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Realism in Paris: a Partnership Between Guy De Maupassant and Baron Georges Haussmann Julie M. Patterson a SENIOR THESIS For

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Realism in Paris: a Partnership Between Guy De Maupassant and Baron Georges Haussmann Julie M. Patterson a SENIOR THESIS For Realism in Paris: A Partnership Between Guy de Maupassant and Baron Georges Haussmann by Julie M. Patterson A SENIOR THESIS for the UNIVERSITY HONORS COLLEGE Submitted to the University Honors College at Texas Tech University in partial fulfillment of the requirement for the degree designation of HIGHEST HONORS December 2001 Approved by: L2. - /~>- o I Dr."we~dell M·. KycocV ' Date Associate Dean, Graduate School 9 ;, ~~~ ~I Dr. Gary ~ell Date Dean, Uni rsity Honors College The author approves the photocopying of this document for educational purposes. %0^ P Teddle of Contents Acknowledgements 2 Notes on Text 3 Section I I. Introduction 5 II. Baron Georges Haussmann And His Public Works Progreuns For Paris 7 A. ^^Les Reseaiix" 10 B. Haussmann, Realism, and Nineteenth-Century Paris...l3 Section II. Discussion of Short Stories I. Guy de Maupassant 17 II. Haussmannization and Maupassant's Female Characters...21 III. Cemeteries and Parisians 29 IV. Women's Roles and Haussmannization. 36 V. Tradi t ion v. Haus smanni z at ion 41 Conclusion 52 Bibliography 54 Acknowledgements I would like to extend my deepest appreciation to several individuals who have helped me with this project. Dr. Wendell Aycock acted as my mentor professor for this project. He helped me formulate many of my ideas, potential research avenues, and acted as my main editor. He introduced me to Guy de Maupassant and lent me anything I needed out of his own resource materials for this project. Dr. Jill Patterson acted as my reviewing professor and did wonders with the editing process. I would also like to thank the Texas Tech Honors College for giving me the opportunity to undergo this kind of project at the undergraduate level. Notes on Text 1. I took an Impressionism Art seminar during my year of study in Paris, France in which I learned how Impressionism and Realism are connected. French artists during the Impressionist Era were closely linked and connected to French authors and therefore styles of writing. 2. I took a French Literature Seminar during my year of study in Paris in which I learned the specific connections French Realist and Naturalist writers have to Paris and the historical happenings of that time period. 3. For this note refer back to number 2. 4. For this note also refer back to number 2. 5. For this note refer back to number 1. 6. While in Paris I also took an Architecture Seminar that involved site-guided tours of major and minor historical architecture all around Paris. This Seminar introduced me to Baron Georges Haussmann and what type of architecture he created all over Paris. 7. My knowledge of Parisian cemeteries comes from a site- guided tour of Pere-Lachaise cemetery in Paris. 8. For this note refer back to number 6. 9. For this note refer back to number two SECTION 1, CHAPTER I Introduction Paris as a city and a concept holds a kind of fantasy and mystique that has yet to be paralleled. Paris embraces the identity of France and has for many years. Throughout history, during wartime, when Paris fell, France fell. The fact that it is the capital of France was not and is not a deciding factor for a French defeat. Paris is France. It is the center for French thought and design. During the Nineteenth-Century, Paris went through momentous changes in design and concept alike. In this thesis, I will discuss specific changes that Paris as a city underwent through the programs of Napoleon III as implemented by Baron Georges Haussmann, These design and structural changes in Paris directly influenced the emerging literary movement of Realism. Guy de Maupassant is a Realist that exposed, questioned and challenged the new emerging ideas and thinking that came out of "Haussmannization." Five short stories of Maupassant's that specifically demonstrate the architectural and cultural changes occurring in Paris are: "The Signal," "The Graveyard Sisterhood," "The Ruse," "A Duel," and "Two Friends." The last two stories focus on the attack of traditional Parisian and French values. Not all the changes France had recently faced that Guy de Maupassant wrote about were positive. These last two short stories echo the Parisian's hesitation and resentment of Baron Haussmann's Public Works Programs. The first three short stories reveal Paris's architectural changes with their plot settings. Maupassant mocks the new emerging Parisian thoughts and identities with his characters' developments. Maupassant reveals the effects Haussmannization had on Paris as a city, culture and identity. CHAPTER II. Baron Georges Haussmann and His Public Works Programs for Paris. Baron Georges Haussmann is a man unknown to societies other than Parisians. He is responsible for bringing Paris into the competitive arena of modern day capitals. Before Haussmann, Paris would have remained medieval in architecture, layout, and functionality. In 1853 Haussmann "received a telegram announcing that he had been appointed Prefect of the Seine calling him to Paris immediately" (Chapman 53). Haussmann could be considered the Mayor of the City of Paris because the Prefect of the Seine held the same powers a mayor would. He lacked the title because Paris was ruled differently during this time period in response to its record of violence. Much of Paris had already been transformed during Haussmann's predecessor the M. Berger with financial help from a loan through the Marquis de Rambuteau. Haussmann came into office largely because Louis Napoleon wanted to have "a more pliant instr\iment" (Chapman 64) for carrying out his ideas on the furthering restructuring of Paris, and he wanted someone whose views ran more parallel to his own. Haussmann pushed the idea of "productive spending," which allocated the surplus from the year prior to Haussmann's installment to eliminate the annual interest of a previous long-term loan. By doing this, the city would then have a very large amount of money for immediate use on projects. Louis Napoleon began pushing his projects for Paris immediately after Haussmann was installed as Prefect. Haussmann spent much of his time trying to dissuade the Emperor from being too direct in his goal of dissimulation of power in order to keep a better unity among the Official Commissions for Planning. He had many "victories" in working with the Emperor. Napoleon wanted to open up Paris and therefore provide employment opportunities and better living conditions. His underlying goal for -pursuing these improvements was to eliminate possible political cesspools of rebellion. The Emperor feared ongoing rebellious attitudes and knew that the closed-in areas of Paris contributed to underground counter political movements. If he "opened" Paris he would not only provide employment opportunities, but he would also eliminate these political "cesspools" of rebellion while simultaneously improving everyday living conditions. The streets of Paris would be cleaner and safer with better sewage systems. Opening boulevards would give Paris a much-needed "facelift" and allow fresh air into stagnant disease-prone districts. A healthy Paris would be a happy Paris; Parisians would be happy with the new jobs created and happy with their emperor for doing so. Georges Haussmann did many things for Paris, but Parisians did not necessarily welcome the prospects of having Paris reordered, restructured, and basically turned on its head. M. Berger, who had been Haussmann's predecessor, blatantly opposed Haussmann's plans and ideas for "public works" programs. Berger's main arg\iment was the lack of financing. Napoleon refused to levy new taxes on the Parisians in fear of further rebellious uprisings and attitudes. In working with Napoleon, Haussmann observed "one important quality of the Emperor's—he could be an excellent and intelligent listener" (Chapman 74). Napoleon wanted to be popular among the Parisians; therefore he refused new taxes and actually preferred tax cuts. ^^Les Reseaiix" Georges Haussmann opened wide and beautiful new boulevards and was practical enough to recognize that these "impressive new boulevards would only have to be dug up in a decade or so to lay a comprehensive network of drains" (Chapman 104). He had visions ahead of many of the people that he had to work with, including the emperor. He wanted to give Parisians "the luxuries of air and light" and still provide "necessities like piped water and drains" (Chapman 104). Haussmann's projects were separated into "reseaux" or "networks." The first reseau was "the initial program of public works which was completed in 1858" (Chapman 179). There were two other reseaux, but the first and the last two made up two groups together because "Haussmann knew in 1858 that the ministers and parliament would never agree that the entire network was 'in the public interest'" (Chapman 179). Haussmann and the Ministers of Public Works and Finance got together in order to discuss "a treaty between the state and the City of Paris, whereby the state would make some financial contribution to his public 10 works." Haussmann could "persuade them to include in the treaty only the remaining part of the Emperor's plans and a few other roads, for instance round the Opera, which he slipped in with the rest" (Chapman 179). The third reseau was mostly "complementary to that of the second" and contained "the rest of Haussmann's schemes he kept back" (Chapman 179). The first and second reseaux were mainly financed by the state. One of Haussmann's best discoveries early in his work was his architect, Deschamps. Deschamps "was apparently an untidy, unattractive young man, but able, loyal and utterly incorruptible from above or below. He was too rare a bird not to put in a key position" (Chapman 77). The first reseau began with the making of an official map of Paris, which triangulated the whole area.
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