Maupassant original short stories E-Book

Guy de Maupassant

• Herausgeber: Guy de Maupassant
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2017

Beschreibung

"I entered literary life as a meteor, and I shall leave it like a thunderbolt." These words of Maupassant to Jose Maria de Heredia on the occasion of a memorable meeting are, in spite of their morbid solemnity, not an inexact summing up of the brief career during which, for ten years, the writer, by turns undaunted and sorrowful, with the fertility of a master hand produced poetry, novels, romances and travels, only to sink prematurely into the abyss of madness and death. . . . .

Leseprobe

Guy de Maupassant

Maupassant original short stories

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Table of contents

VOLUME I.

GUY DE MAUPASSANT

BOULE DE SUIF

TWO FRIENDS

THE LANCER'S WIFE

THE PRISONERS

TWO LITTLE SOLDIERS

FATHER MILON

A COUP D'ETAT

LIEUTENANT LARE'S MARRIAGE

THE HORRIBLE

MADAME PARISSE

MADEMOISELLE FIFI

A DUEL

VOLUME II.

THE COLONEL'S IDEAS

MOTHER SAUVAGE

EPIPHANY

THE MUSTACHE

MADAME BAPTISTE

A MEETING

THE BLIND MAN

INDISCRETION

A FAMILY AFFAIR

BESIDE SCHOPENHAUER'S CORPSE

VOLUME III.

MISS HARRIET

LITTLE LOUISE ROQUE

THE DONKEY

MOIRON

THE DISPENSER OF HOLY WATER

A PARRICIDE

BERTHA

THE PATRON

THE DOOR

A SALE

THE IMPOLITE SEX

A WEDDING GIFT

THE RELIC

VOLUME IV.

THE MORIBUND

THE GAMEKEEPER

THE STORY OF A FARM GIRL

THE WRECK

THEODULE SABOT'S CONFESSION

THE WRONG HOUSE

THE DIAMOND NECKLACE

THE MARQUIS DE FUMEROL

THE TRIP OF LE HORLA

FAREWELL!

THE WOLF

THE INN

VOLUME V.

MONSIEUR PARENT

QUEEN HORTENSE

TIMBUCTOO

TOMBSTONES

MADEMOISELLE PEARL

THE THIEF

CLAIR DE LUNE

WAITER, A "BOCK"

AFTER

FORGIVENESS

IN THE SPRING

A QUEER NIGHT IN PARIS

VOLUME VI.

THAT COSTLY RIDE

USELESS BEAUTY

THE FATHER

MY UNCLE SOSTHENES

THE BARONESS

MOTHER AND SON

THE HAND

A TRESS OF HAIR

ON THE RIVER

THE CRIPPLE

A STROLL

ALEXANDRE

THE LOG

JULIE ROMAIN

THE RONDOLI SISTERS

VOLUME VII.

THE FALSE GEMS

FASCINATION

YVETTE SAMORIS

A VENDETTA

MY TWENTY-FIVE DAYS

"THE TERROR"

LEGEND OF MONT ST. MICHEL

A NEW YEAR'S GIFT

FRIEND PATIENCE

ABANDONED

THE MAISON TELLIER

DENIS

MY WIFE

THE UNKNOWN

THE APPARITION

VOLUME VIII.

CLOCHETTE

THE KISS

THE LEGION OF HONOR

THE TEST

FOUND ON A DROWNED MAN

THE ORPHAN

THE BEGGAR

THE RABBIT

HIS AVENGER

MY UNCLE JULES

THE MODEL

A VAGABOND

THE FISHING HOLE

THE SPASM

IN THE WOOD

MARTINE

ALL OVER

THE PARROT

THE PIECE OF STRING

VOLUME IX.

TOINE

MADAME HUSSON'S "ROSIER"

THE ADOPTED SON

COWARD

OLD MONGILET

MOONLIGHT

THE FIRST SNOWFALL

SUNDAYS OF A BOURGEOIS

A RECOLLECTION

OUR LETTERS

THE LOVE OF LONG AGO

FRIEND JOSEPH

THE EFFEMINATES

OLD AMABLE

VOLUME X.

THE CHRISTENING

THE FARMER'S WIFE

THE DEVIL

THE SNIPE

THE WILL

WALTER SCHNAFFS' ADVENTURE

AT SEA

MINUET

THE SON

THAT PIG OF A MORIN

SAINT ANTHONY

LASTING LOVE

PIERROT

A NORMANDY JOKE

FATHER MATTHEW

VOLUME XI.

THE UMBRELLA

BELHOMME'S BEAST

DISCOVERY

THE ACCURSED BREAD

THE DOWRY

THE DIARY OF A MADMAN

THE MASK

THE PENGUINS' ROCK

A FAMILY

SUICIDES

AN ARTIFICE

DREAMS

SIMON'S PAPA

VOLUME XII.

THE CHILD

A COUNTRY EXCURSION

ROSE

ROSALIE PRUDENT

REGRET

A SISTER'S CONFESSION

COCO

DEAD WOMAN'S SECRET

A HUMBLE DRAMA

MADEMOISELLE COCOTTE

THE CORSICAN BANDIT

THE GRAVE

VOLUME XIII.

OLD JUDAS

BOITELLE

A WIDOW

THE ENGLISHMAN OF ETRETAT

MAGNETISM

A FATHER'S CONFESSION

A MOTHER OF MONSTERS

AN UNCOMFORTABLE BED

A PORTRAIT

THE DRUNKARD

THE WARDROBE

THE MOUNTAIN POOL

A CREMATION

MISTI

MADAME HERMET

THE MAGIC COUCH

Maupassant Original Short Stories

By

Guy de Maupassant

VOLUME I.

GUY DE MAUPASSANT

A STUDY BY POL. NEVEUX

"I entered literary life as a meteor, and I shall leave it like a thunderbolt." These words of Maupassant to Jose Maria de Heredia on the occasion of a memorable meeting are, in spite of their morbid solemnity, not an inexact summing up of the brief career during which, for ten years, the writer, by turns undaunted and sorrowful, with the fertility of a master hand produced poetry, novels, romances and travels, only to sink prematurely into the abyss of madness and death. . . . .

In the month of April, 1880, an article appeared in the "Le Gaulois" announcing the publication of the Soirees de Medan. It was signed by a name as yet unknown: Guy de Maupassant. After a juvenile diatribe against romanticism and a passionate attack on languorous literature, the writer extolled the study of real life, and announced the publication of the new work. It was picturesque and charming. In the quiet of evening, on an island, in the Seine, beneath poplars instead of the Neapolitan cypresses dear to the friends of Boccaccio, amid the continuous murmur of the valley, and no longer to the sound of the Pyrennean streams that murmured a faint accompaniment to the tales of Marguerite's cavaliers, the master and his disciples took turns in narrating some striking or pathetic episode of the war. And the issue, in collaboration, of these tales in one volume, in which the master jostled elbows with his pupils, took on the appearance of a manifesto, the tone of a challenge, or the utterance of a creed.

In fact, however, the beginnings had been much more simple, and they had confined themselves, beneath the trees of Medan, to deciding on a general title for the work. Zola had contributed the manuscript of the "Attaque du Moulin," and it was at Maupassant's house that the five young men gave in their contributions. Each one read his story, Maupassant being the last. When he had finished Boule de Suif, with a spontaneous impulse, with an emotion they never forgot, filled with enthusiasm at this revelation, they all rose and, without superfluous words, acclaimed him as a master.

He undertook to write the article for the Gaulois and, in cooperation with his friends, he worded it in the terms with which we are familiar, amplifying and embellishing it, yielding to an inborn taste for mystification which his youth rendered excusable. The essential point, he said, is to "unmoor" criticism.

It was unmoored. The following day Wolff wrote a polemical dissertation in the Figaro and carried away his colleagues. The volume was a brilliant success, thanks to Boule de Suif. Despite the novelty, the honesty of effort, on the part of all, no mention was made of the other stories. Relegated to the second rank, they passed without notice. From his first battle, Maupassant was master of the field in literature.

At once the entire press took him up and said what was appropriate regarding the budding celebrity. Biographers and reporters sought information concerning his life. As it was very simple and perfectly straightforward, they resorted to invention. And thus it is that at the present day Maupassant appears to us like one of those ancient heroes whose origin and death are veiled in mystery.

I will not dwell on Guy de Maupassant's younger days. His relatives, his old friends, he himself, here and there in his works, have furnished us in their letters enough valuable revelations and touching remembrances of the years preceding his literary debut. His worthy biographer, H. Edouard Maynial, after collecting intelligently all the writings, condensing and comparing them, has been able to give us some definite information regarding that early period.

I will simply recall that he was born on the 5th of August, 1850, near Dieppe, in the castle of Miromesnil which he describes in Une Vie. . . .

Maupassant, like Flaubert, was a Norman, through his mother, and through his place of birth he belonged to that strange and adventurous race, whose heroic and long voyages on tramp trading ships he liked to recall. And just as the author of "Education sentimentale" seems to have inherited in the paternal line the shrewd realism of Champagne, so de Maupassant appears to have inherited from his Lorraine ancestors their indestructible discipline and cold lucidity.

His childhood was passed at Etretat, his beautiful childhood; it was there that his instincts were awakened in the unfoldment of his prehistoric soul. Years went by in an ecstasy of physical happiness. The delight of running at full speed through fields of gorse, the charm of voyages of discovery in hollows and ravines, games beneath the dark hedges, a passion for going to sea with the fishermen and, on nights when there was no moon, for dreaming on their boats of imaginary voyages.

Mme. de Maupassant, who had guided her son's early reading, and had gazed with him at the sublime spectacle of nature, put, off as long as possible the hour of separation. One day, however, she had to take the child to the little seminary at Yvetot. Later, he became a student at the college at Rouen, and became a literary correspondent of Louis Bouilhet. It was at the latter's house on those Sundays in winter when the Norman rain drowned the sound of the bells and dashed against the window panes that the school boy learned to write poetry.

Vacation took the rhetorician back to the north of Normandy. Now it was shooting at Saint Julien l'Hospitalier, across fields, bogs, and through the woods. From that time on he sealed his pact with the earth, and those "deep and delicate roots" which attached him to his native soil began to grow. It was of Normandy, broad, fresh and virile, that he would presently demand his inspiration, fervent and eager as a boy's love; it was in her that he would take refuge when, weary of life, he would implore a truce, or when he simply wished to work and revive his energies in old-time joys. It was at this time that was born in him that voluptuous love of the sea, which in later days could alone withdraw him from the world, calm him, console him.

In 1870 he lived in the country, then he came to Paris to live; for, the family fortunes having dwindled, he had to look for a position. For several years he was a clerk in the Ministry of Marine, where he turned over musty papers, in the uninteresting company of the clerks of the admiralty.

Then he went into the department of Public Instruction, where bureaucratic servility is less intolerable. The daily duties are certainly scarcely more onerous and he had as chiefs, or colleagues, Xavier Charmes and Leon Dierx, Henry Roujon and Rene Billotte, but his office looked out on a beautiful melancholy garden with immense plane trees around which black circles of crows gathered in winter.

Maupassant made two divisions of his spare hours, one for boating, and the other for literature. Every evening in spring, every free day, he ran down to the river whose mysterious current veiled in fog or sparkling in the sun called to him and bewitched him. In the islands in the Seine between Chatou and Port-Marly, on the banks of Sartrouville and Triel he was long noted among the population of boatmen, who have now vanished, for his unwearying biceps, his cynical gaiety of good-fellowship, his unfailing practical jokes, his broad witticisms. Sometimes he would row with frantic speed, free and joyous, through the glowing sunlight on the stream; sometimes, he would wander along the coast, questioning the sailors, chatting with the ravageurs, or junk gatherers, or stretched at full length amid the irises and tansy he would lie for hours watching the frail insects that play on the surface of the stream, water spiders, or white butterflies, dragon flies, chasing each other amid the willow leaves, or frogs asleep on the lily-pads.

The rest of his life was taken up by his work. Without ever becoming despondent, silent and persistent, he accumulated manuscripts, poetry, criticisms, plays, romances and novels. Every week he docilely submitted his work to the great Flaubert, the childhood friend of his mother and his uncle Alfred Le Poittevin. The master had consented to assist the young man, to reveal to him the secrets that make chefs-d'oeuvre immortal. It was he who compelled him to make copious research and to use direct observation and who inculcated in him a horror of vulgarity and a contempt for facility.

Maupassant himself tells us of those severe initiations in the Rue Murillo, or in the tent at Croisset; he has recalled the implacable didactics of his old master, his tender brutality, the paternal advice of his generous and candid heart. For seven years Flaubert slashed, pulverized, the awkward attempts of his pupil whose success remained uncertain.

Suddenly, in a flight of spontaneous perfection, he wrote Boule de Suif. His master's joy was great and overwhelming. He died two months later.

Until the end Maupassant remained illuminated by the reflection of the good, vanished giant, by that touching reflection that comes from the dead to those souls they have so profoundly stirred. The worship of Flaubert was a religion from which nothing could distract him, neither work, nor glory, nor slow moving waves, nor balmy nights.

At the end of his short life, while his mind was still clear: he wrote to a friend: "I am always thinking of my poor Flaubert, and I say to myself that I should like to die if I were sure that anyone would think of me in the same manner."

During these long years of his novitiate Maupassant had entered the social literary circles. He would remain silent, preoccupied; and if anyone, astonished at his silence, asked him about his plans he answered simply: "I am learning my trade." However, under the pseudonym of Guy de Valmont, he had sent some articles to the newspapers, and, later, with the approval and by the advice of Flaubert, he published, in the "Republique des Lettres," poems signed by his name.

These poems, overflowing with sensuality, where the hymn to the Earth describes the transports of physical possession, where the impatience of love expresses itself in loud melancholy appeals like the calls of animals in the spring nights, are valuable chiefly inasmuch as they reveal the creature of instinct, the fawn escaped from his native forests, that Maupassant was in his early youth. But they add nothing to his glory. They are the "rhymes of a prose writer" as Jules Lemaitre said. To mould the expression of his thought according to the strictest laws, and to "narrow it down" to some extent, such was his aim. Following the example of one of his comrades of Medan, being readily carried away by precision of style and the rhythm of sentences, by the imperious rule of the ballad, of the pantoum or the chant royal, Maupassant also desired to write in metrical lines. However, he never liked this collection that he often regretted having published. His encounters with prosody had left him with that monotonous weariness that the horseman and the fencer feel after a period in the riding school, or a bout with the foils.

Such, in very broad lines, is the story of Maupassant's literary apprenticeship.

The day following the publication of "Boule de Suif," his reputation began to grow rapidly. The quality of his story was unrivalled, but at the same time it must be acknowledged that there were some who, for the sake of discussion, desired to place a young reputation in opposition to the triumphant brutality of Zola.

From this time on, Maupassant, at the solicitation of the entire press, set to work and wrote story after story. His talent, free from all influences, his individuality, are not disputed for a moment. With a quick step, steady and alert, he advanced to fame, a fame of which he himself was not aware, but which was so universal, that no contemporary author during his life ever experienced the same. The "meteor" sent out its light and its rays were prolonged without limit, in article after article, volume on volume.

He was now rich and famous . . . . He is esteemed all the more as they believe him to be rich and happy. But they do not know that this young fellow with the sunburnt face, thick neck and salient muscles whom they invariably compare to a young bull at liberty, and whose love affairs they whisper, is ill, very ill. At the very moment that success came to him, the malady that never afterwards left him came also, and, seated motionless at his side, gazed at him with its threatening countenance. He suffered from terrible headaches, followed by nights of insomnia. He had nervous attacks, which he soothed with narcotics and anesthetics, which he used freely. His sight, which had troubled him at intervals, became affected, and a celebrated oculist spoke of abnormality, asymetry of the pupils. The famous young man trembled in secret and was haunted by all kinds of terrors.

The reader is charmed at the saneness of this revived art and yet, here and there, he is surprised to discover, amid descriptions of nature that are full of humanity, disquieting flights towards the supernatural, distressing conjurations, veiled at first, of the most commonplace, the most vertiginous shuddering fits of fear, as old as the world and as eternal as the unknown. But, instead of being alarmed, he thinks that the author must be gifted with infallible intuition to follow out thus the taints in his characters, even through their most dangerous mazes. The reader does not know that these hallucinations which he describes so minutely were experienced by Maupassant himself; he does not know that the fear is in himself, the anguish of fear "which is not caused by the presence of danger, or of inevitable death, but by certain abnormal conditions, by certain mysterious influences in presence of vague dangers," the "fear of fear, the dread of that horrible sensation of incomprehensible terror."

How can one explain these physical sufferings and this morbid distress that were known for some time to his intimates alone? Alas! The explanation is only too simple. All his life, consciously or unconsciously, Maupassant fought this malady, hidden as yet, which was latent in him.

As his malady began to take a more definite form, he turned his steps towards the south, only visiting Paris to see his physicians and publishers. In the old port of Antibes beyond the causeway of Cannes, his yacht, Bel Ami, which he cherished as a brother, lay at anchor and awaited him. He took it to the white cities of the Genoese Gulf, towards the palm trees of Hyeres, or the red bay trees of Antheor.

After several tragic weeks in which, from instinct, he made a desperate fight, on the 1st of January, 1892, he felt he was hopelessly vanquished, and in a moment of supreme clearness of intellect, like Gerard de Nerval, he attempted suicide. Less fortunate than the author of Sylvia, he was unsuccessful. But his mind, henceforth "indifferent to all unhappiness," had entered into eternal darkness.

He was taken back to Paris and placed in Dr. Meuriot's sanatorium, where, after eighteen months of mechanical existence, the "meteor" quietly passed away.

BOULE DE SUIF

For several days in succession fragments of a defeated army had passed through the town. They were mere disorganized bands, not disciplined forces. The men wore long, dirty beards and tattered uniforms; they advanced in listless fashion, without a flag, without a leader. All seemed exhausted, worn out, incapable of thought or resolve, marching onward merely by force of habit, and dropping to the ground with fatigue the moment they halted. One saw, in particular, many enlisted men, peaceful citizens, men who lived quietly on their income, bending beneath the weight of their rifles; and little active volunteers, easily frightened but full of enthusiasm, as eager to attack as they were ready to take to flight; and amid these, a sprinkling of red-breeched soldiers, the pitiful remnant of a division cut down in a great battle; somber artillerymen, side by side with nondescript foot-soldiers; and, here and there, the gleaming helmet of a heavy-footed dragoon who had difficulty in keeping up with the quicker pace of the soldiers of the line. Legions of irregulars with high-sounding names "Avengers of Defeat," "Citizens of the Tomb," "Brethren in Death"—passed in their turn, looking like banditti. Their leaders, former drapers or grain merchants, or tallow or soap chandlers—warriors by force of circumstances, officers by reason of their mustachios or their money—covered with weapons, flannel and gold lace, spoke in an impressive manner, discussed plans of campaign, and behaved as though they alone bore the fortunes of dying France on their braggart shoulders; though, in truth, they frequently were afraid of their own men—scoundrels often brave beyond measure, but pillagers and debauchees.

Rumor had it that the Prussians were about to enter Rouen.

The members of the National Guard, who for the past two months had been reconnoitering with the utmost caution in the neighboring woods, occasionally shooting their own sentinels, and making ready for fight whenever a rabbit rustled in the undergrowth, had now returned to their homes. Their arms, their uniforms, all the death-dealing paraphernalia with which they had terrified all the milestones along the highroad for eight miles round, had suddenly and marvellously disappeared.

The last of the French soldiers had just crossed the Seine on their way to Pont-Audemer, through Saint-Sever and Bourg-Achard, and in their rear the vanquished general, powerless to do aught with the forlorn remnants of his army, himself dismayed at the final overthrow of a nation accustomed to victory and disastrously beaten despite its legendary bravery, walked between two orderlies.

Then a profound calm, a shuddering, silent dread, settled on the city. Many a round-paunched citizen, emasculated by years devoted to business, anxiously awaited the conquerors, trembling lest his roasting-jacks or kitchen knives should be looked upon as weapons.

Life seemed to have stopped short; the shops were shut, the streets deserted. Now and then an inhabitant, awed by the silence, glided swiftly by in the shadow of the walls. The anguish of suspense made men even desire the arrival of the enemy.

In the afternoon of the day following the departure of the French troops, a number of uhlans, coming no one knew whence, passed rapidly through the town. A little later on, a black mass descended St. Catherine's Hill, while two other invading bodies appeared respectively on the Darnetal and the Boisguillaume roads. The advance guards of the three corps arrived at precisely the same moment at the Square of the Hotel de Ville, and the German army poured through all the adjacent streets, its battalions making the pavement ring with their firm, measured tread.

Orders shouted in an unknown, guttural tongue rose to the windows of the seemingly dead, deserted houses; while behind the fast-closed shutters eager eyes peered forth at the victors-masters now of the city, its fortunes, and its lives, by "right of war." The inhabitants, in their darkened rooms, were possessed by that terror which follows in the wake of cataclysms, of deadly upheavals of the earth, against which all human skill and strength are vain. For the same thing happens whenever the established order of things is upset, when security no longer exists, when all those rights usually protected by the law of man or of Nature are at the mercy of unreasoning, savage force. The earthquake crushing a whole nation under falling roofs; the flood let loose, and engulfing in its swirling depths the corpses of drowned peasants, along with dead oxen and beams torn from shattered houses; or the army, covered with glory, murdering those who defend themselves, making prisoners of the rest, pillaging in the name of the Sword, and giving thanks to God to the thunder of cannon—all these are appalling scourges, which destroy all belief in eternal justice, all that confidence we have been taught to feel in the protection of Heaven and the reason of man.