In any case, Maupassant's pessimism becomes logical in terminating in pity, like that of Schopenhauer. I know that I am running foul of certain admirers of the author who do not see any pity in his work, and it is understood that he is pitiless. But examine his stories more closely and you will find it revealed in every page, provided you go to the very bottom of the subject. That is where it exists naturally, almost against the desire of the writer, who does not arouse pity, nor teach it.
And, again, if it remains concealed from so many readers, it is because it has nothing to do with the humanitarian pity retailed by rhetoricians. It is philosophical and haughty, detached from any "anthropocentric" characteristics. It is universal suffering that it covers. And to tell the truth, it is man, the hypocritical and cunning biped who has the least share in it. Maupassant is helpful to all those of his fellows who are tortured by physical suffering, social cruelty and the criminal dangers of life, but he pities them without caring for them, and his kindness makes distinctions.
On the other hand, the pessimist has all the tenderness of a Buddhist for animals, whom the gospels despise. When he pities the animals, who are worth more than ourselves, their executioners, when he pities the elementary existences, the plants and trees, those exquisite creations, he unbends and pours out his heart. The humbler the victim, the more generously does he espouse its suffering. His compassion is unbounded for all that lives in misery, that is buffeted about without understanding why, that "suffers and dies without a word." And if he mourned Miss Harriet, in this unaccustomed outburst of enthusiasm, it is because, like himself, the poor outcast cherished a similar love for "all things, all living beings."
Such appears to me to be Maupassant, the novelist, a story-teller, a writer, and a philosopher by turns. I will add one more trait; he was devoid of all spirit of criticism. When he essays to demolish a theory, one is amazed to find in this great, clear writer such lack of precision of thought, and such weak argument. He wrote the least eloquent and the most diffuse study of Flaubert, of "that old, dead master who had won his heart in a manner he could not explain." And, later, he shows the same weakness in setting forth, as in proving his theory, in his essay on the "Evolution of the Novel," in the introduction to Pierre et Jean.
On the other hand, he possesses, above many others, a power of creating, hidden and inborn, which he exercises almost unconsciously.
Living, spontaneous and yet impassive he is the glorious agent of a mysterious function, through which he dominated literature and will continue to dominate it until the day when he desires to become literary.
He is as big as a tree. The author of "Contemporains" has written that Maupassant produced novels as an apple-tree yields apples. Never was a criticism more irrefutable.
On various occasions he was pleased with himself at the fertility that had developed in him amid those rich soils where a frenzy mounts to your brain through the senses of smell and sight. He even feels the influence of the seasons, and writes from Provence: "The sap is rising in me, it is true. The spring that I find just awakening here stirs all my plant nature, and causes me to produce those literary fruits that ripen in me, I know not how."
The "meteor" is at its apogee. All admire and glorify him. It is the period when Alexandre Dumas, fils, wrote to him thrice: "You are the only author whose books I await with impatience."
The day came, however, when this dominant impassivity became stirred, when the marble became flesh by contact with life and suffering. And the work of the romancer, begun by the novelist, became warm with a tenderness that is found for the first time in Mont Oriol…
But this sentimental outburst that astonished his admirers quickly dies down, for the following year, there appeared the sober Pierre et Jean, that admirable masterpiece of typical reality constructed with "human leaven," without any admixture of literary seasoning, or romantic combinations. The reader finds once more in his splendid integrity the master of yore.
But his heart has been touched, nevertheless. In the books that follow, his impassivity gives way like an edifice that has been slowly undermined. With an ever-growing emotion he relates under slight disguises all his physical distress, all the terrors of his mind and heart.
What is the secret of this evolution? The perusal of his works gives us a sufficient insight into it.
The Minstrel has been received in country houses; has been admitted to "the ladies' apartments." He has given up composing those hurried tales which made his fame, in order to construct beautiful romances of love and death… The story teller has forsaken rustics and peasants, the comrades of the "Repues franches," for the nobility and the wealthy. He who formerly frequented Mme. Tellier's establishment now praises Michèle de Burne.
Ysolde replaces Macette. In "l'Ostel de Courtoisie," Maupassant cultivates the usual abstractions of the modern Round Table:
Distinction and Moderation; Fervor and Delicacy. We see him inditing love sonnets and becoming a knight of chivalry. The apologist of brutal pleasures has become a devotee of the "culte de la Dame."
Everywhere he was sought after, fêted, petted… But Maupassant never let himself be carried away by the tinsel of his prestige, nor the puerility of his enchantment. He despised at heart the puppets that moved about him as he had formerly despised his short stories and his petit bourgeois. "Ah," he cries, "I see them, their heads, their types, their hearts and their souls! What a clinic for a maker of books! The disgust with which this humanity inspires me makes me regret still more that I could not become what I should most have preferred-an Aristophanes, or a Rabelais." And he adds: "The world makes failures of all scientists, all artists, all intelligences that it monopolizes. It aborts all sincere sentiment by its manner of scattering our taste, our curiosity, our desire, the little spark of genius that burns in us."
Maupassant had to bend to the conditions of his new life. Being well bred, he respected, outwardly at least, the laws of artificiality and conventionality, and bowed before the idols of the cave he had entered…
If Maupassant never became the slave of worldly ideas, the creature of instinct that was part of his being acquired the refined tastes of the salons, and the manners of the highest civilization.
The novelist lived for some time in these enchanted and artificial surroundings, when, suddenly, his malady became aggravated. He was tortured by neuralgia, and by new mysterious darting pains. His suffering was so great that he longed to scream. At the same time, his unhappy heart became softened and he became singularly emotional. His early faculties were intensified and refined, and in the overtension of his nerves through suffering his perceptions broadened, and he gained new ideas of things. This nobler personality Maupassant owes to those sufferings dear to great souls of whom Daudet speaks. This is what he says:
"If I could ever tell all, I should utter all the unexplored, repressed and sad thoughts that I feel in the depths of my being. I feel them swelling and poisoning me as bile does some people. But if I could one day give them utterance they would perhaps evaporate, and I might no longer have anything but a light, joyful heart. Who can say?
Thinking becomes an abominable torture when the brain is an open wound. I have so many wounds in my head that my ideas cannot stir without making me long to cry out. Why is it? Why is it? Dumas would say that my stomach is out of order. I believe, rather, that I have a poor, proud, shameful heart, that old human heart that people laugh at, but which is touched, and causes me suffering, and in my head as well; I have the mind of the Latin race, which is very worn out. And, again, there are days when I do not think thus, but when I suffer just the same; for I belong to the family of the thin-skinned. But then I do not tell it, I do not show it; I conceal it very well, I think.
Without any doubt, I am thought to be one of the most indifferent men in the world. I am sceptical, which is not the same thing, sceptical because I am clear-sighted. And my eyes say to my heart, Hide yourself, old fellow, you are grotesque, and it hides itself."
This describes, in spite of reservation, the struggle between two conflicting minds, that of yesterday, and that of to-day. But this sensitiveness that Maupassant seeks to hide, is plain to all clear-seeing people.
He soon begins to be filled with regrets and forebodings. He has a desire to look into the unknown, and to search for the inexplicable.
He feels in himself that something is undergoing destruction; he is at times haunted by the idea of a double. He divines that his malady is on guard, ready to pounce on him. He seeks to escape it, but on the mountains, as beside the sea, nature, formerly his refuge, now terrifies him.
Then his heart expands. All the sentiments that he once reviled, he now desires to experience. He now exalts in his books the passion of love, the passion of sacrifice, the passion of suffering; he extols self-sacrifice, devotion, the irresistible joy of ever giving oneself up more and more. The hour is late, the night is at hand; weary of suffering any longer, he hurriedly begs for tenderness and remembrance.
Occasionally, the Maupassant of former days protests against the bondage of his new personality; he complains that he no longer feels absolutely as formerly that he has no contact with anything in the world, that sweet, strong sensation that gives one strength. "How sensible I was," he says, "to wall myself round with indifference! If one did not feel, but only understand, without giving fragments of oneself to other beings! … It is strange to suffer from the emptiness, the nothingness, of this life, when one is resigned, as I am, to nothingness. But, there, I cannot live without recollections, and recollections sadden me. I can have no hope, I know, but I feel obscurely and unceasingly the harm of this statement, and the regret that it should be so. And the attachments that I have in life act on my sensibility, which is too human, and not literary enough."
Maupassant's pity now takes a pathetic turn. He no longer despises, but holds out his hand to those unfortunates who, like himself, are tormented on the pathway without hope. The tears that he sees flow make him sad, and his heart bleeds at all the wounds he discovers. He does not inquire into the quality or origin of the misfortune. He sympathizes with all suffering; physical suffering, moral suffering, the suffering caused by treachery, the bitter twilight of wasted lives…
His mind has also become active. He desires to dabble in science. One day he studies the Arab mystics, Oriental legends, and the next, he studies the marine fauna, etc. His perceptions have never been so clear. His brain is in continual activity. "It is strange," he acknowledges, "what a different man I am becoming mentally from what I was formerly. I can see it as I watch myself thinking, discovering, and developing stories, weighing and analyzing the imaginary beings that float through my imagination. I take the same enjoyment in certain dreams, certain exaltations of mind, as I formerly took in rowing like mad in the sunlight."
For the first time, his assurance as a writer wavers. As his last volumes show, he is endeavoring to transform, to renew himself. He acquires a desire to learn the secrets of obscure and precious hearts, to visit unknown races. He has lost his magnificent serenity…
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 Hyères, or the red bay trees of Anthéor.
It was during one of these idle cruises on the open sea, outside of Agay and Saint-Raphael that he wrote "Sur l'Eau."
It was on the sacred sea of the old poets and philosophers, on the sea whose voice has rocked the thought of the world, that he cast into the shadow that long lament, so heartrending and sublime, that posterity will long shudder at the remembrance of it. The bitter strophes of this lament seem to be cadenced by the Mediterranean itself and to be in rhythm, like its melopoeia.
"Sur l'Eau" is the last Will and Testament, the general confession of Maupassant. To those who come after him he leaves the legacy of his highest thought; then he says farewell to all that he loved, to dreams, to starlit nights, and to the breath of roses. "Sur l'Eau" is the book of modern disenchantment, the faithful mirror of the latest pessimism. The journal written on board ship, disconnected and hasty, but so noble in its disorder, has taken a place forever beside Werther and René, Manfred and Oberman.
He had for a long time, to his sorrow, seen his health failing under the attacks of an obscure malady which left him with a sense of the diminution of his powers and a gradual clouding of his intellect.
Symptoms of general paralysis set in, at first mistaken for neurotic disturbances. He changed greatly. Those who met him as I did, thin and shivering, on that rainy Sunday when they were celebrating the inauguration of Flaubert's monument at Rouen would scarcely have recognized him. I shall never forget, as long as I live, his face wasted by suffering, his large eyes with a distressed expression, which emitted dying gleams of protest against a cruel fate…
Maupassant retired to Cannes not far from his mother. He read medical books and, in spite of what they taught, persisted in attributing his sufferings to "rheumatism localized in the brain," contracted amid the fogs on the Seine…
Vainly he endeavored to work, he became gloomy and the idea of suicide impressed him more and more…
The months passed, however, and in June he was able to go to Divonne to take a cure. After a very characteristic attack of optimism, he suddenly appeared at Champel and astonished everyone by his frightful eccentricities. One evening, however, he felt better, and read to the poet Dorchain the beginning of his novel "The Angelus," which he declared would be his masterpiece. When he had finished, he wept. "And we wept also," writes Dorchain, "at seeing all that now remained of genius, of tenderness and pity in this soul that would never again be capable of expressing itself so as to impress other minds… In his accent, in his language, in his tears, Maupassant had, I know not what, of a religious character, which exceeded his horror of life, and his sombre terror of annihilation."
At the end of September he again visited Cannes, but the fatal day predicted by the physician was at hand.
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.
UNE VIE
OR, THE HISTORY OF A HEART
CHAPTER I
THE HOME BY THE SEA
The weather was most distressing. It had rained all night. The roaring of the overflowing gutters filled the deserted streets, in which the houses, like sponges, absorbed the humidity, which penetrating to the interior, made the walls sweat from cellar to garret. Jeanne had left the convent the day before, free for all time, ready to seize all the joys of life, of which she had dreamed so long. She was afraid her father would not set out for the new home in bad weather, and for the hundredth time since daybreak she examined the horizon. Then she noticed that she had omitted to put her calendar in her travelling bag. She took from the wall the little card which bore in golden figures the date of the current year, 1819. Then she marked with a pencil the first four columns, drawing a line through the name of each saint up to the 2d of May, the day that she left the convent. A voice outside the door called "Jeannette." Jeanne replied, "Come in, papa."
And her father entered. Baron Simon-Jacques Le Perthuis des Vauds was a gentleman of the last century, eccentric and good. An enthusiastic disciple of Jean Jacques Rousseau, he had the tenderness of a lover for nature, in the fields, in the woods and in the animals. Of aristocratic birth, he hated instinctively the year 1793, but being a philosopher by temperament and liberal by education, he execrated tyranny with an inoffensive and declamatory hatred. His great strength and his great weakness was his kind-heartedness, which had not arms enough to caress, to give, to embrace; the benevolence of a god, that gave freely, without questioning; in a word, a kindness of inertia that became almost a vice. A man of theory, he thought out a plan of education for his daughter, to the end that she might become happy, good, upright and gentle. She had lived at home until the age of twelve, when, despite the tears of her mother, she was placed in the Convent of the Sacred Heart. He had kept her severely secluded, cloistered, in ignorance of the secrets of life. He wished the Sisters to restore her to him pure at seventeen years of age, so that he might imbue her mind with a sort of rational poetry, and by means of the fields, in the midst of the fruitful earth, unfold her soul, enlighten her ignorance through the aspect of love in nature, through the simple tenderness of the animals, through the placid laws of existence. She was leaving the convent radiant, full of the joy of life, ready for all the happiness, all the charming incidents which her mind had pictured in her idle hours and in the long, quiet nights. She was like a portrait by Veronese with her fair, glossy hair, which seemed to cast a radiance on her skin, a skin with the faintest tinge of pink, softened by a light velvety down which could be perceived when the sun kissed her cheek. Her eyes were an opaque blue, like those of Dutch porcelain figures. She had a tiny mole on her left nostril and another on the right of her chin. She was tall, well developed, with willowy figure. Her clear voice sounded at times a little too sharp, but her frank, sincere laugh spread joy around her. Often, with a familiar gesture, she would raise her hands to her temples as if to arrange her hair.
She ran to her father and embraced him warmly. "Well, are we going to start?" she said. He smiled, shook his head and said, pointing toward the window, "How can we travel in such weather?" But she implored in a cajoling and tender manner, "Oh, papa, do let us start. It will clear up in the afternoon." "But your mother will never consent to it."
"Yes, I promise you that she will, I will arrange that." "If you succeed in persuading your mother, I am perfectly willing." In a few moments she returned from her mother's room, shouting in a voice that could be heard all through the house, "Papa, papa, mamma is willing.
Have the horses harnessed." The rain was not abating; one might almost have said that it was raining harder when the carriage drove up to the door. Jeanne was ready to step in when the baroness came downstairs, supported on one side by her husband and on the other by a tall housemaid, strong and strapping as a boy. She was a Norman woman of the country of Caux, who looked at least twenty, although she was but eighteen at the most. She was treated by the family as a second daughter, for she was Jeanne's foster sister. Her name was Rosalie, and her chief duty lay in guiding the steps of her mistress, who had grown enormous in the last few years and also had an affection of the heart, which kept her complaining continually. The baroness, gasping from over-exertion, finally reached the doorstep of the old residence, looked at the court where the water was streaming and remarked: "It really is not wise." Her husband, always pleasant, replied: "It was you who desired it, Madame Adelaide." He always preceded her pompous name of Adelaide with the title madame with an air of half respectful mockery. Madame mounted with difficulty into the carriage, causing all the springs to bend. The baron sat beside her, while Jeanne and Rosalie were seated opposite, with their backs to the horses.
Ludivine, the cook, brought a heap of wraps to put over their knees and two baskets, which were placed under the seats; then she climbed on the box beside Father Simon, wrapping herself in a great rug which covered her completely. The porter and his wife came to bid them good-by as they closed the carriage door, taking the last orders about the trunks, which were to follow in a wagon. So they started. Father Simon, the coachman, with head bowed and back bent in the pouring rain, was completely covered by his box coat with its triple cape. The howling storm beat upon the carriage windows and inundated the highway.
They drove rapidly to the wharf and continued alongside the line of tall-masted vessels until they reached the boulevard of Mont Riboudet.
Then they crossed the meadows, where from time to time a drowned willow, its branches drooping limply, could be faintly distinguished through the mist of rain. No one spoke. Their minds themselves seemed to be saturated with moisture like the earth.
The baroness leaned her head against the cushions and closed her eyes.
The baron looked out with mournful eyes at the monotonous and drenched landscape. Rosalie, with a parcel on her knee, was dreaming in the dull reverie of a peasant. But Jeanne, under this downpour, felt herself revive like a plant that has been shut up and has just been restored to the air, and so great was her joy that, like foliage, it sheltered her heart from sadness. Although she did not speak, she longed to burst out singing, to reach out her hands to catch the rain that she might drink it. She enjoyed to the full being carried along rapidly by the horses, enjoyed gazing at the desolate landscape and feeling herself under shelter amid this general inundation. Beneath the pelting rain the gleaming backs of the two horses emitted a warm steam.
Little by little the baroness fell asleep, and presently began to snore sonorously. Her husband leaned over and placed in her hands a little leather pocketbook.
This awakened her, and she looked at the pocket-book with the stupid, sleepy look of one suddenly aroused. It fell off her lap and sprang open and gold and bank bills were scattered on the floor of the carriage. This roused her completely, and Jeanne gave vent to her mirth in a merry peal of girlish laughter.
The baron picked up the money and placed it on her knees. "This, my dear," he said, "is all that is left of my farm at Eletot. I have sold it-so as to be able to repair the 'Poplars,' where we shall often live in the future."
She counted six thousand four hundred francs and quietly put them in her pocket. This was the ninth of thirty-one farms that they had inherited which they had sold in this way. Nevertheless they still possessed about twenty thousand livres income annually in land rentals, which, with proper care, would have yielded about thirty thousand francs a year.
Living simply as they did, this income would have sufficed had there not been a bottomless hole always open in their house-kind-hearted generosity. It dried up the money in their hands as the sun dries the water in marshes. It flowed, fled, disappeared. How? No one knew.
Frequently one would say to the other, "I don't know how it happens, but I have spent one hundred francs to-day, and I have bought nothing of any consequence." This faculty of giving was, however, one of the greatest pleasures of their life, and they all agreed on this point in a superb and touching manner.
Jeanne asked her father, "Is it beautiful now, my castle?" The baron replied, "You shall see, my little girl."
The storm began to abate. The vault of clouds seemed to rise and heighten and suddenly, through a rift, a long ray of sunshine fell upon the fields, and presently the clouds separated, showing the blue firmament, and then, like the tearing of a veil, the opening grew larger and the beautiful azure sky, clear and fathomless, spread over the world. A fresh and gentle breeze passed over the earth like a happy sigh, and as they passed beside gardens or woods they heard occasionally the bright chirp of a bird as he dried his wings.
Evening was approaching. Everyone in the carriage was asleep except Jeanne. They stopped to rest and feed the horses. The sun had set. In the distance bells were heard. They passed a little village as the inhabitants were lighting their lamps, and the sky became also illuminated by myriads of stars. Suddenly they saw behind a hill, through the branches of the fir trees, the moon rising, red and full as if it were torpid with sleep.
The air was so soft that the windows were not closed. Jeanne, exhausted with dreams and happy visions, was now asleep. Finally they stopped. Some men and women were standing before the carriage door with lanterns in their hands. They had arrived. Jeanne, suddenly awakened, was the first to jump out. Her father and Rosalie had practically to carry the baroness, who was groaning and continually repeating in a weak little voice, "Oh, my God, my poor children!" She refused all offers of refreshment, but went to bed and immediately fell asleep.
Jeanne and her father, the baron, took supper together. They were in perfect sympathy with each other. Later, seized with a childish joy, they started on a tour of inspection through the restored manor. It was one of those high and vast Norman residences that comprise both farmhouse and castle, built of white stone which had turned gray, large enough to contain a whole race of people.
An immense hall divided the house from front to rear and a staircase went up at either side of the entrance, meeting in a bridge on the first floor. The huge drawing-room was on the ground floor to the right and was hung with tapestries representing birds and foliage. All the furniture was covered with fine needlework tapestry illustrating La Fontaine's fables, and Jeanne was delighted at finding a chair she had loved as a child, which pictured the story of "The Fox and the Stork."
Beside the drawing-room were the library, full of old books, and two unused rooms; at the left was the dining-room, the laundry, the kitchen, etc.
A corridor divided the whole first floor, the doors of ten rooms opening into it. At the end, on the right, was Jeanne's room. She and her father went in. He had had it all newly done over, using the furniture and draperies that had been in the storeroom.
There were some very old Flemish tapestries, with their peculiar looking figures. At sight of her bed, the young girl uttered a scream of joy. Four large birds carved in oak, black from age and highly polished, bore up the bed and seemed to be its protectors. On the sides were carved two wide garlands of flowers and fruit, and four finely fluted columns, terminating in Corinthian capitals, supported a cornice of cupids with roses intertwined. The tester and the coverlet were of antique blue silk, embroidered in gold fleur de lys. When Jeanne had sufficiently admired it, she lifted up the candle to examine the tapestries and the allegories they represented. They were mostly conventional subjects, but the last hanging represented a drama. Near a rabbit, which was still nibbling, a young man lay stretched out, apparently dead. A young girl, gazing at him, was plunging a sword into her bosom, and the fruit of the tree had turned black. Jeanne gave up trying to divine the meaning underlying this picture, when she saw in the corner a tiny little animal which the rabbit, had he lived, could have swallowed like a blade of grass; and yet it was a lion. Then she recognized the story of "Pyramus and Thisbe," and though she smiled at the simplicity of the design, she felt happy to have in her room this love adventure which would continually speak to her of her cherished hopes, and every night this legendary love would hover about her dreams.
It struck eleven and the baron kissed Jeanne goodnight and retired to his room. Before retiring, Jeanne cast a last glance round her room and then regretfully extinguished the candle. Through her window she could see the bright moonlight bathing the trees and the wonderful landscape. Presently she arose, opened a window and looked out. The night was so clear that one could see as plainly as by daylight. She looked across the park with its two long avenues of very tall poplars that gave its name to the château and separated it from the two farms that belonged to it, one occupied by the Couillard family, the other by the Martins. Beyond the enclosure stretched a long, uncultivated plain, thickly overgrown with rushes, where the breeze whistled day and night. The land ended abruptly in a steep white cliff three hundred feet high, with its base in the ocean waves.
Jeanne looked out over the long, undulating surface that seemed to slumber beneath the heavens. All the fragrance of the earth was in the night air. The odor of jasmine rose from the lower windows, and light whiffs of briny air and of seaweed were wafted from the ocean.
Merely to breathe was enough for Jeanne, and the restful calm of the country was like a soothing bath. She felt as though her heart was expanding and she began dreaming of love. What was it? She did not know. She only knew that she would adore him with all her soul and that he would cherish her with all his strength. They would walk hand in hand on nights like this, hearing the beating of their hearts, mingling their love with the sweet simplicity of the summer nights in such close communion of thought that by the sole power of their tenderness they would easily penetrate each other's most secret thoughts. This would continue forever in the calm of an enduring affection. It seemed to her that she felt him there beside her.