device used by both men is to relate a description to life 
 by means of some picturesque or vivid detail. For instance, when 
 the river at Yonville-l'Abbaye is pictured, we are told that it is there 
 that the boys of the neighborhood fish. Sometimes a detail of this 
 kind seems to obtrude itself unnecessarily upon our notice, as in the 
 case of the blue seal upon the letter brought to Charles Bovary by 
 night from "Les Bertaux."^^ In Maupassant the procedure is fre- 
 quent. Here is an example taken from the opening paragraph of 
 Notre Coeur: "Un jour Massival, le musicien, le celebre auteur de 
 
 IS For example, M.B., p. i6 ; U. V., p. 22. 
 1* For example, beginning of Sal. ^^ M.B., p. i. 
 
 18 For example, MJPar.: L'Inconnue, p. 109, L'&pingle, p. 187, Ca ira, 
 p. 233 ; Le Horla, etc. 
 
 17 M.B., p. 95 ; ibid., p. 15. 
 
LIKENESS IN GENERAL REALISTIC DEVICES 41 
 
 «Rebecca:», celui que, depuis quinze ans deja, on appelait <de jeune et 
 illustre maUre», dit ... " What seem at first sight to be superfluous 
 details are much less common in Maupassant than in Flaubert. The 
 following is an example of what might be called one. Boule de Suif 
 has just offered M. Loiseau some of her chicken "... sur la pointe 
 d'un couteau toujoiirs loge dans sa poche, il enleva une cuisse toute 
 vernie de gelee . . . "^^ 
 
 In the works of both Flaubert and Maupassant there is consider- 
 able employment of technical detail of various kinds. Medical and 
 pathological particulars, frequently used with caricatural intent, are 
 found in connection with the "pied bot" of Madame Bovary, with the 
 diphtheria case of UEducation sentimentale , with the mineral springs 
 of Mont-Oriol, with the folly of Madame Hermet, as well as in many 
 other places.^^ Financial items in the matter of business dealings, of 
 inheritances, and of other money transactions recur constantly in 
 Flaubert's novels and in Maupassant's romans and nouvelles. Ex- 
 amples are the manoeuvres of Lheureux, of Frederic, of Bel-Ami, of 
 Andermatt, and of many others.^*^ Various other scientific or pseudo- 
 scientific details are largely used by Flaubert, as in the erudite disser- 
 tations of Salammbo and the absurd discussions of Bouvard et 
 Pecuchet. Nearest to these in Maupassant are the many local words 
 employed, without explanation, in the accounts of the latter's trav- 
 elings in Algeria.^^ 
 
 Particulars regarding food, costume, furniture, especially when 
 these are of unusual kinds, are very common in Flaubert, and less 
 common, though still constantly discoverable, in Maupassant. De-.^ 
 scriptions of such things in the latter, where they are found, ar^ 
 less extensive than in the former, Maupassant seeming to be hejfe 
 less "bourgeois" in his interest than Flaubert. Examples of ihi 
 details under discussion are to be found in the accounts of the feasti 
 and of the costumes of the heroines in Madame Bovary and 
 
 ^^B.dS., p. 25. I 
 
 ^^M.B., pp. 241-58; U£dS., pp. 401-4; M.-O., pp. 221-30, etc.; L.M.G.: 
 
 Madame Hermet, pp. 253-67 ; Sal, p. 45, etc. ; S.L'E., pp. 85-92 ; etc. 
 
 20 M.B., pp. 13, 25, 262-63, etc. ; Sal, pp. 78-84, etc. ; L'^dS., pp. 139-40, etc. ; 
 
 B.e.P., pp. 14-17, etc.; B.-A., pp. 127-28, etc.; M.-O., pp. 11, 29, 178-79, etc.; 
 
 M. Har.: U Heritage, pp. 88-89, etc.; U.V., pp. 306-7; etc. 
 
 21 For example, Au S., p. 37, "le goum de I'agha de Saida" ; p. 40, "bien au 
 
 dela du chott" ; etc.; cf. Kipling. 
 
42 FLAUBERT AND MAUPASSANT 
 
 Salammho, as well as of the house- furnishings in both books." 
 Instances of the same kind of thing in Maupassant are the descrip- 
 tions in Notre Coeiir of the dinner given by Mme de Burne, and of 
 the fittings of that lady's house.^^ Some specific details, such as the 
 use of the word "acajou" in connection with furniture, and the 
 introduction of secretaries, with or without secret drawers,^^ which 
 are similar in the two men, are probably to be attributed to a common 
 acquaintance with prevailing fashion. 
 
 There is frequent reference in both authors to historical events. 
 Sometimes this mention is confined to the giving of the date or the 
 naming of the event.^^ Sometimes the fortunes of the personages 
 are closely related to the historical situation, reference to the charac- 
 ter being interwoven with description of the fact, as in numerous 
 passages of ^Education sentimentale or in Maupassant's stories of 
 the War of 1870.^® Sometimes extracts from history are given in con- 
 nection with descriptions of places. Par les Champs et par les Greves 
 furnishes good examples of this.^^ Some instances are found in 
 Maupassant's accounts of his travels.^^ An episode of Norman life 
 calls forth from him also on one occasion some facts of Norman 
 history.^^ A very frequent form of historical reference in the works 
 of the two authors, accompanied sometimes by citations, is that to 
 well-known writers or other famous men, both contemporary and 
 belonging to the past — for example, to Sir Walter Scott, to Rousseau, 
 to Voltaire, to Robespierre, to Napoleon, to Balzac, etc.^^ Perhaps 
 
 22 For example, M.B., pp. 38-39, 43-45, 69, 83, 179, etc.; Sal, pp. 4-5, M, 
 103-4, 248-49. 
 
 ^^B.-A., pp. 120-21, 123, 125; N.C., pp. 15, 38, 48, 80, 146, 185, 192-93, etc.; 
 N.C., pp. 5-7. 
 
 24 For example, M.B., p. 366; M.-O., p. 70; U.V., p. 33; M.B., p. 478; U.V., 
 pp. 33, 240. 
 
 25 For example, U.C.S., p. 42; L'£dS., pp. 424-25, etc.; C.d.lB.: Saint- 
 Antoine, p. 223; L.V.E., pp. 109-10. 
 
 ^^L'£dS., pp. 409, about 500, etc.; B.d.S.: S.-A.; etc. 
 
 27 P.l.C.e.p.l.G., for example, pp. 13-17, 19, 52-53, etc. 
 
 28 For example, Au S., pp. 186, 217-30, etc. 
 29L./e.(f.M.//., pp. 32-33. 
 
 30 For example, M.B., pp. 51, 80, 81, 115, 125, 147, 244, etc.; L'£d.S., pp. 15, 
 19, 21, 39, 41-42, 105, 195, etc. ; Sal., pp. 144-45, 3i8-i9, 335, etc. ; B.e.P., pp. 5, 97, 
 137, etc.; U.V., pp. 3, 33; B.-A., pp. 93-94, 197; M.-O., pp. 114, 151; M. Par., 
 pp. 255, 264, 268; L.R.d.M.H., pp. 261-62; etc. 
 
LIKENESS IN GENERAL REALISTIC DEVICES 
 
 43 
 
 here might be included Maupassant's mention of Flaubert once or 
 twice in a rather gossiping way, to tell how he met certain people at 
 Flaubert's, or how the latter made such and such a remark on such 
 and such an occasion.^^ In one passage Maupassant narrates a visit 
 to the puppet-show of " Saint- Antoine" with Flaubert and Bouilhet, 
 linking this and other visits thereto with the remembrances of his 
 childhood.^^ Of historical import also for the period to which they 
 belong, even if not unique of their kind, are the pictures given by 
 Flaubert and Maupassant of contemporary life, whether in France or 
 abroad. 
 
 Throughout their works both authors note the sounds proper to 
 their descriptions. Sometimes we are invited to listen to the animals 
 in the country, especially to the crowing of cocks and the barking of 
 dogs.^^ Sometimes it is the ringing of bells that we hear, or the 
 passing of vehicles, or the confused murmur or more definite noises 
 of a city.^* Sometimes a character pays attention to the beating of 
 her own heart.^^ Very often the effect of the sound is heightened 
 through being opposed to the impression of silence or of silence and 
 darkness. Most frequently mentioned in this connection is the strik- 
 ing or ticking of a clock or watch in the stillness of night, often in a 
 death chamber.^^ Silence is occasionally emphasized, on the other 
 hand, through the contrast with slight noises, such as those made by 
 the little wild creatures in the underbrush at night, or by the mys- 
 terious denizens of the sea.^^ 
 
 As well as to sounds, Flaubert and Maupassant call attention very 
 frequently to odors, pleasant or unpleasant, natural or artificial.^® 
 
 31 For example, Au S., pp. 7, 191, 196; M. Par., p. 264; L.p.R., p. 269. 
 ^^L.R.d.M.H.: Souvenirs, pp. 237-44. 
 
 33 For example, M.B., pp. 17, 18, 190, 203, 221, 466; Utd.S., pp. 463, 467; 
 U.CS., pp. II, 14; U.V., pp. 19, 21-22, 50, 119, 134, 343; C.d.l.B.: Pierrot, pp. 
 51-57, Les Sabots, p. 99, Un Coq chanta, pp. 184, 188, 191, L'Aventure de Walter 
 Schnaffs, p. 241, La Tombe, p. 253 ; and so on. 
 
 34 For example, M.B., pp. 153, 364, 393, 80, 353; L'&d.S., pp. 70, 71, 7^^ etc.; 
 Mile. P., p. 26; B.-A., pp. 50, 53; U.V., p. 354; N.C., p. 71 ; etc. 
 
 35 For example, M.B., pp. 438-39; U.V., p. 19. . 
 3«M.5., p. 454; P.e.J., p. 113; etc. 
 
 ^"^ M.B., p. 275; U.V., pp. 18-19; L.p.R.; L'Bpave, pp. 79-80. 
 
 38 For example, Sal, pp. 34, 56, 61, 94-95, 132, 178-79, 247, etc.^ M.-O., 
 pp. 96, 101, 103; B.-A., p. 45; C.d.L.: En Voyage, pp. 244-45; etc. 
 
44 FLAUBERT AND MAUPASSANT 
 
 The word "nauseabond" is common in both.^® The effect of odors on 
 man is observed.*" 
 
 Much space is likewise given to color. Sometimes color is piled 
 upon color,*^ this being done in places in order to produce a ridiculous 
 or ironical effect. Thus Charles Bovary, on his first appearance, is 
 decked out in an absurd combination of colors.*^ Thus also the 
 tapestries in Jeanne's room are executed according to a most bizarre 
 color-scheme.*^ In this latter passage it almost seems as if Maupas- 
 sant were making fun of the practice of adding color to color. Fre- 
 quently two contrasting colors are mentioned together, as in the case 
 of the pigeons of Madame Bovary and Boule de Suif}^ 
 
 Enumerations are frequent in the writings of the two men. In 
 Flaubert their more usual form is that of a piling up of different 
 details in an effort after completeness. A good example is furnished 
 by the account of the precious stones in the caverns of Hannibal, 
 where an attempt is made not only to mention as many different kinds 
 of gems as possible but also to differentiate them according to origin 
 and the nature of the reflection they cast.*^ In Maupassant generally 
 and occasionally in Flaubert enumerations consist of a bringing 
 together of similar details in order to give prominence to some par- 
 ticular point.*® The effect resulting from the former type of 
 enumeration tends to be that of vagueness ; from the latter, that of 
 emphasis. Instances are the naming of many animals in La Legende 
 de Saint Julien VHospitalier,'^'' in order to portray the orgy of 
 slaughter in which Julien indulges, and the noting of the multitu- 
 dinous flowers and insects in the thicket visited by Jeanne and Julien, 
 in order to produce the impression of heat and swarming life.*® 
 
 When an author restricts himself in explanation or description to 
 those things alone which may be perceived by the senses, it seems 
 
 8»For example, Sal, p. 34; L.V.E., p. 147; S.l'E., p. 103; etc. 
 
 *o For example, M.B., pp. 288-89; L.p.R.: Sauvee, p. 175. 
 
 *i For example, Sal, p. 176 ; M. Par., p. 58. 
 
 42 M.B., p. 2. « (7.^,^ pp. 14.15. 
 
 **M.B., p. 150, "leurs pattes roses et leurs ailes blanches"; B.d.S., p. 71. 
 "une armee de pigeons blancs, . . . , avec un oeil rose (tache, au milieu, d'un 
 point noir) ." 
 
 *5 Sal, p. 176. 
 
 « For example, M.B., pp. 3, 10, 36; Sal, p. 176; U£dS., pp. 47-48, 51 ; T.C.: 
 L.L.dSJ.VH., p. 91; U.V., pp. 50-51; B.-A., pp. 56, 106, 136; etc. 
 
 *7 Page 91. 48 U.V., pp. 50-51. 
 
LIKENESS IN GENERAL REALISTIC DEVICES 45 
 
 inevitable that he should have to explain or describe through sugges- 
 tion the many things which lie beyond the domain of the senses, but 
 which he cannot help introducing because they are inseparable from 
 life. Hence the large use of symbolic expression in Flaubert and 
 Maupassant as in other realistic writers. Hence also, resulting per- 
 haps in part from the implications of such expression, a certain con- 
 fusing of the departments of life, men being represented as animals, 
 animals and things^«fiJmmajn^^Such representation is common in the 
 two authors under consideration. 
 
 Of pure symbolism there are examples on almost every page of 
 the works ot born. In Flaubert we have, for instance, Emma 
 Bovary's wedding bouquet as the symbol of her early hopes and 
 their disappointment, or the "zaimph" as the symbol of the power of 
 Carthage.*® In Maupassant's Bel-Ami the train is the symbol of 
 Duroy's progress.^'' Or the symbolical thing may be an act or an 
 event, as where the horse of Charles shies on being turned for the 
 first time into the yard of the Bertaux farm, or where the rain at the 
 beginning of Une Vie forms the first great sorrow of Jeanne's exis- 
 tence and suggests what is to come.^^ In one of Maupassant's short 
 stories the song of a nightingale symbolizes the passages in a love 
 affair taking place within sound of the song.^^ Sometimes one of the 
 personages is made symbolical. Thus the old servant of the "Comices 
 agricoles" embodies the servitude of the peasant woman, and the 
 dumb shepherd Gargan in Les Becasses, who is always knitting, rep- 
 resents the unchangingness of peasant life and of the place where he 
 lives.^^ There may be a certain symbolism in names, as where 
 Felicite of Un Coeur simple suggests both the peasant woman's fatal- 
 istic acquiescence in circumstances and, by contrast, the real misery 
 of her lot; or where "Bel- Ami" calls to mind both the impression 
 which Duroy makes upon others and, by contrast, the real character 
 of the man. 
 
 In both Flaubert and Maupassant psychology is often — not 
 always^* — indicated indirectly through the expression of a sentiment 
 
 ^^ M.B., p. 94; Sal, for example, pp. 99, 108-10, 232, etc. 
 
 ^^B.'A., for example, pp. 53, 59, 107, 136, etc. 
 
 "M.5., p. 17; C/.F.,p. 5. 
 
 ^^ L.M.T.: Une Partie de campagne, pp. 108 ff. 
 
 53 M.B., pp. 208-9; M' -Po^v PP- 201-16. 
 
 " For example, T.C.: U£.S., pp. 23-26, etc. ; L.P.R., pp. 48 if. 
 
 \ 
 
46 FLAUBERT AND MAUPASSANT 
 
 by means of the corresponding sensation.**' Emma, for example, 
 after Leon's departure remains *'dans un froid horrible qui la traver- 
 sait/'^^ Jeanne, on the day of her wedding, has ''ttne grande sefisation 
 de vide en tout son corps."^"^ Gesture, action, conversation, appear- 
 ance, attitude, or attendant circumstance may furnish the key to the 
 psychology of a character. The little Hannibal, asleep, extends his 
 small arm "dans une attitude imperative."^* In La Roche aux guille- 
 mots the last arrival sits down at table, "se frottant les mains."'''* 
 Emma dies with a horrible laugh.®** Georges Duroy, as he walks 
 along the sidewalk, shoulders the people he passes out of his way.®^ 
 Peasant remarks are, as one would expect, characterized by naivete 
 in both authors.®- The uprightness of Madame Arnoux' mind seems 
 to correspond to the regularity of her features,®^ the narrowness of 
 Miss Harriet's life to the meagreness of her frame.®* Such char- 
 acterization by means of external manifestation may seem to be 
 wholly inadequate; yet it has been said of Maupassant, and it 
 might be said of Flaubert, that he has probably all the psychology 
 necessary for the persons he depicts.®^ Conversely the following 
 remark made regarding Flaubert may be applied likewise to Mau- 
 passant, that he sometimes represents a sentiment by means of a land- 
 scape, or part of a landscape, or through a figure from nature.®® 
 Changes in the feelings of characters accompany changes in the 
 seasons or the weather.®^ Both men express more than once the 
 feeling of peacefulness and satisfaction experienced on a beautiful 
 moonlight night.®* Emma's impatience and boredom are embodied 
 in the monotony of the segue upon which she gazes. ~ 
 
 "^^f. Brunetiere, Le Roman naturalist e, pp. 168-71. 
 58 M.B., p. 173. ^^ C.dJ.e.dlN., p. 213. 
 
 57 C/.F., p. 75- ^^ M.B., p. 449- 
 
 58 Sal., p. 339. ®' B.-A., pp. 2, 7. 
 
 «2For example, M.B., pp. 27-28, 209, etc.; dialogue in Le Vieux: 
 C.d.J.e.d.l.N., pp. 91-104. 
 
 «3 L'£d.S., pp. 6, 65, 120-22, etc. 
 
 8* M.Har., pp. 1-36. 
 
 65Lemaitre, Les Contemporains (edition of 1887), I, 307. 
 
 «« Cf. Brunetiere, L.R.N. , pp. 174 ff. 
 
 67 For example, M.B., pp. 87, 481; Sal, p. 353; U.V., pp. 368-69; C.d.L., 
 pp. 8-12. 
 
 68 For example, M.B., pp. 274-75; Sal, pp. 55-56; U.V., pp. 70-71, 7^', C.d.L., 
 pp. 8 if. 
 
LIKENESS IN GENERAL REALISTIC DEVICES 47 
 
 Elle commenqait par regarder tout alentour, pour voir si rien n'avait 
 change depuis la derniere fois qu'elle etait venue. Elle retrouvait aux 
 inemes places les digitales et les ravenelles, les bouquets d'orties entourant 
 les gros cailloux, et les plaques de lichen le long des trois fenetres, dont 
 les volets toujours clos s'egrenaient de pourriture, sur leurs barres de fer 
 rouilles.®^ 
 
 Jeanne's sadness on her return from Corsica is typified by the 
 mournful autumn landscape. "... apres avoir regarde quelque 
 temps le ciel ou roulaient des nuages somhres, elle se decida a sortir." 
 Was it the same country as in May? Where were "la gaiete enso- 
 leillee des f euilles, et la poesie verte du gazon" ? "Et cette griserie de 
 Vair charge de vie, d'aromes, d'atomes fecondants n'existait plus." 
 The shivering poplars sent down a sorrowful and incessant rain of 
 yellow leaves. The shrubbery was as lamentable as a death chamber, 
 deprived as it was of its greenness; "et le murmure des f euilles 
 tombees et seches que la brise poussait, remuait, amoncelait en tas 
 par endroits, semblait un douloureux soupir d'agonie."''^ The follow- 
 ing are examples of figures expressing sentiments. 
 
 Les bonheurs futurs, comme les rivages des tropiques, projettent sur 
 rimmensite qui les precede leurs mollesses natales, une brise parfumee, et 
 Ton s'assoupit dans cet enivrement, sans meme s'inquieter de I'horizon que 
 I'on n'aperqoit pas.^^ 
 
 Elle se sentait enfoncee dans un trou aux bords inaccessibles, dont elle 
 ne pourrait jamais sortir, et toutes sortes de malheurs restaient suspendus 
 sur sa tete comme des gros rochers qui tomberaient a la premiere 
 occasion. '^2 
 
 Many other examples of the same kind of thing might be given. 
 
 A type of figurative expression in both Flaubert and Maupassant, 
 particularly frequent in the latter, usually found in the form of a 
 comparison in the former, is that of reference to man as "la bete 
 humaine," or even, in further depreciation, as "I'insecte humain."^' 
 Maupassant also in one passage exposes the theory that every man is 
 like some animal.*^^ Many different animals are used for purposes of 
 
 69 M.B., p. 61. 71 M.B., p. 132. 
 
 TOC/.F., pp. 118-19. ^^LM.T.: L'h.d'u.f.d.f., p. 83. 
 
 73 For example, M.B., pp. 209, 256 (comparison to animal) ; Sal, pp. 70, 221. 
 etc.; L.M.T.: En F., p. 179; M.Har.: En V., p. 295; S. I'E., pp. 38 ff., etc.; 
 Mile F.: R.d.MAW., p. 284. Cf. the practice of Balzac, Zola, etc. 
 
 '^^LS.R.,'g, II. 
 
48 FLAUBERT AND MAUPASSANT 
 
 comparison." Sometimes a comparison is repeated; for example, 
 the thought of the mercenaries as being like lions occurs more than 
 once in Salammho,''^ while certain types of women are described by 
 Maupassant as resembling hens.'^'^ 
 
 Closely allied to the picturing of man as af'bete'' is the depicting 
 of animals as human. This is much more common in Flaubert, 
 somewhat less common in Maupassant, than the previous comparison. 
 In both authors the representation is accomplished through the attri- 
 bution of actions which could be performed only by a reasoning being. 
 The monkey in the Temple of Tanit in Salammbo seems to protest 
 against the profanation of the temple f^ the old dog in La Peur acts 
 as if possessed by the same terror as his human companions.'^ This 
 is especially true in the cases which have to do with the ill-treatment 
 of animals. Examples are the mutilated elephants in Salammbo and 
 the poor old horse "Coco" in the story of that name.*° 
 
 Things also are constantly personified by both Flaubert and Mau- 
 passant. For example, the "Hirondelle" in Madame Bovary and 
 the "zaimph" in Salammbo give the impression of being alive.®^ Thus 
 also do the pendulum of Jeanne's clock in Une Vie and Bernard's 
 little boat, which founders in Sur VEau, and for which he grieves as 
 for a friend.®^ 
 
 In description there are many similarities between the two authors 
 in method of describing and in things described. Both use sometimes 
 "massed," sometimes "scattered" description. The best example of 
 the latter type is perhaps Madame Bovary, which exhibits also, for 
 instance with regard to the personal appearance of the chief person- 
 age, the fault which is likely to result from this method — vagueness 
 of general impression, with occasional discrepancy.^* "Scattered" 
 
 7« For example, Sal, pp. 3, 18, 221 ; B.-A., pp. 63, 109, 112; M.Par.: La C, 
 pp. 127, 128, etc. 
 
 78 Pages 3, 34-35, 107, 387. 
 
 77 U.V., p. 62; L.M.T., p. 16; MJPar.: Tribunaux rustiques, p. 179. 
 
 ''^Sal, p. loi. 79 c.dlBec, pp. 81-84. 
 
 »^Sal., p. 186; C.dJ.e.d.l.N., pp. 146-56. 
 
 81 M.B., pp. 107, 305, 363, etc. ; Sal, pp. 99, 108, 109-10, etc. 
 
 82 U,V., pp. 55, 123, etc. ; S. VE., pp. 166-67. 
 
 83 For example, M.B., p. 19, "Ce qu'elle avait de beau, c'etaient les yeux ; 
 quoiqu'ils fussent hruns, its semblaient noirs a cause des cils, ..." Cf . p. 45, 
 where it is said of the same eyes that they are "noirs a I'ombre et bleu fonce 
 au grand jour." 
 
LIKENESS IN GENERAL REALISTIC DEVICES 49 
 
 description is less suitable for short stories than for novels, inasmuch 
 as it needs greater space for its development than is afforded by the 
 few pages of a conte. It is therefore employed less by Maupassant 
 than by Flaubert, and where it is used is of a rather different kind. 
 Instead of giving certain details to which certain other details will be 
 added in a subsequent passage, Maupassant's plan is rather to furnish 
 at once sufficient to form a complete picture of the person, place, or 
 thing to be described ; then, if he returns to the description, it is either 
 in order to emphasize further some detail already mentioned or to 
 record the changes produced by circumstances. Examples can be 
 found in any of his novels. In Flaubert's Trois Contes and in Mau- 
 passant's short stories "massed" description is the rule. It is, of 
 course, found also in the novels, where many things are described 
 only once. Here again Flaubert sometimes tends to vagueness 
 through the employment of a multitude of details without any suffi- 
 ciently outstanding single detail.^* It is possible that Maupassant may 
 have been influenced in the direction of clearness by seeing the super- 
 fluity of detail in certain passages of his master's works. Certain it 
 is that his own pictures are rendered singularly clear, vivid, and 
 complete in very few words. He makes one of his characters express 
 his formula thus : 
 
 Avec un paysage brosse en quelques lignes et une petite histoire dite 
 en quelques phrases, on peut donner, croyez-vous, le vrai caractere d'un 
 pays, le faire vivant, visible, dramatique.®^ 
 
 In his later work, as in Un Coeur simple, Flaubert approximates 
 to Maupassant's simplicity. Take, for example, the following de- 
 scription of Felicite's personal appearance, the only one in the story : 
 
 Son visage etait maigre et sa voix aigue. A vingt-cinq ans, on lui en 
 donnait quarante. Des la cinquantaine, elle ne marqua plus aucun age ; — 
 et, toujours silencieuse, la taille droite et les gestes mesures, semblait une 
 femme en bois, fonctionnant d'une maniere automatique.^^ 
 
 Everything in this passage leads up to the keynote of the descrip- 
 tion which is expressed in the words italicized. The use of such a 
 "keynote" is a frequent device for the imparting of unity to a picture. 
 For instance, the thought of the cathedral as a setting for Emma's 
 attractiveness gives that building a certain aspect in the eyes of Leon. 
 
 8* For example, Charles Bovary's cap, M.B., pp. 2-3. 
 
 85 C.d.L.: En V., p. 243. «« T.C.: U.C.S., pp. 5-6. 
 
50 FLAUBERT AND MAUPASSANT 
 
 L'eglise, comme un boudoir gigantesque, se disposait autour d'elle ; les 
 voutes s'inclinaient pour recueillir dans Tombre la confession de son 
 amour: les vitraux resplendissaient pour illuminer son visage, et les 
 encensoirs allaient bruler pour qu'elle apparut comme un ange, dans la 
 fumee des parfums.®^ 
 
 To take now an example from Maupassant — the lifelessness of the 
 winter season is the main motif in the following passage from 
 Une Vie: 
 
 Les fermes, isolees dans leurs cours carrees, derriere leurs rideaux de 
 grands arbres poudres de frimas, semblaient endormies en leur chemise 
 blanche. Ni hommes ni betes ne sortaient plus ; seules les cheminees des 
 chaumieres revelaient la vie cachee par les minces filets de fumee qui 
 montaient droit dans I'air glacial. 
 
 La plaine, les haies, les ormes des clotures, tout semblait mort, tue par 
 le froid. De temps en temps, on entendait craquer les arbres, comme si 
 leurs membres de bois se fussent brises sous I'ecorce ; et parfois une grosse 
 branche se detachait et tombait, I'invincible gelee petrifiant la seve et 
 rompant les fibres.*® 
 
 It has been generally allowed that description preponderates over 
 narration in Flaubert. This is true of his earlier novels, which may 
 be said to proceed often by a series of descriptions.*^ In some of his 
 later works, however, the style is rather narrative than descriptive ; 
 for example, in Un Coeur simple and Bouvard et Peciichet. It is 
 here that Flaubert connects most closely with Maupassant, whose 
 general manner is narrative. This we should expect from a man the 
 greater part of whose work consists of short stories. Maupassant 
 more or less carries the method of his short stories into his novels. 
 Of both men it is true that they avoid for the most part long, 
 unbroken descriptive passages and introduce details of description 
 as required. Descriptions are very frequently generalized by both 
 through reproduction of the permanent features in a picture. Thus, 
 in the account of the sun's rising over Carthage, Flaubert, while 
 keeping his representation sufficiently distinctive, yet seizes upon 
 those attributes which might be predicated of any similar sunrise.®^ 
 Thus also in like scenes of Maupassant's.®^ Among the most striking 
 examples of this generalization are the pictures given by both authors 
 
 87 M.B., p. 331. 89 Cf. Brunetiere, L.R.N., pp. 179, etc. 
 
 88 Page 158. »o Sal., p. 21. 
 91 For example, U.V., pp. 22, 96, 245. 
 
LIKENESS IN GENERAL REALISTIC DEVICES $1 
 
 of calm and beautiful moonlight nights, in which there is conveyed 
 the very charm of peace and limpid light which we have all expe- 
 rienced, which has been known presumably since the beginning of 
 time, and which will continue supposedly to be known until the end.^^ 
 The same tendency to generalization is observable in character de- 
 scription. Both men depict, for example, the eternal peasant and, 
 to a certain limited extent, the "eternal feminine." This tendency 
 to generalize seems, at first suggestion, to contradict the theory of the 
 "characteristic detail." On second thought, however, it will be seen 
 that the two are not incompatible. A scene or a person to be recog- 
 nizable must possess, on the whole, attributes that come within the 
 range of our knowledge; when such attributes have once been 
 grasped, we look for the distinctive trait which marks off that scene 
 or person from others. A moonlight night is a moonlight night, 
 whether in Carthage or at "les Peuples" ; but in the one instance the 
 light falls upon "un collier d'or a la poitrine d'un dieu" f^ in the other 
 it illuminates "le tilleul et le platane."^* Hannibal and Andermatt are 
 both "men of affairs ;" but the one hoards his wealth in Carthaginian 
 cellars, while the other utilizes his in modern speculation.®^ 
 
 Description is accomplished very frequently in both authors 
 through the eyes of one or more of the characters, either moving or 
 standing still.*® If the character is moving we have described what 
 he sees as he advances; if he is standing still the recital is of what 
 lies or passes before him. Sometimes here Flaubert's efforts after 
 completeness may lead him into discrepancy: he may record more 
 than anyone could possibly see in a transient glance, as where Emma 
 is made to read the long descriptions on the pictures observed by her 
 as she traverses the billiard-room at "La Vaubyessard."®'^ Maupas- 
 sant appears to avoid this kind of mistake, perhaps through noticing 
 its effect in his master's work.** On the whole, however, description 
 through the eyes of a personage is consistent in both writers ; that is, 
 no more is reported than would be actually seen by the particular 
 
 92 For example, M.B., pp. 274-75; Sal., pp. 55-56; U.V., pp. 16-19, 70-71, 
 237 ; C.d.L., pp. 8-9. See above, p. 46. 
 
 93 5a/., p. 55- 9<t/.F., p. 71. 
 ^^Sal, pp. 166 ff.; M.-O., p. 11, etc. 
 
 9«For example, Sal, pp. 92 ff.; L'Ed.S., pp. 6-7; N.C., pp. 116-17; U.V., 
 pp. 23 ff. 
 
 97 M.B., p. 66. 98 See above, p. 49. 
 
52 FLAUBERT AND MAUPASSANT 
 
 character or characters under the specific circumstances. For in- 
 stance, the first picture of Mme Arnoux is as follows. Frederic is 
 looking at her from a little distance. 
 
 Elle avait un large chapeau de paille, avec des rubans roses qui pal- 
 pitaient au vent, derriere elle. Ses bandeaux noirs, contournant la pointe 
 de ses grands sourcils, descendaient tres bas et semblaient presser amou- 
 reusement I'ovale de sa figure. Sa robe de mousseline claire, tachetee de 
 petits pois, se repandait a plis nombreux. Elle etait en train de broder 
 quelque chose ; et son nez droit, son menton, toute sa personne se decoupait 
 sur le fond de I'air bleu.®» 
 
 It will be noticed that, owing to where Frederic was standing and to 
 the position in which Mme Arnoux was sitting with her embroidery, 
 her large hat would conceal her eyes and the upper part of her face ; 
 they are, therefore, not described. Her gown, being ample, would 
 hide her feet; accordingly no mention is made of these.^^® The 
 description is otherwise comprehensive, as Frederic's eager eye would 
 take in all he could see. An example of the same kind of thing in 
 Maupassant is to be found at the end of Bel- Ami. Du Roy is leaving 
 the church after his marriage ; he does not see the crowd there, for he 
 is thinking only of himself. Then it strikes him that the throng is a 
 tribute to himself ; at once he notices the concourse ! "Lorsqu'il 
 parvint sur le seuil, il apergut la f oule amassee, une f oule noire, bruis- 
 sante, venue la pour lui, pour lui, Georges Du Roy. Le peuple de 
 Paris le contemplait et Tenviait." He imagines future triumphs. 
 "Puis, relevant les yeux, il decouvrit la-bas, derriere la place de la 
 Concorde, la Chambre des deputes. Et il lui sembla qu'il allait faire 
 un bond du portique de la Madeleine au portique du Palais-Bour- 
 l^^jj "loi Thus what is seen is often an indication of the character or 
 condition of the one who sees. For example, monotony is sometimes 
 indicated through noting the passing and repassing of the same people 
 across an unchanging scene.^^^ Description through the eyes of a 
 personage is closely connected with a device already mentioned,^^^ 
 
 ^^L'£dS., p. 6. 
 
 i<*<> However, on p. 12, in his remembrance of how she looked, he recalls 
 the appearance of her feet. Probably he noticed them, not at the first glance, 
 but as he considered her afterwards. 
 
 i«iB.-^., pp. 572-7 3- 
 
 102 For example, M.B., pp. 89-90; U.V., pp. 344-45- 
 
 103 See above, pp. 48-49, 50. 
 
LIKENESS IN GENERAL REALISTIC DEVICES 53 
 
 that of bringing in a description where it will be of greatest signifi- 
 cance. This is not necessarily where the person, place, or thing to be 
 described is first spoken of, although often so, especially in Maupas- 
 sant.^<^* 
 
 A very common device is description in a ray, or in the rays, of a 
 natural or an artificial light.^*'^ Sometimes the person or thing is out- 
 lined against the light.^°® Sometimes objects in a scene are distin- 
 guished through their glittering when the light catches them ;^*^^ some- 
 times they stand out, as the light strikes them, against other parts of 
 the scene left in shadow or in dim light.^^* The effect of faint light 
 and of shadows caused by light is also described.^"^ At times the 
 object is represented as changed in appearance by the nature of the 
 light/^^ Sometimes the reflection of a light in bright objects is pic- 
 tured,^^^ or little lights appear in darkness.^^^ Natural light is occa- 
 sionally contrasted with artificial.^^^ 
 
 Just as description of the external appearance of persons, places, 
 and things is achieved through the eyes of spectators, so characteriza- 
 tion is accomplished in both Flaubert and Maupassant partly through 
 a retailing of the effect produced on others by the character in ques- 
 tion. Much of what we know of Mme Bovary, of Mme Arnoux, of 
 Mme Andermatt, or of Mme de Burne comes to us through what 
 others think or say of them.^^* The same is true of many other 
 
 i<>* For example, the eyes of Mme Arnoux are not described until p. 192, al- 
 though mentioned many times before that. Her other features are described 
 when first we see her, on p. 6. This is perhaps to emphasize Frederic's timidity 
 in approaching her (UBd.S.). In Une Vie, Julien is described fully when we 
 first see him, because his appearance is important for the story. 
 
 105 For example, Sal, p. 160; M.B., pp. 188-89; F.c.lM., pp. 96-97; L.P.R.: 
 Mile Perle, p. 129; cf. Brunetiere, L.R.N., pp. 167-68. 
 
 io«For example, L'£,d.S., p. 6; U.V., p. 72. 
 
 107 For example, Sal, p. 199 ; M.-O., p. 98. 
 
 108 For example, M.B., p. 66; U.V., p. 236. 
 
 109 For example, M.B., p. 16; Sal, p. 55; L'LB.: Le C. d'O., p. 93; U.V., 
 pp. 210-11. 
 
 110 For example, T.C.: L.L.d.SJ.VH., p. 112; F.c.lM., p. 82. 
 
 111 For example, M.B., p. 18; B.-A., p. 128. 
 
 112 For example, M.B., p. 7z; U.V., p. 11. 
 
 118 For example, M.B., p. 331; C.d.L.: La Nuit, p. 222. 
 114 For example, M.B., pp. 23-24, 31, 32, 54, 58, 59, etc. ; L'Rd.S., pp. 54, 68, 
 98, etc. ; M.-O., pp. 129-30, etc. ; N.C., pp. i, 33-35, 53-6o, etc. 
 
54 FLAUBERT AND MAUPASSANT 
 
 characters. The information is conveyed in dialogue or monologue, 
 direct or indirect, or in narrative. For example, Emma is discussed 
 by the first wife of Charles and by his mother, by Lheureux, by 
 Homais, by the busybodies of Yonville ; and we have related to us 
 at length the thoughts of Charles, of Leon, of Rodolphe, regarding 
 her. In the same way Mme de Burne forms a constant subject of 
 conversation and of thought for her circle, especially for MarioUe.^^'^ 
 
 In the two authors under discussion the reader is struck by the 
 very large use made of contrast, its presence being almost universal. 
 The types of contrast are numerous. One frequent form is that 
 of the opposition between character and surroundings. For instance, 
 the daintiness of Mme Arnoux stands out against her sordid environ- 
 ment on the deck of the steamer where we first see her ; or, to take 
 an example from Maupassant, the innocence of the girl Yvette is 
 markedly in contrast with the milieu in which she lives.^^® The 
 contrasts of sound and silence, of light and shadow, of natural and 
 artificial light, of colors, have already been mentioned.^^^ Other 
 contrasts are those between appearance and actuality, between nature 
 and man, between poverty and riches, etc.^^® 
 
 In discussing description something has already been said of 
 narration, which it will be unnecessary to repeat.^^^ This paragraph 
 will take up some additional points. Maupassant, it has been 
 shown,^^" has relatively more narration in his works than Flaubert. 
 With regard to plots one will notice that these are simple in the 
 works of the two men, as one can summarize in few words the actual 
 plot interest in any of the novels or short stories. For instance, in 
 Un Coeur simple and Une Vie, which are much alike, the whole 
 plot has to do with the repeated disappointments which thwart the 
 natural affections of the heroine. The slim plot interest in the 
 novels is amplified by means of episodes and descriptions. Some 
 works, such as U Education sentimentale and Bel-Ami, produce the 
 effect of a succession of episodes, even of similar episodes, a 
 varying measure of unity being secured through the greater or less 
 preponderance of some character, situation, or idea. In Bouvard 
 
 "5 See note 114. ^^^ L'£dS., pp. 5-6; Yvette. 
 
 117 See above, pp. 43, 53, 44. 
 
 118 For example, M.B., pp. 149, 403-4, 72; O.P.I. : La Veillee, pp. 55-60; 
 U.V., p. 245; C.d.J.e.d.l.N.: La Parure, pp. 59-74. 
 
 "» See above, p. 50. 120 See above, p. 50. 
 
LIKENESS IN GENERAL REALISTIC DEVICES 55 
 
 et PScuchet this piling up is used to depict the "betise" of the two 
 men ; in Salammho it is employed to emphasize the splendors or the 
 cruelties of ancient life ; in Madame B ovary it serves to bring out 
 the progressive disillusionment of the heroine. Thus also in Mau- 
 passant episode after episode impresses upon us the ruthless advance 
 of "Bel-Ami" to social and political prominence, the infatuation of 
 Mariolle for Mme de Burne, or the perplexity of Olivier Bertin 
 caught between the attraction of the daughter and the desire to be 
 faithful in devotion to the mother.^^^ Each of Flaubert's three short 
 stories possesses a number of episodes and is, in fact, rather an 
 abbreviated novel than an ordinary "short story." Maupassant's 
 contes, with sometimes but a single episode, exhibit more clearly, 
 on the other hand, the power to seize and perpetuate just the points 
 essential for the making of good stories. Maupassant's relatively 
 much greater simplicity and clearness are no more apparent in 
 description than in narration, where again Flaubert's excessive atten- 
 tion to realistic detail tends to vagueness and occasionally to dis- 
 crepancy. ^^^ Some narrative passages in both authors outline the 
 course of a character's thoughts ^^^ rather than any succession of 
 events, and produce a semi-descriptive impression. The same effect 
 is accomplished by the many paragraphs in the imperfect tense 
 narrating habitual action,^^* and by the general tendency to use that 
 tense in passages where one might possibly expect the preterite.^^^ 
 A device that is employed by both authors is the immobilizing of a 
 character in a well-defined situation in order to tell us something 
 regarding that character through the medium of the thoughts sup- 
 posed to be passing within his mind at the time.^^® Thus Emma 
 Bovary's reveries after her marriage and arrival at Tostes; thus 
 Georges Duroy's musings on returning to his shabby room after 
 his first evening at the Forestier's.^^^ 
 
 '^^'^ Bel- Ami; Notre Coeur; Fort comme la Mort. 
 
 122 For example, compare difficulty of outlining story of Salammho; com- 
 pare also time of Charles' journey to Rouen, as discussed by Ernest Bovet in 
 an article on "Le Realisme de Flaubert," R.H.L., I (1911), 1-36. 
 
 123 For example, UM.S., p. 12 ; P.eJ., pp. 62-64. 
 
 124 For example, B.e.P., p. 33; N.C., pp. 174-75. 
 
 123 For example, U£dS., p. 377 (first paragraph) ; U.V., pp. 61-62 (para- 
 graph at end of one page and beginning of next). 
 126 Cf. Brunetiere, L.R.N., pp. 174 ff. 
 127JI/.5., pp. 48 ff.; B.-A., pp. 57-58. 
 
56 FLAUBERT AND MAUPASSANT 
 
 Dialogue and monologue, both direct and indirect, are used by 
 Flaubert and Maupassant to characterize, to describe, and to nar- 
 rate,^^® never to mark time. There is much more of both dialogue 
 and monologue in the latter author than in the former. In fact, 
 some of Maupassant's short stories are told almost entirely in dia- 
 logue or in monologue.^^^ Both authors seem to possess the power 
 of making their personages say exactly the right thing. Nothing, 
 for example, could be more apposite than their peasant conversa- 
 tions.^^" In this Maupassant is assisted by his free use of dialect 
 and other special forms of speech, which are found much more 
 rarely in Flaubert.^^^ Sometimes striking remarks, usually short, 
 give the key to characters or situations. Examples are Charles 
 Bovary's "C'est la faute de la fatalite !" at the end of Madame B ovary, 
 and the old beggar's "J'soinmes tons egaux, la devant" beside the 
 corpses of Gilberte and Julien in Une Vie}^"^ There is occasionally 
 in Maupassant a suggestion of Flaubert's famous device of "alter- 
 nating" dialogue, with its attendant effect of irony, as found in the 
 account of the "Comices agricoles."^^^ For example, we have the 
 conversation at the table d'hote of the "Hotel Splendide," or For- 
 estier's speech to Duroy punctuated by the counting^ of his score at 
 billiards.^^* Maupassant is much less careful than Flaubert about 
 using introductory verbs of saying, and occasionally goes so far 
 as to adopt the dramatic device of inserting merely the name of the 
 speaker at the beginning of the speech.^^^ 
 
 In order to avoid monotony Flaubert and Maupassant carry all 
 procedures along together; there is constant interchange of descrip- 
 tion, narration, and dialogue, two of the three or all three being 
 sometimes combined in one paragraph or even in one sentence.^^® 
 
 128 For example, M.B., pp. 110-16, 85-88; N.C., pp. 25 ff., 274, 175-76. 
 
 129 M. For.; La Bete a MaW Belhomme; C.dJ.e.d.l.N.: La Confession, pp. 
 277-85. 
 
 ^^^ MB., p. 209; U.V., pp. 200-204. 
 
 181 For example, any of Maupassant's peasant stories; M.Har.: L'Heri- 
 tage; B.e.P., p. 357; Sal, p. 57- 
 
 132 M.B., p. 480; U.V., p. 282. 133 M.B., pp. 197 ff. 
 
 184JW.-0., pp. 55-78; B.'A., pp. 80-81. 
 
 135 For example, M.Par.: Trihunaux rustiques, pp. 177-84. 
 
 i8«For example, UEd.S., p. 451; N.C., pp. 135-36; B.e.P., p. 135 (second 
 sentence in second complete paragraph) ; B.-A. (second paragraph, first sen- 
 tence) ; cf. Brunetiere, L.R.N., pp. 180-81. 
 
LIKENESS IN GENERAL REALISTIC DEVICES 57 
 
 Descriptions of persons, places, and things are constantly inter- 
 mingled. Description of places or things is often combined with 
 an account of a character's thoughts.^^^ A short sentence of dia- 
 logue or monologue, or a brief passage of dialogue, is not seldom 
 employed to break a long description or narration.^^^ There is 
 frequent interchange of the direct and the indirect forms of dialogue 
 and monologue.^^*^ Many paragraphs not of dialogue end with a 
 short spoken sentence/'*^ 
 
 In paragraph structure there is some likeness between the works 
 of the two men. The combination of description, narration, and 
 dialogue in a single paragraph has already been noted.^*^ The aver- 
 age length of the paragraph is, taken on the whole, about the same 
 in the two. Flaubert tends more in his earlier works toward the 
 unusually long paragraph, Maupassant more in his later.^*^ Instances 
 can be found where Maupassant divides among several paragraphs 
 descriptions which Flaubert, to judge from similar cases in the 
 works of the latter, would keep within one paragraph.^*^ This may 
 be part of Maupassant's effort after greater clearness, which was 
 suggested before.^** Flaubert's paragraphs leave in general the 
 impression of greater deliberate artistic unity than Maupassant's. 
 The latter frequently uses the sentence-paragraph, a habit traceable 
 probably in part to his journalistic experiences.^*^ Flaubert also 
 employs this form, but less often ;^*® constantly, however, his 
 longer paragraphs may be summarized in a sentence, sometimes an 
 antithetical sentence.^*^ The brief narrative paragraphs of the two 
 writers are much alike in their use of short, abrupt sentences with 
 the historic tense. Several examples follow, which are given in 
 
 ^3^ For example, M.B., pp. 61-62; U.V., pp. 19 ff. 
 
 ^38For example, M.B., p. 355; T.C.: U.C.S., p. 26; M.-O., pp. 133, 136. 
 
 138 For example, L'£d.S., pp. 209-10; B. -A., pp. 237-38. 
 
 140 For example, L'M.S., p. 338; B.-A., p. 195. 
 
 1*1 See preceding paragraph. 
 
 1*2 For example, M.B.; N£. 
 
 143 For example, cf. the first paragraph describing the house at Tostes in 
 M.B. (pp. 43-44) with the first four paragraphs describing "les Peuples," in 
 U.V. (pp. 12-13). 
 
 144 See above, pp. 49, 5i, 55- 
 
 145 See practically anywhere in Maupassant's work. 
 
 146 For example, in L'£.d.S. 
 
 147 For example, cf. paragraphs on pp. 116-17, M.B.'y pp. 214-15, Sal; etc. 
 
S8 
 
 FLAUBERT AND MAUPASSANT 
 
 parallel columns for the sake of comparison in form, not in subject. 
 They are taken from U Education sentimentale and Bel- Ami. 
 
 Flaubert 
 
 Pour se venger de son maitre, 
 sans doute, le garqon se contenta 
 de sourire [L'Ed.S., p. 153]. 
 
 C'etait jour de reception. Des 
 voitures stationnaient dans la cour. 
 Deux valets se precipiterent sous 
 la marquise, et un troisieme, au haut 
 de I'escalier, se mit a marcher de- 
 vant lui [L'Ed.S., p. 185]. 
 
 Tout a coup, Martinon apparut, 
 en face, sous I'autre porte. Elle 
 se leva. II lui offrit son bras. 
 Frederic, pour le voir continuer ses 
 galanteries, traversa les tables de 
 jeu et les rejoignit dans le grand 
 salon; Mme Dambreuse quitta 
 aussitot son cavalier, et Ventretint 
 familierement [^L'Ed.S., p. 230]. 
 
 ' Maupassant 
 
 Elle ne parla point de sortir et 
 jut charmante de toutes faqons 
 {B.-A., p. 162]. 
 
 Et ils se rendirent dans un res- 
 taurant voisin. Duroy ne parlait 
 plus guere. II mangea pour n'avoir 
 pas I'air d'avoir peur, puis, dans le 
 jour il accompagna Boisrenard au 
 journal et il fit sa besogne d'une 
 faqon distraite et machinale. On 
 le trouva crane [B.-A., p. 234]. 
 
 II s'assit et se mit a reflechir. 
 II avait jete sur sa petite table une 
 carte de son adversaire remise par 
 Rival, afin de garder son adresse. 
 II la relut comme il I'avait deja lue 
 vingt fois dans la journee. Louis 
 Langremont, 1/6, rue Montmartre.* 
 Rien de plus [B.-A,, p. 236]. 
 
 The rather abrupt effect produced by the short sentences vi^ith 
 the historic tense is to be observed in the foregoing paragraphs. 
 The impression of dry precision is indeed often produced by Mau- 
 passant's work.^*® 
 
 There is some general resemblance also between certain descrip- 
 tive paragraphs in the two authors. An example is given where the 
 subject of the two paragraphs is the same, the description of a 
 stagecoach. 
 
 Flaubert Maupassant 
 
 C'etait un coffre jaune porte 
 par deux grandes roues qui, mon- 
 tant jusqu'a la hauteur de la bache, 
 empechaient les voyageurs de voir 
 la route et leur salissaient les 
 epaules. Les petits carreaux de ses 
 
 Cetait une voiture jaune, mon- 
 tee sur des roues jaunes aussi 
 autrefois, mais rendues presque 
 grises par I'accumulation des houes. 
 Celles de devant etaient toutes 
 petites; celles de derriere, hautes 
 
 1*® For example, C.dJ.e.d.LN. 
 Judas, pp. 278-79. 
 
 Une Vendetta, pp. 144-45; Toine: Le Pere 
 
LIKENESS IN GENERAL REALISTIC DEVICES 59 
 
 vasistas etroits tremblaient dans et freles, portaient le coffre dif- 
 
 leurs chassis quand la voiture etait forme et enfle comme un ventre de 
 
 fermee, et gardaient des taches de bete. Trois rosses blanches, dont 
 
 boue, qa et la, parmi leur vieille on remarquait au premier coup 
 
 couche de poussiere, que les pluies d'oeil, les tetes enormes et les gros 
 
 d'orage meme ne lavaient pas tout genoux ronds, attelees en arbalete, 
 
 a fait. Elle etait attelee de trois devaient trainer cette carriole qui 
 
 chevaux, dont le premier en arha- avait du monstre dans sa structure 
 
 lete, et, lorsqu'on descendait les et son allure. Les chevaiix sem- 
 
 cotes, elle touchait du fond en caho- blaient endormis deja devant 
 
 tant [M.-J5., p. 107]. I'etrange vehicule [M.Par.: L.B.a. 
 
 M.B., pp. 77-7^'\' 
 
 It will be observed that the foregoing paragraphs have about the 
 same length and begin in the same way. They mention largely the 
 same things about the coach : the yellow color, the cumbrous body, 
 the large wheels, the mud with which it is spattered, the three 
 horses, one in front of the other two, by which it is hauled. There 
 is some similarity in wording (indicated in the quotations by italics). 
 The general impression conveyed by the Flaubertian paragraph is 
 that of a monstrous, unwieldy vehicle; Maupassant takes mon- 
 strosity as the keynote of his picture, calls the coach a "monster," 
 and makes the horses also monsters in order to emphasize still 
 further the same general effect as Flaubert. 
 
 Both Flaubert and Maupassant show a special use of the short 
 sentence for forcible effect at the end of a paragraph, chapter, or 
 short story.^*^ Such sentences are of various kinds. Sometimes 
 we find a brief, emphatic statement or an interrogative or exclama- 
 tory phrase.^^^ Sometimes the sentence is one of dialogue or of 
 monologue ; to this reference has already been made above.^^^ The 
 sentence may contain a characteristic detail regarding a person, 
 a place, an event, or other interest.^^^ ^ may also contain summary, 
 
 1*9 For example, Sal, p. 104 (third paragraph) ; P.e.L, p. 113 (first para- 
 graph) ; L'M.S., p. 409; F.c.lM., p. 142; T.C.: Her.; the majority of Mau- 
 passant's short stories. 
 
 150 For example, M.B., p. 26; L.P.R.: Rosalie Prudent, p. 152; M.B., p. 
 334; C.d.LB.: Menuet, p. 69; M.B., p. 314; C.dJ.e.d.l.N.: Le Gueux, p. 182. 
 
 151 See above, p. 57. 
 
 - 152 For example, Sal., p. 25; M.Har.: ^Gargon, un Bock!> p. 241; Sal, 
 p. 379; M.Har.: UOrient, p. 324; L'£d.S., p. 592; B.-A., p. 233. 
 
6o FLAUBERT AND MAUPASSANT 
 
 conclusion, or comment.^'^^ Besides the use of interrogative and 
 exclamatory sentences, which has already been mentioned, such 
 sentences are further frequently employed in the usual course of 
 paragraphs to lend variety or emphasis to the style. Examples are 
 very numerous. ^'^^ The carefully constructed periodic sentence is 
 more common in Flaubert than in Maupassant.^^*^ 
 
 By Flaubert transition is in general very assiduously regulated, 
 by Maupassant much less so.^^® The result in the case of the latter 
 tends often to an effect of jerkiness. Some of ^ the romans, for 
 example, produce the impression of a succession of short stories 
 rather than of one continuous long story with succeeding chapters.^^^ 
 The dislike of explanation ^^^ frequently apparent in thh two writers 
 deprives both of one useful method of transition in so/ far as they 
 yield to this dislike. The difficulty of transition is specifically 
 acknowledged by both men.^^^ Each employs, of course, the ordinary 
 methods of transition : the use of adverbs or adverbial conjunctions 
 of time, and of other means of referring back or forward to preced- 
 ing or succeeding sentences, paragraphs, or chapters. The con- 
 nection is constantly indicated, for instance, between consecutive 
 chapters in Madame B ovary and Une Vie. Sometimes the transition 
 is accomplished by a virtual continuation of the narrative, without 
 break or with but little break, from one chapter to another, as 
 between chapters VII and VIII of the first part of Madame Bovary, 
 or between chapters V and VI of Une Vie. 
 
 With regard to vocabulary ^®^ both Flaubert and Maupassant 
 follow, as we should expect, the realist principle of making the 
 
 153 Af. 5., p. 481; C.dJ.e.d.lN.: Un Lache, p. 121; T.C.: Hir., p. 190; 
 L.S.R.: Rencontre, p. 226; Sal, p. 414; C.d.L.: La reine Hortense, p. 86. 
 15* For example, M.B., p. 172; B.-A., p. 282. 
 
 155 See especially Madame Bovary. 
 
 156 Compare Schinz, "Notes sur le vocabulaire de Maupassant," etc.. Revue 
 des langues romanes (1909), p. 512. 
 
 157 For example, U.V.; M.-O. 
 
 158 See above, under "realistic detail," pp. 38, 40. 
 
 159 For example, Maynial, La Vie et I'oeuvre de Maupassant, p. 99, quota- 
 tion; Flaubert, Corr., Ill, 345; etc. 
 
 i«o See, as the foundation for the whole of this paragraph, Anna Ahlstrom, 
 Btude sur la langue de Flaubert, Macon, 1899 (diss.), and Olof Bosson, Guy 
 de Maupassant, quelques recherches sur sa langue, Lund, 1907 (diss.). 
 
LIKENESS IN GENERAL REALISTIC DEVICES 6i 
 
 language adapt itself to the persons and circumstances which it 
 describes. In the main, it is true, the language of each conforms 
 to current literary usage ;^®^ where it seems necessary, however, for 
 the more exact or emphatic expression of the thought, neither hesi- 
 tates to transgress the boundaries of that usage. The following 
 passage from the Ahlstrom dissertation (see footnote i6o) states 
 the case with precision and clearness for Flaubert. 
 
 Son penchant realiste, son besoin de produire de Teffet, pour amuser 
 ou pour eblouir le bourgeois, lui fait rechercher des expressions ade- 
 quates a sa pensee. Lorsque le vocabulaire ordinaire ne lui suffit pas, il 
 fait des emprunts aux langues etrangeres, anciennes ou modernes, il 
 force le franqais des temps passes et ses parlers actuels a apporter leur 
 tribut et il etudie les metiers pour profiter de leur terminologie speciale. 
 A bout de ressources, il forge lui-meme des mots et pour d'autres il en 
 modifie la signification.^^^ 
 
 To a greater or less extent Maupassant employs all the devices 
 attributed in this paragraph to Flaubert. Of archaisms and neolo- 
 gisms,^'^ of erudite expressions, he uses smaller numbers than his 
 master; in the direction of argot, of dialect, of the "language of 
 real life," he, as one would expect, goes much further. The follow- 
 ing paragraph is quoted as giving for him a general characterization 
 of language. 
 
 Maupassant cherche avant tout a ^faire vrai*-» a nous donner une 
 image fidele de la vie. Lorsqu'il prend la parole lui-meme, il nous offre, 
 en general, un langage tres correct, tres soigne. Cest quand il fait 
 parler d'autres personnes de divers milieux, de culture et de position 
 sociale differentes, qu'il faut I'epier. II ne se contente jamais de nous 
 
 161 In a class exercise (University of Chicago, February 23, 1915), where 
 investigation was made, under the direction of Professor Jenkins, of the per- 
 centage of words of current French in a representative page of certain 
 modern French authors, the percentage for Flaubert was found to be 59 
 per cent, and the average for eight other writers, of whom Maupassant was 
 one, 72 per cent. 
 
 162 Ahlstrom, op. cit., p. 20. 
 
 i«s Both use the archaism "sol" (Ahlstrom, op. cit., p. 45 ; Bosson, op. cit., 
 p. 25) ; both form compounds by hyphenating separate words (Ahlstrom, pp. 
 70-73; Bosson, pp. 51, 130). Both also overdo the use of words beginning 
 with re. Cf. Schinz, Notes sur le vocabulaire de Maupassant, etc. (Rdlr, 1909, 
 p. 518) ; Flaubert, Corr., Ill, 197, 201, 217, 229, 239, etc. 
 
62 FLAUBERT AND MAUPASSANT 
 
 representer le parler de ses personnages sous une forme «retouchee», il 
 nous le donne tel qu'il est, avec tous ses solecismes, toutes ses negligences, 
 toute sa rudesse, toutes ses crudites. ^^* 
 
 It will be apparent from what has been said above that Maupas- 
 sant's language is, according to the general acceptation of the term, 
 more "realistic" than Flaubert's. 
 
 In this last chapter we have been studying the very considerable 
 resemblance between Flaubert and Maupassant in matters of literary 
 procedure not mentioned in the preceding chapter. We have seen 
 that they employ to a certain extent the same kinds of realistic 
 detail, the same forms of figurative expression, the same methods 
 in description, narration, and dialogue, the same devices in para- 
 graph and sentence structure and in use of language. As said 
 before,^®^ the procedes discussed in this chapter are, in the main, 
 those adopted in common by the realistic writers of the day. Some 
 which may perhaps be more distinctive of the two authors in ques- 
 tion than of other realists are the following: time designation by 
 means of reference to characteristic denoting season of year; 
 description in a ray of light or in shadow; narration of the past 
 life of a character immobilized through the medium of that char- 
 acter's thoughts; "alternating" dialogue; use of a short sentence 
 to end paragraph, chapter, or story. In considering the procedes 
 of this chapter it has not been intended, as was said before,^^* to 
 attribute to them more than the weight of cumulative testimony when 
 taken in conjunction with other evidence presented for the rela- 
 tionship of Flaubert and Maupassant. 
 
 18* Bosson, op. cit., p. 7. 
 
 165 See above, p. 38. 
 
 166 Ihid. 
 
CHAPTER V 
 
 RESEMBLANCES IN PLOT, INCIDENT, CHARACTERIZATION, 
 IDEAS, AND WORDING 
 
 In the preceding chapters there have been considered similarities 
 between Flaubert and Maupassant in theories and precedes, as well 
 as the history of their personal relationship. Many concrete instances 
 of resemblance have been mentioned by way of illustration. It yet 
 remains to discuss other specific examples of likeness between the 
 two in fact, idea, and wording, which have, for the most part, 
 not been noted in illustration of previous points. 
 
 There are, first of all, resemblances in what may be called "gen- 
 eral effect." Maupassant's Le Loup,^ which narrates the killing of 
 a huge gray wolf, has about it somewhat the same atmosphere of 
 legendary mysteriousness as Flaubert's Saint-Julien I' Hospitaller,^ 
 the impression being increased by certain details of likeness. In 
 both stories the scene is laid in a past remote enough to be more 
 or less shadowy, in both there are certain extraordinary qualities 
 attributed to animals or to an animal, in both the events transpiring 
 produce an abhorrence of the chase succeeding a great passion 
 therefor.^ Likeness in general effect is also observable in Un Coeur 
 simple and Une Vie, both of which give the impression of an accu- 
 mulation of misfortunes overwhelming an unfortunate victim. There 
 is a certain general similarity also, as was implied before,* between 
 some passages in Maupassant's letters and in Flaubert's. In letters 
 written by Maupassant to his preceptor there are traces of an 
 exaggerated and exclamatory style, foreign, as far as one can judge 
 from the other letters in the Conard edition,^ to the former's usual 
 epistolary manner, but exceedingly common in the latter's corre- 
 spondence.^ Appearing as they do in letters from the younger to 
 
 1 C.d.L., pp. 35-44. 2 T.C., pp. 77-125- 
 
 ^SJ.VH., p. 125; L.L., p. 36; SJ.VH., pp. 92-93, 107-10; L.L., pp. 38, 40-42; 
 SJ.l'H., pp. 92, 117; L.L., p. 39; SJ.VH., pp. 93-95, 84-93, 113 ff-, 103, 106 ff.; 
 L.L., pp. 35-36, 44, 36-44. 
 
 ^ See above, p. 17. ^ B.d.S.: Corr., pp. cxxv-lxxii. 
 
 6 For example, Corr., I, 77, 135 ; II, 109, 290, etc. 
 
 63 
 
64 
 
 FLAUBERT AND MAUPASSANT 
 
 the older man, they read like remarks made by the pupil in consid- 
 eration of the ideas and methods of the master. 
 
 The following passages will illustrate what is meant. They 
 are to be compared with those quoted alongside, not in specific 
 details, but in general manner. 
 
 Flaubert 
 
 L'histoire de la croix de Zola 
 est pitoyable. Est-ce bete? mais 
 qu'est-ce qui n'est pas bete ? [Corr., 
 
 IV, 349]. 
 
 Oui, j'ai lu la brochure de Zola. 
 Cest enorme! Quand il m'aura 
 donne la definition du Naturalisme, 
 je serai peut-etre un Naturaliste. 
 Mais d'ici la, moi pas comprendre. 
 
 Et Hennique qui a fait, aux 
 Capucines, une conference sur le 
 Naturalisme ! ! ! Oh ! men Dieu ! 
 men Dieu! \^Corr., IV, 364]. 
 
 Et le manifeste politique de Zola 
 menaqant la Republique de sombrer, 
 si elle n'arbore Tetendard du rea- 
 lisme! du naturalisme, pardon! 
 Drole! drole! [_Corr., IV, 365-66]. 
 
 Maupassant 
 
 Zola n'est pas decore — a cause 
 de I'article qu'il a ecrit dans le 
 Figaro *!!! I ... Le chef du cabi- 
 net m'a dit que le ministere ne pou- 
 vait vraiment pas"^ lui donner la 
 croix en ce moment ! ! ! ... on 
 reve.'^ ... En quoi un article de 
 critique detruit-il le talent de Zola? 
 [B.d.S. : Corr., p. cxiv] . 
 
 Que dites-vous de Zola? moi je 
 le trouve absolument fou. Avez- 
 vous lu son article sur Hugo ! ! son 
 article sur les poetes contempo- 
 rains et sa brochure «la Republique 
 et la litterature» ? «La Republique 
 sera naturaliste ou elle ne sera pas», 
 «JE NE SUIS QU'UN SAVANT» 
 — ! ! ! ! — (rien que cela! — quelle 
 modestie ) , — «renquete sociab, — le 
 document humain, — la serie des 
 formules^, — on verra maintenant 
 sur le dos des livres «grand roman 
 selon la formule naturaliste». Je ne 
 suis qu'un savant* ! ! ! ! ! cela est 
 pyramidal ! ! ! et on ne rit pas . . . 
 \^B.d.S.: Corr., pp. cxx-cxxi]. 
 
 The foregoing passages have been chosen for purposes of illus- 
 tration because they are concerned with the same subjects: the 
 decoration of Zola, the stupidity of the governing classes, the pre- 
 tensions of Zola and the naturalists. In them will be noticed the 
 same general tone of exasperation, the same tendency to multiply 
 
 ^ Word often used by Flaubert in similar places in letters ; cf., for example, 
 Corr., Ill, 39, 244, 298; IV, 362; etc. 
 
RESEMBLANCES 65 
 
 emphases through the use of itaUcs and of exclamation points, the 
 same employment of unusual expressions. 
 
 There is some similarity between the plots of, the two men. 
 For instance, there are several stories of Maupassant's which recall 
 Madame Bovary. The first of these to be mentioned is Une Vie, 
 which is like Flaubert's novel in many particulars of plot. In both 
 cases a large part of the story is concerned with marital treachery. 
 In one case it is the wife, in the other the husband, who is the 
 offender. The separate instances of unfaithfulness recorded are, 
 in each book, two in number. Rodolphe and Emma in Madame 
 Bovary, Julien and Gilberte in Une Vie, make riding a means to their 
 intercourse and seek their rendezvous in the woods and on the 
 countryside. The "cabane ambulante"* of Une Vie takes the place 
 of the "tonnelle"^ of Madame Bovary. The two sinners, Emma 
 and Julien, come to an unnatural end, a beggar being connected in 
 each case with the catastrophe.^" An excursion by boat enters into 
 the love-making of Leon and Emma, of Julien and Jeanne.^^ In 
 both stories the child of the heroine, a pet dog, revealing letters, play 
 some part. There are frequent journey ings by stagecoach, by car- 
 riage, by train. In each case the heroine changes her place of abode 
 during the progress of the plot. Money matters exert a considerable 
 influence in the two, there being talk of debts, of mortgages, and 
 of selling of possessions. Emma is ruined by her own extravagance, 
 Jeanne by the "bonte" of her parents and herself and by the prodi- 
 gality of her son. Jeanne is made unhappy by Julien's stinginess in 
 money matters no less than Charles by Emma's wastefulness. In 
 Madame Bovary we have Lheureux and his agents who conduct 
 the money affairs; in Une Vie the Jew and others who come to 
 Jeanne regarding Paul's debts. In both books there is the descrip- 
 tion of a public ceremony; in one the "Comices agricoles"; in the 
 other the christening of the "J^^^^^-"^^ The account of either 
 celebration follows the course of the lovers as they walk : Rodolphe 
 and Emma pass from place to place, seeing the various sights of 
 the day, and finally taking refuge in the "salle des deliberations" while 
 the speeches are being delivered and the prizes given; Julien and 
 
 8 U.V., p. 276, etc. 10 A/.5., pp. 448-49; U.V., pp. 280-82. 
 
 9 MS., p. 234, etc. " M.B., pp. 353 ff. ; U.V., pp. 44 ff- 
 i2M.jB., pp. 183-214; U.V., pp. 56-62. 
 
66 FLAUBERT AND MAUPASSANT 
 
 Jeanne descend from "les Peuples" to the beach, where the chris- 
 tening of the boat takes place. Rodolphe makes advances to Emma, 
 JuHen to Jeanne, during the progress of the ceremony. In both 
 stories we have a severe illness of the heroine, caused in Emma's 
 case by Rodolphe's desertion, in Jeanne's by the shock of discovering 
 her husband's infidelity. Emma's attack is said to be brain fever ;^^ 
 Jeanne's is not thus named, but seems to be the same thing. In 
 both books we have a ball, a death scene, and a watch by the dead 
 included in the progress of the plot. In both there is an element 
 of the horrible ; for example, in Madame Bovary the account of the 
 blind beggar, and in Une Vie the narration of the death of Julien 
 and Gilberte. 
 
 / Another story which has some points of resemblance with 
 
 / Madame Bovary is La Parure.^* In it we have a woman who, like 
 
 I Emma, is, or imagines herself to be, entirely out of her element. 
 
 I Like Flaubert's heroine, Madame Loisel dreams of a different life, 
 
 I and like her, too, is invited and goes to a ball in a society to which 
 
 / she cannot ordinarily hope to be admitted. Like Flaubert's heroine, 
 
 I she enjoys the experience but is afflicted afterward by resulting 
 
 ! sadness. Misfortune affecting the whole life follows in each case, 
 
 although different in character and extent. 
 
 Also containing likenesses to Madame Bovary is the story of 
 the little provincial who comes to Paris and forces herself into "une 
 aventure d'amour," only to be disillusioned by her experiences. The 
 heroine of Une Aventure parisienne^^ has, like Emma, entertained 
 inordinate longings for Parisian glory beneath apparent acquies- 
 cence in the monotonous course of her everyday life. Like her, she 
 buys and reads society journals and is especially attracted by th^ 
 glamor of what Maupassant calls "des horizons de jouissances 
 coupables et ravageantes.^^ Especially does she indulge her dreams 
 during the night, contrasting the world of her imagination with her 
 commonplace surroundings. Here again she resembles Emma. As 
 in the case of the Flaubertian character, the^ reams of Maupassant's 
 heroine end in disenchantment. -'«*--»>h*;«»^_ 
 
 Between Un Coeur simple and Une Vie there are many simi- 
 larities. Flaubert's Felicite is now like Jeanne, now like Rosalie, 
 in Maupassant's story. The main thread of the plot concerns her 
 resemblance to Jeanne. Both, simple-minded and with unusual 
 
 18 M.B., p. 290. 15 Mile P., pp. 193-205. 
 
 1* C.dJ.e.d.lN., pp. 59-74. 16 Ibid., p. 194. 
 
RESEMBLANCES 67 
 
 capacities for devotion, suffer from blow after blow to the affections 
 dealt by death or disappointment, which leaves the victim aged, 
 benumbed, and stupefied, clinging desperately to memories of the 
 past and to the objects which recall those memories. Like Rosalie, 
 Felicite is a faithful servant to a somewhat exacting mistress, and 
 shows, in her mistress' interest, considerable shrewdness, bravery, 
 and power of economy. The relation of mistress and maid in both 
 stories becomes increasingly one of intimacy and affection, the two 
 uniting especially in remembrances of the past. In some respects 
 Jeanne resembles Mme Aubain, of Un Coeur simple, rather than 
 Felicite. Both have two farms attached to their property, both lose 
 their fortunes in later years, sell some of their possessions, and go 
 to a less expensive house. Both spend much of their time in idle 
 brooding, leaving the direction of affairs to the faithful servant. 
 Both possess a son called Paul, who, after being sent to school, to 
 which he rejoices to go for the sake of the companionship to be 
 enjoyed, falls into irregular ways of life, contracts debts which his 
 mother pays, and, passing unsuccessfully from one employment to 
 another, finally marries a woman distasteful to the latter. In the 
 course of their development both stories touch upon many like 
 comings and goings of provincial life, and both give glimpses of 
 fisher folk. 
 
 The next works of Flaubert and Maupassant to be compared are 
 UEdiication sentimentale and Bel-Ami. While there is considerable 
 resemblance here, it is harder to specify than in any of the cases 
 already taken up. Both stories deal with the career of a young 
 man who passes through various experiences of Parisian life, the 
 one to failure, the other to success. A certain unity is given in each 
 case to the rambling story by relating everything to the fortunes 
 of the chief character. Frederic, beginning with fa:ir chances, throws 
 away all opportunities and accomplishes nothing, owing to his 
 "mollesse" and lack of decision. Duroy, starting with his fortunes 
 at an exceedingly low ebb, advances, chiefly through the aid of his 
 mistresses and by means of ruthless self-assertion, to a position of 
 importance beyond that for which he had hoped. At first indeed 
 he is rather like Frederic in want of decisiveness, but the weakness 
 gradually vanishes as he becomes sure of himself. In other respects 
 the two men are similar. Both dream of great things to be done and 
 enjoyed in the future. Both possess considerable fascination for 
 the opposite sex, having in the course of the experiences related in 
 
68 FLAUBERT AND MAUPASSANT 
 
 the story, love affairs progressing simultaneously with three sepa- 
 rate women. To the delight of the successful suitor, one of these 
 women is, in each case, the "great lady" of the story, whom each 
 has been advised to cultivate in order to further his material inter- 
 ests. One love affair in both books persists through all vicissitudes — 
 that of Frederic with Mme Arnoux, that of Duroy with Mme de 
 Marelle. Both men, besides, become engaged to young girls for the 
 sake of their fortunes, Frederic afterwards escaping from his mar- 
 riage, Duroy carrying his through. It is interesting to note for 
 revelation of the character of Frederic that in the three instances 
 where marriage is suggested to him it is the woman in each case 
 who does the proposing.^^ Mme Arnoux in UEducation senti- 
 mentale, Mme de Marelle in Bel-Ami, have little daughters to whom 
 Frederic and Duroy show attention. In both books the husband of 
 one of the women loved dies of lung disease in the course of the 
 story.^^ The lover is present during the final scenes, assists in the 
 watch by the dead, and looks after the funeral arrangements. 
 Frederic then is about to marry the widow, Mme Dambreuse, but 
 abandons her after what he considers an insult offered by her to 
 Mme Arnoux. Duroy accomplishes his marriage with Madeleine 
 Forestier after the death of her husband but subsequently divorces 
 her. On one occasion an insult to Mme Arnoux involves Frederic 
 in a duel with Cisy.^® Duroy also finds himself committed to a duel, 
 in his case through an insult bestowed upon him by a rival journal.^^ 
 Some incidents of the duels are much alike. Duroy resembles rather 
 the Cisy of Flaubert's story than Frederic in his mechanical actions, 
 his thirst, his desire for an accident to prevent the occurrence, his 
 extreme terror. Frederic and Duroy act similarly in that both look 
 in the glass to see if they show traces of fear, whereupon both dis- 
 cover themselves to be pale. Both also think of the probable effect of 
 a tragic ending on their parents. In neither duel is anyone hurt, and 
 the event is treated by the two authors as a rather ridiculous perform- 
 ance. The insulting notice in a journal, from which Frederic suf- 
 fers no less than Duroy, happens to the former in an account of the 
 duel which puts him in a most unfavorable light. In many other 
 particulars Duroy seems to imitate Frederic. Both come of provin- 
 cial families and betake themselves to Paris against the will of their 
 
 ^T£dS., pp. 362, 541-42, 561. i9/6tW., pp. 318 ff. 
 
 ^^Ibid., pp. 537 ff.; B.'A., pp. 221 ff. 'i^B.-A., pp. 230 ff. 
 
RESEMBLANCES 69 
 
 parents.^^ Both are poor at first, are frequently in money difficulties, 
 and pass their lives amid surroundings of which the sordid details 
 are given. ^^ Both acquire moderate fortunes during the development 
 of the story.^^ Frederic tries to secure an invitation to the residence 
 of M. Dambreuse, Duroy to obtain one to the house of M. Walter.^* 
 Having been tendered the invitation, each of the two is represented 
 on one occasion as advancing down a long series of rooms to greet 
 his hostess,^^ and on another as drawing attention upon himself by 
 unorthodox remarks.^® Both celebrate their rise in station by pur- 
 chasing new clothes.^^ Each is shown to us more than once looking 
 in the glass.^^ Both make plans for election as deputy.^^ In many 
 incidents the two appear, Frederic at least progressively so, to be 
 self-centred and touchy, to shirk the disagreeable, to be untrust- 
 worthy and mean, to be troubled by few qualms of conscience. 
 
 For many details of Duroy's career comparisons are to be found 
 in the lives of the secondary characters of Flaubert as well as in the 
 experience of Frederic. He is, as has been seen, rather like Cisy than 
 Frederic in the affair of the duel. He resembles the former also in 
 his attempt to secure for a wife the young heiress of the financial 
 magnate. Here a further parallel is found in Martinon, who actually 
 does secure the heiress, outdoing the other suitor, like Duroy, by 
 skilful manoeuvring. Both men transfer their attentions in the trans- 
 action to the young girl in question, the one from the mother, the 
 other from the aunt, to the great chagrin of the older woman.^° Both, 
 beginning in social obscurity, attain considerable prominence in the 
 circles in which they move, owing largely to feminine favors. Like 
 Flaubert's Hussonnet, Duroy shamelessly makes a convenience of 
 people; like his Delmar, he exercises a strange fascination over 
 
 ^-^U^d.S., pp. 131, 140-41, etc.; B.-A., p. 57. 
 
 22 L'^dS., p. 30, etc. ; B.-A., pp. 52 ff. 
 
 ^^URd.S., pp. 139-40; B.-A., p. 530, etc. 
 
 2* U£:d.S., pp. 24, 37, etc. ; B.-A., pp. 178-79, etc. 
 
 ^^L'M.S., p. 185; B.-A., pp. 180-81. 
 
 ^^L'M.S., pp. 342-44; B.-A., pp. 184-85. 
 
 ^T£d.S., p. 162; B.-A., p. 28. 
 
 28 L'^rf.S., pp. 71, 323, etc.; B.-A., pp. 29-31, 51, etc. 
 
 29 U£d.S., pp. 530, 536, 552, etc. ; B.-A., p. 428, etc. 
 
 30 The motif of a man's falling in love with the daughter after being the 
 mother's lover is rather frequent in Maupassant. Cf . Fort comme la Mort, etc. 
 
70 FLAUBERT AND MAUPASSANT 
 
 others, owing partly to his appearance, with, as is hinted, its resem- 
 blance to the traditional ideal of benevolence.*^ In some ways Duroy 
 shows also considerable similarity to Deslauriers, Frederic's friend. 
 He is of the social class rather of Deslauriers than of Frederic and 
 appears at first, like him, in shabby clothing, borrowing money from 
 a friend. Duroy's father is a "cabaretier" ; the latest avocation of 
 Deslauriers' father is the same. Both give the impression of pos- 
 sessing greater energy than Frederic. Finally Deslauriers resembles 
 Duroy in his journalistic interest. 
 
 In UEducation sentimentde and Bel-Ami there are, besides the 
 characters already mentioned, others which correspond in certain 
 details. In both books there are two men of affairs, one of whom is 
 of much greater prominence than the other. Forestier is like Arnoux 
 in his feverish activity, in his fondness for "bibelots," and in some 
 other interests ; he is like Dambreuse, as has already been pointed out, 
 in the manner of his death. Walter resembles Dambreuse in domi- 
 nating the financial situation of the story and in exhibiting the 
 self-importance and other characteristics of a financial magnate. 
 
 Among the women Mme Walter resembles Mme Dambreuse, as 
 has been said,*^ in being the "grande dame," in her relations with the 
 principal character, and in her jealousy of the younger woman who 
 takes her lover from her. In her puerilities she is like Rosanette 
 rather than Mme Dambreuse. Her absurd infatuation for Duroy 
 further resembles somewhat that of "La Vatnaz" for Delmar. The 
 daughter of Mme Arnoux has already been referred to as having her 
 counterpart in the child of Mme de Marelle. Both little girls are rep- 
 resented as acting like grown-up people and especially as displaying 
 a coquetry in advance of their years. 
 
 Besides the similarities in specific incident already mentioned there 
 are a few others which ought to be noted here. In both stories 
 the chief character is annoyed by a "scie" — Frederic by that of 
 "Arnoux," Duroy by that of "Forestier."** In both there is a public 
 ceremony in the Madeleine, characterized by irreverent behavior on 
 the part of those present.** In both a picture of the Founder of 
 Christianity plays some part.*^ In each some mention is made of the 
 condition of French affairs in Algeria. 
 
 ^^L'M.S., pp. 103, 431-33, etc.; B.-A., pp. 508, 551, etc. 
 
 32 See above, p. 68. ss L'M.S., p. 84, etc.; B.-A., p. 345, etc. 
 
 ^^U^d.S., pp. 546-47; B.-A., pp. 561 if. 
 
 35 U£d.S., p. 429; B.-A., pp. 478 ff. See below, p. 86. 
 
RESEMBLANCES 71 
 
 In addition to particular resemblances there is considerable like- 
 ness in general setting between UEducation sentimentale and Bel- 
 Ami. Both give pictures of Parisian society of various grades and 
 types, involving excursions, at all hours of the day and night, through 
 all parts of Paris and into all manner of places of business and of 
 legitimate and illegitimate pleasure. In both much space is allotted 
 to the social happenings which illustrate the society in question — to 
 balls, receptions, dinners, etc. In each the political events of the day 
 are closely connected with the fortunes of the characters. Bel-Ami 
 is in the main a story of journalism ; UEducation sentimentale has 
 likewise much to say of journals and journalists. Financial affairs 
 of various kinds enter largely into the development of the plots. In 
 social and business matters the atmosphere in the two books is one 
 of scandal and deception, of intrigue, of sordid quarrelsomeness and 
 undignified striving. 
 
 Besides the cases in which a whole story of Maupassant's corre- 
 sponds to the whole or to part of a story of Flaubert's there are many 
 instances of similar incidents and scenes. In Farce Normande^^ there 
 is described a wedding procession through the fields like that of 
 Emma in Madame Bovary.^"^ There is the same order of procession 
 and the same atmosphere of peasant gaiety. In Madame B ovary the 
 cortege is called "une seule echarpe de couleur" f^ in Farce Normande 
 it is compared to a serpent.^^ The people following Emma proceed 
 to the accompaniment of a fiddler's efforts ; those in Farce Normande 
 to the shots fired off in honor of the bridegroom, who is "un chasseur 
 frenetique."*^ The sounds of the fiddle, even when heard from a 
 distance, frighten the little birds away.''^ In Farce Normande the 
 flaming shawls of the women have the same effect of astonishment 
 upon the hens, the ducks, and the pigeons of the farmyard.*^ A sim- 
 ilar idea is found in Petit Soldat*^ where it is said that the shining 
 leather shakos and copper buttons of the two "little soldiers" stop the 
 larks overhead.*^ After the procession there is in both stories the 
 same lengthy feasting and the same free jesting, with a predilection 
 
 36 C.d.l.B., pp. 87-95. 
 
 37 M.B., pp. 37-38- ' *' M.B., p. 38. 
 
 38 Ibid., p. Z7- *2 C.d.lB., p. 89. 
 
 39 C.d.lB., p. 89. *3 M.Par., pp. 287-99- 
 *o Ibid., p. 87. ** Ihid., p. 291. 
 
72 FLAUBERT AND MAUPASSANT 
 
 for practical jokes.*' In Ma Femme*^ and Une Vie*'' there is also 
 mention of a Norman wedding feast and the succeeding rustic ball, 
 the passages being almost precisely the same in the two places. 
 A third procession across the fields, this time going and coming, 
 instead of only coming as in the former stories, is described in Le 
 Bapteme.*^ In all three descriptions of processions attention is called 
 to the playing of children round and about the moving company of 
 their elders. The last-named procession is, like the preceding two, 
 followed by a feast and rude joking. Other processions through the 
 country are Emma's funeral procession in Madame B ovary, '^^ the 
 procession to the shore at the christening of the "Jeanne" in Une 
 Vie,^^ the procession of the sacrament to the house of the dying 
 peasant woman in Le Diahle,^^ and the procession at the blessing of 
 the springs in Mont-Oriol.^^ Another ceremony in a peasant com- 
 munity which is depicted by both Flaubert and Maupassant is that 
 of the first communion. Accounts are given of this in Un Coeur 
 simple, Bouvard et Pecuchet, and La Maison Tellier.^^ In all three 
 the veils of the little girls are described by means of very simifer 
 figures. In Un Coeur simple they are said to form "a field of 
 snow" f* in Bouvard et Pecuchet the children kneeling resemble "a 
 line of white clouds" ;^' in La Maison Tellier they are enveloped in 
 "a cloud of snowy tulle."^* Maupassant's account of the ceremony 
 is very much longer than either one of Flaubert's, and its satirical 
 tone may well have been caught from Bouvard et Pecuchet. The 
 midnight mass of Christmas Eve is also mentioned by the two men 
 in Bouvard et Pecuchet, Un Reveillon, and Conte de Noel.^'^ Both 
 speak of the coldness of the night (in all three stories), of the little 
 lights in the darkness made by the lanterns of the peasants (in B.e.P. 
 and C.d.N.), and of the scene of naive faith in the church (in all three 
 stories). In Madame B ovary and in Mont-Oriol a public celebration 
 ends with fireworks, the exhibition of which departs in each case 
 
 45 M.B., pp. 38-41 ; C.dlB., pp. 90-95- *^ M.B., pp. 465-66. 
 
 ^^L.M.T., pp. 265-76. ^^U.V., pp. 58-59. 
 
 47 U.V., pp. 79-81. 51 L.//., pp. 128-29. 
 
 *8 M.Har., pp. 245-53. ^2 M.-O., pp. 232-34. 
 
 53 T.C., pp. 25-26; B.e.P., pp. 314-16; LM.T., pp. 31-38. 
 54r.C., p. 25. ^^B.e.P., p. 315. 
 
 5e LM.T., p. 30. 
 57B.^.P., pp. 297-98; Mile F., pp. 173-75; C.d.L., pp. 67-70. 
 
RESEMBLANCES 73 
 
 somewhat from the prearranged plan.^^ A small incident of a peasant 
 assembly which is noticed by both authors is the following. In 
 Madame B ovary, while the crowd in the street is listening to the 
 speeches at the "Comices agricoles," there comes a gust of wind, and 
 "tous les grands bonnets des paysannes se souleverent, comme des 
 ailes de papillons blancs qui s'agitent."^** In Les Sahots,^^ a similar 
 gust of wind, blowing through the open doors of a church over the 
 "bonnets blancs des paysannes," tosses up in its passage "les longs 
 rubans des coiffures."^^ In Le Rosier de Madame Husson^^ there is 
 a public address distinguished by something of the same inanity as is 
 apparent in the speech of the counsellor at the '^Comices agricoles."*^ 
 To be mentioned also in this connection are the account of the meet- 
 ing of the club in L'Education sentimentale and of the suffrage society 
 in Oeiwres posthumes, 11.^* The audience consists in each case of 
 ridiculous and ineffective figures, among them certain foreigners, the 
 speeches are foolish, and the gathering is disorderly. The whole 
 representation is evidently intended to be caricatural. 
 
 Several times both in Flaubert and in Maupassant it happens 
 that a person in need of some kind goes to a church or to a priest for 
 aid. Uhistoire d'une fille de ferme^'^ resembles here in a short pas- 
 sage the experience of Emma Bovary. Emma, hearing the bell ring- 
 ing the Angelus, and remembering her convent days, goes to the 
 church, where she meets the Abbe Bournisien. To him she tries to 
 tell her trouble, but, repulsed by his strange lack of comprehension, 
 leaves him with her distress unspoken.®*^ Rose goes to church and 
 prays at the time of the Angelus. Then she seeks out the cure; but 
 he goes on with his dinner as he waits for her to speak, and she, like 
 Emma, departs with her secret unrevealed. An incident in Bel-Ami 
 which has several points of contact with one in Madame Bovary is 
 that where Mme Walter gives Duroy a rendezvous in the Church of 
 the Trinity.®^ Similarly Emma has promised to meet Leon in Rouen 
 Cathedral.^* Like details are noted in the scene outside of the church 
 — the brightness of the summer sun and the plashing of the water in 
 
 58 M.B., p. 211 ; M.-O., pp. 245-48, 252-53. «i C.d.lB., p. gg. 
 
 59 M.B., p. 207. «2 L.R.d.M.H., p. 24. 
 
 60 C.d./.B., pp. 99-109. 63 j|/.5,^ pp. 197.202. 
 64 U£dS., pp. 433-43 ; O.P., II : Seance puhlique, pp. 73-8o. 
 ^^LM.T., pp. 55-91. ^"^B.-A., pp. 394, 397-412- 
 6«M.B., pp. 153-59. ®^ M'B., pp. 328, 330-36. 
 
74 FLAUBERT AND MAUPASSANT 
 
 the fountain. In both cases the lover arrives too early and makes the 
 circuit of the nave, noticing, among other things, the light falling 
 through the colored windows. In both he becomes impatient and 
 finally sits down to wait. Leon's solitude and subsequent meeting 
 with Emma are disturbed by the "suisse," who wishes to exhibit the 
 sights of the cathedral. Likewise Duroy's waiting and his rendezvous 
 with Mme Walter are punctuated by the steps and by the words of 
 "un gros monsieur," who also asks some questions regarding the his- 
 torical monuments of the church. Duroy, like Frederic, first becomes 
 aware of the arrival of his mistress on hearing the rustle of her dress. 
 Here the wording is very similar. 
 
 Flaubert Maupassant 
 
 C'etait elle, Leon se leva et cou- C'etait elle. II se leva, s'avanqa 
 rut a sa rencontre [Af.B., p. 332]. vivement [B.-A., p. 400]. 
 
 Both women try to break loose from temptation, Emma by means 
 of a letter which she has written the previous evening and now hands 
 to Leon, Mme Walter in words, as Duroy and she kneel side by side. 
 Both subsequently attempt to obtain resolution in prayer, despair- 
 ingly looking for supernatural aid. Both find their distress but 
 increased by the atmosphere of the church. Mme Walter is deliv- 
 ered for the time being by the advent of a priest, whom she constrains 
 to hear her confession. Emma gives way to Leon. Another scene 
 in a church, this time between husband and wife,®^ has nothing in 
 common with the foregoing except the distress of the woman. 
 
 Additional places of rendezvous alluded to by both authors are : a 
 carriage or diligence f^ a specially prepared apartment f^ the end of a 
 garden^^ (in M.B. and B.-A. an arbor) ; the public street f ^ a conserva- 
 tory;^* and so on. In Madame B ovary, Leon and Emma go on an 
 excursion in a rowboat. A similar incident is found in Lettre trouvee 
 sur un noyeJ^ The following points are alike in both : the two dine 
 
 «9 ULB., pp. 13-15- 
 
 ''^M.B., pp. 336-38; B.-A., pp. 128-29; L.R.d.M.H.: Un Echec, pp. 45-50; 
 C.d.J.e.d.l.N.: L'Aveu, pp. 50-56; etc. 
 
 f^L'Bd.S., pp. 396, 407-8; B.-A., pp. 140 ff., etc.; N.C., pp. 112 ff.; etc. 
 ■^2 M.B., p. 234, etc. ; L.S.R. : Le Mai d' Andre, pp. 125-27 ; B.-A., pp. 497, 501. 
 ^8 U£d.S., pp. 395, 397, 399-401 ; B.-A., pp. 540-41 ; N.C., p. 121. 
 '^^L'Ed.S., p. 176; B.-A., p. 496, etc.; O.P., I: La Serre, pp. 147-54- 
 " O.P., I, 214-17. 
 
RESEMBLANCES 75 
 
 in an inn by the waterside ; they embark in the darkness of evening ; 
 they skirt wooded shores ; influenced by the moonhght, they indulge 
 in sentimental thoughts and observations. 
 
 A situation that is found more than once in both authors is that 
 of the desertion of a woman by her lover. There is considerable 
 general resemblance in this connection between the stories of Felicite 
 in Un Coeur simple and Rose in Uhistoire d'une fille de fermeJ^ 
 Both are servants on a farm and go through the usual processes of 
 peasant love-making. In each story promise of marriage has been 
 given by the man, and the distress of the poor girl on being left is 
 unusually keen. The likeness between the cases of Emma Bovary 
 and Jeanne in Une Vie has already been mentioned.'^ Another 
 instance is that of Mme Walter, who is found unconscious the morn- 
 ing after hearing that her daughter has gone away with Du Roy."^® 
 
 Two incidents in Madame Bovary have a long train of successors 
 in the works of Maupassant. These are the finding of his wife's love 
 letters by Charles after her death/^ and the examining of his sou- 
 venirs by Rodolphe.^^ For a long time after Emma's death Charles 
 does not open the secret compartment of her "bureau de palissandre." 
 On doing so at last, he unearths the letters of Leon, those from 
 Rodolphe being subsequently found in a box. He is thrown into wild 
 despair by his discovery. In Une Vie, Jeanne, watching by her mother 
 after the latter 's death, takes the dead woman's letters from the 
 drawer of the "secretaire d'acajou" and reads them. Among them 
 are letters from a lover, on the perusal of which she is shaken, like 
 Charles, with a paroxysm of uncontrolled grief. A very similar 
 instance is to be found in La Veillee,^^ where a son and daughter, 
 watching by a dead mother, take her letters from the drawer where 
 they have been kept, and on reading them make, to their horror and 
 amazement, a discovery like Jeanne's. In Nos Lettres^^ the revela- 
 tion comes to a stranger. Arriving for a visit at a friend's house, he 
 is given the unoccupied room of the deceased "Tante Rose." There, 
 on looking in the "secretaire d'acajou" for writing materials, he finds 
 a secret compartment, which he succeeds in opening. He reads the 
 letters therein contained, which furnish evidence of a hitherto unsus- 
 pected love affair of the dead woman's. In Le Pardon^^ a wife is 
 
 76r.C., pp. 7-10; L.M.T., pp. 59-64. ^^Ibid., pp. 278-80. 
 
 77 See above, p. 65. «i O.P., I, 55-60. 
 
 78 i?.-^., pp. 552-53. ^^C.d.L., pp. 208-16. 
 
 79 M.B., pp. 478-79. «3 i}ji^^^ pp. 92, 96. 
 
76 FLAUBERT AND MAUPASSANT 
 
 informed of her husband's treachery through an anonymous letter, 
 and again through a note to him from his dying mistress, which she 
 picks up and reads. In UOrdonnance,^* a husband receives Hke news 
 of his wife in a letter written by her just before she commits suicide 
 and found by him on her work-table on his return from her funeral. 
 Another letter from a suicide, composed during his last night and 
 discovered next day on his table, narrates the causes of his self- 
 destruction — disillusionment, ennui, and the memory of the past 
 brought back by souvenirs that he has preserved.®'' Here might be 
 mentioned the letter of Emma to Charles explaining the poisoning of 
 herself.*® Letters taken from under a "prie-Dieu" in the Madeleine, 
 according to Les Caresses,^'' have again to. do with a love intrigue. 
 A variation in the medium of revelation occurs in Un Fou^^ and in 
 Un Cas de divorce.^^ In the former a journal discovered after his 
 death in the secretary of an esteemed judge shows him to have been 
 afflicted with homicidal mania and to have committed murders under 
 its compulsion. In the latter the journal of the husband is quoted 
 by the lawyer for the wife as proving "la folic poetique" on the part 
 of the man, and consequent good reason for the granting of the 
 divorce. 
 
 We come now to the second incident named at the beginning of 
 the preceding paragraph, which is the examining of his souvenirs by 
 Rodolphe. This he does after leaving Emma and before writing his 
 letter of farewell to her. He has kept these souvenirs in an old 
 biscuit-box and turns them about with callous indifference.^^ A some- 
 what similar collection of souvenirs is enumerated by the suicide 
 who has been spoken of above as having left a letter explaining his 
 departure.®^ Olivier Bertin also spends some time in going through 
 his souvenirs of the countess®^ — sorrowfully, like the "Suicide," not 
 heartlessly, like Rodolphe. Sorrowfully also does "la baronne" inspect 
 her "relics"®^ — the "relics" which afterwards reveal her secret to her 
 daughter. Jeanne herself, we are told, is preparing her "boite aux 
 
 8*L.M.(7., pp. 96-101. 
 
 ^^LS.R.: Suicides, pp. 229-39. 
 
 8« M.B., pp. 435-37. ^^ M.B., p. 279. 
 
 87 L./>./?., pp. 281-88. 9iL.5'.i?.; Suicides, ^. 2Z7. 
 
 88 M.Par., pp. i6i-73- ^^ F.c.l.M., pp. 295-96. 
 »^L'I.B., pp. 218-29. ®^ U.V., pp. 33, 227-28. 
 
RESEMBLANCES 77 
 
 reliques."^* The incriminating letters in La Veillee have also been 
 "relics."^*^ Finally we have mention in Pierre et Jean of "le tiroir 
 inconnu ou Ton serre les reliques d'amour."^* It will be noticed that 
 the two incidents of the revealing letters and the souvenirs are com- 
 bined in three of the cases cited from Maupassant — that of "la 
 baronne" in Une Vie, that of the "Suicide," and that of the mother in 
 La Veillee. 
 
 There still remain to be noted many incidents similar in the two 
 writers. In UEducation sentimentale and Une Vie we have related 
 a father's repugnance for his child, whom he kisses in each case under 
 compulsion "du bout des levres."^^ The example of a man who, 
 through idleness, devotes himself to a perfectly useless and foolish 
 occupation is furnished in Madame Bovary by Binet, who spends all 
 his spare moments in the fashioning of wooden napkin-rings.^® Mau- 
 passant has two characters who do similar things. Cachelin in 
 UHeritage^^ occupies his time after leaving the "bureau" in cutting 
 out covers for cigar boxes with a "fine mechanical saw," which cor- 
 responds to Binet's lathe. Likewise Marowsko in Pierre et Jean 
 spends much of his time in making "des sirops et des liqueurs," with- 
 out succeeding in putting any on the market.^^" The case of Regim- 
 bart in UEducation sentimentale is also that of one who spends his 
 days in aimless idling.^^^ His time, when Frederic comes to know 
 him, is passed in going from one cafe to another, eating, dtinking, 
 reading the newspapers, or sitting in morose taciturnity until the pro- 
 prietor turns him out, often after midnight. Towards the end of the 
 book we find him in "un petit cafe sur la place de la Bastille, o\x il se 
 tenait toute la journee, dans le coin de droite, au fond, ne bougeant 
 pas plus que s'il avait fait partie de Timmeuble." There he sits, let- 
 ting fall from time to time the word "Bock !" for he has reduced his 
 speech to the indispensable. He resembles closely Maupassant's 
 picture of a habitual "bockeur" in his story <(.Gargon, un Bock!»'^'^^ 
 The "Bockeur" thus describes his life : 
 
 9* Uy., p. 228. ^^UBdS., pp. 553-54; U.V., p. 213. 
 
 95 OJ"., I, 58. 98 M.B., pp. 104, 138, 163, 284, 422-23. 
 
 96 P.eJ., p. 103. »^ M.Har., p. 155. 
 
 100 p,e.J., p. 49. 
 
 101 LM.S., pp. 55, 246, 319-20, 564-65. 
 
 102 M.Har., pp. 231-41 ; cf . also MPar., pp. 49-52, 62, 72-73, where the same 
 incident occurs, told at greater length. 
 
78 FLAUBERT AND MAUPASSANT 
 
 Je me leve a midi. Je viens ici, je dejeune, je bois des bocks, j'attends 
 la nuit, je dine, je oois des bocks; puis, vers une heure et demie du matin, 
 je retourne me coucher parce qu'on ferme. C'est ce qui m'embete le plus. 
 Depuis dix ans, j*ai bien passe six annees sur cette banquette, dans mon 
 coin; et le reste dans mon lit, jamais ailleurs. Je cause quelquefois avec 
 des habitues.^*^^ 
 
 All through the conversation which the "Bockeur" has with the 
 other personage of the story he calls out constantly the words which 
 form the title, «Gargon, un Bock!» — an exclamation not quite so 
 laconic as Regimbart's "Bock !" At the end of the story he breaks his 
 pipe and laments over the time it will take him to bring another to the 
 same pitch of perfection. This recalls Dussardier,^*^* to whom hap- 
 pens the same accident, with the same regret following. Both Flau- 
 bert and Maupassant describe in varying terms places of entertain- 
 ment which have in common the account they give of the motley 
 crowd.^*'^ An incident alluded to in each author is the following. 
 Rosanette in UEducation sentimentale throws crumbs to the fish in 
 the "etang des carpes" at Fontainebleau during her visit to the 
 chateau with Frederic.^*^** In his house Walter, in Bel-Ami, has a 
 large pond, with small fountains, containing "quelques enormes pois- 
 sons rouges,"^"^ which are tame and come to the surface to be fed.^"* 
 Another animal instance is as follows. In Un Coeur simple, it will 
 be remembered, there is a parrot which becomes the pet of Felicite, 
 which is stuffed after its death, and which the simple woman comes 
 to confuse in her thought with the representations she has seen of the 
 Holy Spirit.^*'^ In two of his tales Maupassant speaks of parrots. In 
 Boitelle^'^^ he merely gives a description of the different bright- 
 colored and noisy parrots exposed for sale on the quays at Havre. In 
 Le Noye^^^ he tells the story of a woman whose husband has been 
 drowned after she has suffered years of abuse from him. She buys 
 a parrot at a sale, but is so terrified on hearing it speak to her in the 
 voice of her husband and in the words with which he had been wont 
 
 103 M.Har., p. 235. ^^* L'£dS., pp. 44-45- 
 
 105 For example, U2d.S., pp. 163 ff.; Toine: L'Armoire, pp. 150-51 ; L'l.B.: 
 Le Masque, pp. 159-75; B.-A., pp. 18 flf. ; O.P., II: Essai d' Amour, pp. 57-58- 
 
 108 L'EdS., p. 462. 107 B.-A., p. 489. 
 
 108B.-/4., pp. 509, 510-11, 513, 514; cf. Sal, pp. 14-15; cf. also O.P., II: 
 Un Diner et quelques idies, p. 63. 
 
 109 T.C., pp. 40 ff. 
 
 110L.M.G., pp. 78-80. ^^^L'I.B., pp. 119-33. 
 
RESEMBLANCES 79 
 
 to assail her, that she regards it as a re-embodiment of his spirit, kills 
 it, and throws it into the sea, afterward praying to be forgiven for the 
 crime she thinks she has committed. This story is like Un Coeur 
 simple in the connection of the parrot with the supernatural. 
 
 In Madame Bovary, L'Education sentimentale, Uimitile Beaute 
 and Fort comme la Mort are pictured scenes in theatres during a rep- 
 resentation. ^^^ AH give some general descriptions of the crowd, of 
 the movement, of the greetings and conversations there taking place. 
 Those in Madame Bovary and in Fort comme la Mort are alike in 
 some particulars. Emma in the one book, Olivier Bertin in the other, 
 connect the music and the words of the opera with their own melan- 
 choly thoughts and are stirred by the strong love interest of the 
 story. 
 
 Like Flaubert, Maupassant speaks not seldom of various forms 
 of human malady. He gives, for instance, a description of a 
 diphtheria case, as does Flaubert in L'Education sentimentale}^^ 
 One account of misfortune which has details of likeness to a passage 
 in the works of the older man is that of "le pere Clovis" in Mont- 
 Oriol. The old beggar, "cured" the year before by his daily baths 
 in the waters of the Oriol spring, has become more incapacitated than 
 ever, and laments his bad fortune in public to all who will listen to 
 him.^^* So also does the blind mendicant in Madame Bovary, whom 
 Homais has tried, and failed, to cure.^^^ Andermatt in Mont-Oriol, 
 like Homais, tries to have the beggar imprisoned. UnHke Homais 
 he does not succeed in this, but he manages to silence old Clovis by 
 other means.^^^ 
 
 Several duels are depicted by the two authors. The points of 
 resemblance between the duels of Frederic and Duroy have already 
 been considered.^^^ In UHeritage^^^ a duel is threatened between 
 Maze and Lesable, whom the former has insulted. As in Frederic's 
 duel, information has to be sought from authorities on certain tech- 
 nical matters. The occurrence is rendered ridiculous, like the duels 
 of Frederic and Duroy, even more so, in fact, in that the usual satis- 
 faction is avoided through the signing by the principals of documents 
 
 "2M.j5.^ pp. 307-16; L'M.S., pp. 126-27; VLB., pp. 22-34; F.C.I.M., pp. 
 317-32. 
 
 113 L'Bd.S., pp. 401-4; SIE., pp. 86-92. 115 M.B., p. 473- 
 
 ii*ilf.-0., pp. 235-37. ii«M.5., p. 474; M.-O., pp. 236-38. 
 
 ^^'^ U£dS., pp. 318-30; B.-A., pp. 230-49; see also above, pp. 68, 69. 
 
 lis M.Har., pp. 1 10-16. 
 
8o FLAUBERT AND MAUPASSANT 
 
 containing mutual excuses. In Un Ldche^^^ the "coward" of the 
 story is involved in a duel, owing to an insult offered to a woman with 
 whom he happens to be. As in the cases of Frederic and Duroy his 
 approval of himself is replaced by fear. Like them he looks in the 
 glass and finds himself pale. His terror increases until it surpasses 
 even that of Cisy in UEducation sentimentale. He finally commits 
 suicide because he feels that he cannot face the ordeal. Un Duel 
 relates a happening of a different kind. In it a Frenchman kills a 
 German who has insulted him as a Frenchman after the defeat of 
 1870. The element of caricature, always present in these accounts 
 of duels, is supplied here by the introduction of two Englishmen who 
 act as seconds to the Frenchman, and by the fact that the victor has 
 never before held a pistol, while his antagonist is an army officer.^^" 
 Another war story, Boule de Suif, introduces the hunger motif, 
 which is found besides in Idylle and Le Vagabond, as well as in 
 Sdammho}^^ All emphasize the commanding, brutalizing power of 
 hunger and the voracity of the hungry before the sight of food. In 
 Le Vagabond also, as in Salammbd, are mentioned the dreams of food 
 characteristic of a condition of starvation.^^^ Both Flaubert and 
 Maupassant give an unpleasant picture of an old man, pitiable in his 
 infirmity, who is a gourmand, and who shows his gourmandism by 
 pointing or grasping helplessly at the dishes before him.^^^ The two 
 writers also indulge their fondness for satire at the expense of the 
 citizen-soldiers who make clumsy and ineffective efforts to rouse 
 themselves from their corpulent sloth to the defence of their coun- 
 try. ^^* Two passages on this subject are somewhat alike. 
 
 Flaubert Maupassant 
 
 Les uns, s'imaginant qu'il fallait Les gros n'allaient pas par les 
 
 beaucoup manger pour acquerir des rues qu'au pas gymnastique pour 
 
 forces, se gorgeaient, et d'autres, fondre leur graisse et prolonger 
 
 incommodes par leur corpulence, leur haleine, les faibles portaient 
 
 s'extenuaient de jeunes pour se des fardeaux pour fortifier leurs 
 
 faire maigrir [^SaL, p. 120]. muscles {C.d.L.: U.C.d'E., pp. 15- 
 
 16]. 
 
 "9 C.dJ.e.d.l.N., pp. 107-21. 120 O.P., I, 159-61. 
 
 1215.^.5"., pp. 22-29, 75-76; M.Har.,pp. 203-11; L.H., pp. 227-42; Sal., pp. 
 361-68. 
 
 122 5-0/., pp. 366-67; L.H.: L.V., p. 228. 
 
 ^^^M.B., p. 68; L.H.: Une Famille, pp. 178-81. 
 
 1245*0/., p. 120; Cd.L.: Un Coup d'Hat, pp. 15-16; Toine: Les Prisonniers, 
 p. 181. 
 
RESEMBLANCES 8l 
 
 Still another likeness to Salammho is the mention, in Le Lapin,^^^ 
 of the horses neighing towards the morning light, as do the sacred 
 horses towards the sun in the former story. 
 
 Many passages in Flaubert and Maupassant give descriptions of 
 death, of burial, and of the resting-places of the dead.^^® In the 
 nature of the case they have much in common. Scrutiny, however, 
 fails to reveal any distinctive likenesses, resemblances being confined 
 to the universal circumstances and concomitants of this human expe- 
 rience. Among the famous cemeteries described are those of Pere- 
 Lachaise and Montmartre in Paris, and the "Cimetiere des Capucins" 
 near Palermo in Sicily.^" The frequency of such descriptions is to 
 be connected with the thought of death entertained by the two 
 authors. This has been referred to in a previous chapter.^^^ Fre- 
 quent, likewise, are scenes on board passenger boats.^^^ All those 
 cited mention the start of the boat, and all except Un Echec and Une 
 Vie speak of the bustle and noise on board. In Un Echec the man 
 telling the story watches a woman on deck, as Frederic does Mme 
 Arnoux. The woman reads and smiles while reading, as Mme 
 Arnoux is pictured doing. The man makes advances to her, like 
 Frederic, and is more successful therein than the latter. La Mer 
 resembles the Flaubertian description in that the people take dinner 
 during the passage. 
 
 Flaubert and Maupassant were both natives of Normandy and 
 have left us numerous pictures of the Norman countryside (which 
 both knew and loved), especially of that portion lying between Rouen 
 and the sea. Each portrays the plains and the undulating stretches, 
 with clumps of trees at intervals, the dusty highroads running like 
 ribbons through the country, the farms protected by rows of poplars 
 
 125 Sal, p. 21 ; L.M.G., p. io6. 
 
 i2«For example, M.B., pp. 435-49, 453-69; L'M.S., pp. 537-50, 574-76, 583- 
 85; T.C.: U.CS., pp. 37-38, 57-64; L.M.T.: En P., pp. 150-54, 167, 169-76; 
 Les Tomhales, pp. 251-57; C.d.l.B.: La Tomhe, pp. 253-60; L.M.G.: L'Ordon- 
 nance, pp. 95-96, La Morte, pp. 221-30; U.V., pp. 230-45, 246-47; B.-A., pp. 
 278-89; F.c.lM., pp. 354-72. 
 
 127 U£d S., pp. 548-49 ; L.M.T. : Les Tomhales, pp. 251-54 f L.V.e., pp. 69-76. 
 
 128 See above, p. 15. 
 
 ^^^U£d.S., pp. i-ii; O.dJ., Ill, 180, 181-82; M.Har.: Mon Oncle Jules, 
 pp. 276-84; M.Par.: DScouverte, pp. 249-57; L.R.d.M.H.: Un £chec, pp. 37-44; 
 U.V., pp. 93-98; P.eJ., pp. 231-37, 239-42; Au S.: La Mer, pp. 10-12. 
 
82 
 
 FLAUBERT AND MAUPASSANT 
 
 or beeches sheltering apple orchards and yards replete with lazy 
 animal life, the fields gay with poppies and other flowers, the streams 
 and ponds, the frequent roofs of thatch, the chateaux with their 
 parks, the villages with their churches, cemeteries, inns, and 
 "mairies," the lofty cliffs along the coast.^^*^ One or two descriptions 
 have more special points of likeness. For instance, the following 
 paragraphs portray similar scenes in a somewhat similar manner. 
 
 Maupassant 
 II allait vite, le long de I'etroite 
 riviere qui moussait, grognait, bouil- 
 lonnait et filait dans son lit d'herhes, 
 sous une voute de saules. Les 
 grosses pierres, arretant le cours, 
 avaient autour d'elles un bourrelet 
 d'eau, une sorte de cravate terminee 
 en noeud d'ecume. Par places, 
 c'etaient des cascades d'un pied, 
 souvent invisibles, qui faisaient, 
 sous les feuilles, sous les lianes, 
 sous un toil de verdure, un gros 
 bruit colere et doux ; puis plus loin, 
 les berges s'elargissaient, on ren- 
 contrait un petit lac paisible oti 
 nageaient des truites parmi toute 
 cette chevelure verte qui ondoie au 
 fond des ruisseaux calmes [L.p.R., 
 PP- 3-4]- 
 
 Both passages here describe a little stream flowing along through 
 the country by a village. In one case the stream is turbulent, in the 
 other it is smooth. The general appearance of the river's course is 
 the same in both, overshadowed by willows and fringed with reeds 
 and long grass, to which the figure of "chevelure verte" is applied. 
 A river placed similarly to that in Madame B ovary, washing the 
 walls of the gardens on one side and bordered on the other by fields, 
 is referred to in Notre Coeur.^^^ One or two pictures of farm 
 
 130 For example, M.B., pp. 16-18, 46, 61-62, 65, 72, 95-100, 153; B.e.P., p. 
 no; L.M.T., pp. 23, 24-25: Uh.d'u.f.d.f., pp. 55-58, 76-77; B.dS., p. 32; C.d.L., 
 p. 9: Un Coup d'etat, p. 21; M.Har, p. 7; L.P.R., pp. 3-4; U.V., pp. 23-26, 
 339-40, 344-45; O.P., I, 266; P.eJ., p. 19. 
 
 "1 N.C., p. 231. 
 
 Flaubert 
 Elle [la riviere] coulait sans 
 bruit, rapide et froid a I'oeil; de 
 grands herbes minces s'y courbaient 
 ensemble, selon le courant qui les 
 poussait, et comme des chevelures 
 vertes abandonnees s'etalaient dans 
 sa limpidite. Quelquefois, a la 
 pointe des joncs ou sur la feuille 
 des nenufars, un insecte a pattes 
 fines marchait ou se posait. Le 
 soleil traversait d'un rayon les petits 
 globules bleus des ondes qui se suc- 
 cedaient en se crevant; les vieux 
 saules ebranches miraient dans I'eau 
 leur ecorce grise ; au dela, tout alen- 
 tour, la prairie semblait vide [M.B., 
 pp. 130-31]. 
 
RESEMBLANCES S^ 
 
 kitchens are alike in noting the reflection of sunlight or firelight in 
 the bright kitchen utensils of various kinds.^^^ In three passages 
 Maupassant describes the same view of Rouen as is indicated by 
 Flaubert where Emma's gradual approach to the city from Yonville is 
 retailed/^^ All the pictures reproduce the outstanding features of 
 the scene — the river, the church spires, the factory chimneys. Le 
 Horla is further like Madame B ovary in mentioning the pleasant 
 sound of the church bells on the early morning air. Maupassant more 
 than once speaks of Croisset, Flaubert's home,^^* besides describing 
 in Le Horla^^^ a house and garden like his friend's, and mentioning 
 in Boule de Suif the invasion of Rouen by the Prussians during 
 which the Croisset house was occupied by them, as we know from 
 the older man's correspondence.^^® In the first Education sentimen- 
 tale^^'' there is a picture of Havre resembling in some particulars that 
 given in Pierre et Jean^^^ — through its mention of the throng of 
 boats in the harbor, of the brightness of the lighthouses, of the greasy 
 thickness of the fog. Flaubert has one, Maupassant four, descrip- 
 tions of Mont-Saint-Michel.i3» 
 
 Besides living in Normandy, the two writers in question resided 
 much in Paris, which both have described over and over again, Flau- 
 bert especially in UEducation sentimentale , and Maupassant in the 
 many stories which have to do with the life of the metropolis. As 
 may be expected, they often depict the same scenes, but again not 
 with distinctive similarity. The greater frequency of night pictures 
 in Maupassant is to be noted.^*'' One description several times 
 repeated is that of the parade of carriages in the Champs-Elysees and 
 the Bois de Boulogne."^ The reflection of the sun on parts of the 
 
 132 M.S., p. i8 ; B.e.P., p. 27 ; B.-A., pp. 193-94 ; O.P., I, 267. 
 
 133 Af .5., pp. 363-64; C.d.l.B.: Un Normand, pp. 143-44; L.H., p. 4; B.-A., 
 pp. Z21-22,, 335- 
 
 13* For example, B.d.S., p. 9; B.-A., p. 331; etc. 
 
 135 Pp. 3-4. '^^ 0.d.J., Ill, 179- 
 
 136 Corr., IV, 44-59. 138 Pp. 18, 21, 42, 93, etc. 
 
 139 P./.C.^./>./.G., pp. 310-17; C.d.L.: La LSgende du Mont-Saint-Michel, 
 pp. 103-4; L'H., pp. lo-ii; N.C., pp. 75-76, 94-105. 
 
 140 Cf. C.d.L.: La Nuit, pp. 219-28. 
 
 ^^^L'£d.S., pp. 33, 218, 298-99, 507-8; 0.d.J., Ill, 4-5; Mile P.: A Cheval, 
 p. 159; C.d.J.e.d.l.N.: Le Pere, pp. 38-39; Yvette: Promenade, pp. 206-7, 
 209, 211 ; L'LB., p. 5; B.-A., pp. 352-54, 359, 533; P-c.l.M., pp. 97-ioo, 104. 
 
84 FLAUBERT AND MAUPASSANT 
 
 carriages and harness is spoken of in UEducation sentimentale 
 (P- 33) and in L'inutile Beaute (p. 5) ; the coming up of a cold wind 
 on the promenaders in UEducation sentimentale (p. 298) and Fort 
 comme la Mort (p. 99). There is an account of a visit to Fontaine- 
 bleau in UEducation sentimentale (pp. 459-77) and in Notre Coeur 
 (pp. 229 ff.). In addition to Normandy and Paris, both men have 
 something to say about Brittany, Southern France, especially the 
 Riviera, Corsica, Switzerland, Italy, and Algeria.^*^ In many cases 
 the younger man seems to have followed the footsteps of the older in 
 visiting these places, for the same, or almost the same, route will be 
 outlined, and the same names will occur in the narrative. There is 
 nothing to denote, however, that the one was influenced by the other 
 in his descriptions of what both saw for themselves. Possibly there 
 was an influence in the exciting of interest. This in turn may have 
 caused a wish to see places already pictured in thought. Like Flau- 
 bert, Maupassant traveled in Brittany on foot."^ The part visited 
 by both was the southern shore of the peninsula.^** Marseilles with 
 its teeming life is portrayed by the two men.^*° In Rome neither likes 
 St. Peter's."® Flaubert praises Michael Angelo's "Last Judgment," 
 which Maupassant condemns."^ In La Vie errante, during the 
 description of Tunis, Maupassant speaks of a ruined aqueduct near 
 the town as 'Taquedue de Carthage dont parle Flaubert dans 
 Salammho"^^^ 
 
 We have been considering hitherto for the most part descrip- 
 tions of outdoor scenes; there are also many of various kinds of 
 interiors, which likewise furnish few instances of striking similarity. 
 
 1*2 See, for example, Flaubert's Par les Champs et par les greves, Notes 
 de voyages, and Correspondance; Maupassant's Au Soleil, Sur I'Eau, and 
 La Vie errante. 
 
 1*3 Maynial, La Vie et Voeuvre de Maupassant, p. 183. 
 
 ^**PlC.e.p.l.G.; cf. B.e.P., pp. 38 ff.; Corr., I, 283-85; CM.B.: Un Fits, 
 pp. 199-200; MJ^ar.: A Vendre, p. 100, Le Bapteme, pp. iZ'^-ZTt Petit Soldat, 
 p. 288; L.P.R.: La Peur, pp. 274-75; L.R.d.M.H.: Une Soiree, p. 143; 
 Au S.: En Bretagne, pp. 251-80. 
 
 ^^^Corr., I, 153; III, 72', N.d.V., I, 11-12; II, 292-93, 345-46; L.M.G., pp. 
 202 ff.; Au S., pp. 9-10, 183-84; P.l.C.e.p.l.G.: Pyrenees, p. 397. 
 
 i« Corr., II, 66; B.d.S.: Corr., p. clvi. 
 
 1*' Corr., II, 56, 6z\B.d.S.: Corr., pp. clv-vi. 
 
 "8L.F.J2.; Tunis, p. 146; cf. Corr., Ill, ZZS'Z^, 346. 
 
RESEMBLANCES 85 
 
 Each writer gives a somewhat lengthy account of a factory.^*® Two 
 passages which have a number of like details are those portraying the 
 "cabinets de toilette" of Rosanette and of Mme de Burne.^^^ Each 
 room described is the centre of its owner's activities. The hangings 
 of each are of "perse" or of "toiles de Perse." The furniture in both 
 consists of restful seats, and of toilet tables and utensils, some of 
 which in either case are of marble or crystal. In each there is a large 
 looking-glass, and a bath curtained off from the rest of the room. 
 
 In treating the phenomena of the weather, of the seasons, of day 
 and night, Flaubert and Maupassant are much alike. This is to be 
 expected, as they deal with the same places and the same general 
 climate. One or two instances of special emphasis or of similar turns 
 of incident and expression are to be noted. Both describe days or 
 nights of rain in Paris and in the country.^^^ Both speak of the 
 "heavy heat" of summer.^^^ Each refers to the biting cold of the 
 Norman or Parisian winter.^^^ The fog or mist of Normandy or 
 Paris is also given its share of attention.^^* Descriptions of sunrise 
 and sunset and of moonrise and moonlight nights are frequent.^'^^ 
 In its rising the moon is sometimes represented by both men as 
 appearing from behind trees.^^* 
 
 Many similar things are portrayed by the two authors. The 
 "thing" may be a characteristic of personal appearance. Sometimes 
 it is the direct glance of a character.^^^ Much space is given to the 
 
 ^^^UndS., pp. 279-84; Au S.: Le Creusot, pp. 281-89. 
 
 ^^^L'£d.S., p. 188; N.C., pp. 36-38 
 
 161 For example, L'£d.S., pp. 152, 285, 297, 298-99, 510, 598; M.B., pp. 16, 
 167; U.V., pp. i-io; Yvette, pp. 96-99; L.R.d.M.H.: UOdyssee d'une fille, 
 p. 207. 
 
 162 For example, M.B., p. 284; L.M.T., p. 39: EH Famille, p. 137; C.d.l.B.: 
 Les Sabots, p. 99; M.Har., p. 30; L.P.R., p. 43; S.l'E.: Livre de Bord, p. 198. 
 
 153 For example, M.B., pp. 88-89, 140, 294; L'M.S., pp. 82, 96; U.V., pp. 
 158-59; C.d.lB.: La Folle, p. 41, Saint-Antoine, p. 223. In the last two 
 examples Maupassant speaks of the special cold of the winter of 1870. N.C., 
 pp. 185, 195. 
 
 16* For example, M.B., pp. 219-20; O.dJ., Ill, 179; U£dS., pp. 96, 413; 
 P.eJ., pp. 88-89, 93; L.M.T.: Sur Veau, p. 191. 
 
 166 For example, Sal, p. 21; M.B., pp. 223-24; Sal, pp. 55-56; M.B., pp. 
 354-55; C.dJ.e.d.lN.: Un Lache, p. 115; U.V., p. 379; U.V., pp. 70-71; C.d.L,, 
 pp. 8-10. 
 
 i6« For example, M.B., p. 274 ; F.c.lM., p. 202. 
 
 167 For example, M.B., p. 19 ; M.-O., pp. 7-8 
 
86 FLAUBERT AND MAUPASSANT 
 
 description of hands — the gnarled and deformed hands of the worker, 
 the "long, pale" hands of the man or woman of higher station, the 
 soft, repulsive hands of an Arnoux or a Walter.^^* Feet no less 
 than hands are often alluded to and taken as symbolic. The broad, 
 unwieldy boots of Charles Bovary seem to typify stupidity no less 
 than the feet, "fort plats et fort gros," of Walter Schnaflfs, the 
 simple German soldier, ^^^^ The "gros souliers" of the peasants cor- 
 respond to the character of the wearers no less than the dainty shoes 
 of Emma or of Mme Arnoux/®^ Mme de Marelle's diamond, which, 
 held by a thread of gold, hangs from her ear, "comme une goutte 
 d'eau qui aurait glisse sur la chair," suggests Salammbo's hollow 
 pearls, filled with perfume, from which "de moment en moment, une 
 gouttelette qui tombait mouillait son epaule nue."^^^ The likenesses 
 between the diligence in Madame Bovary and that in La Bete a Matf 
 Belhomme have already been pointed owt}^^ In UAveu and Apres 
 the designation of a stagecoach as a "coffre jaune" is repeated.^®^ 
 There are several enumerations of different kinds of carriages.^^* 
 Descriptions of pictures are common, including discussion of por- 
 traits of characters and of representations of Christ.^^^ Riches and 
 their paraphernalia, such as "bibelots" of many kinds, occupy a 
 considerable place in the works of both men.^®® 
 
 In Maupassant there is some use of names which have evidently 
 a more or less close connection with names in Flaubert. The name 
 "Le Poittevin," for instance, occurs several times,^®^ recalling the 
 
 168 For example, M.B., pp. 208-9; L.H.: Le Viable, p. 127; L'£dS., p. 187; 
 L.H.: Le Marquis de Fumerol, p. 97; L'M.S., p. 61 ; B.-A., p. 50. 
 
 159M.J5., p. 59; C.d.lB.: UAventure de Walter Schnaffs, p. 235. 
 
 i«oFor example, L.M.T.: L'h.d'u.f.d.f., p. 77; M.B., pp. 83, 109, etc.; 
 L'£dS., p. 115. 
 
 i«iB.-/4., p. 37; cf. also p. 43; Sal, p. 259. 
 
 162 See above, pp. 58-59. ^^^ C.dJ.e.d.l.N., p. 52; O.P., I, 298. 
 
 ^^^M.B., p. 35; L.M.T., p. 29; M.Har.: La Ficelle, p. 218; Ui,d.S., p. 298. 
 
 i«5For example, M.B., pp. 20, 326, 416; L.M.T., p. 5; Toine: L'Ami Pa- 
 tience, p. 29; B.-A., pp. 196 ff., 327; L'M.S., pp. 214 ff., 307-8, etc.; ULB.: 
 Un Portrait, pp. 183-84; F.c.l.M., pp. 19 ff., 82 ff., 231 ff., 294 ff., 119 ff., 241 ff.; 
 L'M.S., p. 429; B.-A., pp. 478 ff. ; F.c.l.M., p. 14. 
 
 i«6For example, M.B., pp. 65-76; Sal, pp. 166 ff.; L'M.S., p. 27, etc.; 
 ULB.: Qui saitf, p. 248; L.R.d.M.H.: La Baronne, pp. 87-95. 
 
 i«7For example, Mile F.: L.V., p. 226; C.d.lB.: N.d'u.V., p. 268; O.P., I: 
 €Corr.^ p. 97. 
 
RESEMBLANCES 87 
 
 family friendship which was the beginning of the relationship 
 between the two men. There are one or two souvenirs also of 
 Flaubert's "Saint Antoine." In Maupassant's story of that title^®^ 
 the name is applied to a Norman peasant, called Antoine, whose 
 "cochon" is the Prussian soldier billeted upon him. Other mention 
 of the same name in comparisons is found in La petite Roque (p. 44) 
 and Bel-Ami (p. 316). The name "Polyte" is applied in L'Aveu to 
 the driver of a diligence, in Le Lapin to the man-of-all-work on a 
 farm, recalling the "Polyte" or "Hippolyte," "le gargon de I'auberge," 
 in Madame Bovary}^^ "Paul" in Un Coeur simple is the character 
 corresponding to "Paul" in Une Vie. In UEducation sentimentale 
 we hear of "la petite a M. Roque" (p. 13), and in Maupassant we 
 have the story of "la petite Roque." Occasionally the names seem 
 to be given with some special meaning in view. Thus an unfortunate 
 woman is called Felicite, and a false lover, "Bel-Ami." Almost all 
 the titles of Flaubert's novels are taken from the names of personages 
 in the novels. Maupassant also uses largely the names of characters 
 for the titles of his romans and contes. Where he does not the desig- 
 nation frequently lacks distinctiveness. 
 
 In characterization there is much similarity between the two 
 authors. This has already been considered to some extent in con- 
 nection with plots and incidents which depend in whole or in part 
 on the characters of the personages involved, as is the case in L' Edu- 
 cation sentimentale for instance. Some additional resemblances will 
 be treated here. Flaubert's best known character is probably Emma 
 Bovary, of whom there are echoes in his subsequent work. ' Sa- 
 lammbo, for example, resembles her in her longings for the unattain- 
 able, Mile Roque in her dissatisfaction with present circumstances.^^** 
 On comparing Flaubert and Maupassant we find that there exists a 
 close likeness in character between Emma Bovary and Jeanne of Une 
 Vie. There is also a marked contrast between them, which seems at 
 times to be intentional on Maupassant's part, as if he had set Jeanne 
 over against Emma designedly in order to emphasize the likeness 
 between them by means of their differences. In some cases Jeanne's 
 experiences suggest to one that they are planned so as to carry out 
 Emma's imaginings. 
 
 168 C.d.lB., pp. 217-32. 
 
 ^^^C.d.J.e.d.l.N., pp. so ff.; L.M.G., pp. 107 ff. 
 
 ^•^^uM.s.,V' 357. 
 
88 FLAUBERT AND MAUPASSANT 
 
 Both are educated in a convent at Rouen, the one entering at 
 twelve and the other at thirteen,"^ cut off from contact with ordinary 
 human affairs and subjected to unnatural influences which tend to 
 encourage an already too active sentimental imagination. Both spend 
 much time at the convent in dreaming of love and leave its walls 
 behind with extravagant hopes for the future and with an already 
 confirmed habit of mind which influences all their future lives. 
 
 Each girl returns to her home in the country on leaving school. 
 Jeanne has been kept by her father rigidly secluded from the world 
 and is astonishingly ignorant of realities. In her outlook she is senti- 
 mental, if on the whole healthy-minded. Emma, while possessing 
 a naivete of a kind, is much more sophisticated than Jeanne in her 
 knowledge of life, and her sentimentality shows already a morbid 
 quality. 
 
 In the country Jeanne takes great delight, loving nature in all its 
 aspects, and filled with the joy of living. To Emma the country is 
 distasteful, for she knows it too intimately on its more sordid side, 
 and the life there is wearisome and uninteresting. Both spend much 
 time alone and indulge in that dreaming which is, throughout both 
 books, the great similarity between the two characters. In both cases 
 the dreams are full, first of expectations for the future, and then 
 of regrets for the past. The effect of the dreaming is in each case 
 the same — ^the separating of the dreamer from the actualities of life, 
 and the begetting of unreal or extravagant ideas and expectations, of 
 discontent or revolt. 
 
 In their dreamings the two women reveal the radical difference 
 between their natures. Emma is fundamentally sensual ; Jeanne is 
 essentially pure. Emma, a typical example of the "femme incom- 
 prise et passionnee," fosters within herself notions of a grand pas- 
 sion like that of the heroines of whom she has read, "la legion lyrique 
 de ces femmes adulteres" ;^'^ Jeanne dreams of a lover who is also 
 a husband, of children, of a life of affection in the chateau with which 
 most of her life has been connected and which is to be hers. Both 
 exhibit certain delicacies in act and thought, springing in the one 
 case from self-indulgence, in the other from innate pure-minded- 
 ness. Emma wishes for material luxury, for change, for something 
 extraordinary to happen ; Jeanne would be satisfied with "les simples 
 bonheurs d'une existence calme.""* To both realization falls short 
 
 "1M.5., p. 48; U.V., p. 3. '■''^M.B., p. 225. 1^3 t/.F., p. 370. 
 
RESEMBLANCES 89 
 
 of imagination, and life brings repeated disenchantments alternating 
 with periods of reviving hopes. Both come to curse "Providence" 
 or "fate" for imagined injustice toward them, to regard the world as 
 full of nothing but misery and deceit ; and to hate and despise man- 
 kind. In both cases the tendency to morbid reverie increases as time 
 passes, being cherished instead of shaken off. In the end, however, 
 the difference between the twd is again brought out. Emma passes 
 from our sight, as she dies with a hideous laugh of despair ;^'^* Jeanne 
 with a revival of hope for the future of herself and those she loves, 
 as she looks forward to her ^on's return home and holds in her arms 
 that son's infant daughter.^^^ 
 
 Closely associated with their sentimental dreaming is the nervous 
 malady which besets the two women. Both are subject to attacks 
 of "nerves," to fits of weeping, to "etourdissements," to "defail- 
 lances," to lack of will power, to periods almost of frenzy. Both are 
 at times extraordinarily upset by the most insignificant things. 
 Emma, however, retains all through a certain practical common sense 
 which Jeanne almost entirely lacks. 
 
 The religion of both Emma and Jeanne is described partly as a 
 habit left from their convent life, partly as connected with their 
 romantic extravagances. The following characterization of Jeanne's 
 religion might apply equally well to that of Emma: "La religion 
 de Jeanne etait toute de sentiment ; elle avait cette f oi reveuse que 
 garde tou jours une femme; et si elle accomplissait a peu pres ses 
 devoirs, c'etait surtout par habitude gardee du convent. ... "^^^ The 
 religion of Emma contains, besides, an element of sensuality^^^ which 
 is absent from that of Jeanne. Both are represented as having vio- 
 lent paroxysms of religion, produced by circumstances, as well as the 
 reactions from such paroxysms. Each turns to religion occasionally 
 in times of stress, in either instance usually with little success. 
 
 In the conduct of life Emma sins, Jeanne is sinned against ; the 
 result is the same in the two cases — misery and deterioration. Both 
 come, though for different reasons, to regard their husbands with 
 repugnance. They learn to dissemble, Emma being urged thereto 
 by a guilty conscience, Jeanne by pride, affection, or fear. In Emma 
 this trait grows to alarming proportions.^^^ Jeanne is, toward the 
 last, obsessed by a savage jealousy of her son's mistress. Emma is 
 
 ^''*M.B., p. 449. 175 u^y^^ pp. 379-80. 176 uy^^ p. 262. 
 
 1" M.B., pp. 49, 298, 446. See above, p. 18. "« M.B., p. 374- 
 
90 FLAUBERT AND MAUPASSANT 
 
 but an indifferent mother, her love for her child being spasmodic 
 and sometimes a pose ; Jeanne is "une mere fanatique," erring there- 
 by in the other direction. In personal appearance they are direct 
 antitheses one of the other, Emma being dark and rather slight, 
 Jeanne fair and vigorous-looking/^® 
 
 In certain particulars, as has been said, Jeanne's experience seems 
 to fulfil Emma's imaginings. Her voyage to Corsica is one example 
 of this. Of Emma we read : 
 
 Elle songeait quelquefois que c'etaient la pourtant les plus beaux jours 
 de sa vie, la lune de miel, comme on disait. Pour en gouter la douceur, il 
 eut fallu, sans doute, s'en aller vers ces pays a noms sonores ou les 
 lendemains de mariage ont de plus suaves paresses ! Dans des chaises de 
 poste, sous des stores de soie bleue, on monte au pas des routes escarpees, 
 ecoutant la chanson du postilion qui se repete dans la montagne avec les 
 clochettes des chevres et le bruit sourd de la cascade. Quand le soleil se 
 couche on respire au bord des golfes le parfum des citronniers; puis, le 
 soir, sur la terrasse des villas, seuls et les doigts confondus, on regarde 
 les etoiles en faisant des projets. II lui semblait que certains lieux sur 
 la terre devaient produire du bonheur, comme une plante particuliere au 
 sol et qui pousse mal toute autre part [M.B., p. 56]. 
 
 Allowing for the romanticism of the expression, the first part of this 
 passage recalls Jeanne's wedding journey by the gulfs and through 
 the mountains of Corsica, "ce long voyage au pas," past its "hauteurs 
 escarpees."^®^ It calls to mind also the emotions produced in her by 
 her surroundings there, and her remembrance of these days in after 
 years as among the happiest of her life. 
 
 Other examples of the fulfilment of Emma's dreams in Jeanne's 
 experience are as follows. Emma hankers, as has been said, after the 
 nobility ; Jeanne is of noble rank. Emma would like to see Paris ; 
 Jeanne has visited Paris. Emma hopes to have a son ; Jeanne's child 
 is a son. Emma wishes that her husband were "beau, spirituel, 
 distingue, attirant" ; Julien possesses, at least at first, some of these 
 attributes.^®^ 
 
 More like Emma in some respects than her daughter is Jeanne's 
 mother, "la baronne." She is addicted, like Emma, to the reading of 
 
 "9M.B., pp. 20, etc., 148, etc.; U.V., pp. 3-4. 
 "0 U.V., pp. 93-113, 102. 
 
 18^ In all these details Maupassant seems to be working out suggestions 
 caught from Flaubert. 
 
RESEMBLANCES 91 
 
 romantic fiction, such as that of Sir Walter Scott/^^ ^q a consequent 
 exaltation of passion as the main thing in life, and to an easy toler- 
 ance of amorous irregularities. She is fond of the nobility and much 
 impressed with their importance. She has had a love intrigue in her 
 past history, which is discovered, as is Emma's, after her death, 
 through the medium of her letters.^*^ 
 
 Other likenesses to Madame Bovary are numerous. Those in 
 Une Aventure parisienne and La Parure have already been men- 
 tioned.^®* In M. Jocaste^^'^ we have an instance of disillusionment 
 rather like Jeanne's than like Emma's, but attaching to Emma through 
 that intermediary. Henriette in Monsieur Parent is like Emma in 
 her detestation and consequent treatment of her husbarid:'^*^ ' The 
 following paragraph might describe almost equally well the Bovary 
 situation : 
 
 II avait epouse, quelques annees plus tot, une jeune femme aimee 
 tendrement qui le traitait a present avec une rudesse et une autorite de 
 despote tout-puissant. Elle le gourmandait sans cesse pour tout ce qu'il 
 faisait et pour tout ce qu'il ne faisait pas, lui reprochait aigrement ses 
 moindres actes, ses habitudes, ses simples plaisirs, ses gouts, ses allures, 
 ses gestes, la rondeur de sa ceinture et le son placide de sa voix.^^^ 
 
 On one occasion Henriette says to her husband : "Tiens, tu ne seras 
 jamais qu'une loque, un pauvre sire, un pauvre homme sans volonte, 
 sans fermete, sans energie," just as Emma exclaims of Charles: 
 "Quel pauvre homme ! quel pauvre homme !"^^® At another time she 
 explains to her lover her reasons for detesting her husband, which 
 might also be Emma's. First of all, he is her husband ; then he exas- 
 perates her constantly by his stupidity and slowness of comprehen- 
 sion. 
 
 There is further likeness to Emma to be found in Mont-Oriol. 
 At first not much given to dreaming,^®® Mme Andermatt is brought 
 through Bretigny's advances to perceive ecstasies not yet enjoyed 
 and to long for them like Jeanne and Emma.^^^ When her dreams 
 
 182 See below, pp. 156-57. ^^^ See above, pp. 65, 75. 
 
 ^^^Mlle F., pp. 193-205; C.dJ.e.dlN., pp. 59-74; see above, p. 66. 
 
 185 Mile F., p. 260. 188 See especially pp. 5, 22-30, 35-38, 42-43. 
 
 187 M.Par., p. 5 ; cf . M.B., pp. 57, 69, 77, 86, etc. 
 
 188 M.Par., p. 27 \ M.B., p. 86. 
 
 i89Jlf.-0., p. 21. 190 iW.-O., p. 139-40. 
 
92 FLAUBERT AND MAUPASSANT 
 
 are realized she exclaims: "Mais je I'aime ... je Taime!" recalling 
 by contrast Emma's "J'ai un amant 1 un amant !"^®^ In her thought 
 at a subsequent period she repeats almost these words of Emma's, 
 with a suggestion of the latter's delight at possessing "cette fievre du 
 bonheur."^®^ She thinks: "Aujourd'hui il etait son amant! son 
 amant! Done elle avait un amant! Elle etait sa maitresse! — sa 
 maitresse ! Elle repetait ce mot dans le secret de sa conscience — sa 
 maitresse !"^®® 
 
 Mme Roland is another who is represented as having lived,, like 
 Emma, by the side of an uncongenial husband, cherishing dreams 
 "de clairs de lune, de voyages, de baisers donnes dans I'ombre des 
 soirs," and as having succumbed, like Emma, to the one who has 
 brought to her that for which she has longed.^®* 
 
 The masculine counterpart of Emma Bovary, so far as dreaming 
 goes, is Frederic Moreau. At all stages of his career, until the very 
 last, he resembles the youthful wanderer of A Vendre, dreaming 
 "a tout ce qu'on attend sans cesse, a tout ce qu'on desire, a la fortune, 
 a la gloire, a la femme,"^®^ with, perhaps, the order reversed. His 
 propensity for reverie is closely associated with his other character- 
 istic of ineffectiveness. It is also allied to his romantic feeling for 
 Mme Arnoux, which dominates his whole life and extends even 
 to everything connected with her.^®* It is, however, rather Frederic's 
 incapability of action which is repeated in Maupassant. Bretigny, 
 for instance, is said to be "incapable d'un effort continu."^^^ An 
 extreme example is found in Regret.^^^ This is the story of a man 
 of sixty-two, who seems to himself to have lived a futile life. He 
 reviews his existence as he looks out of the window at the falling 
 rain : 
 
 Si encore sa vie avait ete remplie ! S'il avait fait quelque chose, s'il 
 avait eu des aventures, de grands plaisirs, des succes, des satisfactions de 
 toute sorte. Mais non, rien. II n'avait rien fait, jamais rien que se lever, 
 manger aux memes heures, et se coucher . . . . 
 
 II n'avait meme pas ete aime. 
 
 181 M.-O., p. i6s ; M.'B., p. 225. i»5 M.Par., p. 98. 
 
 "2 M.B., pp. 225-26. i»« For example, L'Rd.S., p. 78. 
 
 193 M.'O., p. 172. 197 M.-O., p. 109. 
 
 19* P.e.J., for example, pp. 106, 187-90. i98 M.Har., pp. 257-67. 
 
RESEMBLANCES 93 
 
 He thinks of a woman whom he had loved in the past, but whom 
 he had lost through lack of the energy necessary to take advantage 
 of an opportunity. A like indecision marks Renardet's efforts to kill 
 himself after the commission of his crime.^®^ Another character 
 resembling Frederic both in his tardiness to act and in his dreaming 
 is Pierre in Pierre et Jean}^^ He has many times determined to 
 make a fortune and has mused over what he will do with it but has 
 taken no steps toward securing it by the time the novel comes to a 
 close. He is contrasted here with his brother Jean, somewhat as 
 Frederic is compared with his friend Deslauriers.^^^ MarioUe, in 
 Notre Coeur, is also one who suffers from failure to accomplish.^^^ 
 The following words of his self -accusation might have been written 
 also of Frederic : 
 
 II n'avait rien fait, rien reussi, rien obtenu, rien vaincu. Les arts 
 I'ayant tente, il ne trouva pas en lui le courage necessaire pour se donner 
 tout a fait a Tun d'eux, ni I'obstination perseverante qu'il faut pour y 
 triompher. Aucun succes ne I'avait rejoui, aucun gout exalte pour une 
 belle chose ne Tavait anobli et grandi. Son seul effort energique pour 
 conquerir un coeur de femme venait d'avorter comme le reste. II n'etait 
 au fond qu'un rate.^*^* 
 
 Of stupid husbands like Charles Bovary there are several in Mau- 
 passant. M. Parent has been already sufficiently characterized as 
 such in the quoted words of his wife, Henriette.^''* A similar case 
 of deception by the wife is that in Le Petit,^^^ where the truth is not 
 discovered until long after the woman's death. The husband there 
 is described as "un bon homme, un brave homme, simple, tout simple, 
 sincere, sans defiance et sans malice."^^® Like Charles and like M. 
 Parent at first, he loves his wife passionately, and Hke them too he 
 annoys her by his awkwardnesses. The affection of each of the three 
 for his child is an additional point of resemblance. M. Lantin, of 
 Les Bijoux/^'^ is another character similar to Charles in his affection 
 for and belief in his wife. Thrown into despair by her death, he imi- 
 tates Charles in keeping her room intact and in spending there a 
 
 i»oL./>.i?., pp. 39-41, 57-68. 
 
 200 P.eJ., for example, pp. 4-5, 53-55, 107-8. 
 
 201 P.eJ., for example, pp. 6, 53 ff., 89 ff., etc. ; U^d.S., pp. 18 ff., etc. 
 
 202 N.C., pp. 205, 245-46. 205 C.dJ.e.d.lN., pp. 199-208. 
 
 208 N.C., p. 205. 206 Jbid,^ p. 199. 
 
 204 See above, p. 91. 207 c.d,L., pp. 139-52. 
 
94 FLAUBERT AND MAUPASSANT 
 
 part of each day. Even the garments of the wife are preserved by 
 both.'^"^ 
 
 We turn now to another Hkeness in masculine characterization. 
 Rodolphe, in Madame Bovary, is a type of the "predatory male" 
 whose prey is woman. He has successors in Maupassant ; Julien, in 
 Une Vie, is one ; Paul Bretigny, in Mont-Oriol, is another. To both 
 of these men may be applied equally well the description given of 
 Rodolphe as "de temperament brutal et d'intelligence perspicace."^*^® 
 All three show the expected cynicism in amorous affairs. Each 
 makes advances to the worhan of his pursuit for his own purposes ; 
 each soon tires of his conquest, being desirous of perpetual change in 
 matters of the kind ; each is careless of the blows he deals his victim. 
 All three can lay claim to a certain elegance and power of attraction ; 
 all are possessed of some degree of wealth. Georges Duroy, of Bel- 
 Ami, already described,^^" would also belong to this class from cer- 
 tain of his characteristics. 
 
 In Maupassant, further, there are some traces of Homais and of 
 the caricature of Voltairianism apparent frequently in the utterances 
 of the "pharmacien."^" The doctors in Mont-Oriol, for example, 
 suggest him in their f ussiness, their self-importance and exaggerated 
 self-confidence, their ridiculous actions, and absurd, would-be learned 
 pronouncements.^^^ So also does the doctor in Un Coup d'etaf^^ 
 through the same f ussiness and self-importance, the same posing 
 and fondness for elaborate language, as well as through his extreme 
 desire for public glory. M. Sacrement, in D Score, is, like the pharma- 
 cist, obsessed with a longing to be decorated, and writes pamphlets, 
 as does Homais, in the hope of attracting the attention of the govern- 
 ment.^" Like his prototype also he "does everything methodic- 
 ^Uy "215 Qn ^j^g opposite side of the medical situation from Homais 
 are the cripples who appear in both authors. The "pied bot" of 
 Hippolyte is repeated in the "Venus Rustique" of Des Vers (p. 136) 
 and in the story of Le Gueux.^^^ Another cripple with an important 
 
 208 Les Bijoux, p. 143; cf. M.B., pp. 471, 472-73- 
 
 ^^^ M.B., p. 181. 211 M.B., for example, pp. 106-7, 213-14, etc. 
 
 210 See above, pp. 67 flf. 212 cf . M.-O., pp. 4, 14-15, 261 ff., etc. 
 
 218 C.d.L., pp. 15-32. 
 
 21* LS.R., pp. 243-53, esp. pp. 243-45 ; cf . M.B., pp. 187, 213, 477-78. 
 
 215 Page 251 ; cf., for example, M.B., pp. 231-33, 340 ff., etc. 
 
 218 C.dJ.e.d.lN., p. 177. 
 
RESEMBLANCES 95 
 
 place in a plot is "le pere Clovis," of Mont-Oriol, who "drags his 
 right leg" (p. 81). Some souvenirs of Hippolyte also attach to the 
 hideous inn servant of Un Fils.^^"^ He is thus described when first 
 seen : "II venait maintenant de puiser de Teau pour les chevaux et 
 portait ses deux seaux en boitant, avec un effort douloureux de la 
 jambe plus courte."^^^ One is at once reminded of Hippolyte as he 
 goes limping about his business at the Lion d'or or through the 
 village.2i» 
 
 Besides the inn servants, others belonging to the class of depend- 
 ents suggest similarity. In Madame B ovary there is an old seam- 
 stress who comes to the convent where Emma is at school and enter- 
 tains the girls with her tales of gallantry. Clochette is the account 
 of a similar old seamstress, whose visits are among the childish mem- 
 ories of the spokesman in the conte. She frequents his father's 
 house and tells him stories while she sews.^^** 
 
 Love for children and the influence of childhood occupy attention 
 both in Flaubert and in Maupassant. Emma Bovary is recalled from 
 the orgy of the masqued ball by the thought of Bertha sleeping at 
 home.^2^ Charles Bovary is redeemed at times from his unattractive- 
 ness by his affection for his child.^^^ A similar redeeming affection 
 is exhibited by Rosanette in ^Education sentimentale^^^ and by more 
 than one of the outcast or unfortunate women in Maupassant's 
 stories.^^* Numerous other instances of this sentiment can be 
 found.^^^ The other side of childhood — the cruelty of the young 
 animal — is likewise represented by the two authors. We have the 
 schoolboys tormenting the awkward, shy boy at the beginning of 
 Madame Bovary and torturing the poor little lad in Le Papa de 
 Simon}^^ 
 
 Most of the resemblances just discussed have to do with Madame 
 Bovary; there are also a few associated with Salammbo. There is a 
 certain similarity between the upbringing and outlook of Salammbo 
 and Jeanne. Both have been kept by their fathers shut up from con- 
 tact with the world and come to meet it in consequence with greater 
 
 217 C.d.l.B., pp. 205-13. 210 For example, M.B., pp. 195, 262. 
 
 218 Un Fils, p. 205. 220 L^H., pp. 81-82. 
 
 221 M.B., p. 403. 222 For example, M.B., pp. 270-71, 473- 
 
 223 For example, pp. 555-56, 574 ff. 
 
 224 For example, B.d.S., p. 56; L.M.T., pp. 27-28: L'h.d'u.f.d.f., pp. 68 ff. 
 
 225 For example, M. Parent, etc. 226 LM.T., pp. 1 19-34- 
 
96 
 
 FLAUBERT AND MAUPASSANT 
 
 or less ignorance of its ways. ^^^ A second detail of likeness to Sa- 
 lammbo found in Maupassant bears witness rather to Flaubert's 
 exact reproduction of unchanging African life^^® than to any close 
 literary relationship between the two authors. When we first see 
 the Carthaginian maiden we are given a picture of her lofty head- 
 dress and of the abundant jewelry with which she is adorned. In 
 his account of the Province of Algiers, Maupassant depicts the dress 
 of the "Oulad-Na'il," which includes also a "monumental" coiffure 
 and many jewels. The corresponding passages are as follows : 
 
 Flaubert Maupassant 
 
 ... une femme apparait, debout 
 sur une porte, avec une large coif- 
 fure qui semble d'origine assy- 
 rienne, surmontee d'un enorme dia- 
 deme d'or. 
 
 ... avec ... leurs hautes coif- 
 fures a diademes qui rappellent les 
 bas-reliefs egyptiens, les Oulad- 
 Nail attendent. ... 
 
 Puis en voici d'autres, avec 
 la meme coiffure monumentale : une 
 montagne carree qui laisse pendre 
 de chaque cote une grande tresse 
 tombant jusqu'au bas de Toreille, 
 puis relevee en arriere pour se 
 perdre de nouveau dans la masse 
 opaque des cheveux. Elles portent 
 tou jours des diademes dont quel- 
 ques-uns sont fort riches. La poi- 
 trine est noyee sous les colliers, les 
 medailles, les lourds bijoux; et deux 
 fortes chainettes d'argent font 
 tomber jusqu'au bas-ventre une 
 grosse serrure de meme metal, cu- 
 rieusement ciselee a jour et dont la 
 clef pend au bout d'une autre 
 chaine {AuS.: La Province d'AU 
 ger, pp. 64, 66, 64]. 
 
 22T5«o/.,p.6i; U.V.,p.3- 
 
 228 Cf. L. Bertrand, "Le Cinquantenaire de Salammbo," R.D.M., (June 
 I, 1912), esp. pp. 594-95. 
 
 Sa chevelure, poudree d'un 
 sable violet, et reunie en forme de 
 tour selon la mode des vierges 
 chananeennes, la faisait paraitre 
 plus grande. Des tresses de perles 
 attachees a ses tempes descendaient 
 jusqu'aux coins de sa bouche, rose 
 comme une grenade entr' ouverte. 
 // y avail sur sa poitrine un assem- 
 blage de pierres lumineuses, imitant 
 par leur bigarrure les ecailles d'une 
 murene. Ses bras, garnis de dia- 
 mants, sortaient nus de sa tunique 
 sans manches ... \^Sal., p. 14]. 
 
RESEMBLANCES 97 
 
 In the preceding paragraphs, as will be observed, there is a gen- 
 eral impression of resemblance in the costumes described. The points 
 of similarity which produce this effect are the towering Eastern 
 headdress, with its pendent "tresses," in the one case of pearls, in 
 the other of hair, and the breast smothered in jewelry of curious 
 design. 
 
 In La Legende de Saint Julien VHospitalier we have the picture 
 of a "mighty hunter." In Maupassant there are two classes of per- 
 sons that descend from him : the first includes those who are animated 
 by a ferocious but legitimate passion for the chase ; the second, those 
 who are impelled by an abnormal and criminal desire to see blood, 
 to kill. These two passions, it will be remembered, are united in 
 Saint Julien. To the first class belong the heroes of Maupassant's 
 numerous hunting stories, who will endure all kinds of hardships and 
 brave all manner of difficulties in order to indulge in their favorite 
 pastime ;^^® to the second division are to be assigned such types as 
 "Moiron," who slaughters as vengeance for the loss of his own chil- 
 dren the pupils intrusted to his care, and "Un Fou," who destroys for 
 the mere pleasure of shedding blood, of taking life.^^^ 
 
 The pictures of the clergy presented by the two writers in ques- 
 tion have many points in common. For example, one of the charac- 
 teristics of the Abbe Boumisien's appearance is the array of spots on 
 the front of his cassock.-^^ This peculiarity is frequently repeated in 
 the case of Maupassant's cures.^^^ Other inelegant personal attri- 
 butes are likely to be accredited to priests.^^^ The Abbe Picot in 
 Une Vie, like the Abbe Bournisien in Madame Bovary, is the typical 
 easy-going cure, not too far removed in feeling from his parishioners, 
 doing his duty as he sees it, with considerable insight into the ordi- 
 nary human nature about him but slow to understand anything dif- 
 ferent from it.^^* The type is repeated not infrequently in Maupas- 
 sant.^^^ The opposite type, that of the fanatical priest, is represented 
 by the Abbe Bournisien in his later years, the Abbe Marignan, etc.^^^ 
 
 229 For example, C antes de la Becasse ; etc. 
 
 230 C.d.L., pp. 195-204 ; M.Par., pp. 161-73 ; etc. 
 23iilf.5.,p. 156. 
 
 232 For example, U.V., p. 35; L.M.T.: Uh.d'u.f.d.f., p. 86. 
 
 233 For example, M.B., p. 156; U.V., pp. 35, 173. 
 
 ^^^M.B., pp. 156-58; U.V., p. 253. 235 por example, B-A., pp. 27^-76. 
 ^^^M.B., p. 476; U.V., pp. 260 ff.; C.d.L., pp. 3-12. 
 
98 FLAUBERT AND MAUPASSANT 
 
 There are one or two other special details of similarity between a 
 certain priest in Flaubert and a certain priest in Maupassant. The 
 Abbe Bournisien, for instance, tells of being sent for to cure a cow f^'' 
 the Abbe Tolbiac is thought to have special powers in this direction.^^® 
 The Abbe Bournisien is respected all the more on account of his 
 athletic frame ; the Abbe Vilbois is honored because he is the most 
 muscular man in the district.^^® A phrase applied by both writers to 
 members of the clergy when speaking scornfully of them is "I'homme 
 a la soutane" or "I'homme en soutane."^*^ The representation of 
 the clergy in Maupassant tends to become caricatural, as do his por- 
 trayals of the English^*^ and of unmarried women of a certain age.**^ 
 In Maupassant's Sur VEau we read the following words : "C'est 
 une foule, et cette foule est quelqu'un, un vaste individu coUectif, 
 aussi distinct d'une autre foule qu'un homme est distinct d'un autre 
 homme."^*^ This characterization is worked out by both Flaubert 
 and Maupassant in their numerous descriptions of crowds. Contrast, 
 for example, the throng at the "Comices agricoles" of Madame 
 Bovary with the numerous street gatherings of UEducation senti- 
 mentale; or compare the peasant crowd in La Ficelle with the assem- 
 bly round and in the Madeleine at the end of Bel-Ami.^^* Both note 
 the strange impulsion that sways a crowd — what Flaubert calls "le 
 magnetisme des foules enthousiastes."^*^ The idea of the accumulated 
 effect of the multitude's "betise" is also expressed by both.^** One 
 effect apparent in glancing over a crowd is noted by the two men in 
 somewhat the same words. In both instances it is a peasant gather- 
 ing that is being described. 
 
 Flaubert Maupassant 
 
 ... et, sur la longue ondulation de Les comes des hoeiifs, Ics hauts 
 
 tous ces corps tasses, on voyait se chapeaux a longs poils des paysans 
 
 lever au vent, comme un flot, quelque riches et les coiffes des paysannes 
 
 237 M.B., p. 157. 288 {/J7^ pp^ 290-91. 
 
 ^^^ M.B., for example, p. 105; L'LB.: Le Champ d'Oliviers, p. 49. 
 ^^^B.e.P., p. 324; U.V., p. 274; B.d.S., p. 30. 
 241 For example, Toine: Nos Anglais, pp. 203-16. 
 2*2 For example, Miss Harriet ; and Xante Lison in Une Vie. 
 243 Page 108. 
 
 2*4 M.B., pp. 183-214 ; L'&d.S., for example, pp. 38 ff., 397 ff., etc. ; M.Har., 
 pp. 215-18; B.-^., pp. S72'7Z' 
 
 ^^^L'£d.S., p. 420; ci.S.l'E., p. 109. ^^^B.e.P., p. 209; S.IE., pp. uo-ii. 
 
RESEMBLANCES 
 
 99 
 
 criniere blanche, ou saillir des emergeaient a la surface de I'assem- 
 cornes aigues, tides tetes d'hommes blee \M.Har.: La Ficelle, p. 216]. 
 qui couraient [^M.B., pp. 190-91]. 
 
 Again, as often, the resemblance here is one of general impression, 
 with fairly close likeness of details — the great sea of men's and 
 animals* heads, with here and there one rising ^bove the ordinary 
 mass. 
 
 In the preceding paragraph we spoke more than once of rustic 
 gatherings. In both authors we have representations of the peasant 
 and fisher classes of Normandy and Brittany. In different individ- 
 uals we have the varying and even contradictory characteristics of 
 these classes clearly brought out — deep, enduring, but often inarticu- 
 late, affection, faithfulness, calm acquaintance with and acceptance 
 of the facts of life, shrewdness, cautiousness, keenness in money mat- 
 ters, simplicity no less than trickery, mental limitation, superstition, 
 stolidity, brutality, roughness and coarseness, low ideals of morality, 
 fondness for pleasures of the table and for "farces."-*^ Special 
 emphasis is given to the shrewdness of the Norman and to the super- 
 stition of the Breton. Both men observe the nearness of the peasant 
 in certain aspects to the brute. Each says something of peasant 
 costume and appearance. They refer also, on the one hand, to the 
 strong frame of the country man or woman and, on the other, to 
 the deformation of that frame through constant and brutal manual 
 toil.2*8 
 
 In previous chapters there have been considered the ideas defi- 
 nitely enunciated by the two men regarding life in general and lit- 
 erary procedure in particular, as well as the exemplification of these 
 ideas in practice. In the following pages will be treated other ideas 
 similar in the two but not included by them in their explicitly pro- 
 nounced theories. 
 
 There is, first of all, the thought of the salutary effect of ordinary 
 things. Emma, coming home in the diligence after her unsuccessful 
 attempt to get money in Rouen, is turned from the poignancy of her 
 trouble by the spectacle of the well-known objects along the way.^"*® 
 Jeanne is roused from apathy to new feeling as she holds in her arms 
 
 2*7 For example, M.B., pp. 18, 27-28, 32-33, 35-42, 72, 190 ff., 208-9, 237-39, 
 249, 461-63, 467-69; U.C.S.; B.e.P., pp. 27-28, 37, etc.; Maupassant's numerous 
 peasant stories and the peasants in U.V., B.-A., N.C. 
 
 ^^^Ibid. ^*^M.B., p. 415. 
 
lOO FLAUBERT AND MAUPASSANT 
 
 her infant grandchild.^'^" The dreams of a father or mother over 
 the future of a child are to be found recorded in Madame B ovary, 
 UEducation sentimentale, Une Vie, and elsewhere.^^^ The emo- 
 tional action of music is noted several times.^^^ The connection of 
 moonlight with love-making is frequently emphasized, as is the more 
 general idea, of which this is a part, that love needs special places 
 and circumstances for its development.^^^ The thought that love — 
 not always a very high type of that passion — is the only good thing 
 in life is expressed by both writers.^^* 
 
 Dreams of foreign countries and the longing to travel therein 
 have been already alluded to several times as described frequently by 
 both men.2^^ Usually the dreams contain more or less of what Mau- 
 passant calls "la vieille poesie des enlevements nocturnes, des chaises 
 de poste, des auberges, toutes les charmantes aventures des livres."^"^^ 
 The countries themselves, even if they happen to bear such ordinary 
 names as "Italy" or "Corsica," are frequently pictured as "les pays 
 bleus, les pays roses, les pays invraisemblables et merveilleux, in- 
 trouvables et tou jours cherches qui nous font juger mediocres tous 
 les autres."^" In Bel-Ami there is a comparison derived from this 
 longing for the unattainable : "II n'avait jamais songe aux filles de 
 
 son directeur que comme on songe aux pays lointains qu'on ne verra 
 jamais."258 
 
 In Flaubert's Correspondance (I, 158) there is a short sentence 
 which suggests a much longer passage in Maupassant,^^® the medium 
 of communication here being probably discussion of the same sub- 
 
 251M.B., pp. 7-8, 270-71 ; L']^dS., p. 584; U.V., p. 229; Sal, p. 61. 
 262 For example, M.B., pp. 70, 309, 310-11; L'£dS., pp. 8, 6g ;F.c.l.M., pp. 
 321-32, 261 ff. ; N.C., pp. 138-40. 
 
 253 For example, M.B., pp. 60, 274-76, 354*56; C.d.L., pp. 3-12; L.p.R.: 
 Julie Rotnain, pp. 215-18; U,V., pp. 70-73; M.B., p. 82; U.V., pp. 107 ff. 
 
 254 For example, L'MS., pp. 604, 612; L.P.R.: Mile Perle, p. 141, Julie 
 Romain, pp. 216 ff.; B.-A., p. 123. 
 
 255 For example, M.B., pp. s6-57, 7i, 1 12-13, 271-72; UM.S., pp. 97, 133, 
 245, 360, 36s, 469, 584 ; Corr., II, 59, 63 ; Des Vers: Une Conquete, p. 21 ; 
 L.S.R., p. 3; U.V., pp. 53-54, 363; B.-A., p. 540; M.-O., p. 150; P.eJ., pp. 45, 
 108; Au S.: Preface, p. 5; S.l'B., pp. 92 ff. 
 
 256 B.-A., p. 537. 257 M.-O./p. 113; cf. M.B., pp. 56, 271. 258 Page 196. 
 
 259L.F.E.; La Cote Italienne, pp. 36-39. The palaces mentioned are those 
 of Genoa. 
 
RESEMBLANCES . ■ , ihX : • \ 
 
 ject by the two men. The sentence is as follows : "Quand on a visite 
 ses palais, on a une telle pitie du luxe moderne qu'on est tente de 
 loger a I'ecurie et de sortir en blouse." The passage in Maupassant, 
 which is too long to quote, contrasts the artistic dignity of the same 
 old palaces with the banality of the modern millionaire's Parisian 
 mansion. The idea of the unpleasantness of hotels is likewise voiced 
 by both men.^^" The thought of America as a far-away country from 
 which one does not return is present in Un Coeur simple and Une 
 Vie.'^^ 
 
 Paris, in the mind of the provincial, according to Flaubert and 
 Maupassant, takes on one of two aspects. Either it is a haven of all 
 the delights, as it presents itself, for example, to Emma Bovary and 
 to the little provincial of Une Aventure parisienne; or it is a place 
 of danger, temptation, and iniquity, as it appears to Homais, to the 
 lawyer in Une Vie, to the frightened old peasants in La Maison 
 Tellier,''^^ 
 
 Contrary to desire for the city is longing for the country when 
 in the city. We find it entertained, for instance, by Charles Bovary 
 and by Duroy, both of whom look out over the country and think 
 how pleasant it must be there.^^^ The instructions of country life 
 for those living in its midst are noted several times.^** Both authors 
 suggest also the direct action upon man of external phenomena.^*^ 
 The contrast between human circumstances and the aspect of outside 
 nature is emphasized very strikingly upon occasion. As Charles, for 
 example, walks to Emma's funeral, the appearance of the country- 
 side is one of unusual brightness and beauty.^®* As Jeanne watches 
 by her dead mother the night is one of the loveliest of an unusually 
 fine summer. ^®^ The romantic idea of the sympathy of nature with 
 man — the "pathetic fallacy" — is rather common in Maupassant. In 
 Une Vie, for instance, the weather all through may be taken as sym- 
 bolical of the fortunes of the characters ; in Ulvrogne,^^^ the howling 
 
 2«o O.dJ., Ill, 2; LS.R., pp. 5 ff. 
 2«i T.C., p. 30; Uy., p. 366; cf. O.dJ., Ill, 167 ff. 
 
 262M.5., pp. 80-82; Mile P., pp. 193 ff-; M.B., pp. 168-69; U.V., p. 350 ; 
 L.M.T., p. 21. 
 
 283ili^.5.,p. ii;B.-^.,p. 60. 
 
 264 For example, T.C.: U.C.S., p. 9; L.RJ.M.H.: UO.d'u.F., p. 212. 
 
 265 U£dS., p. 458; uy., p. 370. 267 uy^^ pp. 235-37- 
 
 2«6 M.B., p. 466. 268 C.dJ.e.d.lN., pp. 125-34. 
 
102 FLAUBERT AND MAUPASSANT 
 
 storm corresponds to the terrible deed of the drunken man; in La 
 petite Roque, the falling leaves are said to be the tears of the trees 
 over the ending of the year and "perhaps" over the murdered child,^®® 
 There are traces also of this thought in Flaubert ; for example, where 
 the clouds pile up and the rain falls as Emma looks out of the window 
 after Leon's departure from Yonville.^'*^ In general, however, the 
 treatment of nature in Flaubert is more or less detached from the 
 circumstances of the story.^^^ 
 
 The "pathetic fallacy" is not the only form of romanticism to be 
 found in the authors in question. Romanticism appears, for instance, 
 in their expressed longings, already often noted, to flee from burden- 
 some reality toward the distant, the unattainable. This attitude is 
 embodied for Flaubert in Salammho, in La Legende de Saint Julien 
 VHospitalier, and in Herodias; for Maupassant in L^ Horla and 
 in other weird stories of the supernatural. There is besides in Flau- 
 bert a certain all-pervading sense of the mysterious, due at least in 
 part to the vagueness produced by his superabundance of detail, 
 which has often the effect exactly opposite to that of the exactitude 
 intended. Corresponding in some sort to this in Maupassant is the 
 weirdness already alluded to. 
 
 Romantic thoughts of love, of foreign countries, of Paris, of the 
 future, etc., uttered by characters like Emma Bovary, Leon, Jeanne, 
 and Paul Bretigny, have also already been discussed. Such ideas 
 are continually being traced to the reading of romantic writers, espe- 
 cially of Sir Walter Scott, whose name occurs frequently in both 
 authors in this connection. ^^^ In thus linking thoughts which are 
 represented as having, for the most part, pernicious consequences 
 with the names of romantic writers both Flaubert and Maupassant 
 make a certain attack on romanticism. One might also call romantic 
 in a sense the extreme, even grotesque, caricature of Bouvard et 
 Pecuchet and of many of Maupassant's stories.^^^ 
 
 A kind of resemblance observable sometimes between Flaubert 
 and Maupassant is that in which an idea of the older man's is taken 
 
 2«9 L.p.R., p. 33. 270 M.B.,p. 167. 
 
 271 For example, the general treatment of nature in Madame Bovary. 
 
 272 For example, M,B., pp. 48-53; L'£d.S., pp. 19, 21-22, 25, etc.; U.V., p. 33; 
 P.eJ., p. 13 ; O.P., II : UAngilus, p. 188. 
 
 273 Compare on the subject of romanticism in Maupassant the article by 
 Olin H. Moore on "The Romanticism of Guy de Maupassant" in P.M.L.A. 
 (March, 1918), pp. 96-134. 
 
RESEMBLANCES 103 
 
 up and expanded or given concrete reality by the younger. Some of 
 the passages used in illustration of other points might apply equally 
 well here. For instance, when Jeanne goes to Corsica, she travels 
 somewhat as Emma would have liked to travel, sees in part what 
 Emma would have liked to see, and finds there some of the transports 
 which Emma thinks she might have experienced in another coun- 
 try.^^* The stories of Le Bonheur and Julie Romain^'^^ also realize 
 certain of the details of Emma's love longings. Emma, we are told 
 on one occasion, would have made confidences to the pendulum of 
 her clock ; Jeanne practically does so.^''® In UEducation sentimentale 
 (p. 466) there is a description of oak trees in which they are spoken 
 of as embracing. This idea is considerably expanded by Maupassant 
 in Notre Coeur (p. 278), where the trees that embrace are, however, 
 not oaks. In UEducation sentimentale, again, during the watch after 
 the death of M. Dambreuse the carts are heard rumbling by to the 
 market. Maupassant describes such carts as they go past under the 
 street lamps, the light bringing out the colors of the different vege- 
 tables with which they are loaded.^^^ 
 
 There yet remains to be considered a type of similarity which 
 has already been illustrated to a large extent in discussing other points 
 — similarity in wording. Additional examples of this will be given 
 here. First of all, there are scattered here and there throughout the 
 works of Maupassant phrases which, while not corresponding defi- 
 nitely to any particular phrases of Flaubert's, have yet in their com- 
 position a certain Flaubertian suggestion. Some examples follow: 
 
 "Chicot ... avait I'air d'un bifteck cru cache dans un bonnet de sapeur 
 ..." [M.Har.: UAne, p. 187]. 
 
 "Ces dames plus chamarrees que les chasubles des chantres" [L.Af.T., 
 P- 31]- 
 
 "L'etrange sympathie des emotions poignantes" IL.M.T., pp. 34-35]. 
 
 "II presentait un magnifique echantillon de la goujaterie naturelle au 
 militaire victorieux" [^B.dS., p. 48]. 
 
 "Le jardin fleuri des polissonneries distinguees" [B.-A., p. 125]. 
 
 "Un Niagara de barbe" \_0.P., II, p. 37]. 
 
 274 U.V., pp. 93 ff. ; cf. M.B., pp. 56, 271. 
 
 275 C.dJ.e.d.l.N., pp. 77-87; L.P.R., pp. 203-18. 
 278JI/.B., p. 86; U.V., pp. 55, 123. 
 ^^''UBd.S., p. 543; C.d.L.: La Nuit, p. 223. 
 
I04 FLAUBERT AND MAUPASSANT 
 
 Picturesqueness of expression tending to grotesqueness, the use 
 of alliteration, and a general rhythmic effect are the characteristics 
 of these quotations, which remind us of the type of phrase with 
 which we have become very familiar in Madame Bovary.^'^^ The 
 exclamation "Grrrrande surprise" recalls one of Flaubert*s methods 
 of emphasis in his Correspondance,^'^^ 
 
 Exclamations of regret for the past on the part of romantic 
 dreamers are frequent and much alike in the two authors. 
 
 Flaubert Maupassant 
 
 Comme c'etait vieux tout cela! Comme c'etait loin, comme tout 
 [^M.B., p. 42]. etait change, comme ravenir lui 
 
 Comme c'etait loin tout cela! semblait different! [C/.F., p. 245]. 
 comme c'etait loin! [M.S., p. 63]. Comme c'etait loin, comme c'etait 
 
 Comme le bal dejd lui semblait loin, le temps ou elle parcourait ce 
 loin! l^M.B., pp. 77-78]. meme pays, jeune fille, et grise de 
 
 Oh! comme c'etait loin [M.B., p. reves [U.V., p. 303]. 
 424]- Comme c'etait loin, dejd! [M.-O., 
 
 Alors Frederic se rappela les p. 207]. 
 jours dejd loin [L'Ed.S., p. 2gg'], Que c'est loin! que c'est loin! 
 
 [O.P., I: Corr., p. 97]. 
 
 Ces jours passes, si loin, si loin ! 
 10.P., I'.Fini, p. 238]. 
 
 In Madame Bovary the man with the music box and the autom- 
 atons and in Une Vie old "pere Lastique" send forth from time 
 to time "un long jet de salive brune."^®" 
 
 One of the most striking descrptions in Flaubert is that of the 
 glance of Dr. Lariviere. There are two similar passages in Mau- 
 passant. 
 
 Flaubert ' Maupassant 
 
 Son regard, plus tranchant que Of the judge in C/wFow it is said: 
 ses bistouris, vous descendait droit "il semblait lire au fond de leurs 
 ians I'dme et desarticulait tout dmes, leurs pensees secretes, et 
 
 278 For example, "Cette passion merveilleuse qui jusqu'alors s'etait tenue 
 comme un grand oiseau au plumage rose planant dans la splendeur des dels 
 poetiques" (p. 55) ; "Le Suisse, alors, se tenait sur le seuil . . . plus majestueux 
 qu'un cardinal et reluisant comme un saint ciboire" (p. 330) ; etc. 
 
 27» B..A., p. 381 ; for example, Corr., IV, 108. 
 
 28ojif.5.,p.9o; C7.F.,p.46. 
 
RESEMBLANCES 
 
 los 
 
 Flaubert 
 mensonge a travers les allegations 
 et les pudeurs \^M.B., p. 442]. 
 
 Maupassant 
 
 demeler, d'un coup d'oeil, tous les 
 mysteres de leurs intentions" [M. 
 Par., p. 161]. 
 
 Of the literary man Maupassant 
 says : "il desarticule tous les ressorts 
 caches des sentiments et des actions 
 des autres" [SMB., p. 82]. ^si 
 
 In L'Education sentimentale there is a picture of fantastically 
 shaped rocks which has several counterparts in Maupassant. 
 
 Flaubert 
 
 Elles [-les roches] se multipliaient 
 de plus en plus, et finissaient par 
 emplir tout le paysage, cubiques 
 comme des maisons, plates comme 
 des dalles, s'etayant, se surplom- 
 bant, se confondant telles que les 
 ruines meconnaissables et mon- 
 strueuses de quelque cite disparue. 
 Mais la furie meme de leur chaos 
 fait plutot rever a des volcans, a des 
 deluges, aux grands cataclysmes 
 ignores. ... 
 
 ... qa et la, tels que des promon- 
 toires sur le lit desseche d'un ocean, 
 se levaient des roches ayant de 
 vagues formes d'animaux, tortues 
 avanqant la tete, phoques qui ram- 
 pent, hippopotames et ours [UEd. 
 S., p. 467],. 
 
 ( These last-named rocks are seen 
 here and there scattered over a 
 sandy hill.) 
 
 Maupassant 
 
 Hauts jusqu'a trois cents metres, 
 minces, ronds, tortus, crochus, dif- 
 formes, imprevus, fantastiques, ces 
 surprenants rochers, semblaient des 
 arbres, des plantes, des betes, des 
 monuments, des hommes, des moines 
 en robe, des diables cornus, des 
 oiseaux demesures, tout un peuple 
 monstrueux, une menagerie de cau- 
 chemars petrifiee par le vouloir de 
 quelque Dieu extravagant \U.V., 
 pp. 104-5]. 
 
 ... ils aperqurent ... a mi-c6te a 
 peu pres, un surprenant chaos de 
 rochers enormes, ecroules, ren- 
 verses, entasses les uns sur les 
 autres dans une espece de plaine 
 herbeuse et mouvementee. ... Sur 
 cette longue bande de broussailles et 
 de gazon ... les rocs tombes sem- 
 blaient les ruines d'une grande cite 
 disparue qui regardait autrefois 
 rOcean ... [^P.eJ., pp. 150-51]. 
 
 Je m'arretai d'abord stupefait 
 devant ces etonnants rochers de 
 granit rose, hauts de quatre cents 
 metres, etranges, tortures, courbes, 
 ronges par le temps, sanglants sous 
 
 281 Cf. Balzac's emphasis on "regard," as in Cesar Birotteau. 
 
io6 FLAUBERT AND MAUPASSANT 
 
 Flaubert Maupassant 
 
 les derniers feux du crepuscule et 
 prenant toutes les formes comme un 
 peuple fantastique de contes fee- 
 riques, petrifie par quelque pouvoir 
 surnaturel. 
 
 J'aperqus alternativement deux 
 moines debout, d'une taille gigan- 
 tesque; un eveque assis, crosse en 
 main, mitre en tete ; de prodigieuses 
 figures, un lion accroupi au bord de 
 la route, une femme allaitant son 
 enfant et une tete de diable im- 
 mense, cornue, grimaqante, gar- 
 dienne sans doute de cette foule em- 
 prisonnee en des corps de pierre 
 [Au S.: En Corse, p. 202'\. 
 
 The following points of likeness between these descriptions are 
 observable. A general impression is given in each of a remarkable 
 chaos of huge and fantastic rocks. In the Flaubertian description 
 and in that from Pierre et Jean these are said to be piled one upon 
 another and to resemble the ruins of some great vanished city. In 
 the last part of the Flaubert description and in the first and third 
 passages from Maupassant some of the rocks take the forms of 
 animals. In the second extract from each of the authors the rocks 
 are seen on the slope of a hill. The adjective "monstrueux" is used 
 by Flaubert and in the quotation from Une Vie. 
 
 There are also many examples of the employment of similar 
 locutions, such as "sans doute" ;2*2 of similar adjectives, such as 
 "enorme"^®^ (a great favorite with Flaubert and very frequent in 
 Maupassant) ; of other similar words, such as "frisson" and its de- 
 
 282 For example, Sal, pp. 66, 133, 151, 158, 232, 260, 373; L'£dS., pp. 15, 
 60, 79-80, 98, 103, 109, 147, 240, 363, 369, 375, 378, 388, 393, 399, 400, 405, 
 409, 421, 433, 434, 449, 460, 461, 462, 474, 482, 491, 503, 512, 527, 53i, 550, 
 578, 584, 585, 590-91; BJ.S., pp. 13, 24, 36, 42, 48, 57; L.S.R., pp. 165, 272; 
 M.Par., pp. 46, 53, 65, 85, 115, 119, 124, 157, 207, 234, 268, 275; L.M.G., pp. 
 17, 126, 130, 134, 146, 147, 193, 194, 255, 261; P.eJ. pp. 116, 121, 139, 140, 
 169, 226, 236; etc. 
 
 288 For example, URd.S., pp. 52, 388, 410, 457, 466, 608; L.M.T., pp. 51, 
 202; M.Har,, pp. 157, 160; Toine, p. 139; C.dJ.e.d.lN., p. 222; etc. 
 
RESEMBLANCES 107 
 
 rivatives and equivalents.^** The word "degringoler," used in figure 
 by Flaubert, is repeated by Maupassant in one special figure, which 
 he employs several times.-®^ It is that in which he describes a town 
 on a slope as "une vraie cascade de maisons blanches degringolant 
 a la mer." 
 
 In the use of figures there are a number of resemblances between 
 Flaubert and Maupassant. 
 
 The "ribbon" figure is frequently found in both. 
 
 Flaubert Maupassant 
 
 La grande route qui etendait sans Par la fenetre, on decouvrait un 
 
 en finir son long ruban de poussiere long ruban de riviere ... lM.Har. : 
 
 [M.B., p. 46]. UHeritage, p. 158]. 
 
 Cest un vaste rectangle, laissant Les longues feuilles bruissaient, 
 
 voir ... ses rubans de buis ... pareilles a des rubans jaunes [C7. 
 
 [UEdS., p. 462I V;V.2osl 
 
 Related to the above is the "serpent" figure.^®* 
 Elle [= la riviere] etait gelee, le La Seine ... coulait vers Mai- 
 soleil donnait dessus, c'etait comme sons-Laffitte, comme un immense 
 un grand serpent d'argent arrete serpent couche dans la verdure 
 sur I'herbe lO.dJ., Ill, p. 36]. IB.-A., p. 534].^" 
 
 Another comparison found in both authors is that of anything 
 bright red in color, such as the sky at sunset, poppies in a field, etc., 
 to "sang." 
 
 Flaubert Maupassant 
 
 Les flambeaux repandus par On est ... exalte lorsque le soleil 
 
 terre brulaient encore, en allongeant se noie dans un ocean de nuages 
 qa. et la sur les paves de nacre sanglants et qu'il jette aux rivieres 
 comme des taches de sang \^Sal., p. des reflets rouges [M.Har., p. 6]. 
 160]. ' Le soleil baissait vers Thorizon, 
 
 inondant de clarte les plaines ver- 
 
 28* For example, L'td.S,, pp. 13, 7i, 229, 404, 420, 499, 512, 526, 595; B.d.S., 
 pp. 12, 31, 38, 57, 70; L.M.T., pp. 27, 27, 35, 35, 102, 108, 112; L.H., pp. 5, 8, 
 9, 30, 35, 44, 46, 210, 212, 218, 273, 276, 280, 281, 283; M.-O., pp. 44, 63, 116, 
 129, 141, 143, 155, 155, 173, 187, 189, 208, 208, 208, 245, 306, 349, 351, 378, 
 405, 410, 423; etc. 
 
 285 Com, I, 390; cf. M.B., p. 194, and B.e.P., p. 360; L.M.G.: Un Soir, 
 p. 128; cf. B.-A., p. 55; Au S.: Alger, p. 14, La Kabylie, p. 165. 
 
 286 Cf. M.B., p. 37; T.C.: U.C.S., p. 14 (scarf figure) ; C.dJ.e.d.lN.: Rose, 
 p. 16; M.Par., p. 60; B.-A., pp. 316, 335 (ribbon figure). 
 
 287 Cf. also O.dJ., Ill, 140; M.Par., pp. 60-61; L.H., p. 254; F.c.LM., p. 
 116; O.P., II, 49. 
 
I08 FLAUBERT AND MAUPASSANT 
 
 Flaubert Maupassant 
 
 doyantes, tachees de place en place 
 par Tor des colzas en fleur, et par 
 le sang des coquelicots \U.V., p. 
 379]."* 
 
 A few additional likenesses in figures are as follows : 
 Flaubert Maupassant 
 
 ... quelquefois les abeilles, tour- Un gros insecte ... battait les 
 
 noyant dans la lumiere, frappaient murs comme une halle \U.V., p. 
 
 contre les carreaux comme des 238]. 
 
 halles d'or rebondissantes [M,B., Elle ... passa le reste du jour 
 
 p. 239]. ...aussi rompue et extenuee que si, 
 
 II accomplissait sa petite tache d la place du vieux cheval hlanc, 
 
 quotidienne a la maniere du cheval on lui eut fait tourner depuis 
 
 de manege, qui tourne en place les I'aurore la machine a battre le 
 
 yeux bandes, ignorant de la besogne grain [LM.T.: Uh.d'u.f.d.f., p. 81]. 
 qu'il broie {M.B,, pp. lo-ii]. 
 
 The following figure is inverted in Maupassant from its use in 
 Flaubert : 
 
 Flaubert Maupassant 
 
 les jardins, comme des La vaste plage couverte de 
 
 femmes, semblent faire leur toilette monde, de toilettes, de couleurs, 
 
 pour les fetes de I'ete \M.B., p. avail Vair d'un jardin de femmes 
 
 153]. [Toine: Bombard, p. 107]. 
 
 It is not claimed that in this chapter an exhaustive account has 
 been given of all resemblances between Flaubert and Maupassant in 
 plot, incident, characterization, idea, and wording. Many similari- 
 ties which presented themselves have indeed been rejected for one 
 reason or another. Those included have been observed by the writer 
 in the course of several complete readings of the two authors in ques- 
 tion. Further perusal would without doubt reveal others which might 
 be instanced. The attempt has been made all through to call attention 
 especially to the likenesses which are striking or at least fairly close. 
 These may not, as indeed they hardly appear to do, argue for the most 
 part conscious imitation of Flaubert by Maupassant; they certainly 
 do seem to show a considerable degree of suggestive influence. 
 
 288 Cf. also LM.T.: L'h.d'u.f.d.f., p. 97; Mile F., p. 211 ; L.P.R., p. 34. 
 
CHAPTER VI 
 SUMMARY AND CONCLUSION 
 
 In the preceding pages an attempt has been made to consider the 
 nature and extent of the literary relationship between Flaubert and 
 Maupassant. It had its roots, as we have seen, in a family acquaint- 
 anceship, which developed in the course of time into a paternal love 
 and solicitude on the part of the older man, corresponding to an 
 admiring affection on the part of the younger. The literary element 
 was introduced through the master-and-pupil intimacy, which ex- 
 tended over at least seven years. The two men were further bound 
 together by similarities of experience which led them to cherish much 
 the same theories regarding life. Like literary tenets were also held 
 by both. Such resemblances in attitude toward the world and litera- 
 ture seem to be attributable, in part at least, to personal intercourse 
 between the two writers. 
 
 In practice the likeness between the works of the authors in ques- 
 tion may be traced with comparative clearness. There is to be noted, 
 first of all, an embodiment therein of the similar general and literary 
 theories which have been seen to be definitely stated by both. There 
 is, further, an employment by each of ordinary realistic procedes, 
 some of which may come from the older man to the younger, as well 
 as of certain procedures less usual, which the one may well derive 
 from the other. | In the actual content and form of the works of the 
 two there are numerous and often striking similarities, a whole train 
 of likenesses in Maupassant being started sometimes by a single sug- 
 gestion in Flaubert. A certain lack of inventiveness discoverable on 
 study of the disciple's works would tend to confirm the belief in such 
 an influence of the master as would help to counteract the limitations 
 imposed by a peculiarity of the kind. 
 
 The nature of the influence has become sufficiently apparent in 
 the preceding pages : it is seen to include both general resemblance 
 and specific likeness. It does not, however, express itself in set imita- 
 tion. Rather it seems as if the pupil, trained for years by the master, 
 and brooding, as he must have done, both during that period and in 
 
 109 
 
no FLAUBERT AND MAUPASSANT 
 
 subsequent days of remembrance, over the monuments of that mas- 
 ter's achievement, had absorbed so thoroughly the essentials of the 
 latter's thought and expression that he reproduces them almost un- 
 consciously. What strengthens the argument for the suggestive type 
 of influence is the frequent difficulty experienced in putting side by 
 side the exact points of resemblance between two passages which 
 impress one as closely similar. The fact that both men expressed 
 themselves in so many words as opposed to the imitation of one 
 author by another would lend further weight to the contention that 
 the kind of influence traceable between the two men is suggestive 
 rather than imitative. 
 
 It goes without saying that a considerable portion of Maupas- 
 sant's work is, of course, distinctively his own. Other influences be- 
 sides that of Flaubert are also seen to have operated upon him. 
 We have said more than once already, for instance, that Flaubert 
 and Maupassant were men of their day and generation and suscep- 
 tible to impressions of current thought and event. They belonged 
 to a circle which discussed literary matters and other affairs of the 
 day with the utmost freedom. Evidences of effects produced by 
 realistic writers other than Flaubert are discoverable in the works of 
 the younger man. Many of these authors are mentioned by him 
 with words of intimacy or of admiration. There are also many 
 outstanding points of similarity between their work and his. The 
 following instances are given. From Balzac may come accounts of 
 business transactions and of magnetism, and types of character, such 
 as the financial magnate and the ruthless adventurer, as well as a cer- 
 tain element of driving force in many stories. To Zola may possibly 
 be attributed the tendency to "mention the unmentionable with the 
 greatest possible fulness." He may also be partly responsible for 
 Maupassant's treatment of crowds and use of symbols. Suggestions 
 of Daudet are to be found in the employment of southern exclama- 
 tions, in the description of M. Patissot's paraphernalia, which makes 
 us think of Tartarin (O.P., II, 12), in a frequent tenderness toward 
 children, and in the repetition of certain incidents. There are other 
 writers also who might be named in connection with the question 
 of Maupassant's indebtedness, but those already referred to will 
 suffice by way of example. When all allowances have been made, 
 however, it yet remains true that Maupassant is the disciple of Flau- 
 bert and owes to that master's influence much that is best in his own 
 work. 
 
BIBLIOGRAPHY 
 
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112 FLAUBERT AND MAUPASSANT 
 
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114 FLAUBERT AND MAUPASSANT 
 
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