Fla ub ert an d M a upa ssan t

" A L it e r a r y R e l a t io n sh ip

AGNES RUTHERFORD RID D ELL

TH E UNIVERS ITY OF CH ICAGO PR ESS CHICA GO ILL N O S , I I

FLAUB ERT AND MAUP ASSANT A LITERARY RELATI ONS H I P TH E UN IVE R SITY OF C H IC A G O P R E SS

C H IC A G O . ILL IN OI S

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sw am! F la u b e r t a n d M a u pa ssa n t A L i t e r a r y R e l a t i o n s h i p

By AGNES RUTH ERFORD RID D ELL

TH E UNIVERSITY OF CH ICAGO PR ESS C C HI AGO , ILLIN OIS Copmcm' 1920 B Y Tm: Unmnsm or CHI CAGO

All Rights R eserved

P ublished Februa ry 19 2 0

Co mposed and P ri nted B y

Ch ica go , I ll inois. U . S . A . P R E FACE

o f The publication this dissertation has been delayed by the war , as it has been impossible to visit the libraries o f E urope for books m and articles not to be found on this side of the A tlantic . Per ission to publish has now been granted the writer by the D epartment o f R m t o ance Languages and Literatures , with the understanding hat , o r v o f ma i f necessary , additions to re isions the dissertation y be m m issued by her after she has exa ined the aterial in E urope . This dissertation has been written under the direction of Pro f E P D v m esso r . . argan , to whose in aluable and untiring encourage ent and counsel the writer acknowledges with pleasure her very great

S he m indebtedness . desires further to express her thanks for uch v v t Nitze o f D m o f aluable ad ice o Professor , head the epart ent R m u To P ro o ance Lang ages and Literatures . Professor Pietsch , fessor m A Jenkins , Professor Wilkins , Professor Cole an , ssistant m who v m m Professor Par enter, and others ha e assisted her fro ti e to time during the composition o f the dissertation with facts and sug gestions , she wishes also to record her gratitude .

P AGE A BBREVIATIONS

CH AP TER

I TH E R H . H ISTORY OF PERSONAL ELATIONS IP

I I D E X M D . ISCU SSION AND E PLIFICATION OF EFINITELY S TATED TH EORIES REGARDIN G L IFE (WIT H I NTRODUCTION )

X M II I . DISCUSSION AND E E PLIFICATION OF DEFINITELY S TATED T H EORIES R EGARDING L ITERARY PROCEDURE

M M R D IV . L I K ENESS IN E PLOY ENT OF GE NERAL EALISTIC EVICES

V R M B C P I C CH C Z I . ESE LAN ES IN LOT, N IDENT, ARA TERI ATION , DEAS AND WORDING

M VI . S U M ARY AND CON CLU SION

B IBLIOGRAP H Y

AB B R E VIATI ON S

to the o ks o f Fl ub t a nd M u ss t the o o In referring w r a er a pa an , f ll wing abbreviati ons are used throughout th e notes o f the di ssertati on in order s Wh the c is to sho t st th t tl o f the to s c . o e ave pa e ere referen e a r ry, i e

’ o lum h ch it i s co t d i s fi r st and th th e m o f the v e in w i n aine given , en na e sto bb t m s ry (a revia ed in any ca es ) .

FLAUBERT

Madame B o vary ’ L Education sentimentale S alammbO ' Tro i s Contes (UmCoeur simple ; LaLégende ’ de S t ul l H os itali er H e od s ain J ien p , r ia ) L a Tentatio n de S aint- A ntoine Oeu vres de j eunesse Notes de voyages Par les Champ s et par les Gréves Co rrespondance B o uvard et P écuch et

MAUPASSANT D V D . es s V . er B ul de u d . S o S . . B e if t P . e . e J . Pierre Jean

M11e F M d mo s ll Fifi . . a e i e e M P a r Mo s u t . . n ie r Paren Le R osier de Madame H usson A u S A u S o l l . ei L M L a M G uch . . G. ain a e U ne ie U . V V L t R P . R L t o u . a . Pe i e q e ’ ’ 1E r l E au S . . S u F o rt comme la Mort

N . Not o u C. re C e r L T L M s ll M . o T . . a ai n e ier L i V . E . L E t . a V e rran e L L H o l H . e . r a l B or B c o t s de la c ss d . . é . C. C n e Bé a e ix FLA UBER T AND MA UP AS S AN T

Oeuvres p o sth umes Mi ss H arriet Les S oeur s R o ndoli Mont- Ori o l C onte s du Jour et de ’ L inutile Beauté

B el - A mi Clair de L une

t l c o ds uot t o s m k thu t l h I a i ized w r in q a i n ar ed s are i a i cized in t e text . ’ Wh th m k i n ot u the t l cs th t ere i s ar s sed i a i are e wri er s . CHAP TER I

H I S T OR Y OF TH E PE R S ONA L R E LA TI ON S H IP Flaubert ’s connection with the Maupassant family began through m m o f m the friendship between his other and the other his co panions ,

A P i tevin m m 1 0 o t } , 8 , lfred and Laure Le , the latter of who beca e in 5 m u M 2 A the other of G y de aupassant . The relationship with l fred ’ Le P oittevin continued until the latter s death in as is evi denced by the frequent mention Of himin the Cor r espo n da nce and ’ “1L 5 s wo rks s him el ewhere in Flaubert s , by the letters addres ed to , and by the dedication to himof L a Ten ta ti on d e S ain t- A n toin e and 6 o f m S m v A two youth ful atte pts . o e years Older than Gusta e , lfred P oittevin m v ha him Le see s to ha e d upon considerable influence . Fo r present purposes the friendship is interesting mainly because ' ’ it gives rise to the speculation as to how far Flaubert s relationship

i s his c with the nephew traceable to friendship with the un le .

' P oittevin m 18 6 G v With Laure Le , who arried , in 4 , usta e de M 7 m v . aupassant , Flaubert aintained his friendship as long as he li ed

S he m v v s out o f see s , howe er, to ha e pas ed his ken during the early 8 f m c years o her arried li fe . The first letter to her in luded in the

Corr es ondan ce m O 1866 18 2 p dates fro thers follow in , 7 , and 1873 In these letters reference is made to A lfred ; mention ’ al so occurs o f Laure s son Guy and of the growing affection of ’ t him o n r Flauber for , partly the lad s own account and pa tly because

1 m m n i l de o ma v l e . . Fl ube t a m : S o u e s nt mes de M e. C a r , C , I v nir i i , p ix

’ 2 a t 2 Ma ia l L i u r a u ssa n . n a v e et l oe v e de . y , M p , p 4

3 i 2 I b d . . 1. , p

4 F o r ml 1 2 2 1 1 1 2 0 e Com , , 33 , 5 , 39 , 45 , 54, 60, 6 , 74, 77 . 96, 67 9 . 7 , exa p , 4 3 , 2 8 1 2 I - 1 P . 0 I 2 2 1 1 . d- 8 0 N V. 9 , 3 , 4 , 459 ; , 3, 9 , 9 93 ; . . 9 ; pp 337 , 339.

etc.

5 o n 1 1 1 0 1 1 162 1 18 188 C r . , 47 , 5 , 53, 59, , 73 7 ,

6 I 1 , 40 ; II , 12 1.

7 Ma nial 2 2 1 Ma ial ll cc e o . cit . and n s u ou t o f th y , p , pp 3 . y give a very f a n e so l el t o sh bet e Fl ub t and M u ss t to h ch the es t p r na r a i n ip w en a er a pa an , w i pr en ch t is m m is m f r l uch debted . The cknowled e t d h o c o al ap er in a g n a e ere n e , ce t the c s ex p in a e o f specific references.

8 I bid 2 9 I 10 . . 2 . om II 8 18 I 1 x 8 1 b d C V 8 8 . I i . , p , , 3 4, 4 ; , 3 , 5 , 5 FLA UBE R T AND MA UP ASS AN T

m 11 o f his strong rese blance to his uncle . This is the beginning O f

or r es onda nce IV 1 8 : a letter in C p , , 5

’ Tu ma s é u ma Che L u car d u s un mo s e oul s pr ven , re a re, ep i i j v ai ’ t cri r u te un decl a ra tion t s a l en roi d t n fil s e e po r faire e de endres e d t e o .

Tu n e s u s c o co mm e le t ou ch m t t ll t bon t a rai r ire e j r ve ar an , in e igen , enfan , s sé et s tuel b ou mlo un mot a la mod s m th u ! en piri , ref (p r e p yer e) y pa iq e M l la difference de n os a s e le d comm un ami et u s a gré ge j regar e e « , » p i ’ il me ll t t mon p u A l d ! su s mem o s f é rappe e an a vre fre J en i e parf i e fray , ’ l r u il b s t t c t s su to ut o s s l a é e é t des . r q ai e , en r i an ver

Flaubert advises her to encou rage her son in his taste for verse wri ting and holds o ut hope that in time the young ma n may accom li h m o f m Cor r es on p s so ething worthy literary fa e . In a letter in p da nce IV u f Gu ( , Fla bert again expresses his a fection for y and c m him de lares hi self willing to do all in his power to help .

to Gu M u ms Cor The letters , y de a passant hi el f included in the ’ r espo nda nce begin in 1873 and continue until the year of Flaubert s 12 t - s v m sm dea h . They are thirty e en in nu ber and contain critici , v r m t warning, and ad ice regarding lite ary and other atters , reques s m mm for infor ation and for counsel , explanation Of co issions to fo r v m Mme M execute , thanks ser ices rendered , essages to de aupas ’ s m own ant and to friends , accounts Of the Older an s doings , and “ n c u mn m current gossip . In o e Flaubert alls G y o tres ai é A o f m n m nother is a Species anifesto o the relation Of art to orality . “ ” It upholds le culte de la femme o n the authority o f great writers

m m the of ancient and odern ti es and enunciates theories , to be “ ’ ” o f O f discussed in later chapters this thesis , art for art s sake , “ and of the persecution of literature by the public . This epistle , “ ” ca st in a tone of ironic exasperation at the betise o f the pro secu t t Ga ul ois ion occasioning the letter , was writ en for insertion in the to M s t defend aupassant again t a threatened lawsui , brought on by the f m m m unauthorized publi cation o frag ents fro one o f his poe s . ’ m c It now appears , so ewhat hanged , as a pre face to the latter s 15 v um v v th ol e of erses . The personal literary ad ice contained in e

11 I 1 o n V 8 . C r , , 5

12 Co m IV 166 2 2 266 2 2 2 8 28 x 1 1 . . . 3 . . 69. 73 . 7 . 5 . 3 3. 3 5 . 3 9. 335 . 349. 0 6 82 86 88 1 01 0 11 1 x 18 2 2 2 35 . 357 . 3 3 . 3 . 3 . 3 . 39 . 396. 397 . 4 . 4 5 . 4 . 4 4. 4 7 . 4 . 4 3 . 4 5 . 4 7 .

18 I I o n V . C r , , 3O

S ee b el w 15 x - . 6 20. D . . x vu . o V. , pp 3 , , pp xxxi P RES ONAL RELATIONS H I P 3 letters is valuable here because it throws light upon the method of man training to which Flaubert subjected his pupil . The Older shows keen interest in everything written by the younger and is constantly ff M asking for news o f his e orts . When aupassant is trying to s him c ecure a position on the j ournals , Flaubert suggests to subj e ts 16 A n c m for articles . arti le on hi self wins his thanks ; another is ” “ ” 17 - m v —ou fine , a third good . The last entioned , howe er French — R R m n poetry does not do j ustice to onsard . e arks o individual m m v . works are ery specific , praise being te pered with bla e The m Of mm m following are exa ples generally co endatory criticis .

’ ’ ’ s i ot u * e n o s d ue d u C e t tr es b en v re Ven s . J y v i rien a repren re q e x 18 ct mm l s m ll u nt d t t s co o s t c s s se d . pe i e in rre i n gra a i a e , ai e e pe ve éfen re * 19 u t a ot mur l de v s s l d d s il des d s t s Q an v re , p ein er p en i e , y a i para e ’ A * h l c L effet ton s le mot ba a tell e ous v s une douc é . de . in i g v er e e g a e ' ’ com u t o tOt m s dmtto s ue e dit il ut iq e arrive r p , ai a e n q j n aie rien ; fa ’ 20 voir l ensembl e. m m A The following passage is a sa ple Of severe criticis . lthough m t so ewhat long, it is quoted in its entire y because it shows with what vigorous censure the master corrected the disciple on occasion .

’ M c s D zr * E h b mon u homm l a t t u o s de és s . ! ain enan a n ien j e ne e, d t c ou n l t dé lo bl t t E ll d u u c . i e pie e ne me plai pas du t . e in iq e e fa i i é p ra e ’ * Un de me hef nu dészr ui es t her ! A voir des ail es s c s q C ,

bl le so uh t es commu L u r su ts so t bo s m s u ! t . es d s v par e ai n e x ve i an n n , ai a u quatr iéme les oisea ux surprifi ne sont pa s surpri s pui sque tu es a l es o u su A mo s ue su s n u ll d éto és ? p r ivre . in q rpri e ve i e ire nn

1° ml I Th um us l s h ch M u ss t Fo r e or n V 2 . e o t c e xa p e, C , , 74 n er ar i w i a pa an ote fo r s and ou al s h th f ew e ce t o s e b e e ted wr review j rn ave, wi x p i n , nev r en r prin Ma ial i t I i m s l th th e e mme t n o . c . . t s o s b e o e at e s t o ( y , p , p i p i e, ref r , pr n n , f or the writer o f this thesi s to say fromper sonal Observati on how fa r th ese ’ su Fl ggesti ons o f aubert s were carried out.

‘ M h Gu de au a ssan t s ein L eben und seine We ke es his ch a n, y M p , r , giv , in ap “ ” ter e t tl ed D er l s 2 -66 ccou t o f his e e ches on th e ou t . 1 s n i J rna i , pp 5 , an a n r ar sub ct o f thes t cles a th l o he u N o l M u ssa ote es e j e e ar i t e Bib i t q e ati na e. a pa nt wr p ciall f or L e Gaulois an d L e Gil B ias a s ell a s f o r ume o us o the o u l s. y , w n r r j rna ’ The conte t o f the t cl es a s desc b d b M h does no t difi er k nd f o m n ar i , ri e y a n, in i r ’ th t o f the utho s collect d o ks a a r e w r . 17 I 18 or r . V 2 1 28 . I or r . V 86. C , , 73, 3 9, 5 C , , 3 19 ’ A ef e c a e tl to Ma u a ssant s oemL e M a r Th e o d ma r r er n e ppar n y p p . w r ’ i s printed in the Conard edition o f Flaub ert s Co rrespo nda nce with a small l etter . 2 ° I orr . V . C , , 397 4 FLA UBER T AND M A UP A S S AN T

* i u i A c un ll t u u n ut ll e vo ud a s e v o d a s . e o o J r , j r ve parei e rn re pe a er ’ ’ ? - ? in défin imen t tant qu on a de l encr e ! E t la compo sition Ou est elle ’ * ’ A i n i u un a nd fla mbea u l m me s mbl com u o ut s q gr , i age e e iq e ; re ’ ’ fl mm ui u il l o t u n fl a mbea u n e l ss a s d e s a . q n ai e p a e , p q p r e n h e D es fr o n ts en ch eveux noir s a ux fro ts en c veux roux . h m t m s ll t o le s d e M én a rd : C ar an , ai rappe e r p ver

S o us tes cheveux chatains et sous tes cheveux gris . ou uo « Oui j e voudrai s. » P rq i d l un * c ll t Cl a ir e e ex e en . ’ ’ * L a ola n te ba tazll e t o c ! fi , a r e ’ ’ E n so mm e t en a e a su m c tt c ll st a s a la e j g g ppri er e e pie e, e e n e p h ut u es ut a e r d a res . ’ 1 L — n t mb r s m 2 S e e ust . a d ssus to u e a se . s e vie x v re , ai j e

In the foregoing three passages the formo f criticismis that o f s mm m m N 0 pecific co ent , with so e general re arks . point is allowed ’ to pass which off ends against Flaubert s uncompromising standards m t o f c s o f s . énus o f originali y , corre tne s , artistic fitnes V , for exa ple , “ ” “ ” c mm ontains two slight gra atical errors . The word bagatelle ” “ ff mD ésir de lor in l e M W has a chilling e ect . The poe s shows a p ” A i il mm c vo r d es G es . able facility . is a co onpla e expression The “ “ ”

i s m . word surpris a biguous , the word oui superfluous The

m m. i age of the torch is inappropriate . The line quoted is a plagiaris A n m t f nd so on . The strictures o these poe s illustra e certain o ’ Flaubert s literary theories which will be considered later in this “ ” t s c on mot he is , as , for instance , his insisten e the j uste , his dislike “ ” 2 2 f s c A o ms m o et . s v idée recues , the p e now appear in the olu e D es Vers we may Observe that the expressions criticized have gen 23 ’ era ll M a u a ssa nt s y been altered , showing p deference to the opin f ions o Flaubert .

c mm oule d e S ui the con In o enting on B f, conte rouennais cerning which Maupassant had apparently thrown o ut mysterious S oir ées d e M éda n hints before its appearance in the , Flaubert is m 2 4 I t t c . t v m ost en husias i is the best thing in the olu e , a real mst c t u o t . a erpie e , original , well hought , excellently written Land

2 1 I m o m V 2 . The oe wa s not su essed a s it a ea s in the vol C , , 4 4 p ppr , pp r um D r m h e es Ve : (pp . 67 but so e o f t e expressions censured have been han c ged .

2 2 S ee bel o w 28 - 1 2 , pp . 3 , 7 . 23 f Ma ia l - C . n o . it D . . 6 c 8 . V. . 68 y , p , p 9 ; , pp 7

2 4 - or r . IV 2 C , , 39 , 397 99 .

6 FLA UBER T AND MA UP AS S A N T

i s him s efi ort t it B o ule d e S u f . What please about thi is hat is “ “ personal and does not adopt the formula Of any school . Pas

a s d e s ! ni n i o u m s de chic ! p po e parnassien , réaliste ( i pressioni te , ou (Flaubert especially detested these modern Shib h s M s t c c him v bolet s . ) He wishe aupas an to olle t for e erything that 3 3 is p ublished o n B oul e d e S uif and on the v erses . In this we see

the eager intere st of the master in a favorite disciple . ’ We have given examples o f Flaubert s specific criticism of u M aupas sant ; more general literary advi ce is not lacking . G y A man must not allow his mode of life to interfere with his art . “ ” who aspire s to the name of artist has no right to live as do others ; his only principle must be the necessity o f sacrificing every

the u man thing to art . He warns yo ng also against brooding and Il aut * - v c s him . onjure to work harder f , entendez ous , jeune V e mm il a ut t v a . ho e , f ra ailler plus que C ous tes né pour faire

v - en des ers , faites A nother formo f literary training probably not less important t v - m m to han the abo e entioned , because it furnished the exa ple estab i 3 5 s c m M a n a l . li h the pre ept , is e phasized by y Flaubert associated

t m m ouvar d et P écuchet his pupil wi h hi sel f in the co position of B , seeking fromhimpreci se information on many points and detailing a t his ff c c c Fo r in t leng h own e orts toward ac ura y and pre ision . t t s ance , he needs for a par icular episode in his story a certain kind of M m him hillside slope , and aupassant ust suggest to a place near 3 6 v m O r mn Ha re which will fulfil the require ents . the young a ’ ’ m the c f c M B audr s beco es onfidant o Flaubert s hagrin at . y question 3 7 h t m s f ing of is botanical exactness . O her exa ple O a like nature are to be found in the Corr esponda nce. In letters fromFlaubert to v arious persons during the later years of his li fe there is frequent mention Of M aupassant and o f the young ’ “ ” m m m mon an s other , the for er being Often called disciple , occa “ ” 3 8 sionally mon eleve These letters are sometimes written to help ’ the o r G beginner in his prospects , refer to uy s doings and to the ’ t t t him‘5‘9 wri er s in eres in .

3 3 3 5 - M ia l i 6 . I a n o c t . 68 o n V 2 . . C r , , 4 7 y , p , pp 9

3 4 3 ° I 1 - I 1 . o n V 6. o n V C r , , 33 C r , , 3 3 5

3 7 n I 2 Co n, V , 4 9 ff .

3 9 F r a ml 2 o e e o n V 2 1. x p , C r , , 3 3, 4

3 9 ml - 2 Fo r e e o IV 8 6 V etc. xa p , C rr , 3 4, 395 9 ; , 445 , 45 , 455 , PERS ONA L RELA TIONS H IP 7

Besides the letters o f Flaubert there are several fromMme de Maupassant and fromher son to their common friend whi ch give “N ” evidence o f the relation ship between the two men . In the otes ’ ’ to the volume containing Flaubert s Theci tr e there is an epistle by

m M s t s M e de aupas an in which she peaks of the friendship and says , “ Comme le disciple appartient a u maitre In the volume o f M a u ’ passant s verses there are some letters fromhis mother to Flaubert m in which she Often entions her two sons , refers to her anxiety ’ ’ G s fo r s v c regarding uy future , asks her Old friend ad i e and assis

m himfo r the man tance in the atter , thanks his kindness to young , ’ 4 1 ff t o ne S he s eaks o r a ssures himof the latter s a ec ion . In place p of ’ “ ” Fla bert s v c u his fils u ha ing alled G y adopti f ; in another she says , “ ’ ”4 2 n m C est Flaubert qui voulut en faire u ro ancier . The likeness to the A P o ittevin uncle , l fred Le , is referred to by her, as well as by ’ Flaubert s mother in a short note preceding the selections fromM au ’ h l i 4 4 passant s correspondence in t e volume entitled B ou e de S u f . In ’ the same volume are included some letters Of M aupa ssant s to 4 5 “ mon C Flaubert , in which he generally addresses the latter as her “ m ” f ”46 aitre and speaks o mis sing their causeries de chaque semaine . He asks fo r adv ice or gives information regarding what he is writing

v f c ff o and recounts the e ents of his O fi ial life , his e orts to btain a place

him m . on the j ournals , the happenings about , news Of utual friends — In the other letters o f Maupassant letters to his mother and his 4 7 — v friends there are arious short personal references to Flaubert . ’ The last instance of this dates froma time after the latter s death and reads as follows

e me s u s ous d comb s a Fl ub t il me h t et me J a rai v ire ien j e pen e a er , an e ’ o u su me t t . S a s s s c ss entends sa o t ou p r i pen ée revien an e e, j v ix , j e re r ve ses st s e le o s a tout mom t d bout d t moi c sa d ob ge e , j v i en e evan ave gran e r e ’ ’ b une et ses b s l és l t st comm une sol tu ui st r , ra ev en par an . C e e i de q s e

t uto u de moi le comm c m t des ho bl s se a r ations ui se fai e a r , en e en rri e p q ’ ’ co t u o t m t t d mé é mo t t tous les s u o n in er n ain enan a n e en ann e , e p r an gen q n m o u ui so t nos souv s c ui ous ou o s l e m u c us ai e, q n enir , ave q n p vi n ie x a er des chos s t ms 4 8 e in i e .

4 ° Fl ub t Th at 4 1 - e . 1 . D . . e . V a er , r , p 5 5 pp ix xxiii 4 2 D . V. . Ma i l n i t. Cf . bo e . . a o . c . , p xxi ; y , p , p 44 ; a v , p 5 4 3 D V 4 5 - . I d x v c . . . i b . . c pp xi , xvi , pp xxiv

4 4 4 6 - . I i . x cv c e c. o . c . b d . t C rr , p x iv , pp xiii , 4 7 For e ml l - l . orr . . c c c xa p e, C , pp xxxv, x i, x iii iv

4 8 - or r . c l C , pp . x iii iv . 8 FLA UBE R T AND MA UPA S S A N T

We see in this passage how the very memory o f Flaubert seems to evoke the keen mental v ision of individual characteristics which 4 9 the m v o f aster ad ocated , as well as to call forth the sense isolation and o f the imminence o f death which constantly overshadowed M a u ’ 0 5 v assant s outlook on li fe . It will be Obser ed that the closing words p m m suggest a relationship of ental sy pathy . ’ A s m Of v influ l o to be noted , fro the point iew of the one author s o n t t m Mau ence the other , are cer ain additional direc state ents of ’ A t - t v s s t . o pa san s f er the letter preface the er es there appeared , in ’ the v m c third edition of the olu e , a few lines on Flaubert s death , whi h mM had occurred very shortly before . In the aupassant pays the following tribute to his friend :

D ep ui s que cc livre a paru (il y a un mo i s a peine) l e merveill eux

’ éc ivain a ui il ét t déd é est mo t Gust Fl ub t est mo t r q ai i r , ave a er r . ’ e n e u o t ici l de cet homm de ue a dmi r e avec J ve x p in par er e génie , q j assi on et do t e d us t d l a uot d et l a sé f amilié re p , n j irai pl ar vie q i ienne, pen e , ’ t l u x ui t d ir bl e a nd u e e coe e s e l a m a e . r q , gr r M s tet de la o u ll éd t o de cc olum do t la déd c c ai , en e n ve e i i n v e « n i a e ’ ’ ’ l a t l u mécrivait- il car il maima a ussi e u odu fai p e rer, » , , j ve x repr ire ’ ’ l a superbe l ettr e qu il madr essa pour dé fendre nu de mes poémes A u bar d ’ 1 ’ ’ d u * 5 co t l u t m m t u t e l ea e t d E a es ui a ta a i . , n re parq e p q q e s c l comm un su em homm a ce mo t ui em rté J fai e a e pr e age r , q a pp ’ ssu ém t l a lus viz! e tendr esse ue aurai our un h omme l a l us a r en p q j p , p ’ ’ a nd e a dmi a ti on ue e vouer ai a un ecrivai n l a venera tion la l us gr r q j , p ’ ’ o u u mi i u n i a bs l e q e nsp r er a j amais a n étr e q el q il so l .

v a These paragraphs ha e been quoted bec use they show , especially ff ex trava in the expressions italicized , the grateful a ection and the — gant admiration with which Maupassant regarded Flaubert an aff ection and admiration which would lead naturally to the influ encin o f the t v t g one wri er by the other, e en wi hout the close connec tion o f master and disciple which has been noted as existing between m the . To the intimacy o f this relationship Maupassant himself bears ” R m o f witness in his article on Le o an , printed at the beginning the

um i er e e n v m vol e entitled P r e t J a . He tells how he entured to sub it some of his attempts to Flaubert ; how the latter kindly read them

4 9 - 5 0 S ee belo 2 S ee bel ow . 1 . 26. w, pp . 5 , p 5

5 1 - - i n l 8 . The s some co f n h n a ia t. . 8 8 6 C . o t s o t M n o . ci i p i y , p , pp 4 5 , 9 9 re n fusio in the r efer ences to the poem. P E RS ONAL RE LATIONS H I P 9 and encouraged himto hOpe that time and work would reveal the For v possession of talent by their author . se en years thereafter the ’ is M au a ssant s master labored with the disciple . The story told in p o wn words :

P nd nt s e t a ns e fis d es s e fis d es co t s e fi s des o u l s e a p j ver , j n e , j n vel e , bl ’ t L m t l t fi mm un d m dét t . I l st s é s j e s e e ra e es a e n en e rien re . e ai re i ai ’ to ut u s le d m ch su t dé u t devel o ai t s es c iti ues , p i i an e ivan , en j e nan , pp r q

’ ’ et en on a it en moi en a eu deux ou t ois ri nci es ui so t l e r esume f g , p p , r p p q n i t n un l t s t- il n t n n i o o . d de ses l on s et a tie s e s e n eme s . S e g p g « a rigina i é i ai , ’ 5 2 il ut a t tout 1a dé si on a s il ut c ué une . » fa av n gager ; n en a p , fa en a q rir

’ We should take account Of M aupa ssant s sta tement here that none ’ Of all the attempts o f his seven years apprenticeship was allowed to

v v sur i e . We possess , therefore , in all probability, no further speci ” mens than those already mentioned o f the work done by himunder f m m for the eye o the aster . We ust seek the literary influence then ’ m Ma u assant s m in in considerable easure , as p re arks the foregoing passage suggest , in the general application by the latter, throughout

a m . his subsequent work, O f the principles inculc ted by the for er What these are is indicated in the succeeding well - known paragraphs m m “ O f the article fro which quotation has already been ade . They 5 5 c f will be discussed in a subsequent hapter o this thesis . In 188 5 Maupassant wrote an art icle on Flaubert which served as ’ to o f ouvar d et P ecu chet a preface the Q uantin edition B . This has ’ m Mau a ssant s Oeuvres osthumes . S been inserted in p P , II o e account 5 6 o f f M will be given it in a subsequent section o this thesis . aupas ’ v m v a sant s first published olu e , containing his erses , was dedic ted “ ’ ’ a G v F a l illustre et ami m usta e laubert , paternel que j ai e de toute ’ ’ ” m l irr r l a a é ochab e m a dmire v . tendresse , p aitre que j a ant tous This M 5 7 is the dedication which aupassant says made Flaubert weep . A M M . S gain , in his reply to arcey , aupassant quotes Flaubert and “ others as being j ustement irrités de la prétention des critiques ’ ”5 d imoser un m 3 p genre aux ro anciers . Finally , other references to

mm o f not not con his e ories Flaubert , particularized now because

p . xxiii .

5 3 5 6 S ee b o . 8. e b l . 2 S e e o 1 If . a ve, p w, pp

5 4 ( L R ) - 5 7 . i . S ee bo . , pp xx ii xxv a ve

5 5 b l - 5 8 S ee e o . 2 1 A 2 e d . . w, pp 37 . M pp n ix , p 75 10 FLA UBE R T AND MA UP A S S A N T

t cerned with li erary theory , are to be found here and there in his 5 9 works . In this chapter we have studied then the direct personal relation v u v ship between Gusta e Flaubert and G y de Maupassant . We ha e seen that it began through the general friend ship of the Flaubert and P o ittev in m m Le fa ilies , strengthened by the co radeship of Flaubert P o ittevin o f and A lfred Le . The influence the latter was still felt m Gu M when Flaubert ca e to know y de aupassant , the nephew , to whomhe was attracted at first partly by his remembrance Of the v uncle . There soon grew up , howe er, between the Older and the younger ma n a very strong mutual aff ection whi ch led in time tothe

s m of m ff establi h ent the aster and pupil relationship . This a ection was reinforced in the case o f Maupassant by an admiration which led him m m o f ff to sub it to a ost rigorous censorship his literary e orts , and which opened the way for Flaubert virtually to impose his own theories on the younger artist .

5 9 - ml r . . 26 . 2 2 1 M P a A u . . For e . S xa p e, , p 4 ; pp 39, 4 44 ; , pp 7 , 1 - 19 , 196 97 . CHAP TER II

DI S CUS S I ON A ND E XE MP LIFICATI ON OF D E FI NIT E LY S TA TE D TH E OR I E S R E GA R D I NG L IFE (WITH I N T R ODUCTI ON )

Before going on to consider the theories Of Flaubert and Maupas m sant regarding the world in general and literary atters in particular , it will be well to look for a short time at certain similarities in their lives whi ch will have to be taken into account in tracing likenes se s ’ s N m on m in their work . Both were or an the other s side and passed

mc N m It wa s o s their youth and u h of their later life in or andy . p sible thus for themto Obtain frompersonal observation that knowl

‘

o f N m chara cter and . edge or an li fe , , landscape which they display the They were also acquainted with Parisian life , although not both to m m m v . sa e extent, and o ed in Paris in the sa e literary circle Throughout life the two men were confronted by circumstances m which tended to sadden . Flaubert spent his youth in close proxi ity " to the sights and sounds o f a hospital ; Maupassant ea rly ga ined a perception o f the unfortunate relations existing between his father m and mother . Both were unhappy in uch of their school life and were in later days attacked by the law for alleged off ences against m E ex e orality in their works . ach passed through the shattering p 1 riences o f o f 18 0 M the War 7 , Flaubert as a national guard , aupas Fo r f sant in the fighting force . a considerable portion o their

v v v s R respecti e careers they li ed li es of solitary laboriou ness . obust

m c in early youth , they were subsequently assailed by aladies whi h m e bittered existence .

o f men m m Besides all this , the tastes the two were si ilar in any 2 E fo r m respects . ach had a liking the grotesquely co ic . Both

1 I The cts d he l o f Fl u e k o . V etc. t b t t e C rr , , 33, fa regar ing ife a r are a n tl f o mthe u eni s o f Mm mmanvill e d or r n par y r S o v r e. de Co e pr fix e to C espo da nce and a tl f omthe t o ducto o t to M a dame ova thos con , I , p r y r in r ry n e B ry; e ce M u s com mM a ial h u h e rning a pas ant e fr o yn . Ot er a t oriti s are indicated where n cess e ary. 2 Fo r e ml M m m u l - du o veni s itté ai 1 . S es 6 6 etc F . xa p e, axi e Ca p , r r r , I , 4 5 , ; t e L e - u R oma n na tu li t 2 . M ia l h a s e . 0 etc a n o tes t s ch c Br ne i re, r , pp 4 3 , y n i ara ter istic M u s in a pas ant. 12 FLA UBE R T AND M A UP AS S AN T

S showed an early interest in literature , an especial fondness for hake s to m m o f peare , and a desire try their hands at any for s literary B ouilhet m c m . o position They were friends Of Louis , co ing under

m . his influence at the for ative period . They delighted in nature They had in common a passion fo r traveling and looked to the v isiting o f foreign scenes as a means o f esca pe fromirksome circumstances . It is interesting to note here that in the course o f their travels they

s d v m m —A s a S vi ite ery uch the sa e places lgeria , Cor ic , icily , Italy ,

S c S —so outhern Fran e , witzerland , Brittany that we frequently find 3 the same itinerary described by both . A very curious re semblance is the reciprocal attraction which they describe themselves as po ssessing toward men and women deprived ‘ Of the M reason . In case Of aupassant 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 i f there two v were not coincidences in the works of the , e en without the lit e ra r y 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 o f the one man upon the other from those which arise o ut of the general thought and practice o f the epoch R m c . v and s hool to which both belong ese blances then , to be of alue m in deter ining the extent of , the relationship between the two authors , m c m t m o r ust be specifi , showing agree en in for , or in content , in both . In the succeeding pages o f this thesis special attention will be

m c f m paid to the ore con rete instances o si ilarity . R egarding the likenesses between the two authors the critics hav e c m v man o parati ely little to say . The younger is hailed on all sides m not as the disciple O f the older ; but the rese blance is analyzed , or is analyzed only in the scantiest way . It is generally agreed that such ’ a s v c Ma u a ssa nt s influence exists is obser able hiefly in p earlier work , E before he had quite ev olved his own method . xamples o f the kind f o comparison o f the two to be discovered in criticismare as follows . ’ e o f m o f M au a ssa nt s Bruneti re , in speaking so e earlier works p , says , “ i hi ” 5 m There s too much Flaubert in m. Le aitre finds that the Older

3 l S ee w . be o . 8 , p 4

4 F r a ml d m t . d . 0 . 1 Ma a e H e me o e e N . V o 6 x p , I , 5 ; C rr , I , 4 ; r , pp 2 53 - 55 5 B L m unet e e e R o a n na tu a liste . 2 . r i r , r , p 34

14 FLA UBE R T AND MA UPA S S A N T

15 to the mo o f D oumic v o wn ex e testi ny , drew extensi ely upon his p him m fo r t h r ience to s . t e upply with aterial wri ing Here then , in a cceptance of s uggestions afterwards to be worked out in his Own f r hi see t o m. su es way , we possibili ies influence upon I f any such gg t ions can be traced back to Flaubert they will probably furnish evi 16 m n t n dences t two . ot o Of relationship be ween the We ust forge , the t t F c to other hand , ha laubert , ac ording his disciple , warned the latter 17 t m t n t M o . agains i i a ion , and that aupassant passed the warning

S m t s t t mthe uncon i ilari ie will , herefore , probably resul rather fro scious repro duction of unforgettable memories than fromconscious 18 c m opying . Their occurrence will be rendered all the ore likely by the fact that both men are engaged with subj ects Of somewhat similar t m the na ure , and that the younger has an unbounded ad iration for 19 older . The two authors make definite statements regarding similar

o r . c s theories , beliefs , and likes dislikes In the a e of Flaubert these

c m t t c are ontained for the ost part in his let ers , wi h oc asional refer en ces t in his o her writings . Wi th Maupa ssant such personal expres sions are found distributed more o r less throughout his works . A general outline will now be given of the theories held in common by the a s Of t s mt two , in so far we can gain a knowledge he e fro heir o wn t c s S m ms v the v ut eran e . o eti e we ha e , in addition to indi idual ’ ’ A n t m s M a u a ssant s o f . sta e ent of each , p report Flaubert s doctrine y

v new point thus brought out will be noted . We shall also endea or to Observe as we go along how far they carry out in their works the t ma m t c m v t m heories which we y, fro defini e pronoun e ent , disco er he to hold in common . M t 2 0 To both Flaubert and aupassant present reali y is odious , th is m o f e world ore or less an illusion , and all things are subj ect 2 2 c mm the to an inexorable fatality . It is the sordid , the o onplace , dis

“ l 5 ’ D N m 1 M . o e be . L Oeuvr e d e Gu de M a u assa n t R . . y p , ( v r , pp

187 ff .

”3 — - - 8 100 101 1 2 10 . Fo r e a ml e see below . 6 6 0 0 x p , , pp 3 5 , 7 , 9 , 97 , , 3

17 - - l l . o . . c c pp . xxiii xxiv ; C rr , pp ii iii 18 ' l f F e e e l E s thé l i ue d us ta ve F a ube t . 26 1. C . e G rr r , q r , p

19 8 . S ee a bo e . v , pp , 9

2 0 - 2 2 2 - 2 ml . 1 1 1 8 IV 82 . F o r e a e o 0 8 8 V . x p , C rr , II , 4 ; III , 5 , , 3 33 ; , 43 ; 3 2 1 l l . r m . F e e I o . . c o o . V 6 xa p , C rr , , 33 ; C rr , p x v ; p 45 2 2 i F r a ml 12 o . . v c f. ibid . x x n . o e e o . V c . c c x p , C rr , , 5 ; C rr , p ; , pp , THEOR IES REGA RDING L IFE 5

i m. M s agreeable , or the horrible, that is generally represented by the ery o r degradation is the almost universal lot Of their personages . S hould happiness seemat times to flit within the grasp of some ex cep tiona ll man or ma m y fortunate wo n , it is only that disenchant ent and s t one sadness all the deeper may re ul . The great word which Charles —“ ’ Bovary is represented as uttering c est la faute de la fatalité m m o f ight be taken as the otto for their picture life . Unhappy beings

m m o f v o r m to f are tra pled by the inexorable arch e ents , are ade suf er for giving way to passions to which they can no more help yielding D can v . v than they a oid being born eath , with its repulsi e physical

m man s a Of mm t conco itants , is for the end of all thing ; the ide i or ality m m 2 4 is but an invention of the presu ptuous i agination . The general eff ect o f such a presentation is painful ; there results fromit fo r both f 2 5 E writers a keen sense o sadness and Of individual isolation . scape

m x o r fro actuality is sought through e cursions , either in person in

- o ff m m thought , to far countries and ti es which possess the ro antic 26 m m ersona esfi E mma gla or Of distant enchant ent . Thus their p g v R o sa nette R A M — Bo ary , , Pierre oland , ndré ariolle, and others long m 2 7 m to fly fro present reality to future possibility . General rese “ ” blance in atmosphere of gloombetween the works of Flaubert and

o f M ms v v those aupassant u t not , howe er, be considered as pro ing in

ma v itsel f the influence Of one upon the other , as it y deri e equally m m well fro the spirit of the aterialistic epoch in which both lived . The next point in the argument for relationship is perhaps more

m m v m i portant , because ore distincti e , than a pessi istic outlook upon “ ” f en n life . It is the insistence o both m o the universal betise of “ ” m t — a e ev m hu ani y b tise p r ading all ranks , fro the superstitious and ” f v A o f o r stolid peasants to the inert and inef ecti e nciens Carthage , the inane representatives of modern French society encountered by

2 3 M B . . 80. . , p 4

2 4 - F o r ml 0 . 1 o 1 1 e 6 . 68 xa p e, I , 4 7 ; pp 75 7 ; C rr , I , , 94,

- - 2 2 I 2 r c l . 2 V 6 28 or . . . . 6 3 , 99 ; , ; C , p x iv p 7 ; pp 9 75

2 5 F r 1 2 ml I 1 2 o . o e o . V V . c xa p e, C rr , , 4, 5 , 357 ; , 75 ; C rr , pp xxx, l 1 -2 cx v ; pp . 28 9.

2 6 F r ml r r 8 181-82 20 2 2 - IV 2 2 82 o e o . V exa p , C , III , 5 , , 3, 3 33 ; , 9, 43 ; , 3 ;

2 ff . pp . 9

2 7 - - M B . 2 t e . 2 1 e c. . tc. . 2 2 N . . 2 . . 20 C , pp 7 7 , ; p 459, p 4 ; , pp 3 4, I 6 FLA UBER T AND MA UP AS S AN T

2 8 Maupassant in S outhern France . Its special exponent is the r espec “ ” t u o f c m able bo rgeois , who stands rather for an attitude narrow o lacenc o r m m —H oma is p y dog atis than for any particular class , with m M P a tisso t m his po pous and ridiculous Speeches . , with his ania c v m for exer ise ; the go ern ent functionary , who plays his part in “ guiding the chariot O f state through the incessant perils Of a stormy ” 2 9 “ honnétes mm who sea ; the fe es , despise their unfortunate sisters 3 0 one t ne while being not whit better han they . O particular formO f “ ” betise exhibited by this “bourgeois is that Of seeking for decora t E m ma i M ions . xa ples are furnished by H o s in a dame B ovary and ’ ’ ’ 3 1 M S c m Ma u a ssa nt u . s n o velle D or e A a re ent in p entitled ec . nother m o f v t ani festation stupidity is subser ience o habit . Both authors hated monotony and the li fe of habit and strove in their restlessness 3 2 m v v to escape fro it , especially , as we ha e seen , by tra eling . This hatred they express in their works . The stupid Charles is a creature ’ ’ f’3 o f m o f L H er ita e Emm habit , as are the dull e ployees g a and

n owe m Jea ne part , at least, Of their unhappiness to the onotonous v f o f o f . o r tenor their daily existence The un arying life the count y ,

v o f mm the pro incial town , the bureaucratic or industrial co unity in o r Paris , is constantly portrayed , together with the deteriorating “ ” 8 4 S exasperating effects of that li fe . cornful hatred of the bourgeois and O f man in general becomes with Flaubert and Maupassant an v : obsession , as is e idenced by the following quotations FLAUBERT MAUPASSANT

’ ’ L i nsuppor ta bili te de la s ottise I l flotte dans Pari s tant de betises huma i n e t evenue chez mi une u s de tous les co s d u mo d e s d o ven e in n e, ’ ' l m t bl u on en é rouve comnze n u a c mal adi e et e ot es . , fai e q p

mnt orr . . cv s u to us les h um s ont le don ca bl e e . Pre q e ain C , p iii]

2 3 B . . 0 M . P a r . : L e B a tém . 1 8 M . e Fo r e ml e . 0 xa p , p ; , p 4 ; p , pp

- ff . l 120 etc. . 2 1 S a . 35 44 ; , p , ; pp 4

2 9 M . E . . 1 . , p 97

‘ ’ 3 ° ml 11 - 12 1 e P : L D imnche un B . . 0 80 tc. O. . es a s d Fo r e e M . xa p , , pp , , ; , II ’ - L H o e . . 1 f M E . f M . H a r . : éril bou eo s de a is . 11 1 etc . . rg i P r , pp 7 , 4, ; , pp 97 ; g , pp

- - - M E . 22 2 . 60 1 16 . . . 4 3 ; , pp 4 3 ; pp 77

3 1 - - 3 2 B 8 81 . 2 . ee a bo . 12 . M . . . S , pp 477 7 , 4 pp 43 53 ve, p

9 3 - ml 1 a r . 1 1 . F r e a e M . B . . 6 M H . 6 o . x p , , p ; , pp 4 3

3 ‘ - F r ml . 1 2 e c. T . : . 6 etc. . o e e M . B . 6 t . C xa p , , pp 3 , , ; pp 5 , ; p ll - ui de 2 2 - Yvette 1 L. M . T E n F a m e 1 1 c s . : . S 3 ; i , pp 39 4 ; i , pp 3 33 ; ’ - If 1 m L . B M . P r . . o en 201 e e . 8 a ad e . L e Pr , pp 4 ; P r , p 3 ; , pp 49 ; ’ L E - r euve . 1 . p , pp 37 44 THEOR IES RE GARD ING L IFE 17

' de mex a s ér er et e ne s e o s des cho s s c s c s p , j re pire J v i e , far e , far e , ’ i o t t l b m t ue d s le d s t o r . c s et d a utr es u s t s s i re en q an é er (C r , far e , q n ri e , IV t st s t st s so mm tout l e , ri e , ri e ; en e, m b te e i mm onde est bete, e , bet , ci co e

ll u r x i e r r . . c a s o . C , p xii]

S uch an attitude of exasperation as that evidenced by the fore m v v going paragraphs see s to us excessi e . It explains , howe er , the c c Of men H o w ynical tone which haracterizes the work the two . far , m we are led to ask , was this exasperation and the resulting cynicis m man an inheritance fro the older in the case Of the younger, and how far was it an inherent idiosyncrasy ? In the first o f the fore going quotations fromMaupassant and in other passages o f his letters to Flaubert3 6 there is a suggestion that the expressions are dictated

s by the fact that the di ciple is writing to the master . The second m man v im paragraph fro the younger produces , howe er, a greater pression of sincerity and can be supported by further evidence in the m ma M sa e direction . We y at least say this , that , i f aupassant had a m m natural bent toward scorn of hu anity , as see s unquestionable , it m was certainly not di inished through his intercourse with Flaubert . “ ” m e m t Hu an b tise was specially e phasized by the lat er, as his disciple ’ 3 7 P mn ouvar d et ecuchet. e tells us , in B Both hold that the only hope for anyone who would maintain his individuality is to keep himself m m 3 8 Am m entirely separate fro ordinary hu anity . ong the supre e o f m v m follies the day , thinks each , is de ocratic go ern ent , with all its 3 9 “ ” m M é e r m t . b t su e but m i plica ions odern tyranny is , to be , _ so e for o f 4 0 m aristocracy is at any rate preferable to democracy . In odern “ ” o r fo r li fe grace pardon is substituted j ustice , Flaubert laying the m 4 1 M on m m. bla e for this on Christianity , aupassant ro anticis War is an evidence of the ineradi cable brutality and unreason Of the

3 “ 5 l s n bet s and sco huma t r r 2 . o o o . 6 Cf a i e rn Of ni y, C , I , 43 ; II , , 43 , 44, 9, 0 10 12 6 1 18 -8 1 6 2 22 -2 282 2 08 26 2 112 262 IV 7 , 3 , , 79, 4 5 , 9 , 3 , , 99, 3 , 3 , 445 ; III , 5 , , ; , 20 2 3 , V, 74 ; etc.

3 6 For ml e o . . c c c etc. xa p e, C rr , pp x ix , iii , xiv, 3 7 P O. . : Etud ur t 1 ff . 1 . e s Gus ave F la ube t . 0 106 , II r , pp 4, , 37

3 3 o I - - . V 80 o r cl li f 11 c c . . 110 . C rr , , ; C r . , pp . ; pp 3 9 I orr . V 60 orr . civ. C , , 34, ; C , p .

4 ° - - - orr . 1 6 I 1 2 V 6 . 6 6 etc. C , I , 9 ; , ; pp 3 , 9, 3 39,

4 1 r I o V 80 CI . I L o V 60 e i é d M ed n 2 . s S es e a . 8 C r , ; , ; r , p 18 FLA UBE R T AND MA UP A S S A N T human race The barbarities of warfare are exhibited both through the crueltie s practised by Carthaginians and mercenaries in

‘ a la mmbo the t S , and through atrocities perpetra ed by the Prussians and wreaked on them by way o f v engeance in the stories o f 4 3 Maupassant .

the men o mt v To two religi n , which each ad i s to be uni ersally pres “4 one mo r o t t t ent in for an ther , furnishes but addi ional illus ra ions O f ’ s m t m s flfirmation s betise and hatefulnes . What ore s upid than an a 4 5 rn ur l P m and negations regarding the supe at a . What ore detesta 4 " ble than existing e cclesiastici sm? In it s es sence religion is either t t o r m c v c con a supers i ion , a habit , a ro anti extra agan e , and is n u nected ot infrequently with sensual ind lgence . The peasant is the m principal exponent of superstition in both writers , exa ples being i t found wherever religion s mentioned in connection wi h peasant li fe . “7 “ Félicité confusing her parrot with the Holy S pirit and the fille de ” ’ 4 8 ferme attributing superhuman powers Of insight to her cur e are

c R t typi al of their class . eligion as a habit is exhibited in the aking for granted by all ranks Of the religious ceremonies attendant on the ff E v ff the it di erent stages of li fe . en by the indi erent or hostile is considered but natural that the Church should preside ov er the initial o f v m d stages li fe , o er arriage and death , and should ignify with her 4 9 ma n r R blessing the ordinary occupations o f on land o sea . eligion as romantic extrav agance is illustrated in the cases o f E mma Bovary

Of Un e Vi e m v a rox and Jeanne in , both of who experience iolent p ysms O f religious fervor produced by circumstances and fostered by 5 0 m t c m E mm v m ro an i senti ents . a ser es further as an exa ple of the o f 5 1 m connecting religion with sensuality , in which she rese bles ’ ’ 5 2 m n s Ma u a ssa t . Julien , Jeanne s husband , and si ilar characters of p

4 2 - - r r I 8 . 1 . 0 . V C , , 4 49 ; pp 5 59

‘3 l ml - t f r a ml l - 2 fo r e e . 128 e c. o e e Ml e. F . . S a . , xa p , pp 35 , ; x p , , pp 3 7 L a F ll - o e . . , pp 37 43

4 4 - 1 1 2 2 2 2 L e ueux . 1 8 . o . 0 G C rr , II , 5 , , 3 ; , pp 7 79

4 5 - I 1 . . o . V 8 etc 0. C rr , , 35 , 3 5 , ; pp 39 4

‘6 Cor n IV 8 1 . 0 62 etc. . . 3 . 353 . 37 . 377 ; pp 7 . 3 . ;

7 ’ 4 - 4 8 ll m H i toi une d e . 66. . s e d e e e pp . 53 54 r fi f r , p

4 9 F r a ml 12 - 1- M . E . 6 T . . . 6 6 o e e . 6 . C : U G. S x p , , pp 9, 37 , 5 , 4 4 7 ; , pp 4 ; - - - - ff 1- . 1 8 1 1 B A . . 2 6 . 2 16 U. V. . 6 6 6 . pp 97 , 3 4 ; , pp 5 , 75 7 , 9 ; , pp 73 , 5 73

5 0 - - r 2 2 2 66 . Fo ml e . 8 . . E . U . 26 6 e M . V xa p , , pp 49, 5 , 95 9 ; , pp 3 , 5

5 1 5 2 - - M . 2 l A 1 2 . . 66 cf . a s B . . . etc. E 8 6 . U. V. . 2 o , pp 9 , 44 , p ; , pp 5 5 5 , THEOR IES RE GA RD ING L IFE 19

Priests and other representatives O f the church are made by each 5 3 mm o r . A s writer stupid , co onplace , hateful ttack on ordinary reli “ ” gious beliefs and statements o f philosophical religion are put into “ ” m s H oma is o f le o f M Of R ena rdet the outh o f , baron , oiron , , and Of 5 4 many other characters in the works o f both men .

N either author holds any very high conception of womankind .

E m m erfid ach speaks of wo an as inco prehensible , unreasonable , p 5 5 v m c c . ious . They agree that there is little ariety in fe inine hara ter M o f m aupassant says that Flaubert was disdainful wo en, j udging m v m the se erely fro a distance , but exhibiting a certain tenderness 5 7 toward themwhen brought into closer relationship . The Older man himself expresses a somewhat similar thought where he Speaks “ ” o f the souverain mépris with which women are regarded essen 5 8 iall A t . s y, while being treated outwardly with deference one would c Of m v m v expe t , the usual presentation wo en , lo e , and arriage gi en f w c m o . by the two riters is ynical , with practical eli ination the ideal 5 9 m Mme A o r I f , by chance , we find a good wo an like rnoux Jeanne ,

m mm r O she is al ost certain to be either co onplace o stupid . ccasion

v m o f o f ally , indeed , we ha e gli pses , i f not the ideal , at least a less E m v sordid and unpleasing conception . xa ples are the childish de o 6 0 E mm M a dame ovar s o f tion of Justin to a in B y, the faith fulne s such simple creature s as Féli cité in Un Co eur simple o r R osalie in Un e 6 1 i e ff ma V , and the constant a ection of the wo n in Corsica who had gi ven up everything for the man she loved and expressed herself as perfectly satisfied after fi fty years o f the hard li fe to which she had

5 3 ’ ’ F r ml f L é rnisi - b B ou en M . B 1 c. l b o o e c . ab . . et b e c t exa p , in , pp 55 59 ; a Pi ’ ” nd l b T lbi 2 2 - 8 26 e . h b n e a a bé o ac U. V. . 1 1 6 tc t e o es so u s o f in , pp 77 , , 34, 3 4, ; n r

- . 62 6 6. pp 4. 73. 74. 7 5 4 Fo r m - - l e M . B . . e 1 6 etc . . 0 18 ff . . . U V xa p , , pp 7, 454 5 5 , ; pp 3 ; , p

L - - d . M oi 2 1 26 . n 0 0 . o . 2 ff . 7 ; C r , pp 3 ; pp . 49 5 ; pp . 5 5 5 F r ml - o e . 2 o IV 1 12 0 exa p , p 99 ; C rr . , III , 334 ; , 3 ; II , 9 3 ;

20 - 6 . 2 . 2 16 M . P ar I , 9 ; II , ; p 5 ; p ; . pp . 44 , 45 46 ; 80 . P a r . . M ll . . 0 e. F etc. p ; M , p 4 ; p . 93 ; , p . 73 ; 5 “ I 8 ll - o . V M e F . R é o ns a 2 f C rr , , 3 5 ; p e pp . 78 79 ; c .

L - a a u e . 60. P r r , pp 59

5 7 P 1 O. . 1 . , II , 9 , 44 5 8 o . 12 2 . C rr , II , 5 9 L ’E d . S ; U. V.

6 0 M E f r m . . l o e . 2 6 . , xa p e, pp 99, 4 9 6 1 F o r ml - e . 2 U. . . 1 2 V 8 . xa p e, p 4 ; , pp 3 3 2 0 FLA UBER T AND M A UP AS S AN T

6 2

v t . S c v de o ed herself u h presentations are , howe er , the exception ; m m the general picture is pessi istic in the extre e . — A n idea mentioned by the two men in the case of M aupassant

m c c m — apparently , fro the referen e , as a refle tion fro Flaubert is that 6 3 the v m c of hatred of literature entertained by go ern ents , an e ho of ’ the m m ma rtr rdom s d ro antic doctrine O f the literary an s y , expres e ,

D ff f r c e V . S O a t o f for instan e , by igny u ering for the sake confers ,

u t ct o v co rse , a certain dis in i n , and raises those who endure it far abo e s c t fi c c men u h banali ies as of ial de orations , for which both , as we m 6 4 s c c . hould expe t , feel onte pt In striking contrast with their hatred of ma n is the very definite

v t lo e they cherish for ex ernal nature . This is thus expressed by “ Flaubert in writing to A l fred Le P o ittevin : Tu me dis que tu ’ d v mu moi v e iens de plus en plus a o reux de la nature , , j en de iens

ff e s m et mem v e réné . J regarde quelquefoi les ani aux e les arbres a ec ’ ’ une tendresse qui va j usqu a la sympathie ; j éprouve presque des ’ s v u u a v m e v ensations olupt euses rien q oir , ais quand j ois “ ’ S imilarly Maupassant speaks of certaines minutes d amou r avec la ’ l e uv et mm Terre , so enir d une sensation délicieuse rapide , co e de la ’ c A s one c descri aresse d un paysage . would then expe t , fine p tions O f nature are among the most common and most characteristic

f E m v . features o the writings of both . xa ples are uni ersally present A s o f E v m o f we saw at the beginning the chapter , the n iron ent M v m m Flaubert and aupassant tended to gi e the a pessi istic outlook ,

c m ma n which expresses itself in their onte pt for the world and for , “ ” m m s c . G v e pe ially for the bourgeois o ern ent , religion , wo ankind ,

c m u m Of all o e nder their scorn . In the idst the general stupidity the r f t man m fo r . On v o li era y is a artyr his cause the contrary , lo e external nature furnishes to each the satis faction which he does not

find in ma n .

6 2 - l s L nh u . 1 8 M a u a ssa n subs ue s l e o e 8 . t e t o B r, pp 7 p q n y p i ’ th s sto whe e e ea t it in S ur l E a u he mkes th e o ma commt i ry, r , r p ing , a w n i

' ’ f ahn s n h n a h l h r h s n . M suicide up on di sco veri g t e u f it fu ness o f e u ba d C . m f his lum o n M ss . e a k on th s sto . 2 82 O o e u t r r i ry, p v a pa an “3 I 2 1 12 . V 0 o . . c o . V C rr , , 4 , 43 ; , 4 ; C rr , p xvi “4 I 0 - V 6 . l lv o . o . c C . C rr , , 35 , 3 3 ; C rr , pp iii

“5 - o 16 6 . C rr I , 3 4 “6 M . P r A n d . . a . : Ve e r , p 95

2 2 FLA UBE R T AND MA UP AS S AN T

4 M v O f im r n and everything . aupassant gi es a clearer definition pe so ality and also a more general statement regarding the appearance of

t uc inev an author in his work . He recognizes hat s h appearance is ’ itable t m v o f it m , seeing tha any an s iew the world , i f be original , ust

s v be derived frompersonal Ob er ation and reflection . Thus also in u m the ca se of the characters in a book . The a thor can but i agine how

a nd a ct t c ct m he would feel in heir pla e , and in pi uring the he in a

m m t is t M s t n t sense reproduces hi self . I personali y hen to aupa san o — — the absence of an author fromhis work that is impossible b ut the ’ 5 m t c s c artistic conceal ent of the au hor s ines apable pre en e in his work . “ ’ Flaubert had expressed the same conclusion when he said : L a uteur ’ v étre mm D l univers t t u dans son oeu re doit co e ieu dans , présen par o t ” 6 et v isible nulle part ; but he had no t worked out the argument as

c t c t t Maupassant has worked it o ut . In a tual prac i e bo h au hors

to m s t t x to adhere i per onali y to a cer ain e tent , but only a certain

the m M ada me ovar extent . Flaubert is on whole i personal in B y and ’ L E a ti i e fi c t wn in duc on s en t men tal . It is dif ul there to tell what his o h Opinion is regarding t e maj ority of the personages and events .

Wh m B ouva r d et P écuchet v m en we co e to , howe er , the treat ent is too

m v set ironical to be i personal , there is too e idently a purpose in the “ ” constant ridiculous inefficiency o f the two bonshommes . In the effort after impersonality there is al so a tendency to overshoot the m v m t t the ark and arri e at i passibili y , shown in what s rikes one as 7 m heartless recitation O f the abnormal cruelties in S ala mmbé . S o e

m t m m s t t ti es Flaubert depar s fro i per onali y in the o her direction , t exhibi ting a decided sympathy for his characters . This is rue in

Of c um s fo r m certain his pi tures Of h ble , u ually peasant life , as , exa ple , “ ” the c o f le e R oualt u v o f in ase p re , Of J stin , of the Old ser ant the “ ” m s M a da me ova r o f Un oeur Co ice in B y, as well as Félicité in C s 9 s im le M s t the f t p aupa san , who sees , as was noted , dif icul y Of m m t the m i personality ore clearly than Flauber , also forsakes i per sonal attitude more usually and O ften more completely than does ’ m f m on m . o his aster S o e his work , like Flaubert s , is i personal the

4 6 182 . o . 2 . o . C rr , III , 5 4 C rr , II , — - ( F r e a mle . 18 2 1 8 0. L R ) . . o , pp xi xx x p , pp 5 , 5 , 34 5

9 - - - - 2 2 61 62 6 2 6 208 T. C. ml . 1 2 8 r B . Fo e a e M . x p , , pp 4 4 , 37 3 , 4 , 4 3 , 99, 4 9, 9 ; ,

- pp . 3 64.

9 S ee a bo ve . THEOR IES REGA RDING L I TERA R Y PROCE DURE 2 3

’ m B el-A mi L a ar ur e L H ér ita e whole ; for exa ple , stories like , P , g , and those tales o f peasant and fisher life which seem to em body the stolid acceptance o f fact charact eristic O f the classes they 11 M oule de S ui represent . any stories , such as the earliest , B f, ’ written possibly with the B ouvar d et P ecuchet attitude toward m m m m ff o f hu anity pro inently in ind , are , like the si ilar e orts Flau m S m m ’ bert , too ironical to be i personal . o eti es Flaubert s irony is m 12 m hu orous , as where he akes people say ridiculous things ; here M m aupassant goes further than Flaubert , occasionally eli inating, o r m m v m al ost eli inating, the irony and lea ing the hu or in the ” m M ascendant . Brutally i passible also aupassant can be in his ’ f E m n ouvelles L I vr o n e depiction o horrible things . xa ples are like g 14 e t n m and Une Vend t a . O the other hand he possesses to no s all extent the gi ft o f exciting sympathy by the simple narration o f the 15 s facts o f real life . Thi is especially true in connection with his

o f - m o f stories ill treated ani als and children, and those unfortunates

m o r s c m v whose cri es distresse , as he pi tures the , ha e apparently been 16 m c forced upon the by a pitiless so iety . In his later writings Maupassant tends more and more to giv e up the impersonal attitude

o r m s o f and to express , either directly through the outh his char 17 a cters m v m o f ff o r , his sy pathy for arious for s su ering, the record 18 o f n Al u d his o w distresses . l thro gh their work both authors o in fact transgress the bounds o f impersonality either by direct com 19 ment o r by putting into the mouths of their characters the expres

1° - - M H . 1 1 . a r . 6 . pp 59 74 ; . , pp 4 3

11 For l — e m e L e eti t F ut . 8 L e Vieux xa p , p , pp 79 9 ; ,

- - . 1 10 E n M er 12 . pp 9 4 ; , pp . 9 39

12 Fo r e mle M E 1 s h i ma . . . . 80 ec o f H o s xa p , , p ( pe ) 1 3 F r ml Toin o e e. exa p ,

14 12 - 1 - pp . 5 34, 37 45 . 15 m Cf . Lo b o so S ouveni s sur M a u s n t 1 2 as a . 6 . r , r p , p ’ 13 F r ml M H r A - o e . a . : L ne 18 . oco . 1 0 xa p e, , pp 9 94 ; C , pp 5 6 L d i - e a a e S mon . 11 L e Gueux . 5 ; P p , pp 9 34 ; , pp 1 - 82 L P ar t - e t . 20 1 73 ; , Par II , pp 7 7 . 17 F r ml M - 2 - - - - o e O. . . 6 N . . 200 20 2 2 2 C. 2 2 etc. xa p e, , pp 3 3 ; , pp 5 , 4 5 , 33 37 , 18 F r ml - o e S . 2 . exa p , pp 77 9 19 Fo r e ml e M - E . . 2 . 8 1 0 . 2 1 62 xa p , , pp 9 , 4 , 39 ; pp 47 , 6 , 266, 383,

0 . 1 8 . 10 0 U. V. . 6 100 12 12 4 7 ; pp 59, 7 ; pp , 3 ; , pp 34, 9, 75 , , 3 , 2 , 2 8 0 m etc. co so th ms 4 , 33 ; In pari n wi o t writer s Flaubert has very l ittle o f th s t e t o the uth i in erv n i n Of a or in person. 2 4 FLA UBE R T AND M A UP AS S AN T

” t c th t c u Mau sion o f though s whi h e la ter o ld not naturally have . passant al so frequently talks in the first person where such pro t m 2 1 cedure is v no . t t e idently a ere realistic detail It is fur her rue , 2 2 t out c t cs t men m as has been poin ed by ri i , that bo h e body in their t v su u m works heir own li es and rro ndings , as see s indeed to be inevitable when personal Observation is insisted on as the main c f mt sou r e o infor a ion . The two authors hold that the great task o f the novelist is to “ ” 2 3 ’ c t t t u M reprodu e na ure ru hf lly . aupassant thinks that Flaubert s “ v m t vie mem no els acco plish his , for they exhibit la e ” m t u They agree also as to the eaning here o f truthfully . The fai hf l representation o f nature denotes not the servile transcription of “ ” facts b ut rather the translation of those facts in terms o f proba bilit u o f to m m t y, thro gh the subordination the less the ore i por ant , and through the selection o f the universal and constant to the m 25 M exclusion of the accidental and ephe eral . aupassant thus ’ sc t c u f o c . de ribes , for ins an e , Flaubert s constr ction haracter The

m s o c c m latter , he says , i agined type and , pr eeding by dedu tion , ade 26 t m m ct c o f m m ne m he perfor a s characteristi their te pera ents . O ust “ ” acknowledge that it is a rather narrow nature which the two m m v en t . pic ure It is ad itted , howe er , by those who discuss the F m . o r s c atter that the presentation is faithful in its way in tan e , 27 Flaubert is said to be too t rue fo r the theatre ; while Brunetiere declares regarding Maupassant that the latter renders even that 2 8 ’ A s a s which o ne has not noticed in the real . far one s personal mto m v knowledge or experience goes , it would see confir the erdict

c s A o ne of the ritic . gain and again is struck by the absolute agree ment of the pi cture with what on e knows or can imagine Of the

’ 2 0 2 1 F r mle 1E ml E . . . o e S . . Fo r e a e M . x p , , p 475 xa p ,

2 2 ml u et E ssa is d e s chol o ie contemo a ine 1 8 Fo r e . o xa p e, P B rg , p y g p r , I , 4 ,

1 6 D umesn l F la ube t et la Médecine . 2 . 5 ; i , r , p 77

2 3 - - 2 1 1 8 . 86 8 . o . C rr , II , 3 4 ; III , 4 7 ; p 4

2 " ud ur u ta Fla u be t . 6 . P . : Et e s G s ve O. , II r , p 9

2 5 18 IV 2 12 - 1 12 1 ( L R ) o . 1 C rr , III , 3 , 449 ; , 45 , 375 ; II , 3 ; III , 9 , 93 ; ,

- l l 2 ll . . F a M A . o . 28 M e F R . d M . M l F R . : e . : W S pp . xiii xiv, xv, xii ; ff, p ;

2 . p . 77

2 6 P . . O. : . , II p 99

2 7 - m l ut u F la u e 2 . R D escha r mes et R . D u es A o de b t 2 . ni , r r , I , 4 43 “ 2 8 T R ma n s M h - F n e s o R . D M c 1 202 1 u et e o . . . . Br i r , r i , ( ar , pp 4 THEOR IES REGA RDING L I TE RA R Y PROCE DURE 2 5

m ff actuality represented . The ethods O f producing the e ect Of reality will be discussed in subsequent paragraphs . In order to acquire the knowledge requisite for a truthful repro

v I t d uction o f nature keen obser ation is the first necessity . is also f M the indispensable condition o originality . aupassant says that Flaubert enj oined upon himthe practice of looking long enough at what he desired to represent to discover in it an aspect which had him” m not been seen nor recorded by anyone before . Very si ilar passages on this subj ect are found in the two authors .

FLAUBERT MAUPASSANT

’ Flaubert i s writing to Mme de L e talent provient de l or i ’ ’ M u ss t o f h er son inalite ui est un e man iér e s eci ale a pa an g , q p “ A c le t ms il d e de ense de voi de comr en d e et ve e p gagnera p r, r , p r ’ ’ ” l ori ina lite une manie e i ndivi de u er «L R » . . g , r j g , p viii] ’ duelle de voir et d e sentir ( car tout Flaubert s de vo ir et de sentir

t la o I V is d d M u ss t . es C r . ) [ r , , expan e in a pa an

’ A air * ° second passage contains another phrase of Flaubert s , V ” 3 ° tout t e v es la t oir j uste .

To Flaubert seeing is absorbing the Obj ect . In connection with “ the composition o f Un Co eur simple he writes : D epuis un mois ’ ’ j ai sur ma table umperroquet empaillé a fin de «peindre»d apres la ’ a mm a me m ! . N e le nature S présence co ence fatiguer . i porte j ’ ’ ” 3 1 a fin memli r am garde de p l e de perroquet . ’ Maupassant thus reports Flaubert s advice to him‘

u d o us ss me d s t - il d t un é c ss s sur sa o t Q an v pa ez , i ai , evan pi ier a i p r e , d t un co c ui um sa d v t une st t o d e fia cres evan n ierge q f e pipe , e an a i n , mo t - mo i cet é c et ce co c l u o s to ut l u c n rez pi ier n ierge , e r p e , e e r apparen e ’ ’ h s u co t t uss d ué l adresse d e l m tout l u p y iq e n enan a i , in iq e par i age, e e r tu mo l de o a ce ue e me l es co o d c ucu ut na re ra e, fac n q j nf n e ave a n a re

é c ou c ucu ut co c et t s- mo i o un s ul mot pi ier ave a n a re n ierge, fai e v ir, par e , en quoi un cheval de fiacre ne ressemble pa s a ux cinquante autres qui le 2 su t le c d t 3 ivent e pre e en .

In the passage fromFlaubert we have simply a slightly ironic f description o one application o f the method of seeing . In that fromMaupassant we hav e a description not only o f the method o f “ ” — seeing but also o f its results the definite impression produced

2 9 - 3 1 P . e . : ( J L R . . I ) or r V 268 . , pp xxiii iv C . , , 3 ° l 3 2 . i o . c . C rr , p p . xxiv . 2 6 FLA UBE R T AND M A UP AS S AN T m and the rendering Of the i pression in few and skilful words . The “ same q uotation will be seen to develop the idea O f the character ” S v c v v o f is ic t . t de ail uch obser ation as has been indi ated in ol es , “ c course , precise attention to all detail , but especially to the chara ” M u v teri stic t c t . de ail , on whi h a passant insis s The ad ice to find ” o ut and render this chara cteristic detail seems at first sight to contradi ct the other counsel to avoid the accidental and picture “ ” h s v n t c t e c st . o only on ant The characteri tic detail , howe er , is a ci dental ; it is inherent by nature in the obj ect described ; it has only m not yet been discovered or presented . Flaubert hi self explains “ what he means by the accidental in the following passage : Je me ’ ’ ’ suis touj ours eff orcé d aller dans l ame des choses et de ma rréter u et e me u e aux généralités les pl s grandes , j suis déto rné expr s de ’ ' ’ i '3 l a cci n al m P as d e monstr es et as d e her os f de t et du dra atique . p The obj ect represented is to be an average Obj ect ; the originality Of the author is to consi st in exhibiting a hitherto unknown aspect o f the v c c c m him a erage Obj e t whi h has be o e , to , characteristic — M v Of it . To illustrate both Flaubert and aupassant would ha e described one particular red ca rnation in order to distingu ish it

m v v fro all other red carnations , but would probably ha e a oided the description O f a green carnation . On observing the actual practi ce o f the two men we find that ” c r the ha acteristic detail is , in general , introduced less strikingly M t in the work o f Flaubert than in that of aupassant . Its func ions t v in ei her case are arious . By Flaubert it is sometimes used to t m r i uni fy a description , all o her details being ade subo dinate to t .

o f c o f alammb For instance , at the beginning the third hapter S é , Carthage is depicted according to the lights and shadows caused by m a4 it . O v the oonlight falling upon ften howe er , in this writer , the multitude o f minor details introduced In the eff ort after complete u m fi ness bl rs the i pression , so that it is dif cult to distingui sh a “ ” “5 c s c M . on haracteri tic detail if su h is present In aupassant , the “ ” o f t other hand , owing to the constant use the characteristic de ail ,

s outline are Sharp ; descriptions are easily grasped and , once grasped , may u sually be summarized in o ne o r two words and remembered f m without di ficulty . Good exa ples may be found in almost any O f

3 3 I 3 ‘ - . V 2 . l o 6. S a . . C rr , , 45 , pp 5 5 5

3 5 Fo r a mle - M . E . . 1 1 I h th e 0 . s t e e e cha a cte st c d a l x p , , pp 3 3 riv r r ri i et i o f the scene her e ? THEOR IES REGA RD ING L I TE RA R Y P ROCE DURE 2 7

8 6 m men his works . The characteristic detail is e phasized by both , again by Maupassant more distinctly and more Often than by Flau m A n m bert , through recurring ention . exa ple is the repeated ref mm erence , in Flaubert to the awkward and co on personal appearance ’ 3 7 o f v m m m t Charles Bo ary , which see s to sy bolize that an s stupidi y , M o f and in aupassant to the elegance Julien , which furnishes an o f t t o f indication , according as it waxes or wanes , the s a e the ’ 3 8 O m m latter s amorous affairs . ther exa ples fro Flaubert are the ’ insistence on the lack o f energy o f Frédéric Moreau in L E duca ti on ’ sen timen tale n m , the desig ation of the ercenaries in Hannibal s gar “ a v and o f den each by distincti e trait, the use the characteristic ” ’ detail as a conclusion in the case Of S alammbOs veil floating behind 3 9 c s her when she is seen in the hariot . Corresponding in tances ’ fromMaupassant are the dwelling on Forestier s ill - health and Mme ’ o restier s m B el- A mi o ne o n e o f F s ile in , the characterizing by the v oul e d e S ni tra elers in the diligence O f B f, and the concluding Of the story entitled L e P er e with a sentence giving the outstanding aspect o f the conduct of the In order to accomplish distinctive as well as accurate presenta tion both Flaubert and Maupassant seek to avoid hackneyed expres “ ” s A o f m v ions . certain use idées recues is ade , howe er in Flaubert and more occasionally in Maupassant in the conversations of per “ ” sona es m v g to who it is desired to gi e the characteristic of betise . Good examples are to be found throughout B ouvar d et P écuchet

m f H ma is B rni i n o o bbé ou s e . and in the re arks , the A , etc , in u“ M a d m B o ar M m a e v y . In aupassant instances are to be sought a ong

c m a s cur e e clesiastical pronounce ents , such the address of the in “ ” L a M aison Telli er o r v o f du m , in the con ersation gens onde , like that between the two women in the stagecoach towards the end o f 12 B oule de S ui 3

3 6 F m - o r l e the e ese tat o o f th e cha cte s Une Vi e . 6 exa p , r pr n i n ra r in , pp 3 4 ,

35 1 etc'

3 7 B . . 2 8 1 1 e M . 6 tc. , pp , 59, 7 , 5 , 4 , 3 8 . 6 1 1 188 c. U V. . 12 et , pp 39, 57 , , 3 , ,

3 9 12 2 - 2 - 1 l n . 0 1 0 etc. S a . a d 2 . pp , 3 , 3 , 34 35 , 9 93, , ; , pp 3 5 4 ° B -A - 12 1 . . 8 120 1 t . 1 11 . e c 6 6 120 12 tc . , pp 9, , 7 , 9 , ; 3 , 33, 4 , 4, 99, 9, , 6, e ; 1 -20 pp . 4 ; C p . 44. 4 1 F r ml - - o e 8 11 1 . e 2 M . B . 1 2 1 e . etc 0 6 tc. xa p , pp 4, 5 , , , 7 , 4, ; , pp . 7 , 5 59,

4 2 - . 8 U. V. . 2 . U. V. . 1 6. pp 37 3 ; , p 34 ; p 73 ; , p 3 2 8 FLA UBE R T AND M A UP AS S AN T

Corresponding to the characteristic detail in description and “ nece ssary for its delimitation is the mot j uste in language . Flaubert had said that it was time to give to art the precision o f the 4 3 M m physi cal sciences . aupassant had aintained that art was mt m t ff m a he atical , and hat great e ects were to be Obtained by si ple 4 4 “ ” — m us m th m st a nd well combined mean s . The ot j te is a ong e o m m mn t t t . e M i por an o f hese eans Both dwell on the subject , aupas “5 s sant relating how Flaubert insisted upon preci e expression . With “ the master the mot j uste is usually connected with his idea o f the inev itable correspondence between sound and sense ; with the pupil h n h t e emphasis is rather o t e actual j ustesse of the ma t. The fol m lowing quotations will illustrate what is eant . Flaubert says

Ce so uci d e la beauté extérieure que v ous me reprochez est p our moi * une méth de u d décou un mu s sso c o u un ré éti o . Q an j e vre e a vai e a nan e e p t o d s une d e mes h s s e su s ii ue e t u d s l e u i n an p ra e , j i S r q j pa a ge an fa x ’ a o c d e ch ch e t ou l ex r essi on uste ui é ta it la s eul e et ui f r e er er, j r ve p j q q ’ 4 6 es t mm t m l a r mn eu e en e e e s h o i s . , p ,

u mot us te the m Fla bert , then , finds the j with the aid of har onious word . ’ M v him aupassant , reporting Flaubert s ad ice to , speaks as follows :

’ ’ ’ Obséd é par cette croyance ab solue qu il n er iste gu nne ma niére ’ d ex r imer un e chose n u mot our l a di e un a d ecti ou la ua li er p , p r , j f p r q fi ’ et un ve be ou l animer il se t a un b u su hum o u déco u r p r , livrai la e r r ain p r v ri r a ch u h s c mot c t é ithét t c b c o it ai n e t e e c v . I l a si , aq e p ra e , , e e p er e r y

' 3 une ha moni e ms ter i euse des ex essi ons et ua nd nu te me uste n e r y pr , q r j l ui sembl a i t oi n t eu honi ue il en ch e cha i t un a u t e c un e c bl p p q , r r ave invin i e ’ t c c t u l ne t t a s l e pa ien e, er ain q i enai p vrai ,

t mo t uste a d ec We find in hese words the j defined as a noun , an j ” t v t m v . O i e , or a erb herwise the passage si ply states again the t f c heory o Flaubert quoted in the pre eding paragraph .

t t s M In ano her passage , af er peaking Of Flaubert , aupassant “ t mo t uste goes on wi h his special definition of the j as a noun , an ” “Il c v or v . : adj e ti e , a erb He then continues faut donc chercher ,

‘3 4 6 I 2 1. o 11 . o . V C rr . , III , 3 C rr , , 5 4 7 1 l . . P . I : . 0. o . . c O I C rr , p ii , p 3

4 5 - Fo r e a mle ( L R . . x p , ) pp xxiv xxv

3 0 FLA UBER T AND M A UP A SS AN T

u A n m m doctrine o f the two a thors . atte pt will therefore be ade “ ” mot m m to illustrate the j uste by eans of the following exa ples . m v chosen more or less at rando . It has not been thought ad isable m to include instances o f words used erely in their ordinary sense . The ma t j us te in Flaubert as a single word “ E lle entrait dans quelque chose de merveilleux Ou tout serait pa s ’ s o t s dél une immensi té bl eudtr e l en tour ait l es sommets du i n , ex a e , ire ; , sentiment é ti ncelai ent sous sa pensée [S aid o f E mma at the begin l h n ing o f h er intrigue with R odo p e] p . tout autour de la péninsule carthaginoi se une cein ture d ecume ”

b k n th ho e l . bl ll t h s a . ch sc . Of t e s o e S an e o i ai [ wave rea ing r ] ( , p “ D es c dél b s b riI lant sur l es t bl s l s d s tout la lo u u an a re , a e a ignée an e ng e r

d u ss u s t des buissons de eux H er odi as . vai ea , fai aien f , , p

E mm des le st bul s t t tombe sur ses é ul s co mm nu a , ve i e, en i r pa e , e ” l humd le o d du lat . inge i e, fr i p re p “ ’ ’ Le c l d un bl u t d o d comm un dOme s a u ai t a ie , e en re, arr n i e , pp y ’ ” l ho rizo n sur la dentelure des bo i s p . ’ l ch u a i d son ame c des hu l ements do u e agrin s engo fir t ans ave r x, ’ ”

M . B . co mm t l t h l s Chat u b do és . e fai e ven d iver dans e ea x a an nn ( , p ‘ L c s t h l ét t la te comm un t otto de r ue a onver a i on de C ar es ai p e r ir ,

p .

u s t une file de m c s boul u cl s d s des p i venai in e ea x , in iné an

’ ’ tt tu l i ue a i des e eg aq s : p . The ma t j uste in Maupassant as a single word “ ’ ’ ” ’ L a r l de l es rit s f ut dé B ec : F ar ce rmande sena . N o p pay an vi , p . “ m e l l t mb t ur l e r ie t ui t Of th U flot d so ei o ai s a riviere ndo m e l sa n e. [ e S n h t d t o o a Yve te . eine a y ] ( , p “ L t h llum t l i e u a o c e d d a de s s U. V. . r e i inai gran r apin ( , p

’ L e platane et le ti lleul s e dev étai en t rapidement sous les rafales

p . “ ’ ’ Le lon de la out l h b ue n e co u t o t co l omb g r e , er e , q vrai p in en re re ” mé ét bl d es c ms éta ite d u l u s t ve ni e de séve ou ll i p n ra e i e , r e, i an e , r n ve e

p . “ ’ t l d u ux comm umt d livier f c ban I I é t n o e o c O . O o s ai ai , e r n [ C r i an dit A L e a ndit o e . n S . s s s s . ] ( B C r , p

On v o ne reading the words italicized abo e , has the feeling that they are exactly the expressions required in the places where they “ occur S ome examples will now be given of phrases as mots j uste s . THEORIES R EGARDING LI TERA R Y PROCE DURE 3 1

Flaubert “ A s s t t d v t ces b u o s ou s cc demi - siecl e d ervi in i e enai , e an o rge i épan i , e s “ ” Th h s i s l d to the Old s t th e omc s who tud e. [ i s p ra e app ie ervan Of C i e md f r t f c h ce B . . v s o s o s v s s M . re ei e a e al fif y year la i ervi ] ( , p “ Q uand elle eut ainsi un peu ba ttu l e briquet sur son coeur sans en “ ll . une t c ll f E mm t to h s l fair j ai ir é in e e, [O a, rying give er e f

p. Maupassant “ D s cet a aisemen t du sol eil a bsent tout s les t u s de la t an p , e sen e r erre ” s t Th h s t l c sc b he c f h e répandaien . [ e p ra e in i a i s de ri es t pea e o nig t ]

p. “ Une oss mm bdtie en or ter esse r emla a it R os l gr e fe e , f , p c a ie

p.

m o f Besides striking co binations words , such as are illustrated v M m m v abo e , both Flaubert and aupassant e ploy so ewhat ague “ ” phrases which seemto contain rather an eff ort after the mot juste m E m f . than the attain ent o it xa ples are given below . Flaubert :

“ ' ’ uel ue chose de vi tali te lanet ir l é ét t s s a es e . Q q p , p n rai “ o f H b md t t th m so l e S a . . anni al e i a ing in ai n ( , p “ ’ C était comm une mo t n l um us uel ue chose de su humai n e n ag e ine e, q q r , éc s t ut d ul l f the T ml t o e son c et de son o u . S d o ra an Op en e rg ei [ ai e p e, b H o h t s d m i c l r . o s d H e . een y er fr i a e ] , p Maupassant

’ ’ sa o s o t t ll ce uel ue chose de i e d a rti v i ine, p r ai en e e q q fr p , ’ i u o t l c c - l n s ct s B A . . c e es . fi q , en général, an ienne a ri e , ( , p

M in aupassant frequently uses une sorte de such phrases , f “ ” instead o quelque chose de . “ L m m o m t ui e u u des o t une s or te de ouss ere de br t. r re v ix n ai , p i f f - 8 h m om st ce . O v c s o c d d o s d M O. [ oi e row ear fr e i an ] ( , pp 3

The use o f a succession Of words in striving for the mo t j uste m m mm in M s is uch ore co on aupa sant than in Flaubert , but is occasionally found also in the latter .

FLAUBERT MAUPASSANT

E ll t t d s u l u chos I l lui d m d t conseil itié e en rai an q e q e e e an ai , p , de m ll u o u tout s t as secours r otecti on consol a ti on ervei e x erai p , p , , t i B 2 2 i on ex a e dél e. M . . s s . . , , r [ , p 5] pp 54 3 2 FLA UBER T AND MA UP A S S A N T

We come now to consider the attitude of the two writers on the question O f beauty in general effect apart fromthe specific details h u t h u c t e . t e s m f produ ing res l This was pre e concern O Flaubert .

ma n d s t For idea were indeed , in his eye , inex ricably interdependent , 5 0 f the m the m m t m v but o . , two , for was ore i portan He see s to ha e “ imagined style as something abstracted fromand superior to the i c t t t . v c un on en which clothed There was , howe er , in practi e an

c t mo t breakable conne tion be ween sound and sense , between the

u h u t c c f s e phonique and t e mo t j ste. His final tes for ac ura y O expre

s . s d it ion was to read a passage aloud I f , thu rea aloud , did not

s r t him ca o . sati fy his fastidious , he set to work alter it He says self Les phrases ma l écrites ne résistent pas a cette épreuve ; elles énent m du c u et v Oppressent la poitrine, g les batte ents oe r , se trou ent ” 5 1 ’ s c vi A ll ain i en dehors des onditions de la e . this shows Flaubert s m f m extre e care for the rhythmO his prose . Fro what he has said in other passages we gather the idea that style was to himthat part ’ of an author s work where the intangible something which we call “ ” m “D m genius would beco e apparent . ans la précision des asse ’ ’ bla es e m le l ha rmonie g , la rareté des le ents , poli de la surface , de ’ ’ l ensemble n a - t- il v intrinsé ue e , y pas une ertu q , une esp ce de force ’ ” 5 2 v d éternel mm un ? v di ine , quelque chose co e principe He e en goes so far as to declare

’ ui me s mbl b u cc ue oud s c st un l sur Ce q e e ea , q j e v rai faire , e ivre rien , un l s s tt ch té u ui se t d t de lui- méme la o c ivre an a a e ex rie re, q ien rai par f r e ’ t d e son st l comm l a t s s et sout u se t t l in erne y e , e erre an re en e ien en air, ’ un livre qui n aura it pre sque pa s de suj et o u du mo ins o u le sujet serai t s u b i l L l l us b ll so t c ll s s l s c se ut . es oeu s es s pre q e invi i e, e a pe vre p e e n e e ’ OiI il l e mo s de mt e lus l ex ression se r a och e de la sé y a in a i re ; p p pp pen e , ’ 3 lu m d i r it lu t b u 5 s le ot col ssus et d s a a s c s . p le e p , p e ea

M t t aupassant , repor ing Flaubert , no es the fact that to the latter ' the m m for was the work itsel f , and for and content were inter “ dependent . He furnishes us besides with a description O f Flau ’ “ ” bert s proces s o f reading aloud (to which the word gueuler is m m attached by those who ention it , Flaubert hi self included ) .

’ u l u o s 11 t la u ll de l éleva it a h ut u Q e q ef i prenai fe i e papier, la a e r ’ ’ d u d et s a u a nt sur un coud décl m t d u vo mo d t regar , pp y e, a ai ne ix r an e

5 ° 1 62 2 I 2 6. 1 2 2 2 0 tc. 1 1 68 V o . 6 1 6 e C rr , I , 9 , 44 ; II , 9, 4 , 43 , ; III , 3 , , ; , 4 5 ’ 5 3 I A end . . 86. o . V . o C rr , , pp ix , p 457 C rr , II ,

5 2 - 5 4 - I 2 2 . . P . : . 12 0. o . V O C rr , , 5 53 , II pp 9 3 THEOR IES REGA RD ING L I TE RA R Y P ROCE D URE 33

’ et h ut I l écout t le thm de sa o s s a rréta it comm ou s s a e . ai ry e pr e , e p r ai ir un e so o té u t co mb t les to s élo t les sso c s dis n ri f yan e, inai n , ignai a nan e , ’ mm l h lt u ch m 5 5 p o sai t les virgule s avec science co e es a es d n long e in .

A fter having once discovered a harmonious phrase Flaubert M m to v found it , says aupassant , i possible change , e en where such f 5 6 change would have been to the advantage O the sense . He quotes ’ a long pronouncement o f Flaubert s on the rare difficulty and dignity 5 7 o f m v two o f m rhyth in prose . He gi es also definitions what see s ’ i f c s s to h mto be Flaubert s con ception o style . In one pla e he ay that style to Flaubert is not a mere matter of words but includes all 5 8 ss o n the qualities o f the thinker and writer . In another pa age the “ ” same page he distinguishes between styles —the separate manners — “ ” — o f writing peculiar to separate indiv iduals and style something m o f own m which has al ost a being its apart fro content , and which m does not vary from one author to another . It see s here to “ ” mean rather what we should call the inspiration o f genius than

two n c anything else . The definitions are not necessarily co tradi tory , but the latter seems to come nearer than the former to what we ’ “ ” v la uber s wn ha e seen to be F t o idea O f style. M m m aupassant , when he co es to speak for hi self , says that the true power o f literature lies not so much in what is said a s in the m m ethod Of preparation and presentation . The expression ust accord m not with the idea , such agree ent possessing a certain beauty per 5 9 ce ibl pt e by the crowd . A s we turn now fromtheory to practice a general perusal of the works o f the two men leads to the impression that their styles h m n m m t e . O e are , on whole , not closely si ilar isses , for exa ple , in the precision o f the younger man the general romanti c atmosphere o f s N one the typical Flaubertian pas age . either does usually find in Maupassant the striking phrases with rhythmical eff ect common

' o f on e s especially in the earlier work the Older writer . Where doe

c m M one m find su h phrases , contrary to custo , in aupassant, ight

o r be led to suspect an influence , especially where thought wording or both are at all alike . The two following phrases suggest such a resemblance

5 5 I id 1 1 b . . . , p 3

5 6 I bi 2 d . 1 . , p . 3

5 7 - I bid . 1 2 , pp . 3 33 . 34 FLA UBE R T AND MA UP AS S AN T

FLAUBERT MAUPASSANT

’ ’ L o bliqu e gén uflex ion des dé L o nde o nctueuse des conso la t o cclés st u ss s s . vots pre é s p. i n e ia iq e p

mOf v m The rhyth these two phrases is ery si ilar , and the ideas t are a t least rela ed . In two other respects there is a resemblance between Flaubert

M . On to and aupassant in point O f style the one hand , both attain “ f A s a considerable degree o justesse of tone as well as Of word . examples fromFlaubert o ne might cite the generally poetic eff ect ’ o f L a L égende d e S a in t Juli en l H aspi tali er compared with the sim li i i e m v v p c ty o f U n Co eur s mpl . The sa e quality is ery e ident in ’ t o f M a u a ssa nt s o f in prac ically all p stories peasant li fe , as , for

t c in the c o f t E n M er the s an e , la onic recital the acciden in , or in ’ 6 0 n h familiar conversatio n o f L a B ete a M a i t B elhamme. O t e other t m hand , there is frequen ly a disparity ore or less distinctly felt u v M a da me between style and s bj ect . In Flaubert we ha e , as in

ova r the t m mm B y, opposi ion between ro antic style and co onplace subj ect ; in Maupassant we meet Often the contrast between charm men m m ing style and utterly disagreeable subj ect . Both e ploy any Similar technicalities o f style ; these will be taken up in later 6 1 paragraphs . The two authors agree that there must be harmony between word o f but and idea . not only in separate passages a work also throughout h the t e whole work . S uch unity is frequently attained through m m ironical presentation O f li fe , which results in large easure fro the s f m N corn o hu anity entertained by either . othing escapes their

s t v t t irony ; all classe , all conditions , all si uations , and all e en s ouched m by themco e alike under the lash . In expressing itself this irony m v m S m m m m assu es arious for s . o eti es it anifests itsel f in circu Emm stances . People are constantly being duped or disenchanted . a v m ma n v v Bo ary , for exa ple , despises the one who e er truly lo es her and seems to be touched by some faint realization of her mis 6 2 t Mme o ut take only a t the eleven h hour . Loisel wears herself in order to replace a necklace whi ch turns out to have been o f false

6 ° - - 12 M . P a r . 1. pp . 9 39 ; . , pp 79 9 6 1 A fter M a da me B ova ry the style o f Flaubert ten ds to l o se its figura tive ual t so tha t in h is late o ks it a o ma tes the d ess a nd s ml c t q i y, r w r ppr xi ryn i p i i y ’ o f Ma u a a n m n p ss t s an er . “2 B . 8 M . . Pp. 437 . 43 THEOR IES RE GARDING L I TERA R Y P ROCEDURE 3 5

m s stones , and is infor ed of the fruitlessne s O f her labor only after 6 3 S m m v . she has lost fore er youth , beauty, and happiness o eti es the

ff m B aule de ironical e ect is increased by a process Of cu ulation , as in “ ” S ui one f, where the respectable characters appear after another

v m o r as kna es and hypocrites beside the wo an they despise , in ’ B ouvard et P ecuchet v , where Flaubert takes up successi ely the di f f er n m m f e t to o . depart ents of hu an thought, only Show the folly all The idea that thought is o ne o f -the worst things in life because it makes men wretched is expressed in so many words towards the M 6 4 o f m . beginning this book , and occurs ore than once in aupassant A n illustration o f its acceptance by both men is that they describe most sympathetically those characters least distingu ished by think

— m m - o f ing the si ple , ani al like peasants . In the pursuit irony the m m m fo r characters are so eti es ade to say ridiculous things ; instance , in the manner o f H oma is and the H oma is- like personages in Ma u ' 6 5 S m m m a utho f su lies o f passant . o eti es a re ark by the pp the point “ ” A le m a m irony , as where rnoux is said to seek subli e bon arché, “ ” “ or where mon oncle S osthene is described as libre penseur par ”66 bétis f m o f of Of e. The ef ect of uch the irony both authors is that — sardonic humor an attribute Of authorship which Flaubert expresses himself as desirous Of developing in order to accomplish the ironic M m picture after which he strives . aupassant thinks that his aster ’ ouvar t s has attained this particularly in B d e P ecuchet . The passage expressing these ideas are as follows : FLAUBERT MAUPASSANT ’ L e com u é a l ex tréme M u ss t ds B ouva rd et iq e arriv , a pa an fin in ’ “ l e comique qui n e vous fai t pas P ecuch et un comique tout pa rti cu ” i e l e c nisme dans l a bla ue est l nu comi ue si nistr e r r , y g , ier, q I I , pour mo i tout cc qui me fai t le plus mm éc co o . envie e rivain [ C rr , I I ,

E ven in less apparently ironical humorous situations in Maupas 6 7 sant there is Often a sting in the very extremity of the absurdity .

“3 - La a u e . 6 . P r r , pp 9 74

6 4 - - F r ml e 1 1 A . . 2 11 o . . 0 B . . exa p , p 3 ; pp 3 3 ; , p

’ 65 - - u d ta t . 1 Fo r ml M . 111 2 e c. n o B . 1 t U e exa p e, . , pp , ; C p , pp 3 3 , 2 3 , etc.

6 0 6 . 1 . p . 5 ; p 09

6 7 Fo r e ml T in M s 1 2 - e c o e u In Une Vie . 1 t . xa p e, ; ari , pp 3 33, 39 ; 36 FLA UBER T AND M A UP A S S A N T

at t m v t Maupassant is i es frankly and gratuitously ulgar , or exhibi s u t m c wa s a coarseness which appears also in Fla ber , and fro whi h he 6 9 tt the a t least not discouraged by the la er . In later works of

M u s t to m c m o f m t a pas an and a u h s aller degree Flaubert , as sy pa hy t d t v increases irony ends to isappear , al hough ne er perhaps entirely 7 0 ab sent . t u c s t men t t ct is Wi h regard to s bj e t , bo h hold ha any subj e

dmss b ut t the t u c s su to a i ible , tha au hor sho ld hoo e what is ited his 7 1 u c m m m t temperament . Fla bert oncedes so uch to te pera ent tha he declares subj ects are not chosen but impose themselves through M t m v its . a influence as erpieces y be written on any subj ect , e en the m t to s s c v . o t in ignifi ant and ulgar The author , seeing hat he is be

c m m m m inter fer ontrolled by his own te pera ent , ust be free fro the m t M ence Of external criticis . In these poin s aupassant agrees with

h - r m v is master either explicitly o i plicitly . Upon in estigation we dis cover that the subj ects a ctually selected by the two are for the most “ ” — - part realistic the representation of middle class mediocre human it the v c s o f on v o f y in pro in e or in Paris , the peasant his nati e soil , the government functionary in the performance of his monotonous

c v o f t m ; E v duties , O f illi it lo e , bir h , arriage , and death en in the pic ” ’ o f m - Off m S a lammbé o r Mau a ssant s turing ore far atters , as in in p 7 2 “ ” t o r c m s ories of fanci ful beings o currences , the realistic ethod is

s t used , uch procedure and de ails being adopted in presentation as

v m m o f v will gi e the i pression of actual fact . What the ethod de el o men h c p t is will be discussed in t e suc eeding chapter Of this thesis .

t m m con I f all subj ects are equally wor hy , and if for is the supre e c it t t the the ern of art , will follow ha artist will write for sake of art

A s mt . c t v t alone a a ter of fa t , Flauber held ery s rongly the theory “ ’ s o f the —c c o f a rt t m t o r of art for art s ake , non on ern wi h orali y ’ M t sums utility . aupassant hus up his master s teaching on thi s ma t ter : A ll great writers have protested against making their works h ct c. c s t e but t dida i Prin iple are indispensable to social order , le ters

v t mm c c and the social order ha e no hing in co on . The chief on ern

“3 F r a ml a l m o e e ce t n e e e ts in the sto o f To ine. x p , r i n ry “9 F ml o r e a e S a l . 1 . 10 . x p , , p 53 ; p 3

7 0 S ee b e 2 1- o . 2 a v , pp 4 7 1 - - » a r r . 82 8 8 86 8 2 1 0 2 IV 2 «LR C , II , , 4 5 , 7 , 93 ; III , 47 , 3 4, 54 ; , 55 ; , - M ll F . R a . 2 e : Ff. vii viii , x ; . pp 75 7 2 F r e a ml - L e H la . o e o 8. x p , r , pp 3 4

CHAP TER IV

LI KE NE S S I N E MPL OY MENT OF GE NE RA L R EA L I S TI C DE VI CE S

Besides the literary devices Of Flaubert and Maupassant already

c m t m discussed , whi h result fro the theories definitely stated by he , t m o here are additional literary procedures e pl yed by both which , for m mm the ost part , they share in co on with the other realists of the t men not day . In racing the relationship between the two it would m c s o f m be wise to o it onsideration Of uch procedures , for certain the may come fromthe one to the other instead o f being a common v a heritage . In any e ent , when taken along with less disputable c ses m o f m m v Of influence , the asse blage the will possess a cu ulati e weight

O f proof for the relationship .

’ M r ocedes ma any of these p , now to be considered , y be grouped “ ” t ogether under the head O f realistic details . The first Of these i n medias r es l details is the practice O f beginning , which is the usua procedure o f both menin their novels and a frequent one Of Maupas ’ t his t san s in Shor stories . Closely akin to this is the ending with a “ ” ’ o f - Off v m kind broken effect , lea ing in the reader s ind the idea of S ’ . o an action still continuing, as in real life conclude Flaubert s

’ ‘ ’ M ada me ovar L E duca ti an sen timen tale and H er odias Ma u B y, , , and ’ s N a tre o eur P ier r e cl ean B el -A mi m passant C , J and , besides so e of ’ 1 the latter s short stories .

D t m c l mm efinite i e indi ation s are exceeding y co on in both authors .

m the da the v men The year , the onth , y , hour, of an e ent is O ften i n m n t o ed with extreme exactitude . In so e stories one ca date exactly m m t v E m n or approxi ately al os e ery episode . xa ples would be U oeur ml n th t t v C si p e and Une Vi e . O e o her hand here are narrati es ’ ’ t o r S a int ulien l H as wi h little no definite dating, like Flaubert s J ’ itali er r M au a a nt M n t- r i l D m p o p ss s o O a . ating is O ften fro the age ’ t c o r m - t of a charac er or haracters , fro a well known and defini ely

v —a fo r c m fixed e ent historical fact , instance , su h as so e political

1 ’ Fo r e a mle in Un Cou d eta t L e e e etc. x p , p , P r ,

2 S ee Un o eu simle a nd Une Vie l ea d me t o ed whe e so me o f th e C r p , a r y n i n , r definite d ating is done through mention o f ages . LIKENES S I N GENERA L REA LIS TIC DE VICES 39

’ L E duca ti an sentimentale m m occurrence . furnishes any exa ples Of ’ t m M a u a ssant s his latter ethod , as do also p stories O f the Franco 3 s f m m m m Prussian War . Lap e o ti e is so eti es denoted in so any 4 m m m m words , so eti es i plied through the use of the i perfect tense 5 o r in the multitude of happenings . Occasionally it is suggested by the reappearance o f some thing to which attention has been ca lled m A n mv fo r . before , and which has then been lost fro iew a ti e m o f M m v exa ple in Flaubert is the wedding bouquet ada e Bo ary , put on v v v aside by her the e ening of her arri al in Tostes , and disco ered v - in a drawer when she is about to lea e the place , after long continued " A m c M experience o f di senchantment . si ilar instan e in aupassant is furnished by the ca lendar marking for Jeanne the day o f her depar u m to t re fro school li fe expected happiness in the future , which ,

c t o f found by her , with other alendars , in the a tic , after long years ff 7 m . disappoint ent , is utilized in her e ort to reconstruct the past The actual mention Of the time in both writers is Often made in the most “ ’ e -m éta i le ca c m . Un c t sual way, as befits the realisti ethod apr s idi (

2 v v t a m 0 jan ier Bou ard é ant son co ptoir recut une lettre , ” 8 “ ’ i m éta 182 a u . e me le . C t apportée par facteur en 7 , ois de j uillet J R ” 9 trouvais a ouen en garnison . A s m m m v o f pecial ethod O f ti e indication , perhaps ore distincti e M v Flaubert and aupassant than those already discussed , is that gi en m m h by eans O f so e happening denoting t e season o f the year . This M ma is fairly frequent in Flaubert , and it is possible that aupassant y

v mhim - m o f ha e taken it fro . Well known exa ples are the splashing ’ m on Emm o f drops Of elting snow a s parasol , and the falling the ripe peach fromagainst the wall when R odolphe and E mma are in the 10 A M garden together . frequent instance in aupassant is the rather commonplace mention o f falling leaves to suggest the autumn sea “ 11 ” f 12 . v mm mn S m son The hea y heat o su er is noted by both e . o e

3 F r aml ff. M lle F . o e 8 ff . 11 0 tf . 6 if . x p e, pp . 3 , 3 , 4 9 , 45 , 475 ; , pp -2 l D ux A -2 M l F . m 2 e : e is . 0 1. 3 7 ; , pp 9

4 T : . C. . . . U V. 288 . p 57 ; , p 5 F r mle - - o e . 82 . . 2 . T . : . 8 fi e . C etc M O. 1 1 tc xa p , pp 9, ; , pp ,

6 - 8 M . B . . . 1 . , pp 44 45 , 94 p . 4

_ 7 9 U. 2 V. . 6 A n 1 . iti o . . , pp , 3 7 ppar , p 57

1° - M . E . 2 . L R n li t . 1 1 8 . 2 cf . u t e e oma na tu a s e 8 , pp 3 , 7 5 ; Br ne i re, r , pp 3 11 F r ml - - o U. V. . 118 1 . 2 etc. exa p e, , pp 9 ; pp 3 33 12 F r ml - o e e M . E 8 . 0 . 2 . 66 6 xa p , , p . 4 ; pp 4 7 ; p 7 ; E n F mill a e . 1 , p 37 . 40 FLA UBER T AND MA UP AS S AN T

m the m t ti es ti e Of day is indicated hus characteristically , as well as

m men fo r t c t th t . e i e of year Both , ins ance , all attention to ano her “ ” rv c m the o r o f generally Obse ed cir u stance , peeping fluttering the 13 bird s in the v ery early morning . A common method of gi ving v ividne ss to a narration is that o f ” t t r t m on e aking hings for g an ed , explanation being o itted , as i f were

- e dealing with a well known object o r current event . Flaub rt has sometimes ca rried this practice so far that the result is a sense

o f v u s m o f ag ene s , present , for instance , on reading any passages “ a la m c ss v the u S mbé . When not pushed to ex e , howe er , proced re ff t t lends an e ec of reali y to a picture , the author, as it were , asso

n h m A m cia ti g t e reader with hi self in his knowledge . good exa ple is the introduction of Charles Bovary into the schoolroomat the

M ad ame ovar beginning o f B y, when the writer and others are sup 15 v A t m posed to be witnesses of his ad ent . no her instance in the sa e “ the m t u mm the v the book is ention , wi ho t co ent , of pa ilion at angle ” h E mm c s t e to . of wall , which a dire t her solitary walks at Tostes mm M The practice Of participation by the author is co on in aupassant , ’ one o f whose regular pr ocedes is to begin the relation Of an adventure mt as i f it were so e hing pertaining to current gossip , or an incident “ ” ’ told among friends . His I corresponds in these cases to Flaubert s “ ” a t the o f M a m r we beginning ad e B ova y. His own creations are brought in a s i f they were events known in the world familiar to 16 author and reader alike . A nother dev ice used by both men is to relate a description to li fe

m m o r v v by eans of so e picturesque i id detail . For instance , when ’ v Y v - I Abba e ct the ri er at on ille y is pi ured , we are told that it is there t t f m m ha the boys o the neighborhood fish . S o eti es a detail of this

m o ur kind see s to obtrude itsel f unnecessarily upon notice , as in the case o f the blue seal upon the letter brought to Charles Bovary by “ ” 17 t m B r a ux M f r nigh fro Les e t . In aupassant the procedure is e m m quent . Here is an exa ple taken fro the opening paragraph of “ ’ N o tre o eu r : Un Ma ssival le m le celebr e a uteur de C j our , usicien ,

13 F r ml 1 2 2 . M . E . . 6 . o e a e U. V. x p , , p ; , p 14 l 15 amle e n n f M . B . . 1. Fo r e b o S a . x p , gi ni g , p

’ ’ 1° F r e ml M r L l n nn u 1 L E in l o a e . P a . : ca e . 0 e . 18 Ca ira x p , , p 9, p g , p 7 , , l 2 L H o a etc. . e p 33 ; r ,

17 bi 1 . M . . d E . . , p 95 ; i , p 5 L IKENE S S I N GENE RA L REA LIS TIC DE VICES 4 1

«R » celui u e de uis uinze a ns dé d an a elai t «le eune et ebecca , q , p q j , pp j il u tr mai tr e» m l s e , dit What see at first sight to be superfluous details are much less common in Maupassant than in Flaubert . The follo wing is an example of what might be called one . Boule de S uif f M m has just Of ered . Loiseau so e Of her chicken sur la pointe ’ ’ tou ou rs la e dans sa a che il v d un couteau j g p , enle a une cuisse toute vernie de gelée In the works of both Flaubert and Maupassant there is consider

f v M able employment o i technical detail o arious kinds . edical and pathological particulars , frequently used with caricatural intent , are “ ” o f M a dame ovar found in connection with the pied bot B y, with the ’ L E duca tian sen timen ta le m diphtheria case of , with the ineral springs

M a n t- Ori al M adame H ar met m of , with the folly of , as well as in any 19 m m o f o f other places . Financial ite s in the atter business dealings ,

o f m inheritances , and other oney transactions recur constantly in ’ ’ M u n u ell s E x Flaubert s novels and in a pa ssa t s r amans and no v e .

m m v o f - Ami a ples are the anoeu res of Lheureux , Of Frédéric, Bel , Of A m f m 2 0 o . V nder att , and any others arious other scientific or pseudo scientific details are largely used by Flaubert , as in the erudite disser

‘ tations o f S a lammba and the absurd discussions o f B ouvar d et P é u he N M m c c t. earest to these in aupassant are the any local words ’ m o f v e ployed , without explanation , in the accounts the latter s tra A 2 1 clings in lgeria . m Particulars regarding food , costu e , furniture, especially when s o f v mm the e are unusual kinds , are ery co on in Flaubert , and less mm t D v M . e co on , though still cons antly disco erable , in aupassant scri tion s o f p such things in the latter , where they are found , are v m M m be - less extensi e than in the for er , aupassant see ing to here “ ” E less bourgeois in his interest than Flaubert . xamples o f the details under discussion are to be found in the accounts Of the feasts and o f the costumes o f the heroines in M a dame B ovary and in

2 p . 5 .

19 - - - - M . E . . 2 1 8 01 M 2 2 1 . . M . . O. . 0 etc L . G , pp 4 5 ; pp 4 4 ; , pp 3 , ; d t - - M a a me H e m 2 l . 2 8 . e . 6 S a . . etc . etc r , pp 53 7 ; , p 45 , ; pp 5 9 ;

20 - - - M . B 1 2 2 6 tc. l . . 8 . . 2 6 e S a 8 etc. 1 0 etc. , pp 3, 5 , 3, ; , pp 7 4, ; pp . 39 4 , ;

- - - - - . 1 1 A . . 12 28 1 et . B . c M . . 1 2 1 8 . etc. O . etc pp 4 7 , ; , pp 7 , ; , pp , 9, 7 79, ; ’ M H n L H ér i ta - - . a : 88 8 e c. . . . 0 t e t U V 6 e c. g , pp. 9, , pp 3 7 ;

“ ’ 2 1 Fo r e ml A u l e S . e a umde l a h d a S d . 0 b au xa p , p 37 , g g e ai a p 4 , ien la d h ” de u c o tt e . K l n . ; tc ; cf . ip i g 4 2 FLA UBE R T AND MA UP A S S A N T

22 f - u ala mmbb o . S , as well as the house f rnishings in both books In stances o f the same kind Of thing in Maupassant are the descr ip t N o tr e o eur o f v Mme o f ions in C the dinner gi en by de Burne , and ’ ” t m c s s th the t t . S e fit ings of ha lady s house o e specifi detail , uch as “ ” u se Of the word acaj ou in connection with furniture , and the , c t o r u s d s “ i introdu tion Of secretaries , wi h witho t ecret rawer , wh ch m the men to mm are si ilar in two , are probably to be attributed a co on acquaintan ce with prev ailing fashion .

u c t u t t c There is freq ent referen e in bo h a thors o his ori al events . S ometimes this mention is confined to the giving Of the date o r the 2 5 S m m naming o f the event . o eti es the fortunes Of the personages u to the are closely related to the historical sit ation , reference charac ter v c m being interwo en with des ription of the fact , as in nu erous ’ ’ passages of L E duca tian sen timen tale o r in M aupa ssant s stories o f the War of S ometimes extracts fromhistory are given in co n n n f P ar le ham t ar l e r e e ectio with descriptions o places . s C ps a p s G v s m 2 7 m furnishes good exa ples o f this . S o e instances are found in ’ 2 8 Ma u a s n s c v A n N m p s a t a counts of his tra els . episode of or an life ca lls forth fromhimalso on o ne occasion some facts Of Norman 2 9 t A v m his ory . ery frequent for of historical reference in the works m m m t Of the two authors , acco panied so eti es by ci ations , is that to

- o r m men m well known writers other fa ous , both conte porary and — m S ir S R belonging to the past for exa ple , to Walter cott , to ousseau , V R N 3 0 to oltaire , to obespierre , to apoleon , to Balzac, etc . Perhaps

2 2 - - - F r ml 1 e l . 1 E . . 8 8 tc. a . o e e M . 6 S xa p , , pp 3 39, 43 45 , 9, 3 , 79, ; , pp 4 5 , 4, 10 - 2 - 3 4. 48 49 .

2 3 - - - B . A . 1 2 1 12 12 1 1 1 2 . N . . 8 80 1 6 8 etc . 20 8 C. , pp , 3, 5 ; , pp 5 , 3 , 4 , , 4 , 5 , 9 93, ;

- N . C. . . , pp 5 7

2 4 ml - Fo r a M E . . . 0 . e e 66 M . . . . M . B . . 8 . O U V U V x p , , p 3 ; , p 7 ; , p 33 ; , p 47 ;

1311 33. 240

2 5 F r ml - o . 2 . 2 2 etc. S a int exa p e, p 4 ; pp 4 4 5 , ; A nt n 2 - o e . 2 . 10 10. i , p 3 ; pp 9

2 6 . b ou 00 e . . 0 t tc S etc. pp 4 9, a 5 , ; 2 7 f r e ml - 1 2 - o e . 1 1 etc. xa p , pp 3 7 , 9, 5 53 ,

2 8 F o r a ml - e e A u S . . 186 2 1 0 etc. x p , , pp , 7 3 ,

2 9 - 2 . pp . 3 33

3 ° F r e ml 2 M . E . . 1 80 8 1 11 1 1 2 o a e etc. 1 x p , , pp 5 , , , 5 , 5 , 47, 44 , ; pp . 5 ,

- - - 1 2 1 1 2 10 1 tc. 1 18 1 e c e t . . 9. . 39. 4 4 . 5 . 95 . ; 44 45 . 3 9. 335 . ; pp

1 - - tc. . e . B A . 1 . M . . 11 1 1 r U V . . M P a . 37 , ; , pp 3 , 33 ; , pp 93 94, 97 ; pp 4, 5 ; . ,

- . 2 26 268 6 1 2 . 2 6 etc. pp 55 , 4, ; pp ; L IKENES S I N GENE RA L REA L IS TIC DE VICES 43

’ here might be included Ma upa ssa nt s mention of Flaubert once o r met twice in a rather gossiping way , to tell how he certain people at ’ laubert s m m on F , or how the latter ade such and such a re ark such 3 1 one M v and such an occasion . In passage aupassant narrates a isit ” - o f S - A t B ouilhet to the puppet show aint ntoine wi h Flaubert and , linking this and other v isits thereto with the remembrances o f his 3 2 Of m for c childhood . historical i port also the period to whi h they v v belong, e en i f not unique Of their kind , are the pictures gi en by M Of m c o r Flaubert and aupassant conte porary li fe , whether in Fran e abroad . Throughout their works bo th authors note the sounds proper to S m m v m s their descriptions . o eti es we are in ited to listen to the ani al o f in the country , especially to the crowing cocks and the barking Of 3 3

S m m . o r dogs . o eti es it is the ringing of bells that we hear , the

v m m o r m passing of ehicles , or the confused ur ur ore definite noises 3 4 o f S m m o f a city . o eti es a character pays attention to the beating “ own V ff s her heart . ery Often the e ect of the ound is heightened through being Opposed to the impression Of silence o r o f silence and M m darkness . ost frequently entioned in this connection is the strik

' in or o f o r o f g ticking a clock watch in the stillness night , Often in a 3 6 m S m on death cha ber . ilence is occasionally e phasized, the other m hand , through the contrast with slight noises , such as those ade by

o r ms the little wild creatures in the underbrush at night , by the y 7 eri 3 t ous denizens o f the sea .

A s to M v well as sounds , Flaubert and aupassant call attention ery fi l 3 8 to o r a rti cia . frequently Odors , pleasant or unpleasant , natural

3 1 F r ml e A u 1 1 1 2 6 M . P a r . . 6 . 26 . o S . exa p , pp 7 , 9 , 9 ; , p 4 ; p 9

3 2 - S ouveni s . 2 . r , pp 37 44

3 3 F r ml 1 1 1 E . 1 8 20 2 2 . o e e M . 0 6 6 6 . 6 xa p , , pp 7 , , 9 , 3 , , 4 ; pp 4 3 , 4 7

- 11 1 1 2 2 P r t . . 2 1 11 1 i o U. V. . 0 e r pp , 4 ; , pp 9, , 5 , 9, 34, 343 ; , pp ’ 1- lt L . 8 188 1 1 L A v n tur d a er es S a bo ts Un Ca cha n ta . 1 e e e W 5 57, , p 99, q , pp 4, , 9 , '

hna s 2 1 L T m 2 an o n . S c . a o be . d so fl , p 4 , , p 53 ;

3 4 ml 1 1 . For M R 6 80 . 0 6 etc exa p e. . 99 . 53. 3 4. 393. . 353 ; 99 7 . 7 . 7 . ; M ll F - . 2 B . A . 0 N . 1 e. . 6 . U. . C. . etc. V . , p ; , pp 5 , 53 ; , p 354 ; , p 7 ;

3 5 F r ml B 8- o e M . . . U. V. . 1 . xa p e, , pp 43 39 ; , p 9

3 ° M . E . . . 11 etc. , p 454 ; p 3 ;

’ 3 7 - - M . a 8 1 L E . .B . 2 . 1 80 U V. . ve . , p 75 ; , pp 9 ; p , pp 79

3 8 Fo r e ml l 1 - 1 2 1 - - e S a . . 6 6 8 2 . . etc M . xa p , , pp 34, 5 , , 94 95 , 3 , 7 79, 47 , ; O ,

- - . 6 101 10 B A E . . . n Vo a e . 2 etc. pp 9 , , 3 ; , p 45 ; y g , pp 44 45 ; 44 FLA UBE R T AND MA UPA S S A N T

3 9 c mm t ff f n The word nauséabond is o on in bo h . The e ect o Odors o 40 ma n is Observ ed . M s c is v S m m c uch pa e likewise gi en to color . o eti es olor is piled “1 u c s u pon olor , thi being done in places in order to prod ce a ridiculous

o r c . v ironi al effect Thus Charles Bo ary , on his first appearance , is 4 2 c u c m de ked o t in an absurd o bination o f colors . Thus also the ’ tapestries in Jeanne s roomare executed according to a most bizarre “ - m s m color scheme . In this latter passage it al o t see s as i f Maupas t m c c re san were aking fun of the practice of adding olor to olor . F u two t co m s q ently con rasting lors are entioned together , as in the ca e “ th M a d me ovar oule ui of e pigeons Of a B y and B de S f . E m n nu erations are frequent in the writings Of the two me . In Flaubert their more usual formis that Of a piling up of diff erent

t t c m A m s de ails in an eff ort af er o pleteness . good exa ple is furni hed the Of c u v Of by account the pre io s stones in the ca erns Hannibal , where an attempt is made not only to mention as many different kinds o f gems as possible b ut also to diff erentiate themaccording to origin 4 5 M and the nature of the reflection they cast . In aupassant generally and occasionally in Flaubert enumerations consist Of a bringing together o f similar details in order to give prominence to some par 4 6 tic la r ff t m m o f u point . The e ect resul ing fro the for er type m o f v u m o f enu eration tends to be that ag eness ; fro the latter , that ’ m m m im L a e ende e phasis . Instances are the na ing of any an als in L g ’ 4 7 d e S a in t uli en l H a s italier to o f J p , in order portray the orgy

u c o f multitu sla ghter in whi h Julien indulges , and the noting the dinous ts v flowers and insec in the thicket isited by Jeanne and Julien , m ‘8 in order to produce the impression o f heat and swar ing li fe . When an author restri cts himself in explanation o r description to t s t c ma v s m ho e hings alone whi h y be percei ed by the enses , it see s

3 9 l . 1 . 10 etc. For e amle S a . . x p , , p 34 ; p 47 ; p 3 ;

’ 4 0 - 88 a uvee . 1 . ml B . 2 8 F o r e a e M . . S x p , , pp 9 ; , p 75

4 1 l 1 r . 8 . M P a . Fo r e a m e S a l . . 6 x p , , p 7 ; . , p 5

4 2 4 3 - M E . . 2 . U. V. . 1 1 . . , p , pp 4 5

4 4 1 0 l l u s les bla nches . 1 M . B . . eu s ttes r oses et , p 5 , r pa e r ai p 7 , ’ une mée de eons bla ncs a ec nu o e l r os e ta ché a u ml eu d un ar pig , v i ( , i i , p o i nt n a ir ) . ‘5 l 1 . 6. S a . , p 7

‘3 - 1 . l . 1 . T r ml . a 8 E . 10 . 6 C Fo e a e M . 6 S x p , , pp 3 , , 3 ; , p 7 ; pp 47 4 , 5

- - A . 1 1 6 etc. . 1 1 6 . B . . 6 0 U V. . 0 p 9 ; , pp 5 5 ; , pp 5 , , 3 ;

4 7 ‘3 - a e 1. U. V. . 0 1. P g 9 , pp 5 5

46 FLA UBE R T AND MA UP AS S AN T

m f 5 5 E m o . m m by eans the corresponding sensation a , for exa ple , ’ after Leon s departure remains dans n u fr oid hor ribl e qui la traver ” 5 6 “ it o n u n r n en ti n sa . e a de s sa o Jeanne , the day of her wedding, has g i ” 5 7 d e v d e en ta u t s on cor s . G s v p e ture , action , con ersation , appear c t t c cumst ma to an e , at itude , or a tendant ir ance y furnish the key the

c t t t s h is psychology of a harac er . The li tle Hannibal , asleep, ex end “ ”5 8 sm a rm s une tt me v L a R o ux uille all dan a itude i p rati e . In che a y ”5 9 ma t the t v s m s t . las arri al its down at able , se frottant les ains E mm 6 0 D . G a dies with a horrible laugh eorges uroy , as he walks 6 1 o the s s the al ng idewalk , shoulder people he passes out of his way .

’ m c naivete Peasant re arks are , as one would expect , haracterized by 6 2 M m A ’ m m in both authors . The uprightness of ada e rnoux ind see s 6 3 to c s o f Of orre pond to the regularity her features , the narrowness ’ 6 4 ss m S Miss Harriet s li fe to the meagrene of her fra e . uch char a cterization by means O f external mani festation may seemto be it s M it wholly inadequate ; yet has been aid of aupassant , and m d t s o ight be sai of Flaubert , tha he has probably all the p ych logy 6 5 v necessary for the person s he depi ct s . Con ersely the following remark made regarding Flaubert may be applied likewise to Ma u

s t t m m m m pa sant , ha he so eti es represents a senti ent by eans of a land

f c r m o r o o . scape , part a lands ape , through a figure fro nature Changes in the feelings of characters accompany changes in the 6 7 men s m t c the season s or the weather . Both expre s ore han on e feeling O f peacefulness and satisfaction experienced o n a beauti ful 6 8 Emm’ m m m moonlight night . a s i patience and boredo are e bodied in the monotony Of the scene upon which she gazes .

5 5 - li t 1 1. e L R mn n tu s e . 68 Cf . un et e e o a a a Br i r , r , pp 7

5 “ 5 9 M . 1 . . 2 1 . E . . , p 73 p 3

5 7 “0 M E . . . U. V. . . . , p 75 , p 449

5 8 “1 - A . . 2 . l . B . S a . . , p 339 , pp , 7

02 - 2 d l ue in L e eux ml . B . 2 28 etc. o V Fo r e a e M . 0 x p , , pp 7 , 9, ia g i

- 1 10 . pp . 9 4

6 3 - . 6 6 120 2 2 etc. pp , 5 , ,

6 4 1 - 1111042 . 1 6. , pp 3

6 5 Lema t e L es o ntemo a ins ed t o O f 0 . i r , C p r ( i i n I , 3 7

“6 e ff . u et e . 1 Cf . Br n i r , pp 74

6 7 - ml l . . . r a 8 1 a U V. 68 Fo e M E . 8 6 e . . S x p , , pp 7 , 4 ; , p 353 ; , pp 3 9 ; - 12 pp . 8 .

6 8 - - - ml l . . 1 2 r E . . 2 a . . 6 . 0 Fo e a e M . S U V x p , , pp 74 75 ; , pp 5 5 5 ; , pp 7 7 , 7 ;

. ff pp 8 . LI KENES S I N GENE RAL REA LIS TIC DE VICES 47

’ E ll commen a it d tout l tou our voi si r i en n ovai t e g par regar er a en r , p r ’ ’ l o s u ll ét t u E ll t ou t a ux cha nge dep ui s a derniere f i q e e ai ven e . e re r vai ’ memes l c s les d t l s et les ll s les bou u ts d orties tou t p a e igi a e ravene e , q e en ran l es o s c llou et les l u s de l ch le lo des t o s f en étres do t gr ai x , p aq e i en ng r i , n ’ les ol ts tou ou s cl as s é ren a ien t de ou tu sur l u s b s de v e j r g p rri re , e r arre fer u ll 6 9 r o i és.

’ Jeanne s sadness on her return fromCorsica is typified by the m m a rés v ournful autu n landscape . p a oir regardé quelque m l ” e Ou sombr es a . te ps ciel roulaient des nuages , elle se décida sortir “ Was it the same count ry as in M ay ? Where were la gaieté enso ” “ leillée et Oé sie v du ? E t cette riser i e de des feuilles , la p erte gazon g ’ ’ ’ ’ ’ i i ” l air char é de vie d ar omes d a tomes ecandants n ex sta t . g , , f plus The shivering poplars sent down a sorrowful and incessant rain o f v m m yellow lea es . The shrubbery was as la entable as a death cha ber , “ deprived as it was of its g reenness ; et le mur mur e d es feuilles ’ tombees et seches m m en que la brise poussait , re uait , a oncelait tas ’ ” 7 0 e a o ul r o i e s mbl it nu d ou eux s u ir d a an . par endroits , p g The follow m ing are exa ples O f figures expressing sentiments .

L es bo h u s utu s comm les s des t o u s o tt t sur n e r f r , e rivage r piq e , pr j e en ’ l immen sité ui les eced l u s moll ss s t l s un e b s um et q pr e e r e e na a e , ri e parf ée, ’ ’ ’ ’ l on s a ssou it d s cet m t s s mem s in uiéter de l ho o ue p an enivre en , an e q riz n q ’ ’ l O n r i 7 1 n a pe co t pa s.

E ll se s t t o cé d s un t ou aux bo ds cc ss bl s do t ll e en ai enf n e an r r ina e i e , n e e n e ou t m s so t et tout s so t s de mlh u s st t sus dus p rrai ja ai r ir, e r e a e r re aien pen sur sa tete comme des gros rocher s qui tomberaient a la premiere 7 occ s o 2 a i n . M m m any other exa ples o f the sa e kind of thing might be given . A o f u v M type fig rati e expression in both Flaubert and aupassant , mo f particularly frequent in the latter , usually found in the for a “ m m o f man 18 e co parison in the for er , is that reference to as b te ” “ ’ ” um 7 3 o r v l insecte m . h aine , e en , in further depreciation , as hu ain Maupassant also in one passage exposes the theory that every man is 7 4 m m M ff m fo r o f like so e ani al . any di erent ani als are used purposes

“9 7 1 M E . 61 M E 2 . . , p . . . p 3

7 ° - 7 2 8 . U. . 118 1 . . V. , pp 9 p 3

7 3 m ml a 2 1 F r ml 2 s l . . 0 2 . M B . 2 6 co o to o . 0 S exa p e, . , pp 9, 5 ( pari n ani a ) , pp 7 , ’

E F a E n . 2 E etc . n M . H r . : V . . l . . 8 if et . . . 1 S c ; , p 79 ; , p 95 ; , pp 3 , ; F f l l M ll . . h e . 28 . t e ct c o c o etc. p 4 Cf pra i e Ba za , Z a, 7 4 11 p . . 48 FLA UBER T AND MA UP AS S AN T

7 5 S m m m i s t m . i m co parison o eti es a co par son repea ed ; for exa ple , the thought of the mercenaries as being like lions occurs more than 7 6 c S al a mmb o f m on e in , while certain types wo en are described by m 7 7 Maupassant as rese bling hens . “ ” Closely allied to the picturing of man as a bete isthe depicting

m mc m mm o f a s m . s i ani als hu an Thi s u h ore co on in Flaubert , m mm M u v u m so ewhat less co on in a passant , than the pre io s co parison . In both authors the representation is accomplished through th e a ttri bution o f m o actions which could be perfor ed nly by a reasoning being . The monkey in the Temple of Tanit in S a lammbé seems to protest 7 8 against the profanation o f the temple ; the Old dog in L a P eur acts 7 9 ss m m m as i f po essed by the sa e terror as his hu an co panions . This is e specially true in the cases which have to do with the ill - treatment E m m l o f animals . xa ples are the utilated elephants in S a a mmbé and “ ” th f e poor Old horse Coco in the story o that name . Things also are constantly personified by both Flaubert and Mau “ m M adame ovar passant . For exa ple , the Hirondelle in B y and “ ' ” 8 1 zaimh alamm v m f the p in S bé gi e the i pression O being alive . Thus ’ ’ also do the pendulumo f Jeanne s clock in Une Vie and Bernard s ’ t S ur l E au fo r v li tle boat , which founders in , and which he grie es as 8 2 for a friend . In description there are many Similarities between the two authors m o f d sc m m in ethod e ribing and in things described . Both use so eti es “ “ ” m mt m t m assed , so e i es sca tered description . The best exa ple Of the i s M a da me ova r fo r latter type perhaps B y, which exhibits also , instance with regard to the personal appearance of the chief person m m —v age , the fault which is likely to result fro this ethod agueness m 8 3 “S ” of general i pression , with occasional discrepancy . cattered

7 5 l 2 2 1 - 1 112 M m e l . 1 B . A . . 6 0 . P ar . : L . For e S a . 8 a C xa p , , pp 3 , , ; , pp 3, 9, ; ,

12 128 etc. pp . 7 , ,

7 ° es - 10 8 Pag 3 . 34 35 . 7 . 3 7 . 7 7 T bunaux u t u 1 . . 2 . : i . . M ar s es U V. 6 . 16 .P , p ; p ; ri r q , p 79

7 3 l 1 1 7 9 - S a . . 0 . . 8 1 8 , p pp 4

3 ° l - 86 . 1 6 S a . . 1 6 . , p ; pp 4 5

8 1 - M . B . 1 . l 1 1 10 t . . 0 8 e c 0 6 etc S a . . 0 0 , pp 7 , 3 5 , 3 3, , pp 99, , 9 ,

’ 3 2 - . V. . 12 etc. l E . 1 6 . . 66 U S . , pp 5 5 , 3 , ; , pp 7

“ ’ ’ ’ 8 3 F r ml M . B ll d e u a i n l u o e a e . 1 Ce u e e a t e b a c et e t es e x p , , p . 9, q av i , y x ; ’ i ils uss n un uo u e t b s its sembl e t o s a c use d es c ls . . q q f r , ai n n ir a i , Cf p 45 , “ ’ where it is sa id o f the sa me eyes tha t they a r e no irs 3 l o mbre et bl eu f ancé a u and u gr j o r . L IKENES S I N GENERAL RE A L IS TIC DE VICES 49

s for v m de cription is less suitable short stories than for no els , inas uch as it needs greater space for its development than is aff orded by the nt m M few pages of a co e . It is therefore e ployed less by aupassant f o . than by Flaubert , and where it is used is a rather different kind Instead of giving certain details to whi ch cert ain other details will be ’ s M a u a ssa nt s added in a subsequent pas age , p plan is rather to furnish

c s f m m o f o r at on e u ficient to for a co plete picture the person , place , to c thing be des ribed ; then , i f he returns to the description , it is either in order to emphasize further some detail already mentioned o r to

c m E m re ord the changes produced by circu stances . xa ples can be ’ Tr ois a n tes Mau found in any o f his novels . In Flaubert s C and in ’ “ ”

s m . pa sant s short stories assed description is the rule It is , O f c v m ourse , found also in the no els , where any things are described m m only once . Here again Flaubert so eti es tends to vagueness through the employment of a multitude of details without any suffi 8 4 ien l M ma c t . y outstanding single d—etail It is possible that aupassant y have been influenced in the direction o f clearness by seeing the super fl i ’ u ty o f detail in certain passages Of his master s works . Certain it u v v is that his Own pictures are rendered sing larly clear , i id , and m v m o f C co plete in ery few words . He akes one his haracters express his formula thus

A vec un paysage b ro ssé en quelque s lignes et un e petite hi sto ire dite ’ u l u s h s s on ut do c o - vous le c cte d un en q e q e p ra e , pe nner, r yez , vrai ara re s le bl mt u 8 5 v t v s d . pay , faire ivan , i i e, ra a iq e

Un o eur simle m In his later work, as in C p , Flaubert approxi ates ’ to M u nt m f r m a assa s . o p si plicity Take , exa ple , the following de ’ s the one scription Of Félicité s per onal appearance , only in the story

S on s t m u t- ns on l ui é t et sa o . A c a vi age ai aigre v ix aig e ving inq , en do t u t D es la c u t ll n e m u lus ucu é e nnai q aran e . inq an aine, e e arq a p a n g et tou o u s s l c us la t ll d o t et les st s msu s s mbl t une , j r i en ie e , ai e r i e ge e e ré , e ai ’ mm b i t u 8 6 o s oncti onna n t d une ma n er e a u oma ti e . fe e en i , f q

E verything in this passage leads up to the keynote Of the descrip o f tion which is expressed in the words italicized . The use such a “ ” keynote is a frequent dev ice for the imparting O f unity to a picture . ’ Fo r Of E mm instance , the thought the cathedral as a setting for a s attractiveness gives that building a certain aspect in the eyes of Léon .

’ 8 4 - a B . . 2 . Fo r e ml e h l s o s c M . xa p , C ar e B vary p, , pp 3

8 5 8 6 - 6. T. . : . E n V. . 2 . C C , p 43 pp 5 5 0 FLA UBE R T AND MA UP AS S AN T

’ L l s comm un boudo t s u se d s os t utou d ll les eg i e, e ir gigan e q e, i p ai a r e e ; ’ ’ vo iI tes s in clin a ien t po ur recuei llir dans l o mbre l a confessi on d e so n mo u : les t u s l d ss t ou ll um son s et les a r vi ra x re p en i aien p r i iner vi age, ’ c so s ll t b ul ou u ll a arii t comm un d s l a en en ir a aien r er p r q e e pp e ange, an um m 8 7 f ée des parfu s . — TO take now an example fromMaupassant the lifelessness O f the winter sea son is the main motif in the following passage from

Un e Vi e:

L es ms solé s d s l u s cou s c é s d l u s d u de fer e , i e an e r r arr e , erriere e r ri ea x ds b s oud és de ms s mbl t do m s l u ch ms gran ar re p r fri a , e aien en r ie en e r e i e l h Ni homms ui bet s n e so t t l us s ul s les ch m é s des b anc e . e e r aien p ; e e e in e chaumié r es révélaient la vie cachée par les minces filets de fumée qui ’ mo t t d o t d s l l c l n aien r i an air g a ia . L a l les h s les o ms des clOtures tout s mbl t mo t tué p aine, aie , r e , e ai r , par o d D t m t ms n t d t c u le b s comm si le . e s o s fr i e p en e p , en en ai raq er ar re , e ’ leurs memb res de bo i s se fussent bri sés sous l éco rce ; et parfoi s une gro sse ’ b ch se dét ch t et tomb t l invin cible lé étr ifiant la séve et ran e a ai ai , ge e p 8 o m le fibres 8 r pant s .

It has been generally allowed that description preponderates o ver o f v ma narration in Flaubert . This is true his earlier no els , which y 8 9 m be said to proceed often by a series of descriptions . In so e of his v t h t v t v later works , howe er , the s yle is rat er narra i e than descrip i e ;

’ i r h t I m Un oeur s ml e ouva d et P ecuc e . t for exa ple , in C p and B is

u ct m t M s here that Fla bert conne s ost closely wi h aupas ant , whose

m v s m man the general anner is narrati e . Thi we should expect fro a M t greater part o f whose work consists o f Short stories . aupassan more o r less carries the method Of his short stories into his novels .

Of men it t v m t both is rue that they a oid for the ost par long , unbroken descriptive passages and introdu ce details o f description u as required . D escriptions are very freq ently generalized by both

t c the m . hrough reprodu tion of p er anent features in a picture Thus , ’ the s v in account of the un s rising o er Carthage , Flaubert , while

fi c v keeping his representation suf ciently distin ti e , yet seizes upon "o t s m f m ho e attributes which ight be predicated o any si ilar sunrise . ’ 9 1 u a nt A m m Th s al so in like scenes o f M aupa ss s . ong the ost striking examples o f this generalization are the pi ctures given by both authors

8 " 8 9 1 etc. f . unet e e . M E . . 1 C . , p 33 . Br i r , pp 79, 93 9 ° l . . 2 1 a e 1 8. S a . P g 5 , p

9 1 F r ml 2 2 e e . . 2 6 . o U. V xa p , , pp , 9 , 45 LIKENES S I N GENERAL REA L IS TIC DE VICES 5 1

f m m v o cal and beautiful oonlight nights , in which there is con eyed the very charmof peace and limpid light which we have all ex pe

rienced m o f , which has been known presu ably since the beginning 9 2 m c . ti e , and which will ontinue supposedly to be known until the end The same tendency to generalization is observable in character de

men c m scription . Both depi t , for exa ple , the eternal peasant and , “ ” to m m . c a certain li ited extent , the eternal fe inine This tenden y t m o generalize see s , at first suggestion , to contradict the theory of the “ On c v characteristic detail . se ond thought , howe er , it will be seen m A o r that the two are not inco patible . scene a person to be recog nizable m o n m ust possess , the whole , attributes that co e within the range Of our knowledge ; when such attributes have once been v m Off grasped , we look for the distincti e trait which arks that scene m m o r . A m person fro others oonlight night is a oonlight night , “ ” whether in Carthage o r at les Peuples ; but in the one instance the “ ’ ’ ” 9 3 light falls upon un collier d or a la poitrine d un dieu ; in the other “ ”94 m le e l A m it illu inates tilleul t e platane . Hannibal and nder att are “ both men of aff airs but the one hoards his wealth in Carthaginian m 95 cellars , while the other utilizes his in odern speculation . D escription is accompli shed v ery frequently in both authors

o r m m r through the eyes of one ore of the characters , either oving o 9 6 c m standing still . I f the chara ter is oving we have described what he sees as he advances ; if he is standing still the recital is o f what ’ o r him m m lies passes before . S o eti es here Flaubert s eff orts after completeness may lead himinto discrepancy : he may record more Emm than anyone could possibly see in a transient glance , as where a is made to read the long descriptions on the pictures Observed by her “ ” 97 v - m a u r M as she tra erses the billiard roo at La V byessa d . aupas v s k m sant appears to a oid thi ind of istake , perhaps through noticing ’ 9 8 f m On . v its ef ect in his aster s work the whole , howe er , description

s through the eyes of a personage is con istent in both writers ; that is , no more is reported than would be actually seen by the particular

9 2 F r ml e 2 - - - - o e M . E . . l . . S a 6 U. V. . 16 1 0 1 xa p , , pp 74 75 ; , pp 55 5 ; , pp 9, 7 7 ,

- 2 8 . S e b . e o . 6. 37 ; C pp 9 a ve, p 4 9 3 l 9 4 S a . . . U. V. . 1. , p 55 , p 7

9 5 - l . S a . 166 if O. . 11 et . M . c , pp ; , p ,

96 F r ml l - - o e S a . . 2 ff . 6 N . . . C . 116 1 U. V. xa p e, , pp 9 ; pp 7 ; , pp 7 ; , 2 ff pp . 3 . 9 7 M 9 8 E . . . 66. S ee abo . , p ve, p 49. 5 2 FLA UBER T AND MA UP A S S AN T

r c c m Fo r in character o characters under the Spe ific ircu stances . f m A t u O M e . c s ance , the first pict re rnoux is as follows Frédéri is s looking at her froma little di tance .

E ll t un l ch u de ll c des ub s o s s ui a l e avai arge apea pai e, ave r an r e q p it ie u t ll b d u o s co t u t la o t a nt a d e . S es o p ven , erri re e e an ea x n ir , n rnan p in e

de ses ds so u c ls d sc d t t es b a s et s mbl t ss mo u gran r i , e en aien r e aien pre er a ’ l l h t reusement l o l de sa u . S a ob de mouss C t c é de va e fig re r e e ine aire, a e e t t o e é t l omb u l ét t t b od s s s d a s . E l de pe i p i , r pan ai p i n re x e ai en rain r er u l u ch o se et son d o t so n m to tout sa so se décou t q e q e ; nez r i , en n, e per nne pai ’ 9 9 u le cl l bl u s r fond e air e .

I t rédé ric to will be noticed that , owing to where F was standing and the Mme A m position in which rnoux was sitting with her e broidery , her large hat would conceal her eyes and the upper part of her face ; t t sc m hey are , herefore , not de ribed . Her gown , being a ple , would 100 m i s m hide her feet ; accordingly no ention ade Of these . The ’ c t m n v e e c des ription is o herwise co prehe si e , as Fr d ri s eager eye would A n m m o f take in all he could see . exa ple of the sa e kind thing in

M f B l- i D u R o v aupassant is to be found at the end o e A m. y is lea ing the c his m fo r hurch after arriage ; he does not see the crowd there , he m him is thinking only of hi self . Then it strikes that the throng is a “ ’ tribute to himself ; at once he notices the concourse ! Lo rsqu il v sur le il a er ut m u par int seuil , p c la foule a assée , une foule noire , br is t v la s D u R G o . san e , enue pour lui , pour lui eorge y Le peuple de ’ l m l n i i e et e v a t m m . Paris conte plait . He i agines future triu phs “ v il c v la- i Puis , rele ant les yeux , dé ou rit bas , derr ere la place de la m E il m ’ . t Concorde , la Cha bre des députés lui se bla qu il allait faire un bond du portique de la Madeleine au portique du P a la iS - Bour ” 101 r bon . Thus what is seen is Often an indication o f the character o c n m m m m t o f o e s . ondi ion the who ees For exa ple , onotony is so eti es indicated through noting the passing and repassing of the same people 102 D s across an un changing scene . e cription through the eyes of a 103 is v m personage closely connected with a de ice already entioned ,

9 9 p . 6.

100 in hi emm ce h h l k h ls H owe e on . 12 s e b o w s e oo ed e ecal v r, p , r ran Of , r h a a n h r babl h t ced hem n t a h l e t e a e ce o f e et. o e o t o t t e st c pp r fe Pr y n i , fir g an , b ut a s he co ns de ed h r f a s i r e a terw rd .

101 - - B . A . 2 , pp . 57 73 102 Fo r a ml - e e M -B . 8 0 . U V. x p . pp 9 9 ; , PP

103 - S ee a b e . 8 o 0. v , pp 4 49, 5

54 FLA UBER T AND MA UP AS S AN T

m c v m t . charac ers The infor ation is on eyed in dialogue or onologue ,

F r ml E mm d t o r v . o irec or indirect , in narrati e exa p e , a is discussed

the m by first wi fe Of Charles and by his other , by Lheureux , by H oma is Y v v , by the busybodies of on ille and we ha e related to us a t t t o f R length the hough s Charles , Of Léon , of odolphe , regarding

th e m Mme d e m o f her . In sa e way Burne for s a constant subj ect f 115 c o t M . onversation and hought for her circle , especially for ariolle In the two authors under discussion th e reader is struck by the

v u se m o f t m v . ery large ade contras , its presence being al ost uni ersal m One m The types Of contrast are nu erous . frequent for is that

O f s t t c t . the Oppo i ion be ween harac er and surroundings For instance , the daintiness of M me A rnoux stands o ut against her sordid environ m c the t m o r to ent on the de k of s ea er where we first see her ; , take m mM Y v an exa ple fro aupassant , the innocence of the girl ette is 116 markedly in contrast with the milieu in which she lives . The contrasts Of sound and silence , Of light and shadow , of natural and ” t v m . O ar ificial light , Of colors , ha e already been entioned ther c c ontrasts are those between appearan e and actuality , between nature m 118 an v . and , between po erty and riches , etc In discussing description something has already been said Of 119 t c c s narra ion , whi h it will be unne es ary to repeat . This paragraph m M will take up so e additional points . aupassant , it has been 12 0 t v m t . shown , has rela i ely ore narration in his works than Flauber With regard to plots one will notice that these are simple in the

men one mm the works of the two , as can su arize in few words actual o f v o r plot interest in any the no els short stories . For instance , in

Un oeur simle Un e Vi e c m C p and , whi h are uch alike , the whole plot has to do with the repeated disappointments which thwart the m natural aff ections o f the heroine . The sli plot interest in the v m m O f S m no els is a plified by eans episodes and descriptions . o e ’ L E d uca tia n sen timen ta le B el - A mi works , such as and , produce the c ss o s v m effect of a suc e i n of episode , e en of si ilar episodes , a varying mea sure o f unity being secured through the greater or less f m o . ouva rd preponderance so e character , situation , or idea In B

’ 116 “6 - L Ed - Y tt . n te 11 . . 6 ve e S ee o 4 S . DP 5 ;

“7 S ee a bo e v . DD 43 . 53 . 44

118 - - ml 1 2 L eillé . E . . 0 a V e 60 Fo r e a e M . x p , , pp 49, 4 3 4, 7 ; , pp 55

- 2 La a u e . U. V. . , p 45 ; P r r , pp 59 74

119 120 bo e 0 S ee a bo e . 0. S ee a l v , p 5 v , l 5 L IKENES S I N GENERA L RE A LIS TIC DE VI CES 5 5

’ “ et P ecuchet this piling up is used to depict the betise o f the two men ; in S alammbo it is employed to emphasize the splendors o r the cruelties Of ancient li fe ; in M adame B ovary it serves to bring out m f Mau the progressive disillusion ent o the heroine . Thus also in passant episode after episode impresses upon us the ruthless advance “ ” - A mi m o f of Bel to social and political pro inence , the infatuation

' M Mme Of O v ariolle for de Burne , or the perplexity li ier Bertin caught between the attraction Of the daughter and the desire to be 12 1 E ’ faith ful in devotion to the mother . ach Of Flaubert s three short m stories possesses a nu ber of episodes and is , in fact , rather an “ ” ’ Mau a ssant s abbreviated novel than an ordinary short story . p

on tes m m m c , with so eti es but a single episode , exhibit ore clearly , on the other hand, the power to seize and perpetuate j ust the points ’ M au a ssa nt s v essential fo r the making o f good stories . p relati ely much greater simplicity and clearness are no more apparent in ’ v t description than in narration , where again Flaubert s excessi e at en tion to real istic detail tends to v agueness and occasionally to dis 12 2 cr n S m v epa cy. o e narrati e passages in both authors outline the ’ 123 course o f a character s thoughts rather than any succession Of

- m f v m c v m . e ents , and produce a se i des ripti e i pression The sa e ef ect is accomplished by the many paragraphs in the imperfect tense 12 4 narrating habitual action , and by the general tendency to use that “5 n tense in passages where o e might possibly expect the preterite .

A device that is employed by both authors is the immobilizing o f a . character in a well- defined situation in order to tell us something regarding that character through the mediumo f the thoughts sup m 126 E mm posed to be passing within his mind at the ti e . Thus a , ’ Bovary s reveries after her marriage and arrival at Tostes ; thus ’ Georges D uroy s musings on returning to his shabby roo mafter ’ 12 7 v his first e ening at the Forestier s .

12 1 - B el A mi ; N a tre Coeu r ; F a rt comme la M ar t.

12 2 Fo r e mle co m d ffi cult o f outl sto Of S a la mmbo com xa p , pare i y ining ry ; ’ a e l so t m O f h l es ou e to R oue a s d scuss d b E est o et p r a i e C ar j rn y n, i e y rn B v in “ ” m l - le n L Ré l s d F u R . L 1 a t c o e e b t . H 6. an r i a i e a er , I 3

12 3 - F r ml 2 62 . o e . 1 . 6 xa p e, p ; pp 4

124 F r - ml e . . . 1 . o e N . C xa p , p 33 ; , pp 74 75

125 For e ml - . st h U. V . 61 62 xa p e, p 377 (fir paragrap ) pp (para h at end o f o ne and be f grap page ginning O next) . 126 Cf . u t e 1 ff . Br ne i re, pp . 74

12 7 M E 8 - - . . . if B A . . 8 , pp 4 ; . , pp 57 5 56 FLA UBER T AND MA UP A S S AN T

D m t ialogue and onologue , bo h direct and indirect , are used by M s c Flaubert and aupa sant to characterize , to des ribe , and to nar 12 8 m t m m c m f t v . O rate , ne er to ark i e There is u h ore bo h dialogue h m m t e . and onologue in the latter author than in for er In fact , ’ some of M a upa ssant s short stories are told almost entirely in dia 12 9 m m s logue or in onologue . Both authors see to posses the power

o f m t . N t aking their personages say exac ly the right thing o hing, m u m v for exa ple , co ld be ore apposite than their peasant con ersa 13 0 t M Of t tions . In his aupassant is assisted by his free use dialec m o f m m and other special for s speech , which are found uch ore “1 S m m m rarely in Flaubert . o eti es striking re arks , usually Short , E m give the key to characters or situations . xa ples are Charles ’ “ ’ v M adame ova r Bo ary s C est la faute de la fatalité at the end of B y, ’ “ ’ ” sommes la v and the Old beggar s J tous égaux , de ant beside the 13 2 i e corpses Of Gilberte and Julien in Un a V . There is occasionally ’ “ in M aupassant a suggestion o f Flaubert s famous dev ice Of alter ” t u c u na ing dialog e , with its attendant effe t of irony , as fo nd in the “ ” 18 3 u o f m m v the acco nt the Co ices agricoles . For exa ple , we ha e ’ “ ” v t ta bl e d hé te o f S con ersa ion at the the Hotel plendide , or For ’ estier s speech to D uroy punctuated by the counting o f his score at 13 4 M s u billiards . aupas ant is much less careful than Flaubert abo t v o f using introductory erbs saying, and occasionally goes so far a s to adopt the dramatic device of inserting merely the name o f the 13 5 s th f c peaker at e beginning o the spee h . In order to avoid monotony Flaubert and Maupassant carry all procedures along together ; there is constant interchange o f d escrip n or tion , narratio , and dialogue , two Of the three all three being m sometimes combined in one paragraph or even in one sentence

128 - - - ml 1 . . 2 ff . 1 E . . 1 0 16 8 88 N C . 2 . For e e M . 6 xa p , , pp , 5 ; , pp 5 , 74, 75 7

‘ ’ 129 M P r L M i B lh mme L n B é te a t e a a o ssi n . . a . : a e o a ; C f , pp 2 77 -85

13 0 - M E . . 20 U. V. . 200 20 . . , p 9 ; , pp 4

’ ’ 13 1 F r ml e a n f Ma u a ssan e sa n M r i H a . L H ér o e O t s t sto es . : xa p , y p p a ri ;

l . ta e . S a . . g ; p 357 ; , p 57 13 2 13 3 M . E . . . . 282 . M . E . 1 ff . 80 . . U V , p 4 ; , p , pp 97

13 4 - - - - M . . 8 B A . 80 81. O. . . , pp 5 5 7 ; , pp

18 5 i - F r ml T bun ux us ues . 1 8 o e e M . P a r . : a t xa p , ri r q , pp 77 4

’ 13 6 ml 1 1 - 1 s d r N . . . 6 . eco Fo e e L EdS . C xa p , , p 45 ; , pp 35 3 ; p 35 ( n n in e d ml a h - sec d a h n se tence s co co et B A . o st se n p e par grap ) ; . ( n par grap , fir

- en f . une e e . 1 8 1 t ce c t 80 . ) Br i r , pp L IKENES S I N GENERA L R EALI S TIC DE VICES 5 7

D Of escriptions persons , places , and things are constantly inter m D O f o r m ingled . escription places things is Often co bined with ’ 13 7 A o f an account o f a character s thoughts . short sentence dia o r m u o r m logue onolog e , a brief passage of dialogue , is not seldo 13 8 employed to break a long description o r narration . There is frequent interchange o f the direct and the indirect forms Of dialogue 13 9 m M not o f and onologue . any paragraphs dialogue end with a ” 0 s Short poken sentence . In paragraph structure there is some likeness between the works f mn m o f o e . two The co bination description , narration , and “the ” 1 v dialogue in a single paragraph has already been noted . The a er Of m age length the paragraph is , taken on the whole , about the sa e m in the two . Flaubert tends ore in his earlier works toward the M 14 2 s m . unu ually long paragraph , aupassant ore in his later Instances can be found where Maupassant divides among several paragraphs m m descriptions which Flaubert , to j udge fro si ilar cases in the ” f n a O o e . m works the latter , would keep within paragraph This y ’ Ma u a ssant s ff r be part Of p e ort after greate clearness , which was 14 4 ’ v suggested before . Flaubert s paragr aphs lea e in general the ’ m u san i pression of greater deliberate artistic unity than Ma pa s t s .

- The latter frequently uses the sentence paragraph , a habit traceable . 14 5 probably in part to his j ournalistic experiences . Flaubert also 4 “ m m v e ploys this for , but less often 9 constantly , howe er , his ma mm m m longer paragraphs y be su arized in a sentence , so eti es an 147 c v o f antithetical senten e . The brief narrati e paragraphs the two m writers are uch alike in their use Of short, abrupt sentences with

S v m v the historic tense . e eral exa ples follow , which are gi en in

13 7 For e ml M B 61- 2 1 ff e . . . 6 U~ V xa p , , pp ; PP 9

13 8 F r ml M . B . . T . : M o . C . 26 r o I 1 6 exa p e, , p 355 ; p ; o PP S3, 3 13 9 For e ml Z - I B - . O O e xa p e, pp O ; . DP 140 F ml o r e . B 1 8 o xa p e, p 33 ; D 95 14 1 S ee ced h pre ing paragrap .

14 2 F r ml M o e e N . xa p , C 14 3 F ml or e cf . the st h desc b h s T xa p e, fir paragrap ri ing t e hou e a t o stes in

- “ ” M . B . . w th the st ou hs desc b les eu les (pp 43 44) i fir f r paragrap ri ing P p , in 12 U. V. (pp .

14 4 S ee bo I a ve, pp . 49. S . 55 14 5 ’ S ee ct c ll h Mau a ssant s o k pra i a y anyw ere in p w r . ’ 14 6 For e ml L Ed. . xa p e, in S 14 7 For ml - - cf . hs a on . 116 1 M . E . 2 1 1 . S al . etc. exa p e, paragr p pp 7 , ; pp 4 5 , ; 58 FLA UBE R T AND MA UP AS S AN T

c m the o f m m parallel olu ns for sake co parison in for , not in subject . ’ mL E duca tian sen timen ta l e B el - A mi They are taken fro and .

FLAUBERT MAUPA SSA N T

o u se de son m t E ll n e a l a o t d e so t et P r venger ai re , e p r p in r ir

s s dout l e o se cantenta ut ch m t de tout s f a on s an e, garg n f ar an e e q

- B . A . d e sou . . rire p [ , p ’ i c t o D es E t il se en i t d s un r s C éta t j our de ré ep i n . s r d ren an e D m l o tu s st t o t d s la co u taurant o s . u o e t v i re a i nnaien an r . v i in r y par ai ’ D u l r é i it r n t sou lu ue I l man ea ou n a vo ir e x va ets se p c p é e s p s g re . g p r ’ ’ la m u s et un t o s em au h ut a s l d a vo ir u u s d s le arq i e, r i i e, a p air pe r , p i , an ’ d e l sc l se mit 51 m ch de ou il a ccoma n a B oi sren ard au e a ier , ar er j r p g ’ t l ui ou l et il t sa b so d u van p . j rna fi e gne ne u f t l On To t a cou M t o a a ut a o n d st t e mch . p , ar in n pp r , g i rai e a ina e ’ l ut t ll le t uv c a B -A c sous o . E o a . . . en fa e, a re p r e e r r ne [ , p ’ i s n s ] i t mi t 51 r éfléchir e a b t . I l lui t o . s ass e se s l ev . af r ra I F édé c ou le o co t u ses I l t té sur sa t t t b une r ri , p r v ir n in er avai j e pe i e a le l t s t ave sa les t bl s d e c t de son d s ms ga an erie , r r a e ar e a ver aire re i e par

eu et les r e oi nit d s le d R l a fin de d son d ss . j j g an gran iva , gar er a re e ’ salon ; Mme D amb reuse qui tta 11l a rel ut comme il l avait déj a l ue ’ u L o uis a ussitOt son c l et l en tr eti n t t o s d s l a o é . ava ier, ving f i an j rn e * f m i r L n r man t 1 u n tmrtr il e emnt a e 6 r e M a a e . a e . p g , 7 ,

R lu B - A . . de s . ien p [ , p

The rather abrupt eff ect produced by the short sentences with the historic tense is to be Observed in the foregoing paragraphs . The impression of dry precision is indeed Often produced by Mau ’ 14 8 passant s work . There is some general resemblance also between certain descrip A n m tive paragraphs in the two authors . exa ple is gi ven where the

c o f m o f subj e t the two paragraphs is the sa e , the description a

c stagecoa h . FLAUBERT MAUPASSANT

C etait un co f a une o t eta it une o tu a une mon f re j p r é C v i re j , d u d s oues ui mon tée sur des r oues a unes uss par e x gran e r q , j a i ’ t t us u a h ut u de la bi ch ut o s m s du s s u an j q la a e r e , a ref i , ai ren e pre q e ’ m ch a i nt V o u o s l uml ti e u e pé e les yage r s d e v ir gri es par a cc u a on d s ba es . l a r oute et leur sali ssaient les Celles de devant étaient toutes é ul L t u t t s ll de d e h ut s s . es ts c de ses c s pa e pe i arrea x pe i e ; e e erri re , a e

“3 ml - For e e Une Vendetta . 1 Ta ine : L e P ér e xa p , , pp 44 45 ;

- J ud . 2 a s 8 . , pp 7 79 LI KENES S I N GENERA L REA L IS TIC DE VICES 59

s st ét o ts t mb t d s et f r eles o t t l e ca r e di f va i as r i re laien an , p r aien fi leur s chzi ssis quand l a vo iture était fo rme et enflé comme umventre de h béte Tr oi o s s bl ch s do t mée et d t des t c s de . s s fer , gar aien a e r e an e , n baue 8 et la m l u ll on m u t a u m cou , 9 , par i e r viei e re arq ai pre ier p ’ couch de ouss e ue les l u s d oeil les tet s é o ms et l es os e p i re, q p ie , e n r e gr ’ d o méme n e l v t a s tout ou o ds a ttelé es en ar balete rage a aien p gen x r n , , a t E ll ét t a ttelé e de t ois d t t c tt c ol ui fai . e ai r evaien rainer e e arri e q chevaux do t le m en a r ba t du mo st d s sa st uctu , n pre ier avai n re an r re ’ léte et lor s u on d sc d t les et son llu : L es chevaux sem , , q e en ai a re cOtes ll touch t du o d c ho bla ient do ms dé a d t , e e ai f n en a en r i j evan ’ t - l étra n h l . B . . t M B . . e cu L a an [ , p g vé i e M B . . 99 77

It will be Observed that the foregoing paragraphs have about the m m m the sa e length and begin in the sa e way . They ention largely m : m sa e things about the coach the yellow color , the cu brous body , mud the large wheels , the with which it is spattered , the three wo t . horses , one in front Of the other , by which it is hauled There m is so e similarity in wording (indicated in the quota tions by italics ) . The general impression co nveyed by the Flaubertian paragraph is

m v M mon that O f a onstrous , unwieldy ehicle ; aupassant takes ” strosit a m y as the keynote Of his picture , c lls the coach a onster , and makes the horses also monsters in order to emphasize still m ff further the sa e general e ect as Flaubert . Both Flaubert and Maupassant Show a special use o f the short

fo r ff sentence forcible e ect at the end of a paragraph , chapter , or “9 m m S v . S short story . uch sentences are Of arious kinds o eti es m m or v m we find a brief , e phatic state ent an interrogati e or excla a 15 ° m m one o f o r tory phrase . S o eti es the sentence is dialogue Of m 15 1 monologue ; to this reference has already been ade above . The

ma t sentence y contain a charac eristic detail regarding a person , 15 2 v o r ma mm a place , an e ent , other interest . It y also contain su ary ,

149 F r ml l 10 h d a h . 11 st o e S a . . t xa p e, , p 4 ( ir paragr p ) p 3 (fir para 1 h m f M au 2 T. . H en t e o o graph) ; p . 409 ; p . 4 ; C : ; aj rity ’ ss s sh s o es pa ant ort t ri .

15 0 l l . 1 2 M E . For e m M E 26 R osa ie udent . . xa p e, . . , p . ; Pr , p 5 ; , p

82 . M B . 1 L e ueux . 1 M nu . G e et 6 . . 334 ; , p 9 ; , p 3 4 ; , p

15 1 S ee o . b . a ve, p 57

15 2 « » F r ml n n k . 1 M H ar . : a o u a ! 2 a l . o e l . . 2 G c S S a . xa p e, , p 5 ; rc , B p 4 ; , ’ M - . H ar . : L ri e t . 2 B A 2 . . O n . 2 . . . p 379 ; , p 3 4 ; p 59 ; , p 33 60 FLA UBE R T AND MA UP A S S A N T

15 3 he f v c mm . t o onclusion , or co ent Besides use interrogati e and

c m m ex la atory sentences , which has already been entioned , such senten ces are f urther frequently employed in the usual course O f

t v r m t E m paragraphs o lend ariety o e phasis to the s yle . xa ples are 15 4 um a u ct very n erous . The c ref lly constru ed periodic sentence is m 15 5 more co mon in Flaubert than in Maupassant . u t t is v s u By Fla ber transi ion in general ery as iduously reg lated , ” 6 by Maupassant much less so . The result in the case of the latter

t ff f S m th a ma n t to o . e r s ends Of en an e ect j erkiness o e O f , for

m the m o f c exa ple , produce i pression a su cession of short stories 15 7 rather than Of one continuous long story with succeeding chapters . The dislike o f explanation 15 8 frequently apparent in the two writers deprives both of one useful method Of transition in so far as they fi yield to this dislike . The dif culty of transition is specifically 15 9 men E m f . O acknowledged by both ach e ploys , course , the ordinary methods of transition : the use Of adverbs o r adverbial conj unctions o f m t m c o r ti e , and Of o her eans o f referring ba k forward to preced

o r s c ing uc eeding sentences , paragraphs , or chapters . The con n ection t a v is constan ly indic ted , for instance , between consecuti e c M a d m o r i S m m hapters in a e B va y and Una V a . o eti es the transition i s m v o f v acco plished by a irtual continuation the narrati e , without o r i t b ut t m one break w h li tle break , fro chapter to another , as

VII VI I I o f o f M a dame ovar between chapters and the first part B y, t I n i or be ween chapters V and V of U e V e. 16 ° With regard to voca bulary both Flaubert and Maupassant c m tlie follow , as we Should expe t , the realist principle of aking

15 3 h 2 e . 1 0 d e . 1 1 T. . : H r M B . 8 1 . . Un C , p 4 ; , p ; ; p 9 ;

l 1 L n t n . n t 2 H o e se . 86 R e con . 6 a . a e e e 2 S . r , p ; , p 4 4 ; r i r , p

15 4 - F r a ml M . B 1 2 A . . 282 . o e e . . B . x p , , p 7 ; , p

15 5 ee es ec ll M a da m S p ia y e B ova ry. “ 15 6 m l R ue o e S ch Notes sur l e o c bu de M u ss t etc. ev C par inz , v a aire a pa an , ,

n u n 12 . des la g es r a ma es p . 5

15 7 - ml e . M . O. Fo r e U V. xa p , ;

15 8 l s l a n ea 8 . S ee bo e u de t c det . 0 v , r r i i ai , pp 3 , 4

’ 15 9 F ml M a ia l L t l u r u nt t o r e e n a Vi e e oe v e d e M a assa . uo a xa p , y , p , p 99, q

Fla u o etc. t o n be t . i ; r , C rr , III , 345 ;

16 0 S ee a s th e o unda t o f o r the who le th s a a a h A nn A hlstr o m , f i n Of i p r gr p , a , E tud e sur la lon ue de F la ube t M co 18 and Olo osso Gu g r , a n , 99 f B n, y d e M a u assa nt uel ues eche ches s ur sa la n ue Lu d 1 0 p , q q r r g , n , 9 7

6 2 FLA UBE R T AND MA UPA S S A N T

és t l e l de ses so s sous une o m touché il repr en er par er per nnage f r e «re e», ’ ous le do tel u l est c tous ses sol c sms tout s ses é c s n nne q i , ave é i e , e n gligen e , 16 4 tout sa ud ss tout s ses c ud tés . e r e e, e r i

It will be apparent fromwhat has been said above that Maupas ’ o f the m sant s language is , according to the general acceptation ter , ” ’ m s t ore reali tic han Flaubert s . In this last chapter we have been studying the very considerable resemblance between Flaubert and Maupassant in matters of literary t c v procedure no mentioned in the preceding hapter . We ha e seen that they employ to a certain extent the same kinds o f realistic t m m o f v m m de ail , the sa e for s figurati e expression , the sa e ethods

u m v in description , narration , and dialog e , the sa e de ices in para A s graph and sentence structure and in use Of language . said 16 5 r a cédés m before , the p discussed in this chapter are , in the ain , t mm f S m hose adopted in co on by the rea listic writers o the day . o e which may perhaps be more distinctive Of the two authors in ques tion than Of other realists are the following : time design ation by means of reference to characteristic denoting sea son Of year ; description in a ray o f light o r in shadow ; narration of the past li fe O f a character immobilized through the mediumOf that char ’ “ ” a cter s thoughts ; alternating dialogue ; use of a short sentence t o r r c dés o . o é end paragraph , chapter , story In considering the p t 166 o f his chapter it has not been intended , as was said before , to attribute to themmore than the weight of cumulative testimony when taken in conjunction with other evidence presented fo r the rela i n hi M t o s p o f Flaubert and aupassant .

16 4 i - osso o . c t B n, p 1 D 7

18 5 S ee a bo e . 8 . v , p 3 13 3 I bid . CHAP TE R V

R E S E M B LA N E S I N PL O I N I E N H A RA E R ZA I ON C T , C D T , C CT I T , D E A S A ND WOR NG I , DI

In the preceding chapters there have been considered similarities ’ M r o cedes between Flaubert and aupassant in theories and p , as well M t as the history of their personal relationship . any concrete ins ances of resemblance have been mentioned by way O f illustration . It yet remains to discuss other specific examples Of likene ss between the i v m two in fact , idea , and wording, wh ch ha e , for the ost part , not been noted in illustration o f previous points . m ma There are , first of all , rese blances in what y be called gen ” ’ 1 ff Ma u assant s L e ou eral e ect . p L p, which narrates the killing Of m m m Of a huge gray wol f , has about it so ewhat the sa e at osphere ’ ’ 2 l m S aint- uli en l H as ita li er egendary ysteriousness as Flaubert s J p , the impression being increased by certain details o f likeness: In both stories the scene is laid in a past remote enough to be more o r a n less shadowy , in both there are cert i extraordinary qualities m o r m v attributed to ani als to an ani al , in both the e ents transpiring produce an abhorrence O f the chase succeeding a great passion 3 f therefor . Likeness in general ef ect is also observable in Un Co eur simle na Vi e v m f p and U , both Of which gi e the i pression o an accu mula tion o f m v m v m is fortunes o erwhel ing an unfortunate icti . There m m 4 is a certain general si ilarity also, as was i plied before , between ’ ’ m Ma u a ssan so e passages in p t s letters and in Flaubert s . In letters written by Maupassant to his preceptor there are traces O f an

m fa r one exaggerated and excla atory style , foreign , as as can j udge m 5 m ’ fro the other letters in the Conard edition , to the for er s usual m mm ’ epistolary anner, but exceedingly co on in the latter s corre 6 S ondence A do m to p . ppearing as they in letters fro the younger

1 - 2 - T . 12 . . . . C. pp 35 44 , pp 77 5

3 - - - ° L . 0 2 L . . . 2 I I O L . . 8 12 L . 6 O p . 5 ; , p 3 ; pp 9 93, 7 , pp 3 , 4 4

- - 8 11 ff 1 1 ff . 2 11 L L . . 0 06 pp . 9 , 7 ; . , p . 39 ; pp 93 95 , 4 93, 3 , 3, L L - - . . . 6 6 . , pp 35 3 . 44. 3 44

4 5 - l x x n . S ee bo 1 . o . . c a ve, p . 7 C rr , pp xxv

6 F r ml o o r . 1 10 2 0 etc. exa p e, C r , I , 77, 35 ; II , 9, 9 , 64 FLA UBE R T AND MA UP AS S AN T

the man t m m n Older , hey read like re arks ade by the pupil in co sid

the m cration of ideas and ethods Of the master . m The following passages will illustrate what is eant . They

to m c are be co pared with those quoted alongside , not in spe ifi c m details , but in general anner .

FLAUBERT MAUPASSANT

’ ’ — L histo ir e de l a cr oix de Zola Zola n est pas décoré a cause ’ ’ est t bl E st -ce béte ? m s d l a rticl u pi oya e . ai e e q i l a écri t dans l e ’ ’ u st- c ui st a bet i L ch u b c s orr . e d c q e q n e p e [ C , ef a i ’ I V n et ma dit u l e mini t r n u . 349] q e s é e e po ’ * Oui lu l b ch u d o l va il v a imen t s lui a o e . a do , j ai r re Z a r p nner la ’ ’ C e st éno rme ! Q uand il maura cro ix en cc on 7 l d o é la de t o du N tu l sm . En uo un t c cl e nn fini i n a ra i e , reve q i ar i e

e s ut-et un N tu l t c t u dét u t- il l e t l t de Zol ? j erai pe re a ra i s e . ri iq e r i a en a M ’ i d c 12 mo a c m o . . c . s s o d . ai i i , p pren re C rr , p xiv] E t H enn i ue ui t a ux ue d t s- ous de ol ? moi e q q a fai , Q i e v Z a j u l e t o u b s lum t fo u A c s une co é c sur le o . Cap ine , nf ren e r ve a en vez Naturali sme ! Oh ! mon D ieu ! v ous l u son arti cle sur H ugo ! son mo n D u IV t c sur les o t s co t mo ! o . e ie [ C rr , , ar i le p e n e p E t le manifeste politique d e Zola rains et sa bro chure « la R épublique men a ant la R é ubl u de somb et la l tté tu » « L a R ubl u g p iq e rer, i ra re ép iq e ’ ’ si ll n a rbor l étendar du s tu l st ou ll ne s a s» e e e d réa era na ra i e e e era p , ’ lisme ! du tu l sm do ! « E NE S U S U UN S AVA N » na ra i e, par n J I Q T D rOl ! d rOl — u c l — u ll e e ! o . I V 6 e ! [ C rr , , 3 5 (rien q e a q e e ’ mo d st — l en i1ete soc l -le e ie) , « q ia », d cum t hum —l a s des o en ain, érie * ormul es —on m t t f , verra ain enan sur le dos des livres «grand ro man l l t e ne selon l a formu e natura i s e». I ’ * suis gu u n savant cela est pyramidal l et o n ne rit pas — o r . cx x c . C r , pp . xxi]

The foregoing passages have been chosen for purposes O f illus tra tion because they are concerned with the same subj ects : the t o f Z O f v c decora ion ola , the stupidity the go erning lasses , the pre m tensions Of Zola and the naturalists . In the will be noticed the m o f m m sa e general tone exasperation , the sa e tendency to ultiply

7 f for e a mle Wo d t n used b Fl ube t s ml l ces in l ette s c . r Of e y a r in i i ar p a r ; , x p , I 2 2 tc. o . 2 8 V 6 e C rr , III , 39, 44, 9 ; , 3 ; RES EM BLANCES 65

m o f o f m e phases through the use italics and excla ation points , the same employment of unusual expressions . n There is some similarity between the plots o f the two me . ’ v M a u assa nt s For instance , there are se eral stories O f p which recall

Mad m ovar o f m Un e Vie a e B y. The first these to be entioned is , ’ which is like Flaubert s novel in many particulars o f plot . In both

r cases a large part Of the sto y is concerned with marital treachery .

one In case it is the wi fe , in the other the husband , who is the ff O ender . The separate instances of unfaithfulness recorded are ,

m R Emm M a dame in each book , two in nu ber . odolphe and a in

B ovar G n a Vi e m m y, Julien and ilberte in U , ake riding a eans to their intercourse and seek their rendezvous in the woods and on the “ ”8 c m ne i e ountryside . The cabane a bulante O f U V takes the place “ ” 9 E m o f M a dame ovar . m the tonnelle O f B y The two sinners , a m and Julien , co e to an unnatural end , a beggar being connected in 10 a A n each c se with the catastrophe . excursion by boat enters into 11 - m f E mm f v o o . the lo e aking Léon and a , Julien and Jeanne In

t o f do v bo h stories the child the heroine , a pet g, re ealing letters , play m ca r so e part . There are frequent j ourneyings by stagecoach, by i r a e . g , by train In each case the heroine changes her place of abode f m during the progress o the plot . Money atters exert a considerable Of m influence in the two , there being talk debts , of ortgages , and

Emm o wn v Of selling of possessions . a is ruined by her extra agance , “ Jeanne by the bonté ” Of her parents and herself and by the prodi ’ a li o f m g ty her son . Jeanne is ade unhappy by Julien s stinginess in m m E ’ oney atters no less than Charles by mma s wastefulness . In Ma dame B ovary we hav e Lheureux and his agents who conduct the money affairs ; in Un e Vi e the Jew and others who come to ’ k descri Jeanne regarding Paul s debts . In both boo s there is the p ” tion Of a public ceremony ; in one the Comices agricoles ; in the “ ” 12 f other the christening Of the Jeanne . The account O either celebration follows the course o f the lovers as they walk : R odolphe

Emm m v and a pass fro place to place , seeing the arious sights O f “ ” the day , and finally taking refuge in the salle des délibérations while the speeches are being delivered and the prizes given ; Julien and

8 1° - - U. . . 2 e E . 2 V 6 tc. M . . . 280 . 8 U. V. 8 , p 7 , , pp 44 49 , pp

9 M 2 11 E . . e . . M . B . . ff . ff tc U. V. . . , p 34, , pp 353 , pp 44

12 E - - M . 18 2 1 . . U. V. . 6 62 . , pp 3 4 ; , pp 5 66 FLA UBE R T AND MA UP AS S AN T

c m Jeanne des end fro les Peuples to the beach , where the chris R m v E mm o f s . tening the boat take place odolphe akes ad ances to a , h m to r t e . t Julien Jeanne , during the prog ess of cere ony In bo h ’ st v v s the E mm ories we ha e a se ere illne s of heroine , caused in a s ’ ’ R c o f v case by odolphe s desertion , in Jeanne s by the sho k disco ering ’ ’ 13 t E mm v her husband s infideli y . a s attack is said to be brain fe er ; ’ m m m i s not t to t . Jeanne s hus na ed , but see s be the sa e hing In v both books we ha e a ball , a death scene , and a watch by the dead f m included in the progress o the plot . In both there is an ele ent o f m M a dame ovar the the horrible ; for exa ple , in B y the account of n e Vi e o f blind beggar , and in U the narration of the death Julien

and Gilberte . Another story which has some points o f resemblance with “ d va r L r r v m M a a me o a a u e . B y is P In it we ha e a wo an who , like E mm m o ut o f m . a , is , or i agines hersel f to be , entirely her ele ent ’ u M m m Of ff Like Fla bert s heroine , ada e Loisel drea s a di erent li fe , v t t and like her , too , is in i ed and goes to a ball in a socie y to which h m ’ s e . u cannot ordinarily hope to be ad itted Like Fla bert s heroine , she enjoys the experience but is afflicted afterward by resulting

s M s f c adness . i fortune af ecting the whole life follows in each ase ,

although different in character and extent . A l so containing likenesses to M a dame B ovary is the story of “ the little provincial who comes to Paris and forces hersel f into une ’ ” v u mu c a ent re d a o r , only to be disillusioned by her experien es . The 15 Un e A ven tur e a r isienn e Emm heroine o f p has , like a , entertained inordinate longings for Parisian glory beneath apparent acquies c the m v . ence in onotonous course o f her e eryday life Like her , she buys a nd reads society j ournals and is especially attracted by th e _ “ glamor o f what Maupassant calls des horizons de j ouissances 16 c et rava eantes E m oupables g . specially does she indulge her drea s s o f m during the night , contra ting the world her i agination with her mm E m m m . A s co onplace surroundings . Here again she rese bles a ’ Of the la ub ertia n c m Ma u a ssant s in the case F chara ter , the drea s of p c m heroine end in disen hant ent . Between Uh Coeu r simple and Une Vi e there are many simi ’ la ri ties . R Flaubert s Félicité is now like Jeanne , now like osalie , ’ M a u a ssa nt s m in p story . The ain thread of the plot concerns her

m m - m t rese blance to Jeanne . Both , si ple inded and wi h unusual

13 15 - M E . ll 1 . 2 F . 20 . . 0. M e . , p 9 , pp 93 5

- 10 . I d 1 . . b . . pp 59 74 i , p 94 RES EM BLANCES 67

a fo r v f m to ff c pacities de otion , suf er fro blow after blow the a ections

or m v v m dealt by death disappoint ent , which lea es the icti aged , m stu efied c mm benu bed , and p , linging desperately to e ories of the mm R t . pas and to the Obj ects which recall those e ories Like osalie , v to m m Félicité is a faithful ser ant a so ewhat exacting istress , and ’ m v shows , in her istress interest , considerable shrewdness , bra ery , f m m m and power o econo y . The relation of istress and aid in both

c m one O f m ff two stories be o es increasingly inti acy and a ection , the mm m uniting especially in re e brances of the past . In so e respects n m Mme A o f Un oeur siml e Jean e rese bles ubain , C p , rather than ’ v m Félicité . Both ha e two far s attached to thei r property , both lose m o f s their fortunes in later years , sell so e their possession , and go m o f m to a less expensive house . Both spend uch their ti e in idle

v ff v . brooding, lea ing the direction of a airs to the faithful ser ant so n who Both possess a called Paul , , after being sent to school , to which he rej oices to go for the sake o f the companionship to be enj oyed, falls into irregular ways of li fe , contracts debts which his m s mone m m to other pays , and , passing unsucces fully fro e ploy ent m m . another, finally arries a wo an distasteful to the latter In the course O f their de velopment both stories touch upon many like m Of v v m o f co ings and goings pro incial life , and both gi e gli pses

fisher folk . The next works o f Flaubert and Maupassant to be compared are ’ L E du a i a n ti e - c t n se mn tal e and B el A mi . While there is considerable

m In o f rese blance here , it is harder to speci fy than any the cases already taken up . Both stories deal with the career Of a young man who v o f passes through arious experiences Parisian life , the one to A t i v failure , the other to success . cer ain unity is g en in each case to the rambling story by relating ev erything to the fortunes o f r the chief character . Frédé ic , beginning with fair chances , throws m s away all Opportunities and acco plishe nothing, owing to his “ m an f D d o d . ollesse lack ecision uroy , starting with his fortunes

lo w v u at an exceedingly ebb , ad ances , chiefly thro gh the aid Of his m m o f - t istresses and by eans ruthless sel f assertion , to a posi ion Of m fo r A t i portance beyond that which he had hoped . first indeed v the he is rather like Frédéric in want O f decisi eness , but weakness v m m gradually anishes as he beco es sure of hi self . In other respects t wo mn m m to the e are si ilar . Both drea Of great things be done and fo r enj oyed in the future . Both possess considerable fascination v o f the Opposite sex , ha ing in the course the experiences related in 68 FLA UBER T AND MA UP A S S A N T

the v ff s m story , lo e a air progressing si ultaneously with three sepa m TO ht the u c s u o f s rate wo en . the delig Of s c es f l suitor , one the e “ ” m o f m c wo en is , in each case , the great lady the story , who ea h has been advised to culti vate in order to f urther his material inter

ne v ff t t v c s ests . O lo e a air in both books persis s hrough all i i situdes

t t rédér ic Mme A Of D t Mme ha of F with rnoux , that uroy wi h de mn m M . e arelle Both , besides , beco e engaged to young girls for the o f s s c m ma r sake their fortune , Frédéric afterward es aping fro his i D u r a e . to g , uroy carrying his thro gh It is interesting note for revelation of the character o f Frédéric that in the three instances where marriage is suggested to himit is the woman in each case 17 ’ Mme A L E duca tia n sen ti who does the proposing . rnoux in menta le Mme M B el - A mi v m , de arelle in , ha e little daughters to who f Frédéric and D uroy show attention . In both books the husband o one O f the women loved dies of lung disease in the course o f the 18 s v tory . The lo er is present during the final scenes , assists in the m watch by the dead , and looks after the funeral arrange ents . rédér ic m Mme D amb reuse F then is about to arry the widow , , but abandons her after what he considers an insult off ered by her to Mm A D m m M e rnoux . uroy acco plishes his arriage with adeleine Forestier after the death of her husband but subsequently divorces n o ne t Mme A v v her . O occasion an insult o rnoux in ol es Frédéric 19 D m mm in a duel with Cisy . uroy also finds hi self co itted to a duel , 2 0 hi v in his case through an insult bestowed upon mby a ri al j ournal .

m f m c D m S o e incidents O the duels are u h alike . uroy rese bles rather ’ o f u m c the Cisy Fla bert s story than Frédéric in his echani al actions ,

v his thirst , his desire for an accident to pre ent the occurrence , his m D m t extre e terror . Frédéric and uroy act si ilarly in hat both look

c u in the glass to see i f they show tra es of fear , where pon both dis v m v ff co er the sel es to be pale . Both also think of the probable e ect 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 perfo rm

u m c ance . The ins lting notice in a j ournal , fro whi h Frédéric suf

s D m c fer no less than uroy , happens to the for er in an ac ount O f the t him m m duel which pu s in a ost unfavorable light . In any other

D m m c m v particulars uroy see s to i itate Frédéric . Both o e of pro in cia l families and betake themselves to Paris against the will of their

’ 1"L 2 1- 2 1 19 i 8 ff . EdS . 6 6 . I b d . . 1 , pp 3 , 54 4 , 5 , pp 3

13 - 2° - I i . ff B . A 2 2 1 ff . B A . 2 b d . ff . . . 0 . , pp 537 ; . , pp , pp 3

70 FLA UBE R T AND MA UP AS S AN T

t t m o hers , owing par ly to his appearance , with , as is hinted , its rese 3 1 v m D blance to the traditional ideal of bene olence . In so e ways uroy ’ m D F ré r dé ic s . shows also considerable si ilarity to eslauriers , friend He i s o f the social class rather o f D eslauriers than of Frédéric and him m m appears at first , like , in shabby clothing, borrowing oney fro ’ “ ” D t v a o f a friend . uroy s father is a cabare ier the latest a oc tion ’ D m v m f eslauriers father is the sa e . Both gi e the i pression o pos s rédéri D m essing greater energy than F c. Finally eslauriers rese bles

D c t uroy in his j ournalisti in erest .

’ “ L E d uca tio n sen timental e B el - A mi In and there are , besides the t m r charac ers already entioned , others which correspond in ce tain

mn ff s n . e o e m details In both books there are two of a air , of who is f m c m A o u h greater pro inence than the other . Forestier is like rnoux “ ” v v fo r m in his fe erish acti ity , in his fondness bibelots , and in so e D ambreuse out other interests ; he is like , as has already been pointed ,

m m D amb reuse m in the anner of his death . Walter rese bles in do i nating the financial situation o f the story and in exhibiting the s - m m elf i portance and other characteristics O f a financial agnate .

A m m Mme m Mme Da mb reuse ong the wo en Walter rese bles , as 3 2 “ m ” has been said , in being the grande da e , in her relations with the o f m principal character , and in her j ealousy the younger wo an who m R san takes her lover fro her . In her puerilities she is like o ette

Mm D amreuse D rather than e b . Her absurd infatuation for uroy ” m m o f a tna z f r D m further rese bles so ewhat that La V o el ar . The daughter o f Mme A rnoux ha s already been referred to as having her

o f Mme M counterpart in the child de arelle . Both little girls are rep resented as acting like grown - up people and especially as displaying a coquetry in advance o f 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 - Frédéric by that of “ ” “ A n u D o f r o x , uroy by that F In both there is a public m M v v o n cere ony in the adeleine , characterized by irre erent beha ior th 3 4 f e part of those present . In both a picture o the Founder o f m ” m m m f Christianity plays so e part . In each so e ention is ade o the f condition o French aff airs in Algeria .

8 1 - t - 1 . 1 1 0 e c. B A . . 08 etc. pp 3 , 43 33 , ; . , pp 5 , 55 , ’ 3 2 8 3 L - bo e . 68 . Ed . 8 etc. B A . tc. S ee a S . . e v , p , p 4, ; , p 345 , 3 4 - B -A 1 . 6 . . . 6 ff . pp 54 47 ; , pp 5

3 5 - . 2 B . A . . . . 8 ff S ee below 86 . p 4 9 ; , pp 47 , p RES EMBLA N CE S 7 I

In addition to particular resemblances there is considerable like ’ ness in general setting between L E duca tion sentimen tal e and B el

A mi v s o f o f v . Both gi e picture Parisian society arious grades and

v v o f types , in ol ing excursions , at all hours the day and night , through all parts o f Paris and into all manner o f places of business and o f m legi timate and illegitimate pleasure . In both uch space is allotted to the social happenings which illustrate the society in question—to

v balls , receptions , dinners , etc . In each the political e ents of the day

B -A i are closely conne cted with the fortunes o f the characters . el m ’ is in the main a story o f journalism; L E duca tian sen timen tal e has ff likewise much to say o f j ournals and journalists . Financial a airs

v v m f of arious kinds enter largely into the de elop ent o the plots . In social and business matters the atmosphere in the two books is on e

’ o f o f m of scandal and deception , intrigue , sordid quarrelso eness and undi nifie v g d stri ing . ’ Besides the cases in which a whole story o f Maupa ssant s corre ’ sponds to the whole or to part o f a story o f Flaubert s there are many ” o f m F r r n instances si ilar incidents and scenes . In a ce N o ma de there is described a wedding procession through the fields like that o f Emm M d 3 7 a in a ame B ovary. There is the same order o f procession

m f M a dam B o r and the sa e atmosphere o peasant gaiety . In e va y the “ ” 3 8 cortege is called une seule écharpe de couleur ; in F ar ce N ar mande “9 it is compared to a serpentf The people following E mma proceed ’ to the accompaniment o f a fiddler s eff orts ; those in F ar ce N ar ma nde “ Off o f mwho un to the shots fired in honor the bridegroo , is chasseur ” 4 0 f . o v m frénétique The sounds the fiddle, e en when heard fro a 4 1 i F r d e . a ce rman distance , fr ghten the little birds away In N o the flaming shawls of the women have the same eff ect O f astonishment f m 4 2 o . A sim upon the hens , the ducks , and the pigeons the far yard 43 fla r eti t S olda t idea is found in P , where it is said that the shining “ ” leather shakos and copper buttons o f the two little soldiers stop the 4 4 v A larks o erhead . fter the procession there is in both stories the m m sa e lengthy feasting and the sa e free j esting, with a predilection

3 ° - 8 . pp . 7 95

3 7 - 4 1 M . B . . 8. M B . 8. , pp 37 3 . . , p 3 3 8 I i 4 2 b d . . , p 37 . C p . 89.

3 9 4 3 - . 8 . M . P a r . . 2 8 . C p 9 , pp 7 99 4 0 I 4 4 bid . 8 . . I id . . 2 1 b . , p 7 , p 9 7 2 FLA UBE R T AND MA UP A S S A N T

‘5 ’“ 7 M a F emme Un e Vi e s for practical j oke s . In and there is al o m N m s ucc c ention of a or an wedding fea t and the s eeding rusti ball , m m the passages being al ost precisely the sa e in the two places . A s m m third procession acro s the fields , this ti e going and co ing ,

t o f c m a s m L e ins ead only o ing in the for er stories , is described in “8 c o f c B aptéme. In all three des riptions pro essions attention is called to the playing o f children round and about the moving company of

- m c tw t s . o heir elder The last na ed pro ession is , like the preceding , c followed by a feast and rude j oking . Other pro essions through the ’ "9 E mm M adame ova r the country are a s funeral procession in B y, “ ” pro ces sion to the shore at the christening o f the Jeanne in Un e 5 0 Vi e o f m to o f , the procession the sacra ent the house the dying 5 1 m L e D ia bl e o f peasant wo an in , and the procession at the blessing 5 2 h t- r i l A m com t e springs in M on O a . nother cere ony in a peasant munity which is depi cted by both Flaubert and Maupassant is that A t i v n o eur o f the first communion . ccoun s are g en of this in U C ’ 6 3 r u het L M a i on T lli er siml e ouva d et P ec c a s e . p , B , and In all three the v eils o f the little girls are de scribed by means o f very similar “ u n oeur siml e m o f fig res . In U C p they are said to for a field ” ’ “ snow in B ouvar d et P ecuchet the children kneeling resemble a ” 5 5 line of white clouds ; in L a M aison Telli er they are enveloped in “ ” 5 ° ’ Ma u a ssant s Of m a cloud of snowy tulle . p account the cere ony ’ is v m c t one t a ery u h longer han either of Flaubert s , and its sa iric l ’ m u r u t tone may well have been caught fro B o va d et P ec che . The midnight mass of Christmas E ve is also mentioned by the two men ’ ‘5 7 var P u h et R v ill o t ou d et ec c Un é e n on e de N a él . in B , , and C Both o f t speak of the coldness of the night (in all three stories ) , the lit le m t B e . P ligh s in the darkness ade by the lanterns of the peasants (in . .

d . N c v c and C . and of the s ene of nai e faith in the chur h (in all three

M a da me ovar M an t- Ori ol stories ) . In B y and in a public celebration t t o f c c ends wi h fireworks , the exhibi ion which departs in ea h ase

4 5 - - 49 - . M . . . 0 . E . 6 66 B . . 1 M . 8 , pp 3 4 ; pp 9 95 , pp 4 5

4 6 - 5 0 - 8 . 26 6. U. V. . pp . 5 7 , pp 5 59

4 7 - 5 1 - L . H . . 128 2 . 81. U. V. . , pp 79 , pp 9

4 3 - 5 2 - - M . 2 2 . H r . 2 . . O. M . a . , pp 45 53 , pp 3 34

5 3 - - - 1 8 . T . 2 1 1 . 6 . 6 . C. 2 , pp 5 ; pp 3 4 ; pp 3 3 5 4 5 5 T. C. . 2 . . 1 . , p 5 p 3 5 5 ° 0. p . 3

5 7 - - - 8 ll 1 . 6 0. 2 M e F . . pp . 97 9 ; , pp 73 75 ; pp 7 7 RES EMBLA NCES 73

5 8 A m somewhat fromthe prearranged plan . s all incident o f a peasant assembly which is noticed by both authors is the following . In

M adame ovar B y, while the crowd in the street is listening to the “ ” m c m o f speeches at the Co ices agri oles , there co es a gust wind, and “ t soul evérent mm ous les grands bonnets des paysannes se , co e des ’ ” 5 9 6 0 i n L a a s m s a te t . es b t ailes de papillons blancs qui g In S , a si ilar o f o f v gust wind , blowing through the open doors a church o er the “ bonnets blancs des paysannes , tosses up in its passage les longs ” 6 1 6 2 L R o i er M a dame H usson rubans des coiff ures . In e s d e there is a public address distinguished by something o f the same inanity as is “ apparent in the speech of the counsellor at th e Comices To be mentioned also in this connection are the account of the meet ’ ing o f the club in L E du ca ti on s en timen tal e and of the suffrage society thum 6 4 a Oeuvr es os es . in p , II The audience consists in each c se of ff v m m ridiculous and ine ecti e figures , a ong the certain foreigners , the e speeches are foolish , and the gathering is disorderly . The whol representation is evidently intended to be caricatural . S everal times both in Flaubert a nd in Maupassant it happens that a person in need of some kind goes to a church o r to a priest for ’ ’ 6 5 L histair d u e ll d er e s m aid . e n fi e e f m re e bles here in a short pas Of E mm v E mm sage the experience a Bo ary . a , hearing the bell ring A mm v ing the ngelus , and re e bering her con ent days , goes to the m A B ourni i n T hi s e . m church , where she eets the bbé o she tries to

k o f m tell her trouble, but , repulsed by his strange lac co prehension , 6 6 v him R lea es with her distress unspoken . ose goes to church and

’ m o f A prays at the ti e the ngelus . Then she seeks out the cur e; but on he goes with his dinner as he waits for her to speak , and she like ,

Emm v A - . B el A mi a , departs with her secret unre ealed n incident in

' which has several points o f contact with one in M a dame B ovary is that where Mme Walter gives D uroy a rendezvous in the Church o f 6 7 m E mm the Trinity . S i ilarly a has promised to meet Léon in R ouen ” Cathedral . Like details are noted in the scene outside o f the church — the brightness o f the summer sun and the plashing o f the water in

5 8 - - 6 1 M . B . . 2 11 M . 2 8 2 2 , p ; . pp 45 4 , 5 53 . p . 99 . 5 9 6 2 M . B . . 20 . 2 , p 7 p . 4 .

6 ° - 6 3 - . 10 . M . B . . 1 202 C pp 99 9 , pp 97 .

6 4 - - . O . P . : a nc ubli u . S é e e . 8 pp 433 43 ; , II p q , pp 73 0 6 5 - 1 6 7 -A - . . B . . . 12 pp 55 9 , pp 394, 397 4 .

“6 - 6 3 - M . 1 E . . . B . M . . 28 0 6. , pp 53 59 , pp 3 , 33 3 74 FLA UBER T AND MA UP AS S AN T

u t c s v v to m the fo ntain . In bo h a es the lo er arri es o early and akes the

u the v t c m t s circ it of na e , no i ing, a ong o her thing , the light falling t m through the colored window s . In bo h he beco es impatient a nd ’ e s u m t finally sits down to wait . L on s olitude and s bsequent ee ing “ ” t Emm u wi h a are dist rbed by the suisse, who wishes to exhibit the ’ f h D t v u sights o t e cathedral . Likewise uroy s wai ing and his rendez o s with Mme Walter are punctuated by the steps and by the words o f “ ” un m s u m gros on ie r , who also asks so e questions regarding the his

ic l m m t f D m tor a o . onu en s the church uroy , like Frédéric , first beco es

' he a rriva l his m aware of t of istress on hearing the rustle of her dress . v r m Here the wording is e y si ilar .

FLAUBERT MAUPASSANT

’ ta it ll L l t cou t i ll 1 l n a e éo s e e a t . 1 s ava . e S C C e e n eva C e e eva, g

u c t m B - r t a a t . A . . s o . ren n re p vive en [ , p

t m m m E mm m Bo h wo en try to break loose fro te ptation , a by eans o f a letter which she has written the previous evening and now hands

to Mm D e . Léon , Walter in words , as uroy and she kneel side by side

m s Both subsequently atte pt to obtain re olution in prayer , despair in l g y looking for supernatural aid . Both find their distress but

increased by the atmosphere o f the church . Mme Walter is dcliv for m v o f mS he ered the ti e being by the ad ent a priest , who constrains Emm A v to . to hear her confession . a gi es way Léon nother scene m 6 9 in a church , this ti e between husband and wi fe , has nothing in

common with the foregoing except the distress o f the woman . A dditional places of rendezvous alluded to by both authors are : a 7 0 7 1 carriage o r diligence ; a specially prepared apartment ; the end of a 7 2 7 3 B B - A v garden (in M . and . . an arbor ) the public street ; a conser a 7 4 E o n . M a dame ovar mm o n tory ; and so In B y, Léon and a go an ’ A m ettr e tra uvee excursion in a rowboat . si ilar incident is found in L sur n u The following points are alike in both : the two dine

09 - 1 1 . pp . 3 5

7 ° - - - - M E . 8 B A . . 128 2 n E chec . 0 . 6 . U . , pp 33 3 ; , pp 9 ; , pp 45 5 ; ’ - L A veu . 0 6 etc. , pp 5 5 ;

7 1 - - ff . e . . 12 ff A . . 1 tc. N . C 1 e c. 6 0 8 B . 0 t pp . 39 , 4 7 ; , pp 4 , ; , pp ; 7 2 ’ 12 - 2 - 1 M E . 2 . L M a l A nd r é . B . A . d . . etc e . 0 . , p 34, ; , pp 5 7 ; , pp 497 , 5

7 8 - - - A 1 . . . 12 1 . 01 B . . . 0 N C . pp 395 , 397 , 399 4 ; , pp 54 4 ; , p

7 4 - - t . . B A . e c P . : L a er e . 1 . . 1 6 6 . . O S p 7 ; , p 49 , ; , I r , pp 47 54

7 5 P 2 1 - 1 O. . , I , 4 7 . RES EMBLA NCES 75 in an inn by the waterside ; they embark in the darkness of evening ; “ m they skirt wooded shores ; influenced by the oonlight , they indulge u v in sentimental tho ghts and obser ations . A situation that is found more than once in both authors is that o f o f m v the desertion a wo an by her lo er . There is considerable general resemblance in this connection between the stories o f Félicité ’ ’ ” R i r ll e r me in Un Co eur simple and ose in L h stoi e d un e fi d e fe . Both are servants on a farmand go through the usual processes o f

- m m peasant love making . In each story pro ise of arriage has been

v man s gi en by the , and the distre s of the poor girl on being left is

s Emm v unusually keen . The likeness between the case of a Bo ary i m 7 7 A n and Jeanne in Un e V e has already been entioned . other o f Mme u m instance is that Walter, who is fo nd unconscious the orn ” D u R o ing after hearing that her daughter has gone away with y. Two incidents in M adame B ovary have a long train o f successors ’ o f M o f v in the works aupassant . These are the finding his wife s lo e 7 9 m o f letters by Charles after her death , and the exa ining his sou 8 0 ’ venirs R m E mm s by odolphe . For a long ti e after a death Charles “ ” does not Open the secret compartment Of her bureau de palissandre . On t the m doing so at las , he unearths letters of Léon , those fro R s n odolphe being sub equently found in a box . He is thrown i to wild v In n a Vi e m despair by his disco ery . U , Jeanne , watching by her other ’ m ’ m a fter the latter s death , takes the dead wo an s letters fro the f “ ’ Am m drawer o the secrétaire d a ca j ou and reads them. ong the m v on o f are letters fro a lo er, the perusal which she is shaken , like m A v m Charles , with a paroxys of uncontrolled grief . ery si ilar ' 8 1 to L a Veillee son instance is be found in , where a and daughter , m m watching by a dead other, take her letters fro the drawer where v on mm to they ha e been kept , and reading the ake , their horror and ’ 8 2 m m v N o ettr v . e a aze ent , a disco ery like Jeanne s In s L s the re ela ’ m A v fo r v tion co es to a stranger . rri ing a isit at a friend s house , he “ v mo f R is gi en the unoccupied roo the deceased Tante ose . There , “ ’ ” on d a ca ou fo r m looking in the secrétaire j writing aterials , he finds m m a secret co part ent , which he succeeds in opening . He reads the

v c o f unsus letters therein contained , which furnish e iden e a hitherto ’ “3 ected v ff m L e ar on p lo e a air of the dead wo an s . In P d a wi fe is

7 6 T -1 - 8 0 I 2 - . C. . 0 . 6 . bid . . 8 80. , pp 7 ; pp 59 4 , pp 7 7 7 b 8 1 - S ee o e . 6 . . P . O . 60 a v , p 5 , I , 55 7 8 B -A 2 - 8 2 - . . . . 2 08 16. , pp 5 5 53 pp . 7 9 M B - 8 3 . . . 8 . I bid . . 2 6. , pp 47 79 , pp 9 , 9 76 FLA UBER T AND MA UP A S S A N T

m ’ m infor ed of her husband s treachery through an anony ous letter ,

him m m c and again through a note to fro his dying istress , whi h she ’ 8 4 L r donna nce v c s u . O pi k p and reads In , a husband recei es like news o f his wi fe in a letter written by her j ust before she commits sui cide

i n - n and found by h mo her work table o his return fromher funeral . A m m nother letter fro a suicide , co posed during his last night and

v the o f disco ered next day on his table , narrates causes his self — m ennui mm o f destruction disillusion ent , , and the e ory the past ” m brought back by souvenirs that he has preserved . Here ight be mentioned the letter of E mma to Charles explaining the poisoning o f ‘3 6 “ ” m - D M hersel f . Letters taken fro under a prie ieu in the adeleine , ” L es ar esses v v u . according to C , ha e again to do with a lo e intrig e 8 8 A variation in the mediumo f revelation occurs in Un F a n and in i 8 9 Un Ca s de d vor ce. In the former a journal discovered after his death in the secretary O f an esteemed j udge shows himto have been afflicted with homicidal mania and to have committed murders under

its compulsion . In the latter the j ournal of the husband is quoted “ ” by the lawyer for the wi fe as prov ing la folie poétique on the part man n of the , and conseque t good reason for the granting of the

v di orce . We come now to the second incident named at the beginning o f the m v preceding paragraph , which is the exa ining of his sou enirs by

R odolphe . This he does after leaving Emma and before writing his v old letter O f farewell to her . He has kept these sou enirs in an 90 - A m biscuit box and turns themabout with callous indifference . so e what similar collection Of souvenirs is enumerated by the suicide who has been spoken o f abov e as hav ing left a letter explaining his 9 1 O v m m departure . li ier Bertin also spends so e ti e in going through 9 2 “ ” v — S his sou enirs of the countess Sorrow fully , like the uicide , not R S “ ” heartlessly , like odolphe . orrow fully also does la baronne inspect “ ” ” — “ her relics the relics which afterwards reveal her secret to her “ daughter . Jeanne hersel f , we are told , is preparing her boite aux

8 4 - 1 1 pp . 96 0 .

8 5 - S uicides . 2 2 . , pp 9 39

- . 2 pp 435 37 . p . 79 .

8 7 - 9 1 i i 2 . 8 1 88 . u c des . 2 S . pp , p 37

8 8 - 9 2 - P r . . 6 1 . 2 . M a . . 1 6 , pp 73 pp 95 9

3 ° - 9 3 - . 22 8 . . 2 18 2 . U. V. 2 pp 9 , pp 33 , 7

78 FLA UBE R T AND MA UP A S S A N T

’ m l v m i i u bo s des bocks a t n e e é e a d . e s c e d e t e ds J i i J vien , j ej e ne , j i , j l a u t e d e bo s des bocks u s s une h u ct d m du mt n i , j ine, j i ; p i , ver e re e ie a in , ’ ’ ’ h u t c u m mb t l us to u e couc c o m. s c i e l j e re rne m er par e q n fer e C e q é e e p . ’ D u s dix a n s b ssé six é s sur c tt b u tt d s mo n ep i , j ai ien pa ann e e e anq e e , an l e t d m it m ll u l co et s s on l s u s. e c us u o s c in ; re e an , j a ai ai e r J a e q e q ef i ave t 103 des habi ués .

A ll through the conversation which the B o ckeur has with the other personage o f the story he calls o ut constantly the words which

mthe t t « G un -a n c m for i le , arcon , Bock ex la ation not quite so ’ “ ” laconi c a s R egimba rt s Bock ! A t the end of the story he breaks his pipe and laments over the time it will take himto bring another to the 104 m D ussa rdier m sa e pitch of perfection . This recalls , to who hap h u t e m cc t m . pens sa e a iden , with the sa e regret following Both Fla bert and Maupassant de scribe in v arying terms places o f entertain ment which hav e in common the account they give o f the motley 105 A n . crowd . incident alluded to in each author is the following ’ R o sanette in L E d uca l io n sen timental e throw s crumbs to the fish in “ ” the étang des carpes at Fontainebleau during her visit to the chatea u t c t B el- A mi wi h Frédéri In his house Wal er , in , has a m “ m large pond , with s all fountains , containing quelques énor es pois ” 107 108 s s c t m c m ons rouge , whi h are a e and o e to the surface to be fed .

A r imle it m t c a s . Un o eu s nother ani al ins an e is follows In C p , will

mm is m be re e bered , there a parrot which beco es the pet of Félicité , uff its t c m m c m which is st ed after dea h , and whi h the si ple wo an o es to confuse in her thought with the representations she has seen of the 109 f M . Holy S pirit . In two O his tales aupassant speaks of parrots In 110 B o itelle he merely gi ves a description o f th e different bright c s x olored and noi y parrots e posed for sale on the quays at Havre . In l “ L e N aye he tells the story of a woman whose husband has been “ ha ff hi h drowned after she s su ered years of abuse from m. S e buys t s on a parro at a ale , but is so terrified hearing it speak to her in the v oice o f her husband and in the words with whi ch he had been wont

103 104 , H r . 2 . L d- ° M . E a . S , p 35 1 PP 05 ’ ’ 1 T r - L A r mi e . 1 0 1 L I F r ml 1 ff. n B o a i e: o . e . 6 a x p e, pp 3 ; , pp 5 5 ; ’ - - - L e M u i mu . a B . A . 1 if . P . : E sa d A o r 8 s e . 1 . 8 O s . q , pp 59 75 ; , pp ; , II , pp 5 7 5

100 107 - . 2 B A . . . 6 . 8 p 4 . , p 4 9

108 - - - l l . A . . 1 11 1 1 f . . . 1 1 c f s P . B . 0 O 0 c S a . o , pp 5 9, 5 , 5 3 , 5 4 ; , pp 4 5 ; a , II Un D i n t u l u e e e es dées . 6 . r q q i , p 3 10° T ff . . C. . 0 , pp 4

“0 - “1 - . I I pp 78 80. PD 9 33 RES EMBLAN CES 79

re- m m to assail her, that she regards it as a e bodi ent of his spirit , kills v fo r it , and throws it into the sea , afterward praying to be forgi en the c mm Un oeur crime she thinks she has o itted . This story is like C simpl e in the connection o f the parrot with the supernatural . ’ ’ ’ M a dame ovar L E du ca ti on sen timen ta le L inutile B ea ute In B y, , and F or t comme la M ar t are pictured scenes in theatres during a rep 112 t i n All v m o f resen at o . gi e so e general descriptions of the crowd , m m f v o v . the o e ent , the greetings and con ersations there taking place Those in M ad ame B ovary and in F or t comme la M a r t are alike in m E mm one book O v so e particulars . a in the , li ier Bertin in the other , _ connect the music and the words o f the opera with their o wn melan cho ly thoughts and are stirred by the strong love interest o f the story . M s mo f v m Like Flaubert , aupa sant speaks not seldo arious for s f o m m . v hu an alady He gi es , for instance , a description of a ’ 113 L E duca ti on sen timenta le diphtheria case , as does Flaubert in . One account o f misfortune which has details o f likeness to a passage “ ” in the works o f the older man is that of le pere Clovis in M on t “ ” r i ol Old O . The beggar , cured the year before by his daily baths O m m in the waters Of the riol spring, has beco e ore incapacitated than

v m who e er , and la ents his bad fortune in public to all will listen to 114 him m M ov r m . S o s adame a al o does the blind endicant in B y, who 115 mi - H o a s . A m M on t Ori ol has tried, and failed , to cure nder att in , H omis H i a v m . U oma s like , tries to ha e the beggar i prisoned nlike not m to old v he does succeed in this , but he anages silence Clo is by m 116 other eans . S v o f e eral duels are depicted by the two authors . The points resemblance between the duels o f Fré déric and Duroy have already 117 ’ ’ 118 L H er ita been considered . In ge a duel is threatened between ’ M a nd L esable m m A s Fré éric . d s aze , who the for er has insulted in

m m o n duel , infor ation has to be sought fro authorities certain tech nica l m atters . The occurrence is rendered ridiculous , like the duels o f D v m Frédéric and uroy , e en ore so , in fact , in that the usual satis faction is avoided through the signing by the principals o f documents

112 M E -1 - 2 - . 0 6 . 126 2 . 2 . . . , pp 3 7 ; pp 7 ; pp 34 ; pp 1 - 2 3 7 3 .

113 - - 115 . 01 2 . M . E . . . . 86 pp 4 4 ; pp 9 , p 473 11 4 M - 2 - 116 - - . M B . . . . M . . 2 8 O . . . O 6 , pp 35 37 , p 474 ; ; pp 3 3

117 - - - 8 0 B . A 2 s l . 1 . . 0 ee so bo . 68 6 . pp 3 3 ; , pp 3 49 ; a a ve, pp , 9

118 M H r 1 -1 a . . 10 . . , pp 6 80 FLA UBE R T AND MA UP A S S A N T

119 L che th containing mutual excuses . In Un ci the coward of e s v v ff m tory is in ol ed in a duel , owing to an insult o ered to a wo an with

A s the c s o f D his whomhe happens to be . in a es Frédéric and uroy m m approval o f hi self is replaced by fear . Like the he looks in the m glass and finds hi self pale . His terror increases until it surpasses ’ v L E du a tion en ti n t mm e en that of Cisy in c s me al e. He finally co its

n D uel suicide because he feels that he cannot face the ordeal . U ff m relates a happening of a di erent kind . In it a French an kills a German who has insulted himas a Frenchman after the defeat o f m f 18 0 . o c 7 The ele ent aricature , always present in these accounts o f c o f two E m duels , is supplied here by the introdu tion nglish en who m v act as seconds to the French an , and by the fact that the ictor has 120 ffi r v m o ce . ne er before held a pistol , while his antagonist is an ar y

A oul e de S ui m nother war story , B f, introduces the hunger oti f , I d lle L e Va a bond which is found besides in y and g , as well as in ‘ 12 1 S al a mmb A ll m the mm o f a . e phasize co anding, brutalizing power v hunger and the oracity o f the hungry before the sight o f food . In L e Va a bond S ala mmbé m m o f g also , as in , are entioned the drea s food 12 2 c haracteristic o f a condition o f starvation . Both Flaubert and M v o f man aupassant gi e an unpleasant picture an Old , pitiable in his mt m and m m infir i y, who is a gour and, who shows his gour andis by 12 3 n r him poi ting o grasping helplessly at the dishes before . The two writers also indulge their fondness fo r satire at the expense of the citizen - soldiers who make clumsy and ineff ective eff orts to rouse themselves fromtheir corpulent sloth to the defence Of their coun 12 4 n m try . Two passages o this subj ect are so ewhat alike . FLAUBERT MAUPASSANT ’ ’ ’ L es un s s ima in a nt u l ll t L es os n a lla ient a s les , g q i fa ai gr p par ’ beauco up manger pour acquérir des r ues qu au pa s gymnastique pour ’ o c s se o t et d autres o d l u ss et olo f r e , g rgeaien , . f n re e r grai e pr nger commodés l u co ul c l u h l l es bl s o t t in par e r rp en e , e r a eine , fai e p r aien ’ s ex ten uaien t de j ef mes p our se des fardeaux pou r fo rt ifier leurs mu l 1 l sc . m S a . . s faire aigrir [ , p e pp 5

“9 - 120 - P . 1 61. 10 2 1. O. pp . 7 , I , 59

” 1 - - - - l . H . 2 2 2 . M H r . . 2 0 11 L . . a 6 . a S . 22 2 pp 9, 75 7 ; , pp 3 ; , pp 7 4 ; , pp

1- 36 68 .

12 2 - L . 2 28. L . . H . l 66 6 . : V S a . . , pp 3 7 ; , p

123 - mll . 1 8 1 F i e 8 . M . L . H . : ne a E . 68 U . , p ; , pp 7 ' 1“ - 6 Ta ine L e i nnie s l 120 Un ou d éta t . 1 1 : s so S a . . , p ; C p , pp 5 ; Pr r , 1 p . 18 . RES EMBLAN CES 8 1

S S a lammbé m L e a in till another likeness to is the ention , in L p , o f m the horses neighing towards the orning light , as do the sacred horses towards the sun in the former story . Many passages in Flaubert and Maupassant give descriptions of

o f - o f death , O f burial , and the resting places the In the

o f v m mm . S v nature the case they ha e uch in co on crutiny , howe er ,

v v m fails to re eal any distincti e likenesses , rese blances being confined to the universal circumstances and concomitants o f this human ex pe u A m m m o f e ric ce . ong the fa ous ce eteries described are those P re M m “ m e ” Lachaise and ont artre in Paris , and the Ci eti re des Capucins ” 7 m o f to near Paler o in S icily . The frequency such descriptions is be connected with the thought o f death entertained by the two 128 v F re authors . This has been referred to in a pre ious chapter . 12 9 n All o . quent , likewise , are scenes board passenger boats those m o f n E chec Une cited ention the start the boat, and all except U and i f E h man V e speak o the bustle and noise on board . In Un c ec the m on é d Mme telling the story watches a wo an deck , as Fr déric oes A m m Mme rnoux . The wo an reads and s iles while reading, as

A r man m a dvanCCS ' to noux is pictured doing . The akes her, like

r édéric m L a M er F , and is ore successful therein than the latter . resembles the Flaubertian description in that the people take dinner during the passage . Flaubert and Maupassant were both natives O f Normandy and have left us numerous pictures o f the Norman countryside (which v o f R both knew and lo ed ) , especially that portion lying between ouen E and the sea . ach portrays the plains and the undulating stretches ,

m o f n v with clu ps trees at i ter als , the dusty highroads running like m Of ribbons through the country , the far s protected by rows poplars

° 125 l . 2 1 1 S a . . 06 . , p ; p

126 ml - - - - 8 r B . . 0 6 Fo e e M . 6 xa p . , pp . 435 49. 453 9 ; pp 537 5 . 574 7 . 5 3

- - — - 8 T. C. : . 8 6 E n F . . 1 0 16 16 6 5 ; pp 37 3 , 57 4 ; , pp 5 54, 7 , 9 7 ’ L T ba 2 - T m 2 - L a es om les . 1 L e 60 o d n a o b . , pp 5 57 ; , pp 53 ; r

- - - - - nan M or t . 2 2 1 . 2 . ce . L B A 6 a e 0 . . 2 0 6 . U V . , pp 95 9 , , pp 3 ; , pp 3 45 , 4 47 ; , pp 2 8—8 - 2 7 9 ; pp . 354 7 .

’ 12 7 L E - T m 1- - d . . L e a a l s 2 6 S 8 s b e . . 6 . , pp 54 49 ; , pp 5 54 pp 9 7

128 S ee bo . 1 . a ve, p 5

129 -11 1 181-82 r M n l 1 M . H a . an ul . 80 : O c e J es pp ; III , , ; ,

- - - . 2 6 8 M . P a r D u . éco ve te . 2 n Echec : U . pp 7 4 r , pp 49 57 , pp 37 44

- - - - . 2 A u 2 U V. . 8 . 2 1 2 L a M er . 10 1 . S . , pp 93 9 pp 3 37 , 39 4 ; , pp 8 2 FLA UBE R T AND M A UP A S S AN T

or beeches sheltering apple orchards and yards replete with lazy m m ani al life , the fields gay with poppies and other flowers , the strea s

s the u o f Chatea ux and pond , freq ent roofs thatch , the with their v t mt parks , the illages wi h their churches , ce e eries , inns , and “ ” 13 ° m the ff One o r two c s airies , lofty cli s along the coast . des ription

m s c f st c v o . ha e ore pe ial points likeness For in an e , the following m m m m paragraphs portray si ilar scenes in a so ewhat si ilar anner .

FLAUBERT MAUPASSANT

E ll la 1 coul t s s I l ll t t l e lo de l etro ite e [ riv ere] ai an a ai vi e, ng ’ b u t d et o d a l o l de e ui mouss t o t bo u l r i , rapi e fr i ei ; rivi re q ai , gr gnai , i ’ ’ a nds h e bes minces s co u b t lon na it et fila it d s s on li t d h er bes gr r y r aien an ,

s mbl s lo le cou t ui les so us une vaute de saules . Le s en e e , e n ran q o uss t et comm des ch evel u es oss s s a r rétant le cou s p ai , e r gr e pierre , r , ’ ’ vertes abandonnées s éta la ient dans avaient autour d elles un bo urrelet ’ a m té u l u o s a la u un e so t de c t t m é s l d . d i pi i Q e q ef i , ea , r e rava e er in e ’ m l c s c u ur l u ll o ud d écu e . po inte des j on s o s a fe i e en n e Par p a e , ’ ’ (l es n én u f a r s un s ct 2 tt s c éta ien t des c sc d s d un d , in e e pa e a a e pie , m h t u t L e sou t s bl s ui s t s c o se os . fine ar ai p ai ven invi i e , q fai aien , ’ sol l t s t d un o l es t ts so us l es u ll s sous l es l s ei raver ai ray n pe i fe i e , iane , lobul s bl us des o d s ui se suc so us un to t d e du un o s g e e n e q i ver re , gr céd t s c t l es vi eux b u t co le et dou u s lus lo aien en e revan ; r i re x ; p i p in, ’ ’ sa ul es éb ch és m t d s l u les b s s éla r issa ient o n ran iraien an ea erge g , ren l u é co c s a u d la tout l o t t un t t la c s bl Oil e r r e gri e ; e , a en c n rai pe i pai i e t ou la s mbl t d t cl s t u t s m tout r , prairie e ai vi e nageaien e r i e par i e 1 0 cette ch evel u e v e te ui o do a u pp . 3 r r q n ie fond des rui sseaux calme s PP 3- 41

Both passages here describe a little streamflowing along through the v m country by a illage . In one case the strea is turbulent, in the t m f ’ o her it is s ooth . The general appearance o the river s cou rse is the s m v t s a e in both , o ershadowed by willows and fringed wi h reed f “ ” ss o v v . and long gra , to which the figure che elure erte is applied A v m M ad ame ova r ri er placed si ilarly to that in B y, washing the o f one o n walls the gardens on side and bordered the other by fields , 18 1 n is referred to in N o tr e Coeur . O e or two pictures of farm

13 ° r ml 6- 18 6 61-62 6 2 - 1 1 Fo e e M . E . . 1 00 xa p , , pp , 4 , , 5 , 7 , 95 , 53 ; p. 110 2 2 -2 - 8 - . : . 6 . 2 ; pp 3 , 4 5 pp 55 5 , 7 77 ; p 3 ; ’ d t 1 - - . : u t r Un o e a . 2 M . H . 2 a U. . 26 . V. p 9 C p , p ; , p 7 ; pp 3 4 ; , pp 3 ,

- - 0 O. P . 266 . 1 . 339 4 , 344 45 ; , I , ; p 9 13 1 N . C. . 2 1. , p 3 RE S EMBLANCES 83 kitchens are alike in noting the reflection Of sunlight o r firelight in 13 2 the bright kitchen utensils o f various kinds . In three passages Maupassant describes the same view o f R ouen as is indicated by ’ Flaubert where Emma s gradual approach to the city fromY onville is ” 3 A ll s o f retailed . the pictures reproduce the out tanding features — m L e v c . e the scen the ri er , the hurch spires , the factory chi neys H or la is further like M adame B ovary in mentioning the pleasant M m sound of the church bells on the early morning air . aupassant ore ’ 13 4 o f m than once speaks Croisset , Flaubert s ho e , besides describing ‘” ’ L e H or l m in a a house and garden like his friend s , and entioning in B oule d e S uif the invasion of R ouen by the Prussians during m m which the Croisset house was occupied by the , as we know fro ’ 13 6 m E du ti on en timen the older an s correspondence . In the first ca s 13 7 tale there is a picture o f Hav re resembling in some particulars that 13 8— given in P i err e et Jea n through its mention o f the throng o f o f o f boats in the harbor , the brightness of the lighthouses , the greasy f ri o . M desc thickness the fog Flaubert has one , aupassant four, p 13 9 f - - tions o Mont S aint Michel .

v N m two s Besides li ing in or andy , the writers in que tion resided m v v v uch in Paris , which both ha e described o er and o er again , Flau ’ L E duca ti on sen timen tal e M bert especially in , and aupassant in the m v o f m A s any stories which ha e to do with the life the etropolis . ma m n c ot y be expected , they often depict the sa e s enes , but again

v m o f with distincti e si ilarity . The greater frequency night pictures 14 0 M One v m in aupassant is to be noted . description se eral ti es repeated is that o f the parade of carriages in the Champs - E lysees and 141 n f n the Bois de Boulog e . The reflection o the sun o parts of the

13 2 M - - B . . 18 . 2 B 1 . A P 6 . . . . O. . 2 , p ; p 7 ; , pp 93 94 ; , I , 7

13 3 - - - M E . o n . . 6 6 n ma d . 1 L . H B A N . U . . . , pp 3 3 4 ; r , pp 43 44 ; , p 4 ; , 2 1-2 PP 3 3 . 335

13 4 F r e mle - 1 A . . c. o . B . et xa p , p 9 ; , p 33 ;

13 5 - 13 7 1 Pp . 3 4. III , 79.

13“ I - 13 8 . V . . 18 2 1 2 t o e c. C rr , , 44 59 Pp , , 4 , 93 , 139 ’ 1 - 1 L L M n t- in t- i l . 0 a e ende du o S a M che pp 3 7 ; g ,

- - - - . 1 L . H . 1 11 0 . 0 6 10 . N . C. . pp 3 4 ; , pp ; , pp 75 7 , 94 5

14° - . L a ui t 2 1 28 N , . 9 . Cf , pp

14 1 8 - - - . 2 1 2 8 0 8 M lle F : A heval pp 33, , 9 99, 5 7 ; III , 4 5 ; . C ,

- - . 1 L e 8 Y tt men d e e . ve e: o a e . 206 p 59 ; P r , pp 3 39 ; Pr , pp 7 , 2 0 2 11 -A - - . B . 2 100 10 9. p 5 ; . PP 35 54. 359. 533 ; pp . 97 . 4 84 FLA UBER T AND MA UP AS S AN T

’ carriages and harness is spoken o f in L E duca tion sentimen tal e ’ L inutil B e ut e a é . m f (p . 33 ) and in (p 5 ) the co ing up O a cold wind ’ m L E duca ti on t n t l 2 F on the pro enaders in sen ime a e (p . 98 ) and or t M r c f comme la a t (p . There is an ac ount o a visit to Fontaine ’ L E du a ti n en ti n t l — N tr ur bleau in c o s me a e (pp . 459 77 ) and in o e Coe f m 2 2 f . N . men v (pp 9 ) In addition to or andy and Paris , both ha e m t S c so ething to say about Bri tany , outhern Fran e , especially the R A 14 2 v S . m i iera , Corsica , witzerland , Italy , and lgeria In any cases the younger man seems to have followed the footsteps of the Older in v s m m m i iting these places , for the sa e , or al ost the sa e , route will be

the m m c v outlined , and sa e na es will o cur in the narrati e . There is

t v one no hing to denote , howe er , that the was influenced by the other

m v in his descriptions of what both saw for the sel es . Possibly there

f ma v was an influence in the exciting o interest . This in turn y ha e u ca sed a wish to see places already pictured in thought . Like Flau 143

M v on . v bert , aupassant tra eled in Brittany foot The part isited t u M by bo h was the so thern shore of the peninsula . arseilles with 145 it m w mn R m s tee ing li fe is portrayed by the t o e . In o e neither likes ’ “6 ’ “ ” S t M A s . . m Peter s Flaubert praises ichael ngelo Last Judg ent , 14 7 M u L a i r n m . V e e r a te which a passant conde ns In , during the o f M u description Tunis , aupassant speaks Of a r ined aqueduct near “ ’ the town as l a queduc de Carthage dont parle Flaubert dans

We have been considering hitherto for the most part descrip tions of outdoor scenes ; there are also many o f various kinds o f

c m interiors , which likewise furnish few instan es of striking si ilarity .

“2 ’ S ee for e mle Flaub t s P ar les hams et a r les eves N o tes , xa p , er C p p gr , ’ ’ d e vo a es a nd o es onda nce Ma u assant s A u S ole l S ur l E a u a nd y g , C rr p ; p i , , L i n a V e erra te.

“3 ’ Ma n i l L i u M u nt 18 . a a V e et l o e vr e d e a assa . y , p , p 3

144 f i r - l . 8 f o . 28 8 n F s c . B eP . . U , pp 3 ; C r , I , 3 5 ; i , 1 — - M . P a r . : A end 100 L téme . 1 et t lda t . 200 B 6 o V e . e a S pp 99 ; r , p , p , pp 3 37 , P i ,

- . ir . 1 288 La eu . 2 Une S o ee p ; P r, pp 74 75 ; , p 43 ;

- A n . : E n ta n . 2 1 S e e 80. Br g , pp 5

“5 - - - o 1 2 11 12 2 2 6 . C rr . , I , 53 ; III , 7 ; I , ; II , 9 93 , 345 4 ; pp

2 f A - - 8 8 nee . 02 f n S . . 10 1 e s . ; , pp 9 , 3 4 ; Pyr , p 397 “6 l o . 66 o . . c . C rr , II , ; C rr , p vi

“7 l - o r . o . . c v . C r , II , C rr , pp vi

14 8 i - Tun 1 6 c f . . s . o . 6 6 , p 4 ; C rr , III , 335 3 , 34

86 FLA UBER T AND M A UP AS S AN T

t — m descrip ion Of hands the gnarled and defor ed hands of the worker, “ ” the man m o f the long, pale hands of the or wo an higher station , f A 15 8 s v o . oft , repulsi e hands an rnoux or a Walter Feet no less t u t m han hands are o ften all ded to and aken as sy bolic . The broad , unwieldy boots of Charles Bovary seemto typify stupidity no less “ t t et o f S chna ff s han the fee , fort plats fort gros , Walter , the 15 9 “ ” m f the si ple German soldier . The gros souliers o peasants cor re spond to the character o f the wearers no less than the dainty shoes 16 0 ’ Emm o r Mme A u Mme M m of a of rno x . de arelle s dia ond, which , “ t m mm t held by a hread of gold , hangs fro her ear , co e une gout e ’ ” ’ ui S ala mmbOs d eau q aurait glissé sur la chair , suggests hollow “ t m m mm mm pearls , filled wi h perfu e , fro which de o ent en o ent , une ” 16 1 u ui m m n n u go ttelette q to bait ouillait so épaule e. The likenesses ’ between the diligence in M a da me B ovary and that in L a B éte a M ait 16 2 ’ e L A eu A r es B lhomme have already been pointed out . In v and p ' “ ” 16 3 f c c c ff the designation o a stage oa h as a o re j aune is repeated . ff 16 4 There are several enumerations o f di erent kinds of carriages .

D s o f u mm o f o r e criptions pict res are co on , including discussion p f f 16 5 R traits o f characters and o representations o Christ . iches and “ ” o f m their paraphernalia , such as bibelots any kinds , occupy a 16 6 n considerable place in the works o f both me . In M aupassant there is some use of names which have evidently m m a more o r less close connection with na es in Flaubert . The na e “ ” 16 7 P oittev in v m Le , for instance , occurs se eral ti es , recalling the

15 8 - L D i bl . 12 1 L . H . : e a e . 8 B . . 208 Fo r e mle M . xa p , , pp 9 ; , p 7 ; p 7 ;

- 1 B A . . 0. . 6 L e M a u s d e F umer a l . . L . H . : rq i , p 97 ; p ; , p 5 15 9 ’ l u hn . 2 L A nt r d Wa te c a s . M E . . ve e e S . , p 59 ; r fl , p 35

100 t . M . E . . 1 Fo r mle . 8 0 e c exa p , p 77 ; , pp 3 , 9, ; 11 p . 5 .

16 1 - l l 2 f so . a . . B A . . c . S . , p 37 ; a p 43 ; , D 59 19 ) 16 2 - 3 I . 2 2 8 8 . 01 S ee a bo e . v , pp 5 59 p 5 ; . 9 1“ i M H r : L a F celle . 2 1 2 . . 2 8 M E . . . a . 8 . . , p 35 ; p 9 ; , p ; p 9 105 ’ ml B . . 20 2 1 . Ta ine: L A mi P Fo r e e M . 6 6 a xa p , , pp , 3 , 4 ; p 5 ; ’ - - 2 . 2 1 . L i A . . 1 ff . ff 0 8 etc. I B t ence . 2 B . 6 . , p 9 ; , pp 9 , 3 7 ; pp 4 , 3 7 , ;

- 1 ff . 2 ff . 2 1 ff . ff . 11 . t i . ff 2 n 8 8 8 2 . 1 ff U o a t . 1 P r r , pp 3 4 ; pp 9 , , 3 , 94 , 9 , 4 ;

- 2 A . ff . . 1 . . B . . 8 p 4 9 ; , pp 47 ; p 4 ’ 10° - ml l . . 1 ff L d e . B . . 6 6 a 66 E . 2 tc Fo r e e M . S S xa p , , pp 5 7 ; , pp ; , p 7 , ;

- ui sa it f . 2 8 La a o nne . 8 . Q , p 4 ; B r , pp 7 95 107 ml ll 2 . P r 68 O . Fo e a e M e F . : L . V. . 26 . 2 x p , , p ; p ; , I

p . 97 . RES EMBLANCES 87 family friendship which was the beginning of the relationship n o r v o f between the two me . There are one two sou enirs also ’ “ ” ’ 18 8 A Ma u a ssant s Fla ubert s S aint ntoine . In p story of that title m N m A the na e is applied to a or an peasant , called ntoine , whose “ ” i O m cochon is the Prussian soldier billeted upon h m. ther ention t t o f the same name in comparisons is found in L a pe i e R oque (p . 44) “ ” ’ - m L A veu and B el A mi (p . The na e Polyte is applied in to

v o f L e a in man- o f - - o n the dri er a diligence , in L p to the all work a “ ” “ ” “ ’ ” m or le l auber e far , recalling the Polyte Hippolyte , garcon de g , 16 9 “ ” M o r n o eur simle in ad ame B va y. Paul in U C p is the character “ ’ L E duca tion sen timental e corresponding to Paul in Un e Vi e . In “ ”

f M . M we hear o la petite a R oque (p . and in aupassant we f “ R m m have the story o la petite oque . Occasionally the na es see

i m m V e to be g ven with so e special eaning in iew . Thus an unfortunat “ ” m v - Ami A m wo an is called Félicité , and a false lo er , Bel . l ost all ’ the titles o f Flaubert s novels are taken fromthe names o f personages M s m f in the novels . aupas ant also uses largely the na es o characters _ fo r h o f r mn o tes d esi t e titles his o a s and c n . Where he does not the g v s nation frequently lacks distincti enes . In characterization there is much similarity between the two , o e m con authors . This has already been c nsider d to so e extent in nection with plots and incidents which depend in whole or in part ’ on v v L E du the characters of the personages in ol ed, as is the case in ca ti on s entimen ta le S m m for instance . o e additional rese blances will ’ Em be treated here . Flaubert s best known character is probably ma v m S a Bo ary , Of who there are echoes in his subsequent work . la mmbO for m m in fo r unatta in , exa ple , rese bles her her longings the M R m 17 0 able , lle oque in her dissatisfaction with present circu stances . On comparing Flaubert and Maupassant we find that there exists a close likeness in character between E mma Bovary and Jeanne o f Une i e m m m V . There is also a arked contrast between the , which see s at ’ m on M au a ssant s ti es to be intentional p part , as i f he had set Jeanne over against Emma designedly in order to emphasize the likeness ’ m m ff m e between the by eans of their di erences . In so e cases J anne s experiences suggest to one that they are planned so as to carry out E mm’ m a s i aginings .

16 8 2 - 2 pp. 17 3

16 9 0 . . 1 ff pp . 5 ff pp 07

' 17 0 p. 357 . 88 FLA UBE R T AND MA UP AS S AN T

t v R one a t Bo h are educated in a con ent at ouen , the entering 17 1 t v the t o ff m c wel e and o her at thirteen, cut fro conta t with ordinary huma n aff airs and subj ected to unnatu ral influences whi ch tend to v m m encourage an already too acti e senti ental i agination . Both spend mu ch time at the convent in dreaming of lo ve and leave its walls behind with extravagant hopes for the future and with an already

c m m c c t u v onfir ed habit O f ind whi h influen es all heir f ture li es .

E s m the o v c ach girl return to her ho e in c untry on lea ing s hool . Jeanne has been kept by her father rigidly secluded fromthe world

and is astonishingly ignorant of realities . In her outlook she is senti

- m if m . E mm s ental , on the whole healthy inded a , while posses ing

nai vete is m c m s t a of a kind , u h ore ophis icated than Jeanne in her m m knowledge o f li fe , and her senti entality shows already a orbid

quality .

t v In the coun ry Jeanne takes great delight , lo ing nature in all its

s c o v . E mm c a pe ts , and filled with the j y of li ing To a the ountry is d m o n m istasteful , for she knows it too inti ately its ore sordid side ,

the t s m t t m c and li fe here is weari o e and unin eresting . Bo h spend u h m u m u ti e alone and ind lge in that drea ing which is , througho t both

m t c t s books , the great si ilari y between the two chara ters . In bo h case

ms c the drea are full , first of expe tations for the future , and then o f s fo r ff o f m regret the past . The e ect the drea ing is in each ca se the s m— the o f m m c o f a e separating the drea er fro the a tualities life , o r v and the begetting of unreal extra agant ideas and expectations , of

c r v dis ontent o re olt . In their dreamings the two women reveal the radical diff erence

E mm m s between their natures . a is funda entally sen ual ; Jeanne is “ s t u Em m o f mm in m . m co es en ially p re a , a typical exa ple the fe e ” et s prise passionnée , fosters within her elf notions of a grand pas m “ sion like that of the heroines of who she has read , la légion lyrique ” 17 2 de ces femmes adulteres ; Jeanne dreams o f a lov er who is also u o f ff c chatea u a h sband , children , of a li fe of a e tion in the with which m ost o f her li fe has been connected and which is to be hers . Both

the one exhibit certain delicacies in act and thought , springing in c m - m - m ase fro sel f indulgence , in the other fro innate pure inded E m . m m c mt ness a wishes for aterial luxury , for hange , for so e hing “ extraordinary to happen Jeanne would be satisfied with les simples bonheurs d ’une existence To both realization falls short

" 1 17 2 " 3 M . 2 2 E ...... E . . 0 M . 8 U V U , p 4 ; , p 3 , p 5 V . 0 37

90 FLA UBE R T AND MA UP AS S AN T

b ut mt v m an indifferent o her , her lo e for her child being spas odic “ ” m m I s me t and so eti es a pose ; Jeanne une re fanatique , erring here

c by in the other direction . In personal appearan e they are direct

t t o ne o f E mm an i heses the other , a being dark and rather slight , 17 - 9 Jeanne fair and v igorous looking . ’ c t m In er ain particulars , as has been said , Jeanne s experience see s ’ Emm m v one m to fulfil a s i aginings . Her oyage to Corsica is exa ple f f E mm o this . O a we read

E lle songeai t quelquefoi s que c etaient la p ourtant l es plus beaux j our s d s l lu m l mm n t u o ter d uc u il e a a de co o d s . o fi la o vie, ne ie , e i ai P r en g e r, ’ efit llu s s dout s en ll s ces s a oms so o s OiI les fa , an e , a er ver pay n n re lendemains de mariage ont de plus suaves paresses ! D ans des chai ses de o st sous des sto s de so bl u on mo t a u a s des out s sc é s p e , re ie e e, n e p r e e arp e , écoutant la chanso n du po sti llon qui se r épéte dans la montagne ave c les l h h u c u d le sol l se c oc ettes des c evres et le bruit so rd d e la cas ade . Q an ei couch on s au bo d des ol s l umdes c t o s u s le e re pire r g fe e parf i r nnier ; p i , so sur l a t ss des ll s s ul s et les do ts co o dus on d ir, erra e vi a , e ig nf n , regar e e l ui mbl t ue c t u sur l s étoiles en fai sant des proj ets. I l se ai q er ains lie x la t d t odu du b o h u comm un e l t t cul e a u erre evaien pr ire n e r, e p an e par i i re et ui u s ml tout ut so l o s a t M B . . q p e e a re par [ . , p

A m m o f llowing for the ro anticis of the expression , the first part this passage recalls Jeanne ’s wedding j ourney by the gulfs and through “ ” m o f cc v au the ountains Corsica , long oyage pas , past its hauteurs It calls to mind also the emotions produced in her by mm o f her surroundings there , and her re e brance these days in after m years as a ong the happiest of her life . Other examples of the fulfilment o f Emma ’s dreams in Jeanne ’s E mm experience are as follows . a hankers , as has been said , after the E mm nobility ; Jeanne is o f noble rank . a would like to see Paris ; ’ v Emm v Jeanne has isited Paris . a hopes to ha e a son ; Jeanne s child Emm “ is a son . a wishes that her husband were beau , spirituel , ” t m o f distingué , a tirant ; Julien possesses , at least at first, so e these 18 1 attributes . More like Emma in some respects than her daughter is Jeanne ’s m “ ” h mm t . S e c E o her , la baronne is addi ted , like a , to the reading of

" 9 - B . 1 . . V . M . . . 2 0 etc 8 etc. U. , pp , , 4 , ; , pp 3 4

18° - U. V. . 11 102 . , pp 93 3, 191 In all these d etails Maupassant seems to b e working out suggestions ca u h f m g t ro Flaubert . RES EMBLAN CES 9 1

18 2 m o f S ir S ro antic fiction , such as that Walter cott , to a consequent o f m exaltation passion as the ain thing in life , and to an easy toler f m S he o f m ance o a orous irregularities . is fond the nobility and uch h impressed with their importance . S e has had a love intrigue in her ’

v Emm . past history , which is disco ered , as is a s , after her death 18 m um f 8 through the edi o her letters . M m r m Other likenesses to ada e Bova y are nu erous . Those in Une A ventur e parisi enn e and L a P arur e have already been men

” 4 ‘ 18 5 i n M o aste v nm t ed . c o In . J we ha e an instance of disillusio ent ’ E mm’ E mm rather like Jeanne s than like a s , but attaching to a through

M onsi ur P a r n t E mm that intermediary . Henriette in e e is like a in m f 18 6 her detestation and consequent treat ent o her husband . The following paragraph might describe almost equally well the Bovary situation :

] t é ousé u l u s a nn eés l us tOt une u mm m I avai p , q e q e p , j e ne fe e ai ée tendrement qui le t raitait a présent avec une rudesse et une autorité de ’ o ou - t E l l ou m d t s c ss ou tout ce u l desp te t t pui ssan . le e g r an ai ans e e p r q i ’ s t et u t ut cc u ne s t as lui och t m t ses fai ai po r o q il fai ai p , repr ai aigre en mo d s ct s ses h b tud s ses s ml s s s ses oii ts ses llu s in re a e , a i e , i p e plai ir , g , a re , l 18 7 ses st s o d u de sa c tu et le son c d de sa o . ge e , la r n e r ein re p a i e v ix

On one : ne occasion Henriette says to her husband Tiens , tu seras ’ m u une um v un v mm v ja ais q loque , pau re sire , pau re ho e sans olonté , m ” E mm m sans fer eté , sans énergie , j ust as a exclai s of Charles “ ” 18 8 Q uel pauv re homme ! quel pauv re homme ! A t another time she to v f or explains her lo er her reasons detesting her husband, which ’ E mm f is ex a s m . o ight also be a s First all , he her husband ; then he perates her constantly by his stupidity and slowness Of comprehen sion .

Emm M an t- riol There is further likeness to a to be found in O . 18 9 A t not m v m Mme A m first uch gi en to drea ing, nder att is brought ’ through B rétigny s advances to perceive ecstasies not yet enj oyed ” 0 f r m E mm m and to long o the like Jeanne and a . When her drea s

18 2 - 18 3 l 1 b . 6 . S ee be o , 6 , S ee o w, pp 5 57 a ve, pp 5 , 75

18 4 M l - - 66. l e F . . 1 20 . see bo . , pp 93 5 pp 59 74 ; a ve, p

18 5 18 ° l - - l ee es l . 22 0 8 M le F . . 260. S c , p pe ia y pp 5 , 3 , 35 3 , 187 M . 86 tc. M r . cf . 6 P a . .B . e . , p 5 ; , pp 57, 9, 77 , , 188 M P ar . . 2 M B . . 86 . . , p 7 ; . , p

I S O - I 9" - M 2 M . 1 0 O. . 1. . . , p p 39 4 9 2 FLA UBE R T AND MA UPAS S AN T

’ ’ ” are realized she exclaims : Mais j e l aime j e l aime ! recalling ’ “ ’ ” 19 1 by contrast E mma s J ai un amant ! un amant ! In her thought ’ su she m Emm at a bsequent period repeats al ost these words of a s , ’ “ with a suggestion of the latter s delight at possessing cette fiév re du ” 19 2 “ ’ u S he s : A u il t m ! bonhe r . think ujourd h i é ait son a ant son — amant ! D onc elle avait un amant ! E lle était sa maitresse ! 5 a — maitres se ! E lle répétait ce mo t dans l e secret de sa conscience sa mai tre sse Mme R t v v oland is ano her who is represented as ha ing li ed , like E mm o f c m a , by the side an uncongenial husband herishing drea s “ ’ v m de clairs de lune , de oyages , de baisers donnes dans l o bre des ” v m E mm one soirs , and as ha ing succu bed , like a , to the who has 19 4 o u br ght to her that for which she has longed . m E mm v m The asculine counterpart o f a Bo ary , so far as drea ing M A t v goes , is Frédéric oreau . all stages of his career, until the ery

m s the o f A endr e m last , he rese ble youthful wanderer V , drea ing “ ’ ’ a u cc u tt a ce a to t q on a end sans cesse, tout qu on désire , la fortune , a ” 19 5 h a mm t e v . la gloire , la fe e , with , perhaps , order re ersed His propensity for reverie is closely associated wi th hi s other character i ic f ff s It m c st o ine ectivenes . is also allied to his ro anti feeling for Mme A m hi s v rnoux , which do inates whole life and extends e en 19 6 ’ to v v F rédéric s e erything connected with her . It is, howe er , rather

f c M o . e n incapability a tion which is repeated in aupassant Br tig y , ’ ” 197

ff c . A n for instance , is said to be incapable d un e ort ontinu 19 8 m f a n extreme exa ple is found in R egr et. This is the story o a m

f - m m v o v . sixty two , who see s to hi sel f to ha e li ed a futile li fe He reviews his existence as he looks out o f the window at the falling ra m

’ ’ S i co sa t été ml ! S il t t u l u chos s il en re vie avai re p ie avai fai q e q e e, t eu d es tu s de ds l s s des succes des s t s ct o s de avai aven re , gran p ai ir , , a i fa i n ’ t I n a t m u e l ut o t M n . i o s . s o n l av t s e s e r e ai , rien rien fai , j a ai rien q ever , m a ux mems h u s et se co uch anger e e re , er

’ I n v i mm a ét m l a a t e e p s é ai é .

m 195 - - 2 M . P a r . . a 1 M B . 2 . 8 r 0 . 6 . . , p 5 ; , p 5 . p 9

192 - 19 ° F r e ml . 8. M B . . 2 2 26. o . , pp 5 xa p e, p 7

19" - M O. . 1 . 1 2 . 0 p , 7 , , p 9

1“ - 19 3 - H r . . 2 6 . 6 18 . M a f r e mle . 10 0 P . ej . o , xa p , pp , 7 9 , pp 57 7

94 FLA UBER T AND M A UP AS S AN T

E f part o f each day . ven the garments o the wife are preserv ed by 2 08 both . ma c We turn now to another likeness in sculine haracterization . “ ” R M ad a me ovar o f m odolphe , in B y, is a type the predatory ale m c M t ul whose prey is wo an . He has suc essors in aupassan J ien , in

i e et n t- r i ol T Un e M a n O . o V , is one ; Paul Br ig y , in , is another both o f these men may be applied equally well the description given o f “ ’ ” 2 °9 t m m et d intelli enc R odolphe as de e péra ent brutal g e perspicace . A ll c m m f E c three show the expe ted cynicis in a orous af airs . a h makes advances to the woman o f his pursuit for his own purposes ; t s each soon ires of his conque t, being desirous of perpetual change in m m atters o f the kind ; each is careless of the blows he deals his victi . A ll three can lay claimto a certain elegance and power of attraction ; f m f D f B e o o . G o l all are possessed so e degree wealth eorges uroy , 2 10 A mi s m , already described , would al o belong to this class fro cer tain of his characteristics . M m H o ma is In aupassant , further , there are so e traces of and of the caricature o f Volta ir ia nismapparent frequently in the utterances “ ” 2 11 M n t- r l f r m mc . a O io o of the phar a ien The doctors in , exa ple , s him - m sugge t in their fussiness , their self i portance and exaggerated

- confidence c -be self , their ridi ulous actions , and absurd , would learned 2 12 ’ 2 13 m s S o c n ou d t pronounce ent . also does the do tor in U C p é at t m s - m the m hrough the sa e fussine s and self i portance , sa e posing m and fondness for elaborate language , as well as through his extre e ’ c M S m D écor m . . e desire for publi glory acre ent , in , is , like the phar a m cist , obsessed with a longing to be decorated , and writes pa phlets , H o ma is v as does , in the hope of attracting the attention of the go ern 2 14 ment Like his prototype also he does everything methodic n o f m m i ally . O the Opposite side the edical situation fro H oma s “ ” are the cripples who appear in both authors . The pied bot of “ ” V R D es er 1 6 Hippolyte is repeated in the énus ustique of V s (p . 3 ) 2 16 u e A t m and in the story of L e G ux . no her cripple with an i portant

2 08 - f . 1 2 . 1 M . E . L es i o ux . c . B j , p 43 ; , pp 47 , 47 73

2 09 2 11 ml - - M . . fo r a e 1 2 1 B e . 06 1 e c. 8 1. t M . E . . 1 , p , x p , pp 7 , 3 4,

2 10 2 12 - 7 1 f . M 3 - O' ff . e . . C o tc S ee a bo e . 6 if v , pp 7 ) 11 4, 4 ,

2 13 - 1 2 . pp . 5 3

2 1‘ L M ‘ B ' ' 18 2 1 es . . C pp . p DD l pp 7 , 3 ;

2 15 - 2 ff . e r ml e M E . . 1 fo e . 0 tc. a e 2 1 c i . P g 5 ; , xa p , , pp 3 33, 34 ,

2 16 1 . p . 77 RES EM BLANCES 95

le ére v M ant- Ori ol place in a plot is p Clo is , of , who drags his ” m v o f right leg (p . S o e sou enirs Hippolyte also attach to the ? " hideous inn servant o f Un Fils He is thus described when first “ ’ seen : 11venait maintenant de puiser de l eau pour les chevaux et u v um ff portait ses de x seaux en boitant, a ec e ort douloureux de la ” 218 One m jambe plus courte . is at once re inded of Hippolyte as he ’ goes limping about his business at the Lion d or o r through the 2 19 village . v o f Besides the inn ser ants , others belonging to the class depend

m M a da me ovar old m ents suggest si ilarity . In B y there is an sea stress who comes to the convent where Emma is at school and enter lockette tains the girls with her tales of gallantry . C is the account o f m m v m mem a si ilar old sea stress , whose isits are a ong the childish ’ o ries o f s m on te S he the pokes an in the c . frequents his father s him 2 2 0 house and tells stories while she sews . Love for children and the influence o f childhood occupy attention M E mm v m both in Flaubert and in aupassant . a Bo ary is recalled fro the orgy o f the ma squed ball by the thought o f Bertha sleeping at 2 21 m m m home . Charles Bovary is redee ed at ti es fro his unattractive 2 2 2 A m m ness by his aff ection fo r his child . si ilar redee ing aff ection ’ ? ” is exhibited by R osanette in L E duca ti on sen timen ta le and by more ’ than one o f the outcast or unfortunate women in Ma upa ssant s 2 2 4 N m o f m n stories . u erous other instances this senti ent ca be o f — found . The other side childhood the cruelty of the young m — v ani al is likewise represented by the two authors . We ha e the m o f schoolboys tor enting the awkward , shy boy at the beginning

“ M a dame B ovary and torturing the poor little lad in L e Papa de 2 26 S imon . Most o f the resemblances j ust discussed have to do with M a dame ovar a B y; there are also a few associated with S al mmbo. There is a certain similarity between the upbringing and outlook of S alammbo v m and Jeanne . Both ha e been kept by their fathers shut up fro con tact with the world and come to meet it in consequence with greater

2 1 2 19 " - ml 2 2 Fo r e M -B 1 . 2 0 1 . 6 C pp . 5 3 xa p e, PP 95 ,

2 18 2 2 ° - L H . 8 1 82 t 2 0 . Un Fi s , , . . , p 5 , pp

2 2 1 2 2 2 - r ml B . . 2 1 . B 0 Fo e M . 0 M . . , p . 4 3 . xa p e, , pp 7 7 , 473

2 23 - ml Ff. For e . 6 xa p e, pp 5 55 5 , 574

2 24 - ff 6 L . M . 2 28 . 68 . For ml . exa p e, p 5 ; pp 7 : pp

2 2 5 2 26 - F r ml a n t e c LM . T. . 11 M t . o e . e xa p e, P r , , pp 9 34 96 FLA UBE R T AND MA UP AS S AN T

A or less ignorance of its ways . second detail of likeness to S a ’ lammbo found in Maupassant bears witness rather to Flaubert s 2 2 8 exact reproduction o f unchanging A frican life tha n to any close

literary relation ship between the two authors . When we first see the Carthaginian maiden we are given a picture of her lofty head n f d re ss a d o the abundant j ewelry with which she is adorned . In

c u v c o f A M his a co nt of the Pro in e lgiers , aupassant depicts the dress “ ” “ ” O - N i m m coi ur e of the ulad a l , which includes also a onu ental fi m and any j ewels . The corresponding passages are as follows

FLAUBERT MAUPASSAN T

une mm a arait d bout fe e pp , e sur une o t c une la e of p r e, ave rg c f ’ fur e qui semble d origine assy ’ r i erme su mo té d un o m i , r n e én r e d a ’ d m d o r é e . ’ S a chevelur e oud d un v c l eurs hautes cof , p rée a e f ’ ’ s bl v ol t et r ea me en orme de u es a diadémes ui ll t l es a e i e , f f r q rappe en tour el n la mode des mer es ba s- l s e tiens les Ou d s o g re ief gyp , la ’ N l t cha naneennes s t araitre t d t . , la fai ai p ai a en en ’ l d erl e u s c us d . D es tr esses e s d autres c p gran e p P i en voi i , ave ‘ attachées a ses tempes descendaient l a meme coiflur e monumental e : une ’ us u a ux co s de sa bouch o s monta ne carr ée ui ss d j q in e, r e g q lai e pen re ’ comm un t u t de ch u coté une ra nde t e e e grenade en r o ver e . aq e g r sse ’ ’ 11 a va i t sur sa oi t i ne r massem tomb t us u a u b a s de l or eille y p r an j q , bla e de i e es l umi n eus es mt t u s l é e o u g p rr , i i an p i re ev e en arri re p r se ’ par leu r bigarrure l es écailles d une perdre de no uveau dans la masse mu o u h b s ia es c u . E ll e . S es s de d d s o t t r ne ra , garni paq e eve x e p r en m ts so t t nus de sa tu u tou o u s des diadémes do t u l an , r aien niq e j r n q e

u s- un o t o t h s m ch s l . s s c s. La oi s S a . an an e [ , p q e n f r ri e p ’ t i ne est n a ee sous l es collie s l es r y r , médaill es l es l ourds bi oux et u , j ; de x ’ fo rtes chainettes d argent font ’ tomber j usqu a u bas- ventre une oss s u de mem mét cu gr e err re e al , r ieusement ci selée a j o ur et d ont la ’ clef pend au bout d une autre ’ chaine L a P r ovince d A l er 6 66 6 y , pp . 4, , 4]

2 2 7 l a . 6 1 . . . S , p, ; U V. , D 3 “ ” 2 2 3 f L e and L n u t n e la mmo D M u C . . t e e de S b R . . e B r r , Ci q an air a , (J n I es - , p. pp . 594 95

98 FLA UB ER T AND MA UP AS S ANT

There are one or two other special details o f similarity between a

certain priest in Flaubert and a certain priest in Maupassant . The 23 7 A B ournisien c cow bbé , for instan e , tells of being sent for to cure a ;

the Abbé To lbia c is thought to hav e special powers in this direction . The Abbé B ournisien is respected all the more on account o f his athleti c frame ; the Abbé V ilb ois is honored because he is the most 2 3 9 A muscular man in the district . phrase applied by both writers to “ ’ members of the clergy when speaking scornfully of themis l homme ” “ ’ a la soutane o r l homme en The representation o f M m the clergy in aupassant tends to beco e caricatural , as do his por 24 1 2 4 2 traya ls o f the E nglish and of unmarried women o f a certain age . ’ ’ “ ’ In M aupa ssa nt s S nr l E au we read the following words : C est ’ et uel u un un v v une foule , cette foule est q q , aste indi idu collecti f , ’ ’ ’ aussi distinct d une autre foule qu un homme est distinct d un autre ”2 43 mm out ho e . This characterization is worked by both Flaubert M m and aupassant in their nu erous descriptions of crowds . Contrast , “ ” m m o f M a dame for exa ple , the throng at the Co ices agricoles ’ B ovary with the numerous street gatherings o f L E dnca tion s en ti men tal e; o r compare the peasant crowd in L a Fi cell e with the assem 244 M o f B el - A mi bly round and in the adeleine at the end . Both note — “ the strange impulsion that sways a crowd what Flaubert calls le m m ” 2 45 f m agnétis e des foules enthousiastes . The idea o the accu ulated ’ “ ” “ ff o f m e s One e ect the ultitude s b ti e is also expressed by both . eff ect apparent in glancing over a crowd is noted by the two men in s m m o ewhat the sa e words . In both instances it is a peasant gather e ing that is b ing described .

FLAUBERT MAUPASSAN T

' et s ur l a l on ue ondula tzon d e L es co nes des boeu s l es ha ul s , g r f , tous ces co s tass és on vo ait s e cha ea ux a lo s o ls des s s rp , y p ng p i pay an lever a u t comm un flot u l u ch s et l es coi es d es s s ven , e , q e q e ri e fi pay anne

2 3 7 2 3 8 - M . E . . 1 . . 2 1 U. V. 0 . , p 57 , pp 9 9

’ 23 9 M E f r ml 1 l . L ha m d i ier . . . o e e . 0 e O o s , xa p , p 5 ; C p , p 49

2 4 ° . 2 U. V. . 2 . 0. p 3 4 ; , p 74 ; p 3

2 4 1 F r ml T ine : N A n la i - 1 o e a e o os s 20 6. x p , g , pp . 3

2 4 2 F r ml M ss H a e n Ta n L in n i o e e t a d te so U e V e. xa p , i rri ; i n 2 43 Page 108 .

2 “ - M E . 18 2 1 r ml . t . H r . fo e e . 8 ff . ff e c M . a . , pp . 3 4 ; xa p , pp 3 , 397 , ; ,

- - . 2 1 4 8 19. A . 2 . pp 5 ; , pp 57 73 2 15 1 2 2 4 ° - , 1 . . . 11 11. 13 5 15 ” 9 4 0 ; p . 09 p 209 ; pp 0 RES EMB LANCB S 99

’ rimere bl ch ou s ll des éme eai en t a la sur a ce de l assem c an e, ai ir rg f

' ’ i ue et e tétes d h -mme bl L i l cor nes a s d s o s ee a F cel e . g , , p B 1 0 i u t M . . u co . q raien [ , pp 9

A n -a s m oneo f m gai , often , the rese blance here is general i pression , — ’ with fairly close likeness o f details the great sea of men s and ’ m one v ani als heads , with here and there rising abo e the ordinary m s as . In the preceding pa ragraph we spoke m0re than once o f rustic v o f gatherings . In both authors we ha e representations the peasant f v and fisher classes o f Normandy and Brittany . In dif erent indi id ual s we have the varying and even contradictory characteristics of c out— ina rticu these lasses clearly brought deep , enduring, but often f m late , af ection , faithfulness , cal acquaintance with and acceptance o f m mat the facts of li fe , shrewdness cautiousness , keenness in oney m n i m m ters , si plicity no less tha tr ckery , ental li itation , superstition , t low o f m stolidity , brutali y , roughness and coarseness , ideals orality , “ f ” 247 fondness for pleasures o f the table and o r farces . S pecial emphasis is given to the shrewdness of the N orman and to the super

“ stition o f men v o f the Breton . Both obser e the nearness the peasant E m o f in certain aspects to the brute . ach says so ething peasant m e on one costu e and appearance . They ref r also , the hand , to the m o f man o r m on strong fra e the country wo an and , the other , to the deformation of that frame through constant and brutal manual 248 toil . In previous chapters there have been considered the ideas defi nitely enunciated by the two men regarding li fe in general and lit c c ex emlifica ti n o f rary pro edure in particular , as well as the p o these ideas in practice . In the following pages will be treated other ideas similar in the two but not included by themin their explicitly pro nounced theories . o f There is , first o f all , the thought the salutary eff ect of ordinary Emm . m m things a , co ing ho e in the diligence after her unsuccessful m m R m atte pt to get oney in ouen , is turned fro the poignancy of her 24 9 o f - trouble by the spectacle the well known obj ects along the way . Jeanne is roused fromapathy to new feeling as she holds in her arms

2 “ Fo r ml M E 1 2 - - - - - e e . . . 8 2 8 2 2 2 1 0 if 2 xa p . , pp . 7 . 3 33 . 35 4 . 7 . 9 , 208 9. 37 39. ’ 2 61-6 6 -6 - . 2 28 etc. Mau a ssant s um ous 49, 4 3, 4 7 9 ; pp 7 , 37, ; p n er e sa t sto es and the s - A . e ts U. . B N V . . C. p a n ri p a an in , , 2 4 8 I bid 2 49 . M B . 1 . . p 4 5 oo FLA UBER T AND MA UPASS AN T

m o f m v her infant grandchild . The drea s a father or other o er the utu o f c d M a da me ovar f re a child are to be found re orde in B y, ’ ? 5 1 L E d uca tion sentimen tal e Un e i e emo , V , and elsewhere The 2 5 2 t ional a ction o f musi c is noted several times The connection of

’ m t v - m t m m o onlight wi h lo e aking is frequen ly e phasized , as is the ore

c v c general idea , of whi h this is a part , that lo e needs special pla es 2 5 3 l n v and circumstances for its deve Opme t . The thought that lo e — not always a very high type of that passion is the only good thing 2 5 4 in life is expressed by both writers . D reams of foreign countries and the longing to travel therein hav e been already alluded to several times as described frequently by ? 5 5 both men Usually the dreams contain more o r less o f what M au “ v ev m c passant calls la ieille poésie des enl e ents no turnes , des chaises m ” 2 5 6 t v v . de poste , des auberges , outes les char antes a entures des li res c n m v ve The ou tries the sel es , e n if they happen to bear such ordinary m “ ” “ ” “ na es as Italy or Corsica , are frequently pictured as les pays

u v m et m v in ble s , les pays roses , les pays in raise blables er eilleux , trouvables et touj ours cherchés qui nous font j uger médiocres tous ” 2 5 7 B l -A i m les autres . In e mthere is a co parison deriv ed fromthis “ ’ longing for the unattainable : I l n ava it j amais songé aux filles de ’ son directeur que comme on songe aux pays lointains qu on ne verra ” 2 5 8 j amais . ’ u or r es onda nce 1 8 In Fla bert s C p (I , 5 ) there is a short sentence m M 2 5 9 m m which suggests a uch longer passage in aupassant , the ediu o f communication here being probably discussion o f the same sub

2 5 0 U. V. . . , p 379

2 5 1 - - M E . . 2 1 2 2 . 8 0 . 8 . . . l 1 U V S a . . 6 . , pp 7 , 7 7 ; p 5 4 ; , p 9 ; , p

2 5 2 F r a ml - o M E . 0 10 11 e e . 0 8 . x p , . , pp 7 , 3 9, 3 ; pp . , pp

- - 2 1 2 26 1 ff N . C. . 1 8 0. 3 3 , ; , pp 3 4

2 5 3 - - F r a ml . 2 E . 60 -d o e e M . 6 6 C l » L - -R x p , , pp , 74 7 , 354 5 ; , DP P Juli - - R m n 2 1 18 . 2 e . 0 M .B . . 8 1 o a U. . . . 0 . V U V . ff i , pp 5 ; , pp 7 73 ; , p ; , pp 7

2 5 4 Fo r e a ml e 12 l . 60 6 M l P er l 1 1 J li e e . u e x p , pp 4, ; , p 4 , R ma in 2 1 - o 0 ff . B . A . . 12 . , pp . ; , p 3

2 5 5 m - - - Fo r e a l M . E . 6 1 112 1 2 1 2 e . 1 x p , , pp 5 57 , 7 , 3, 7 7 ; pp . 97 , 33 2 8 6 D 60 6 6 o . es e s : ne n ué t V U C e . 2 1 45 , 3 , 3 5 , 4 9, 5 4 ; C rr , II , 59, 3 ; r o q , p ,

- - - . U. . . 6 B A . . V . 0 M . O. . 1 0 p 3 ; , pp 53 54, 3 3 ; , p 54 ; , p 5 ; pp . 45 , 8 A u 10 . : P e S r ace . 2 ff ; f , p 5 ; pp . 9 . ” 6 3 - A 2 5 7 M - 11 f 1 ” 8 . . . 0 . c . M . E . . 2 I . 6 . a e 6 v p 5 37 p 3 ; , pp 5 . 7 P g 9

2 5 9 L li - n . Th l m r a ote I ta en e . 6 e ces e t o ed a e th ose C , pp 3 39 pa a n i n f o Genoa .

10 2 FLA UBER T AND MA UPAS S AN T stormcorresponds to the terrible deed o f the drunken man ; in La

etite R o ue v o f p q , the falling lea es are said to be the tears the trees “ ? “9 over the ending o f the year and perhaps over the murdered child

c t m There are tra es also o f his thought in Flaubert ; for exa ple , where the cl ouds pile up and the rain fall s as Emma looks out o f the window ’ ? 7 0 e mY v v after L on s departure fro on ille In general , howe er , the treatment o f nature in Flaubert is more or less detached fromthe circumstances of the story ? 7 1 “ ” The pathetic fallacy is not the only formof romanticismto be u R m m found in the authors in q estion . o anticis appears , for instance , e m in their expr ssed longings , already often noted , to flee fro burden

m . so e reality toward the distant , the unattainable This attitude is

‘ ’ m S a lammbo L a e ende d e S ai nt uli en e bodied for Flaubert in , in L g J ’ l H os i ta lier H er odia s M L e H orla p , and in ; for aupassant in and in other weird stories o f the supernatural . There is besides in Flau

t - v m bert a cer ain all per ading sense of the ysterious , due at least in v part to the agueness produced by his superabundance of detail , which has o ften the eff ect exactly opposi te to that o f the exactitude m M intended . Corresponding in so e sort to this in aupassant is the to weirdness already alluded . R m o f v o f o f o f the o antic thoughts lo e , foreign countries , Paris ,

tt c E mm v future , etc . , u ered by haracters like a Bo ary , Léon , Jeanne , e v S and Paul Br tigny , ha e also already been discussed . uch ideas c to the o f m are continually being tra ed reading ro antic writers , espe ciall o f S ir S m y Walter cott , whose na e occurs frequently in both authors in this connection ? 7 2 In thus linking thoughts which are v m represented as ha ing , for the ost part , pernicious consequences with the names of romantic writers both Flaubert and Maupassant n m make a certain attack on romanticism. O e ight also call romantic the m v ouva rd et in a sense extre e , e en grotesque , caricature of B ’ ? 7 3 P écu chet and of many o f Maupa ssant s stories A kind o f resemblance observable sometimes between Flaubert ’ and Maupas sant is that in which an idea o f the older man s is taken

2 6 9 2 7 ° . M . B ~ I 6 . p . 33 , P 7 2 7 1 m Fo r e a ml e th e ene a l t eatment o f na tu e in M a da e ova . x p , g r r r B ry

2 7 2 l - 1- 2 r m e M . 8 . 1 2 2 2 e c. . E . t U. V. Fo e a . x p , , pp 4 53 ; pp 9, , 5 , ; , p 33 ’

lu . 1 . P . j . . 1 P : L A n é s 88 e O. . , p 3 ; , II g , p 2 7 3 Co mpa re o n the subj ect o f r o mantici smin Maupa ssant the a rticle by “ l Mo e on The R om t c sm f Gu de Ma u ass nt in O in H . or an i i o y p a

- Ma h 1 . c . 6 ( r , pp 9 34 R ES EM BLAN CES 103

m f up and expanded or given concrete reality by the younger . S o e o the passages used in illustration o f other points might apply equally

For v well here . instance , when Jeanne goes to Corsica , she tra els m E mm v v so ewhat as a would ha e liked to tra el , sees in part what E mm v m o f a would ha e liked to see , and finds there so e the transports which Emma thinks she might hav e experienced in another coun 27 4 ” 5 try The stories o f L e B onheur and Juli e R omain also realize E m ’ E mm o f m v . certain the details of a s lo e longings a , we are told on o ne v m confidences mo f occasion , would ha e ade to the pendulu 2 7 6 ’ L E du a ti on entimnt l her clock ; Jeanne practically does so . In c s e a e 66 c oak (p . 4 ) there is a des ription of trees in which they are spoken o f m M as e bracing . This idea is considerably expanded by aupassant

tr o e r m N o e u . v in C (p where the trees that e brace are , howe er , ’ L E du ti . ca on sen timen tal e not oaks In , again , during the watch after

f M D amb reuse m the death o . the carts are heard ru bling by to the

M s market . aupas ant describes such carts as they go past under the

m out o f f ve e street la ps , the light bringing the colors the dif erent g ” 7 tables with which they are loaded . There yet remains to be considered a type o f similarity which has already been illustrated to a large extent in discussing other points — m A si ilarity in wording . dditional examples o f this will be given f . o here First all , there are scattered here and there throughout the

' ' works o f M while n aupassant phrases which, ot corresponding defi ’ n itel o f v m y to any particular phrases Flaubert s , ha e yet in their co

o la ubertia n positi n a certain F suggestion . S ome examples follow

h ’ ’ C icot avait l air d un bifte ck cru caché dans umbonnet de sapeur ’

M . H ar . L A ne . [ , p “ Ces dames plus chamarrées que l es chasubles des chantres p . “ ’ ' L t s m th des émot o s o t s e range y pa ie i n p ignan e pp . 34 ] I présentait un ma gnifique échantillon de l a gouj aterie naturelle au ” ml t cto u i i aire vi rie x p. “ L e d fl euri des o sso s d st u B - s A . j ar in p li nnerie i ing ée [ . , p . ” Un N de b b iagara ar e I I , p.

2 “ U. . . f V ff . M E c . . . . 6 2 1 , pp 93 ; , pp 5 , 7 . 2 7 5 - - . 8 20 pp 77 7 ; pp . 3 18. 2 7 3 M . E . . 86 U. V. . 12 , p ; , pp 55 , 3 . 2 7 7 . La N ui t 22 . p 543 , p . 3 104 FLA UBER T AND MA UP ASS AN T

u o f Picturesq eness expression tending to grotesqueness , the use m ff of alliteration , and a general rhyth ic e ect are the characteristics t c m o f of hese quotations , whi h re ind us the type of phrase with ? 7 8 whi ch we have become very familiar in M a dame B ovary The “ ” ’ exclamation Gr rr ra nde surprise recalls one o f Flaubert s methods ? 7 9 o f emphasis in his Cor r espondance E xclamations o f regret for the past on the part o f romantic m m drea ers are frequent and uch alike in the two authors .

FLAUBERT MAUPASSAN T

’ ’ ’ ’ omme c el a it vi eux tout cela ! omme c etai t l oi n comm tout C C , e ’ M B ét ch . . . t é comm l l ui [ , p ai ang , e avenir omme c el d i t l o in tout cel a ! s mbl t iff erent C e ai d ! p . ’ ’ ’ ’ ’ ’ i - mm l a t l oi n ! B . co e c e M . . omme c e tai t l oin comme c eta it [ , p C ,

omme l e ba l dé a lui s mbl t l oi n le t m s o u ll cou t cc C j e ai , e p e e par rai i n l o ! . mem s u fille et s de pp 77 e pay , je ne , gri e ’ ’ h o mm c ta i l n O ! c e e t oi . p reves p . ’ ’ i - omme c eta t l oin de a! M O. C , j [ , A lo s F rédéric se l l es r rappe a p . ’ ’ o ur l in u f s déj a o p . Q ue c es t loi n ! q e c est l oin !

: o r . . I C r , p es ours asses si l oin si l oi n ! C f p , , i ni P : F . [O. I , p

In M ad ame B ovary the man with the music box and the autom “ ” atons and in Une Vi e old pere Lastique send forth fromtime m “ ” 2 8 0 to ti e un long j et de salive brune . One o f the most striking descrptions in Flaubert is that o f the o f D r v e m glance . Lari i re . There are two si ilar passages in Ma u passant . FLAUBERT MAUPASSANT

S on e a d lus t ch t ue Of the ud Un F o u it is s d r g r , p ran an q j ge in ai ses b stou s vous descenda it d o t il s embla it l i e o u ond d e l eu s i ri , r i r f r ’ i o ns l dme et désa ti cul ai t tout ci mes l u s sé s s c et s et r , e r pen e e r e ,

' 2 7 3 Fo r e a mle ette a ss o me e lleus ui us u a lor s s eta it te u x p , C p i n rv i e q j q n e comme umgrand o i sea u au pl umage r o se pla na nt don s la splendeur des ciels ” “ ti u l r l ux oé es . Le su ss o s se ten t su l e seu l us ma estue p q (p 5 5 ) i e, a r , ai i p j ’ ” u un n l l in i ca di a t e uisan t omm un sa t c bo e 0 et . q r e r c e ir (p . 33 ) c 2 7 9 - A r ml I 8 1 f o e e o . 108 . B . . . V , p 3 ; xa p , C rr , , 2 8 ° M . . . E . 0 U V. 1 6 , p 9 ; , 1 4

106 FLA UBER T AND MA UP AS S AN T

FLAUB ERT MAUPASSAN T

l es dernier s feux d u crép uscule et pr ena nt toutes l es formes comme un peuple fantastique de contes fée r i ues étrifié u l u ou o q , p par q e q e p v ir su tu l rna re . ’ J apercus alternativement deux ’ mo s d bout d u t ll ine e , ne ai e gigan t es ue un évé ue ss s c oss q ; q a i , r e en m mt tet d e o d us s ain, i re en e ; pr igie e

u s nu li on cc ou a u bo d de fig re , a r pi r la out une mm ll t t son r e , fe e a ai an enfant et une tete de diable im m s co u rima a n te en e , rn e, g g , gar dienne sans doute de cette foule em pr iso nn ée en des corp s de pierre A u E o e S . n s . [ C r , p

The following points o f likeness between these descriptions are

v A m v m obser able . general i pression is gi en in each of a re arkable chaos of huge and fantastic rocks . In the Flaubertian description and in that fromPi er r e et Jean these are said to be piled one upon

m v c t another and to rese ble the ruins o f some great anished i y . In the last part o f the Flaubert description and in the first and third passages fromMaupassant some o f the rocks take the forms o f m th m f the ani als . In e second extract fro each o the authors rocks “ ” v m u are seen on the slope of a hill . The adj ecti e onstr eux is used n i by Flaubert and in the quotation fromU e V e . There are also many examples o f the employment of similar “ ” 2 8 2 s t m v locutions , such as ans dou e ; of si ilar adj ecti es , such as ( 6 ” 2 8 enorme 3 (a great favorite with Flaubert and very frequent in “ M o f t m aupassant) o her si ilar words , such as frisson and its de

2 9 2 ’ ml 66 1 1 1 1 8 2 2 2 L Ed - 1 Fo r e a e S a l . . 60 S x p , , pp , 33 , 5 , 5 . 3 . . 373 ; u PD 5 . -80 10 10 1 2 0 6 6 8 88 00 0 60. 79 . 98. 3. 9. 47 . 4 . 3 3 . 3 9. 375 . 37 . 3 . 393 . 399. 4 . 4 5 . 0 2 1 60 61 62 82 1 0 12 2 1 0 4 9 . 4 . 433. 434 . 449. 4 . 4 . 4 . 474. 4 . 49 . 5 3 . 5 . 5 7 . 53 . 5 5 .

- 1 2 2 L R . 16 2 2 1 6 8 . . 8 8 8 0 . S 5 7 . 5 4. 5 5 . 5 9 9 ; pp 3 . 4. 3 . 4 . 4 . 5 7 ; . pp 5 . 7 ;

P a r . . 8 11 11 1 1 20 2 2 M . 6 6 2 268 . pp 4 . 53. s. 5 . s. 9. 4. 57 . 7 . 34. . 7s; pp

1 126 1 0 1 1 1 1 1 2 26 1 P . 116 12 1 1 1 0 7 . . 3 . 34. 46. 47 . 93 . 94. 5 5 . ; M . 99 . . 39. 4 . 1 2 26 2 69, , 36 ; etc.

2 8 8 7 1 m 2 1 a l . 88 10 66 608 L . M T 1 9 e e . x p , pp 5 , 3 , 4 . 457 . 4 . ; pp 5 . T in 1 2 2 2 2 02 M . H a r . . 1 160 a e . . etc. ; , pp 57 , ; , p 39 ; p ; RES EM BLAN CES 19 7

? 8 4 “ ' r ivatives v and equi alents The word degringoler , used in figure M by Flaubert, is repeated by aupassant in one special figure , which ? 8 5 he employs several times It is that in which he describes a town “ on a mpe as une vraie cascade de maisons blanches dégringolant ” a mer la . In the use o f figu res there are a number o f resemblances between F laubert and Maupassant . “ ” The ribbon figu re is frequently found in both . FLAUBERT MAUPASSAN T La d out ui t d t s s et on décou t un gran e r e q é en ai an Par la fen re, vrai

finir o u lo u ba e r . H a . en s n long r uban de po ssiere ng r n de rivi re [M . ’ ’ L H ri ta B e e . M . . . [ , p g , p ’ st um st ct l l ss t L es lo u s u ll s b u ss t C e va e re ang e, ai an ng e fe i e r i aien , u d b u i u voir ses r bans e s pareilles a des r ubans j a nes [ U.

V . p. p

R elated to the above is the serpent figure .

E ll - v e ét t é l e La S coul t v s Mai e la ri i re] ai gel e, eine ai er ’ sol l do t d ssus c éta it co mm so s- L a ffitte comm un mm s ei nnai e , e n , e i en e ’ un grand s erpen t d argent arrete s erpen t v couché dans la verdure ’ - h B . A . . sur be . l er III , p [ , p

A nother comparison found in both authors is that o f anything bright red in color , such as the sky at sunset , poppies in a field , etc . , “ ” to sang . FLAUBERT MAUPASSANT L es fl ambeaux répandus par On est exalté lo r sque le soleil t brul aient co llo t se o d s un océ de u s erre en re, en a ngean n ie an an n age " 95 et la sur les pavé s d e nacre s a nglan ts et qu il j ette a ux rivieres fi et u mm t h l . . d s re des c s de san S a e s o . H r o s M a . . c e a e g [ , p r ge [ , p ’ L e sol l b ss t s l h o o ei ai ai ver riz n, inondant de clarté les plaines ver

2 8 4 ml 1 1 2 2 2 1 For e e . 0 0 2 26 xa p , pp 3, 7 , 9, 4 4, 4 , 499, 5 , 5 , 595 ; 2 8 12 1 8 0 . 2 102 108 112 L . H . . pp . , 3 , 3 , 5 7 , 7 ; pp 7 , 7 , 35 , 35 , , , ; , pp 5 , , 2 10 2 12 2 18 2 2 6 280 28 1 28 11 0 6 M . 6 9 . 3 . 35 . 44. 4 . . . . 73 . 7 . . . 3 ; pp 44 . 3 . 6. 12 1 1 1 1 1 1 18 18 208 208 208 2 1 8 9. 4 . 43. 55 . 55 . 73 . 7 . 9. . . . 45 . 306. 349. 35 . 37 . 1 2 405 , 4 0, 4 3 ; etc.

2 8 5 M E . 1 n o r . 0 cf . . . a d . 60 Un S ozr C r , I , 39 ; , p 94, p 3 ; ,

- 1 8 f . B . A A u A l 1 K l . 2 i 1 c L a b . . . . S . : e . a e 6 p ; , p 55 ; g r, p 4, y , p 5 2 8 6 f . M E 1 c . T. . . s f u R e C . . C : os , p 37 ; p 4 ( ar fig re) ; , M - 16 P ar . 60 B A 16 o u . . bb p ; . . , p ; . . , pp . 3 , 335 (ri n fig re) 2 7 8 l - f . s 1 2 P a r . 60 L . H . C o 1 0 M . 6 a III , 4 ; . , pp ; . , p 54 ; P

116 O. P . ; II , 49 08 FLA UBER T AND MA UPAS S AN T

FLAUB ER T MAUPASSAN T

do antes t ché s de l c l c y , a e p a e en p a e ’ l or des col s fl u et par za en e r , par le san des co u l cot g q e i s p . 2 8 8 379] -

A few additional likenesses in figures are as follows

FLAUBERT MAUPASSAN T

u l u o s les b ll s tou U n o s s ct b tt t les q e q ef i a ei e , r gr in e e a ai o t d l l ume t mu s comm une s a balle . n yan an i re , frappaien r e p contre les carreaux comme des ’ ball es d or rebondi ssantes Elle passa l e reste du j our 2 omu et t ué ue si p 39] r p e ex én e q , l l ccoml ss t sa t t tach 9 la lace du vi eux cheval blanc a p i ai pe i e e p , quotidienne a la ma nier e d u cheval o n l ui eut fa it tourn er dep ui s ’ de ma ne e ui tou ne l c l es l u o l a mch a b tt l e g , q r en p a e a r re a ine a re b u dés o t de b so . ye x an , ign ran la e gne grain p ’ u b o 10 q il r ie pp .

The following figure is inverted in Maupassant fromits use in Flaubert FLAU BERT MAUPASSAN T

l es d s comme des La v st l cou t de j ar in , a e p age ver e emmes s mbl t l u to tt mo d de to l tt s de cou u s f , e en faire e r ile e n e, i e e , le r , ’ ’ ’ u t l t avai t l ai d un ard n de emmes po r l es fee s de e e p. r j i f i e : m d 1 To n o ba . 53} [ B r , p

It is not claimed that in this chapter an exhaustive account has been gi ven o f all resemblances between Flaubert and Maupassant in M m plot , incident , characterization , idea , and wording . any si ilari ties which presented themselves have indeed been rejected for one

s v v rea on or another . Those included ha e been obser ed by the writer in the course of several complete readings o f the two authors in ques u v m tion . Further perusal wo ld without doubt re eal others which ight m m be instanced . The atte pt has been ade all through to call attention especially to the likenesses which are striking or at least fairly close .

s ma m The e y not , as indeed they hardly appear to do , argue for the ost part conscious imitation o f Flaubert by Maupassant ; they certainly do seemto show a considerable degree o f suggesti ve influence .

2 8 8 l 1 l l F . 2 11 . . P a so . M e L . R . Cf p 97 4 1 ; . p 34

110 FLA UBE R T AND MA UPAS S AN T

u s o f mm v m m o f t ma s s bsequent day re e brance , o er the onu ents hat ’ t c v m t s t the o f er s a hie e en , had ab orbed so horoughly essentials the ’ latter s thought and expression that he reproduces themalmost un

s the m t the v con sciou sly . What trengthens argu en for suggesti e type o f influen ce is the frequent diffi culty experienced in putting side by side the exact point s of resemblance between two passages which m m t o men i pre ss one a s closely si ilar . The fac that b th expressed themselves in so many words as Opposed to the imitation o f one author by another would lend further weight to the contention that the kind o f infl uence traceable between the two men is suggestive

t m v ra her than i itati e . I t goe s without saying that a considerable portion o f Maupas ’

t c s t v . O b e san s work is , of our e , dis incti ely his own ther influences

sides that o i Flaubert are also seen to have operated upon him. We v m c t r ha e said ore than once already , for instan e , hat Flaube t and Maupassant were men of their day and generation and suscep t t m u ible o i pressions of current tho ght and event . They belonged to a circle whi ch dis cussed literary matters and other aff airs o f the

u m m E v o f ff c c day with the t ost freedo . idences e e ts produ ed by realistic writers other than Flaubert are discov erable in the works of h M f m t e younger ma n . any o these author s are entioned by him

t mc m wi h words of inti a y o r o f ad iration . There are also many

uts s m t o tanding points of i ilari y between their work and his . The

s v m c m following in tances are gi en . Fro Balza ay come accounts o f s s t s o f m t m t o f c bu iness tran ac ion and agne is , and ypes haracter , such

the m ut s v a s cer as financial agnate and the r hle s ad enturer, as well a t m t v Z m ain ele en of dri ing force in many stories . To ola ay possibly “ be attributed the tendency to mention the unmentionable with the ” t st ma grea e possible fulness . He y als o be partly responsible for ’ Ma u a ssa nt s m o f f m S t p treat ent crowds and use o sy bols . ugges ions o f D audet are to be found in the employment o f southern exclama ’ h M P a tiss t t e . o s m s tions , in description o f paraphernalia , which ake us t t t n s hink o f Tar arin II , in a frequent ender es toward h c t e t c ts . hildren , and in repeti ion o f certain in iden There are other writers also who might be named in connection wi th the question ’ M a u a ssa nt s b ut t to of p indebtedness , hose already re ferred will

suf c . m . v m fi e by way of exa ple When all allowances ha e been ade ,

v it et m s M howe er , y re ain true that aupassant is the disciple o f Flau ’ bert and owes to that master s influence much that is best in his o wn work . BIBLIOGRA PHY

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