F la u b ert an 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 sh i p
"

A GN E S RUTH ER FOR D R I D D E LL

T H E U N I VE R S I TY O F C H I C A G O P R E S S
C H I C A G O , I LL I N O I S
FL AUB ER T A N D M AUP A S S AN T
A L I TER A R Y RE L ATI ON S H I P
T H E UN IV R SI TY O F C H I C A G O P R
E E SS
C H I C A G O . I LL IN O I S

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F la u b e r t and M a u pa ssa n t
A L it e ra ry R e l a t io n sh ip

By

A GN E S R UTH ER FOR D R ID D E LL

T H E U N I VE R S I TY O F C H I CA G O P R E SS
C H I C A G O , ILLI N O I S
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Ch i ca go , I ll i n o i s . U S A
. . .
 P R E FA CE

The p ublication o f this dissertation has been delayed by the war ,

as it has been i m p ossible to v isit the libraries o f E urop e for books

and articles not to be found on this side o f the A tlantic P er m. ission
to p ublish has now been granted the writer by the D e p art m ent o f
R om ance Languages and Literatures with the understanding t hat
, ,

i f necessa ry additions to o r re v isions o f the di ssertation m

,
a y be

i ssued by her a fter she has exa m ined the m aterial i n E uro p e
.

Thi s dissertation has been w ri tten under the di rection o f P ro

f e s so r E P D argan to whose in v aluable and unti ri ng encourage m
. .
,
ent
and counsel the writer acknowledges with p leasure h e r v ery great
indebtedness S h e desires further to ex p ress her thanks for m
. uch
v aluable ad v ice t o P ro f essor N it z e ,
head o f the D e p art m ent o f
R om ance Langu ages and Literatures To P ro fessor P ietsch P r o
.
,

f esso r Jenkins P ro f essor Wilkins P ro f essor Cole m

, , an A ssistant
,

P ro fesso r P armenter and others who hav e assisted her f romti me

,

to ti m e duri ng the co m position o f the dissertation with facts and sug

gestions she wi shes also to reco rd her gratitude
, .
 P A GE

A BB REVI A TIO NS

C H AP TE R

I . H I S TO RY OF TH E P ERS O NA L L
R E A TIO NS H IP

II . D I S C U SS IO N AN D E X E M P L IFI C A TIO N OF D EFI N IT E L Y S TATE D

TH E O R I ES R E GARD I N G L IF E ( WIT H I N T R O D U C TIO N )

II I . D I S C USS IO N A N D E X E M P L IFI C A TIO N OF DEFI N IT E L Y S T AT E D

T H E OR I ES R EGA RDI N G L IT ERARY PR O C ED URE
IV . L I K EN ESS IN EM P L OY M EN T OF G E NERA L R EA L I STI C D E VI C ES

V . R ESE M B LAN C ES I N P L OT ,
I NCI D EN T , C H ARA C T ER I ZA TIO N I ,
D EAS
AN D WO RD I N G

VI . S U M M ARY AN D CO N C L U S IO N

B IB LI O
G RA P H Y
 A B B R E V I ATI O N S

In referr i ng t o t h e w o rks o f F l a ub ert a nd M a upa ssant th e fo llo wi ng ,

a b b r ev i at i o n s are u sed t h r o ugh o ut th e n o te s o f th e d i sser tat i o n i n o rder

to s ave s pa ce Wh ere t h e referen ce i s t o a sh o r t sto ry t h e t i t l e o f t he
.
,

v o l ume i n w h i ch it i s conta i ne d i s g i ven fi r st a n d th en th e na me o f th e

’

st o ry ( a bb re v i at ed i n m any ca se s ) .

FLAU B ERT
M ad ame B o vary
’
L E d u ca t i o n s ent i ment al e
S ala mmbO
'
Tro i C o n t e s ( U mC o e ur s i m
s ple ; La L égen d e
de S a i nt J u l i en l H ospi t a li er H ero d i a s )
’
,

L a T en t at i o n d e S a i n t A nto i ne -

O e u v r e s d e j e u ne ss e
No t e s d e v o yage s
Pa r l e s C h amp s et par l e s Gr é ves
C o rr e s p o nd an ce
B o uva r d et P é cuch et

M AU P ASSAN T
D V . . D es V er s
Bd S. . . B oul e d e S u i f
P . e .
J . P i e rr e et J ean
M11
e F . . M ade m o i s e ll e Fifi

M Par . . Mo n s i e u r Paren t
Le R o s i er d e M ad am e H usson
Au S . A u S o le i l
L M G
. . . L a M a i n Ga u ch e
UV . U n e Vie
L P R
. . . La Pet i t e R o que
S 1E
’ ’
. . S ur l E a u
F o rt co mme l a M o rt
NC . . N ot reCo eu r
L . MT . . L a M a i so n T e ll i er
LV E. . . L a V i e E rran t e
LH . . L e H o rl a
Cd l B
. . . or B éc . Co nt e s d e l a B é ca sse
ix
 FL A UBER T A ND M A UP A S S A N T

Oe uv re p o sth ume s
s

M i ss H a rri e t
L es S o eur s R o ndo l i
M o n t O ri o l
-

C o n te s d u J o u r et d e
L i n u t i l e B ea ut é
’

B el A-
mi
C l a ir d e L u ne

I ta l i c iz e d w o r d s i n q uo tat i on s ma rke d th u s a r e i t al i ci ze d i n the t e xt .

Whe r e t h i s ma r k i s n ot u sed th e i t al i cs are th e wri te r s ’

.
 CH A P TE R I
H IS T OR Y
T I ON S H I P O F TH E PE R S ON A L R E LA

Flaubert s connection with the M au p assant fam

’
ily began through
the f riendshi p between his m other and the mother f his co mp anions o ,

A l f red and Lau re Le P i tt i } the latter o f w ho mbeca m e in 18 5 o ev n ,

0,

the m other o f G y de M au p assant The relationshi p with A l fred

,

2
u .

’
Le P o i t tev i n
ontinued unti l the latter s death in
c as is ev i
d en ce d by the f requent m ention O f h imin the C or r espo n d a n ce and
el s ewhere i n Flaubert s w o r ks by the letters addres s ed to him
“1
L 5 ’
, ,

and by the dedication to h imo f L a Ten ta ti o n d e S a i n t A n t oi n e and -

o f t w o youth f ul atte m p ts S ome years Older than Gustav e A l fred

6
.
,

Le P o i ttev in see m s to ha v e had u p on hi m conside rable influence .

F o r p resent p ur p oses the f riendshi p is interesting m ainly because

it gi v es r i se t o the s p eculation as to how f ar Flaube r t s relationshi p ’
'

with the ne p hew i s traceable to h i s f riendshi p with the un cle .

With Lau re Le P o ittev in who married in 1846 Gustav e de

'

, , ,

M au p assant Flaubert m aintained his friendshi p as long as he li v ed

,
7
.

S h e see m s howe v er to hav e p as s ed o u t o f hi s ken during the early

, ,

years o f her married li fe The first letter to her in cluded in the

8
.

C o r r espo n d a n ce dates f ro m O thers f ollow i n 1866 18 7 2 and , ,

18 7 3 I n these letters re ference i s made to A l fred ; mention

al s o occurs o f Laure s son Guy and o f the growing a ff ection o f ’

Flauber t for him p artly o n the lad s own account and p a r tly because
,
’

1F
l a ub e t , r C mI a ,
: S o uv en ir i t i m
s n es de M m
e . d e Co mm a n v il l e, p . ix .

2
M a yn i a l L a , vi e e t l
’
o eu vr e de Ma upa ssa n t p , . 24
.

3
I bi d p 21
m1
. . .
,

4
For e x ample , Co , 2 4, 33 , 3 5 , 39 4 5 , 5 4, 60, 62 , 7 4, 7 7 . 96,
, 167 , 19 1. 2 07 ,

2 98 , 3 01, 402 , 45 9 ; I I , 2 3, 92 , 19 1-93 ; N d-V . 1 . 89 ; P . . pp .

3 37 , 3 39.
et c.

5
Co rn .
1, 147 , 15 0, 15 3 , 15 9, 162 , 17 3 187 , 188
6
I , 40 1; I I , 12 1 .

7
M ayn ia l , op ci t .
, pp . 2 3 a nd 2 1 M ayn ia l ves a ve
. gi ry f ll a nt f th
u cco u o e

p er so nal r elat i o nsh i p b etween r F l aub e t a n d M aupassant t wh i h t h p r ent

o c e es

ch ap t e r i s m Th e ackn o wl ed g m ma de he re n e f l l
,

uch i n d eb t ed ent i s . o c or a ,

e x cep t in the case o f sp ecifi c r e f e renc es .

9 Co m I I I
p 22 3 84 4 18 ; I V 138 x 5 8
8 I bid
.
,
. .
, , , , , ,
185 .
10
I bi d .
 F LA U E R B T A N D M A UP A S S A N T

of his strong rese mblance to hi s uncle .

11
Thi s is the beginning O f
a letter in Co r r espo n d a n ce I V 15 8 : , ,

Tu m s p r é ven u m
’
a , a Ch e re L a ure , ca r d ep u i s un mi
o s j e v o ul a i s
t ecr i r e p o u r t e fa i re un e d ecl a r a t io n d e t end r e sse a l en d ro i t d e t on fi l s ’
.

Tu n e s a u r a i s c r o ir e co m me j e l e t r o uve ch a r mant i n te l l i gen t b o n enfant ,

p l oyer un m od e ) sym
, ,

sen s é e t s p iri t uel b r ef ( p o u r e m

, ot a la m pa th i que !
M al gré l a d i ff eren ce de n o s age s j e l e regard e co m me « un a mi »et p ui s ,

il m e r appe l l e t ant m o n p a u v r e A l fred ! J en su i s meme par f o i s e ffrayé ’

,

s u r t o u t l o r sq u i l b a i ss e l a t é te en r é c i tan t d e s ve r s
’
.
,

Fla u bert ad v ises her to enco u rage her son i n his taste for v erse
wri t i ng and holds o ut h o p e t hat i n ti me the young m an m a y a cco m

p l i sh so mething w orthy o f literary fa me I n a letter i n C o r r espon .

d a n ce ( I V Fla ubert again ex p resses his a ffection for Guy and

,

de clares hi msel f willing to do all i n hi s p o w er to hel p h im .

The letters to Guy de M a u p assant hi m ,

s el f included i n the Cor
’
r es o n d a n ce begin in 18
p 7 3 and continue until the year o f Flaubert s
dea th They are thi rty s e v en in nu mber
.
12
and contain crit i ci sm
-
,

warning and ad v ice regarding lite r a ry and other matters reques t s

, ,

for in fo rmation and for counsel ex p lanation O f co m missions to ,

execute thanks f o r ser v ices rendered messages to M m

, e de M au p as ,

s ant and to f riends accounts O f the Older m an s o wn doings and

,
’
,

current gossi p I n o n e Flaubert calls Guy m

.
“
o n tr es ai mé
A nother is a Sp ecies o f m ani festo o n the relation O f art to morality .

I t up holds l e culte de la fe mme o n the authority o f great w riters

“ ”

o f ancient and m odern ti m es and enunciates t h e theories to be ,

discussed i n later cha p ters o f thi s thesis O f art for art s sake
“ ”
,
’
,

and o f the p ersecution o f literatu re by the p ublic “ Thi s e p istle .

,

ca st in a tone o f i ronic exas p eration at the b etise o f the pro secu

“ ”

t ion occasioning the letter w as w rit t en for insertion in the Ga ul o i s,

t o de fend M au p assant again s t a threatened lawsui t brought on by ,

t h e unauthorized p ubli cation o f f ra gm ents f ro mone o f his p oe ms .

I t no w app ears so mewhat changed as a p re face to the latter s

, ,
’

v ol um The p ersonal litera ry ad vice contained i n th e

15
e o f v erses .

11 Co r n ,
I V, 18 5 .

12
Co m IV . . 166 . 2 2 3 . 2 66 . 2 69 . 2 7 3 . 2 7 8. 2 8 5 . 3 x 3 3 15 . 3 19. 33 5 .
. 3 49 .

3 5 0. 35 7 . 3 63 . 3 82 . 386. 388 . 39 1. 3 96. 397 . 40 1. 405 . 4 11. 4 14. 4 x 7 . 4 18. 42 3 . 42 5 . 42 7 .

18
Co rn ,
I V , 3OI .

S ee b el o w, pp .
3 6, 20
.
15 D V . .
,
pp . x x vu- xxxi .
 P RES ON AL RE L A T I ON S H I P 3

letters is v aluable here because it throws l i ght u p on the m ethod o f

train i ng to which Flaubert subj ected his p u p il The Olde r m a n sho w s .

keen interest i n e v e rything written by the younger and i s constantly

asking fo r new s o f his e ff ort s When M au p assant i s trying to .

s ecure a p osit i on on the j ournals Flaubert suggests to hi msubj e cts ,

for a r ticles 16
A n arti cle on hi msel f w ins hi s thanks ; another i s
entioned howe v er—o u French
.

”
fine a thi rd good “ ” 17
The last m -

p oetry—does not do j ustice to R onsard R e marks o n indiv idual

, .
,

works are v ery s p ecific p rai se being te mp ered with bla me The , .

f ollowing are examp les Of generally commendatory criticis m .

Je n y v o i s r i en a re prend r e qu e d eu x
’
C e st tr es bi en vo tre
’ ’
*
Ven us .

pe t i t e s i n co rre ct i o n s gram mat i cal e s ma i s e l l e s peuvent se d éfend r e 18

.
,

Q ant a v re mr
u o t u * 19
pl e i n d e v er s s p l en d i d e s i l y a d es d i sparate s
, ,

A i nsi l e m o t b a g a te ll e* v o u s v e r s e u n e d o u ch e gl a c é e
’
d e ton . L e ff et .

co m i que a rri ve t r o p tOt ma i s admetto ns q ue j e n a i e r i en d it ; i l faut ,

'
’

vo i r l en sem
’
bl e 20
.

The f ollowing p assage i s a sa mp le O f sev ere criticis m A lthough .

so mewhat long it i s quoted i n its enti re ty because it shows with ,

what v igorous censure the m aster corrected the disci p le o n occa sion .

M a nt enant a n s d e D észr s * E h b i en ! mo n j e une h o mm

i e
’

c u so .
,
la
d i t e p i ece n e me pla i t pa s d u t o ut E ll e i nd i q u e un e fa ci l i t é dé p l o r ab l e
m
. .

Un de dészr qui A voi r d es

’
*
es ch ef s nu es t Ch er ! a il es,

pa r bl e u ! le so uh ait an ts so nt b on s
est co mmn u . Les deu x ve r s su v i , ma i s

au q ua t r i é m e l e s oi s e a ux s u rpr i fi n e so n t pa s s u rpr i s pu i squ e t u es a

l es p o u r su i v r e A mo i n s q u e su r p ri s n e ve u i l l e d ir e é to nné s ?
.

1°
Fo r e xamp le nu me r ou s ar t i cl es wh i ch M aupa ssant
,
Cor n ,
I V, 2 74 . Th e
wr ote f o r r ev i ew
s a n d j o ur na l s h ave wi t h f ew e x cep t i o n s nev er b een r ep ri nt e d

p o s si bl e th er ef o r e a t th e p r esent mo ment
, ,

( M ayn ia l op ci t p ,
It is im
. .
, , ,

f o r th e wri t e r o f th i s th es i s t o s a y f r o mpe r sonal O b se r vat i on h o w f a r t h ese

.
,

s u gg est i on s o f F l au b e r t s wer e ca rri ed o ut

’
.

M ah n Guy d e Ma upa ssa n t s ei n L eb en u n d s ei n e Wer ke g i v es in h i s chap

‘

t er ent i tl ed D er Jo u rnal i st
, , ,

“
pp 12 5 66 an acco unt o f h i s r esear ch es o n th e
,
”
.
-
,

sub j ect o f th ese a r t i cl es a t t h e B i b l i o th eq ue N at i onal e M aupa s sant wr ot e esp e .

c i a l l y f o r L e Ga u l o i s a n d L e Gi l B i a s a s w el l a s f o r n u m er o us o th e r j o ur nal s .

Th e co n tent o f t h e ar t i cl es a s d esc ri b e d b y M ahn d oes n o t d ifi er i n ki n d f r o m

,
’

, ,

th at o f t h e auth o r s co ll ect ed wo r ks
’
.

17 C or r .
,
I V, 2 7 3, 3 19, 2 8 5 .
18 C or r .
,
I V , 386 .

19
r f er n e ppar ntly t
A e e c a e o M a upa ssa nt p o emL e M a r Th e wo r d ma r
’
s .

i p ri t d in th C na r d d i t i n Fl aub er t s C o rr espo n da n ce wi th a small

’
s n e e o e o of

l tt r
e e .

C I V 397
2°
or r .
, , .
4 F LA U BE R T A ND M A UP A S S A N T
Je vo u dr a is , j e v o u d a is r
pe ut a l ler .
*
A ve c un e pa r e i l l e rn re
to u u on

i n dé fi n i m e n t t an t q u o n a d e l en cr e ! E t l a co os
’
o ? Ou est e ll e ?
’
mp i t i n -

r m l im age me se mb l e co mi que ; o ut r e ’
fl
’ *
A i n si q u u n g a n d a b e a u ,

q u nn fl a m b ea u n e l a i s se pa s d e fl am me pui squ il l a p o r te
’ ’
.
,

D es f r o n t s en ch ev eu x n o ir s a u x f r o n t s en ch ev eux r o ux .

C h a r man t ma i s rappe l l e t r o p l e ve r s d e M é n a r d :
,

S o u s t es ch ev eu x chata in s et s o u s t es ch ev eu x g ri s .

« Ou i j e v o ud ra i s » P o u rq u o i .

C l a ir d e l u n e * e x ce ll en t .

a tro ce !
’
’ *
L a fi o la n te ba ta zll e ,

E n so m me j e t enga ge a suppr i mer cette p i ece e ll e n e st pa s a l a

’
,
’

h a ute u r d es a ut r e s .

L a d e s s u s t o n v i e u x t em
— S ev er e m a i s j u st e ’
b r a sse 21
.
,
.

In the foregoing three p assages th e for mo f criticis mi s that o f

sp ecific co m ment with so me general re marks N 0 p oint i s allo w ed
, .

t o p ass whi ch o ff ends agains t Flaubert s unco m p ro mi sing standards ’

o f originali ty o f corre ctne s s o f arti stic fitnes s Vé n us for exa m

, p le ,
.
, ,

contains
“
t w o sl i ght gra m matical errors ” “
The word bagatelle ”
.

i n l e M W has a chilling e ff ect ”

The p oe mD és i r s shows a d epl o r
“
.

able facility ”
A v o ir d es Gi l es i s a co m
. mon p lace ex p ression The .

w ord surp ris i s a mbiguous the word oui sup erfluous The
“ “ ”
,
.

im age o f the torch is ina pp ro p riate The line quoted i s a p lagiaris m . .

A n d so o n The strictures o n these p oe ms illustra t e certain o f

.

Flaube rt s literary theories w hi ch will be considered later in this

’

t he s is as for instance hi s insisten ce o n the m

“ ”
, , o t j uste his dislike , ,

idée s re c ues et c A s the p o e m s no w a p pea r i n the v olu m

“ ”
of e
2 2

D es V er s w e m
.
,

a y Obser v e t hat the ex p ressions criticized hav e gen

e r a l ly been altered
23
sho w ing M a upa ssa n t s de ference to the o p in
,
’

ions o f Fla u bert .

I n co mmenting on B o ul e d e S uif th e conte rouennais co n ,

c erning w hich M au passant had a p parently thrown o u t m ysterious

hints be fore its a pp earance in the S o i r é es d e M é d a n Flaubert is
most en thusias t i c
,

24
I t i s the best thing in the v olu m . e a real
ma st erp i e ce original well t hought o ut excellently written Land
,

, , , .

21
C m IV
o 42 4 The p o emwa s not su pp r essed a s i t a pp ea r s in th e vo l
mD
, .
,

m
,

u e es Ver : ( pp . 67 b ut so e of th e e x p r e ss i o n s cen s u r ed hav e b een

ch a n g ed .

22
S e e b el o w , pp . 28 - 3 1, 2 7 .

23
Cf M a yn ia l
.
, o p ci t .
, p . 89 ; D . V .
,
pp . 67 68
-
.

24
C or r .
,
I V, 392 , 3 97 -99 .
6 F LA UB E R T AND M A UP A S S A N T
B o ul e d e S uif What p lease s hi m about thi s e fi o r t i s that it i s
p ersonal and does no t ado p t the formula O f any school P as
.

“ “
.

de ch i c ! pa s d e p o s e ! n i p arnass i en n i réali ste ( o u i m p ressioni ste , ,

ou ( Fla u bert es pecially detested these m odern Shib

b o l et h s ) He wi she s M au p as s an t to colle ct for h i me v eryth i ng that
.

i s p ublished o n B o u l e d e S u i f and on t h e v er s es I n thi s we see

33
.

t h e eager i ntere s t o f the m a ster in a fa v orite d i sci p le .

We ha v e gi v en exa m p les o f Flaubert s spe cific criticism o f ’

M aupas s ant ; more general literary ad v i ce is not lacking Guy .

mu s t n o t allo w hi s mode o f li fe to interfere w i th h i s art A man .

w ho asp ire s to the name o f ar t ist has no right to liv e as do

“ ”

o thers ; hi s only p ri nci p le must be the necess i ty o f sacrificing e v ery

t h i ng t o art H e w arns th e yo u ng ma n also against brooding and
.

conj ure s h i m to work harder

*
I l f a u t entendez v ous j eune .
,
-
,

ho m me il fa u t t rav ailler p lus que Ca

,
V ous etes né p our faire .

des vers f aites en ,

-

A no t her f or mo f literary tra i n i ng p robably not less i m p ortant

t han the abo v e m entioned because it furnished the exa m
-
, p le to estab
l i sh the p re ce p t i s e m p hasized by M a yn ia l
,
35
Flaubert associated .

hi s p upil w i th hi m sel f in the co mposition o f B o u va r d et P é cu chet

seeking fro mhimp re c i s e i n fo rmat ion on many p o i nts and detailing
,

a t lengt h hi s own e ff orts to w ard ac cura cy and p re cision Fo r in .

s tance he needs for a p ar t icular e p isode in hi s story a certain kind o f

,

hillside slope and M au p assant m ,

ust suggest to h im a p lace near
Ha v re w hich w ill fulfil the require ments 3
O r the young m an .
6

beco m es t h e c onfidant o f Flaubert s chagrin at M B a u d ry s question ’

.
’

ing o f h is botan i cal exactness 3

Ot her exa m ple s O f a like nature are
.
7

t o be found in the C o rr es po n d a n ce .

I n letters fromFlaubert to v ar i ous p ersons d u ring the later years

o f his li fe there is f requent mention O f M au p assant and o f the young
man s mother the former being O ften called mon disci p le occa
’
,
“ ”
,

s io na l l
y
“
m o n el ev e ”3 8
These letters are so m eti m es w ritten to hel p
t h e beginner in his p ros p ects o r re f e r to Guy s doings and to the
’
,

w ri ter s in teres t i n h im
’ ‘5‘9
.

33
Co rn ,
I V , 42 7 .
35 M a yn ia l , op c i t.
,
pp . 68 69 -
.

34
Corn ,
I V , 336 .
3° Corn ,
I V, 3 13 - 15 .

37
Co n n I V , 42 9 ff
, .

39 Fo r e x mp l a e, Corn , V , 3 2 3 , 42 1 .

39
Fo r e xampl e, C o rr I V, 384, 395 -96 ; V , 44 5 , 45 2 , 45 5 , e tc .
 PE RS ON AL RE L A T I ON S H I P 7

B esides the letter s o f Flaubert there are se v eral fro mM m e de

M au p assant and f ro mher son t o thei r co m mon friend w hi ch gi v e

e v iden ce o f the relat i on shi p bet w een th e two men I n the N otes “ ”
.

to the v olu m e containing Fla u bert s Th eci tr e there i s an e p is t le by ’ ’

Mm e de M au p as s an t in w hich she sp eaks o f the friendshi p and says ,

“
Co m me l e d i sci ple a pp artient a u maitre I n the v ol ume o f M a u
p assant s v erses there are some letters fromhi s mother to Flaubert
’

i n w h i ch she O ften m entions her t w o sons re fers to her anxiety ,

’ ’
regarding Guy s future asks f o r her Old friend s ad v i ce and assi s ,

tance in the m atter thanks h imf o r hi s kindness to t h e young m ,

an ,

o r a s sures h i mo f the latter s a ff ec t ion I n o n e p lace S h e s pea ks o f

41 ’
.

F l a ub e r t s ha v ing called Guy h i s fi l s ado p ti f ; i n anothe r she says

’ “ ”
,

“
C est Flaubert qui v oulut en faire un ro m
’
ancier ”4 2
The likeness to .

t h e uncle A l fred Le P o i tt ev i n is re ferred to by her

,
as well as by , ,

Flaubert s m other in a short note p receding the selections f ro mM a u

’

p assant s corresp ondence in t h e v olu me entitled B oul e d e S uif I n

’ 4
.
4

the sa m e v olu me are in cluded so m e letters O f M a upa ssa n t s to ’

Flaubert i n w hich he generally addresses the latter as m

45
,
“
o n C her

maitre and s peaks o f mis sing thei r causeries de chaque se maine

” “ ”4 6
.

He asks f o r ad v i ce o r gi v es in forma t ion regarding w hat he i s w riting

and recounts the e v ents o f his O ffic ial li fe hi s e ff orts to o btai n a p lace ,

on the j ournals the ha pp enings about him ne w s O f mutual friends

, ,
.

I n the other letters o f M au p assant— letters to hi s mother and hi s

f riends there are v ar i ous short p ersonal re fe rences to Flaubert
— 7
.
4

The last instance o f thi s dates f ro ma ti me a fter t h e latter s death ’

and reads as follows

Je m sau ra i s v o us d ir e omb i en j e pen se a F l aub e r t i l me h ant e t me
e c , e

p o ur su i t S a pen sée m r ev i ent an s e s e j e t e d s a v ix j e r et ro uve

. e s c s ,
’
n n s o ,

se s ge st e s j e l e v i s a t o ut m
, om en t deb o ut d evant mo i ave a g r an d e r ob e
o c s

b r u ne t s es b r a
, e l ev é en pa r l an t C e t om me u e o l i tude q ui e st
s s .
’
s c n s s
’

fa i t e aut o ur d e m oi l ommence ment d es h o rr i b les sepa a tio n s qu i se

e c r

a i nt enant d a m
,

co n t i n uer o nt m n é e en ann é e e mp o rtan t t o us l es gen s q u o n ’ ’

ai m
,

e , ou nt nos qui so so u v en i r s ave c qui n o us p o u v i o n s le mi e ux c usa er

ch o s e s i nt i m
,

d es es 4 8 .

4°
Fl aub e t r ,
Th eat r e, p .
5 15 . pp ix xxiii
41D
. V .
-
.

42 D p xxi ; M a yn i a l op
. V .
, .
, . ci t p 44 ; C f ab o v e p 5
.
, . .
, . .

43 D
V pp xi x v i
. .
, .
45
I b i d pp x cv c xxi v .
, .
- .

44
Co rr p x ci v .
, . .
46
I bi d pp x cv cxiii etc .
,
.
-
, .

47
F o r e xa mple Cor r , .
,
pp c xxx v cx l i cx l iii i v
.
, ,
- .

48
Cor r pp cxl iii i v .
, .
-
.
8 F LA UBE R T A ND M A U PA S S A N T
We s ee in thi s p ass a ge how the v ery m e mory o f Flaubert see ms
to e v oke th e keen mental v ision o f i ndi v idual characteristics which
th e m aster ad vocated as w ell as to call forth the sense o f i solation
49
,

and o f the i m mi nence o f death w hi ch constan tly o vershadowed M a u

passant s outlook on li fe
’ 50
I t will be Observ ed that the closing words .

s u gge s t a relationshi p o f m ental sy m p athy .

A l so to be noted f ro mthe p o i nt O f v iew o f the one author s i n fl u

’
,

ence o n the other are ce rt ain additional di rect state ments o f M a u

,

p a s san t s A f t er the letter p re face to the v er s es there app eared i n

’
.
-
,

t h e thi rd edition o f the v olu m e a f e w lines on Flaubert s death whi ch ’

, ,

had occ u rred v ery shor t ly be fore I n the m M au p assant p ays the .

f ollowing tribute to hi s f riend :

D ep u ii vre a par ( i l y a mi a pe i ne ) l m i ll
s q ue cc l u un o s e er v e e ux

é r i i a q i i l é ta i t d é d i é t mr t G t ave Fl a b e r t t mr t
’

c va n u es o ,
us u es o .

J ve x p i n t i i pa r l er d
e ne u t h m o me d gén i e q j dmi
c e ce o e , ue
’
a r e a v ec

p i as s on, e t d n t j d i ra i pl ta rd l v i e q
o e t i d i enne t l pen ée f mi l ié
us a uo , e a s a r e,

e t l e coeu r q i t l dmi bl gr d r
ex u s, e
’
a ra e an eu .

M a i en t et e d l n ve l l e éd i t i n d
s, e v l me d nt l d éd i a e
a ou o e cc o u « o a c c
’
l a fa i t p l e rer » mé i i t il u il m im
’
i j ve x rep r d i re
cr va -
car
’
a a a uss e u o u

p r b l tt r q i l m d d m p ém A b d
, , ,

la su e e e p r dé fend re
e u
’ ’
a r essa ou nu e es o es u ar

d l e
’
e a u,
* 51
nt r e l parq e t d E t mp q i m t t q i t
co e u
’
a es u
’
a a ua .

J fa i e l a
e mme s c p r eme h mmage a
co mrt q i a mpp t é
un su o ce o , u e r

a r é men t l pl
s su i t da q jus i p
v z! e h mm l pl en r ess e ue
’
a ur a our un o e, a us

gr dm i r ti
’ ’

d
an e a q j a i a on i i l
ue e ti l pl
e v o u er a un e c r v a n, a v n er a on a us

mi pi r er a j a m
’ ’
a bs o l u e qu e ns ais an é tr e q u el qn i l s oi l .

These p aragra p hs ha v e been quoted beca use they show es p ecially ,

i n the ex p ress i ons italicized the grate f ul a ff ection and the ex t ra va ,

gant ad m iration w ith whi ch M au p assant regarded Flaubert—a n

a ff ec t ion and ad mi ration whi ch would lead naturally to the i n fl u
e n ci ng o f t h e one wri t er by the othe r e ven wi t hout the close connec ,

t ion o f m as t er and disci p le w hich has been noted as exis t ing between
the m .

To the inti macy o f this relationshi p M au p assant hi m sel f bears

w itness in his article on Le R oman p rinted at the beginning o f the
”
,

v ol ume entitled P i er r e et J ea n H e tells how he v entured to sub m it .

so m e o f hi s atte m p ts to Flaubert ; how the latter kindly read the m

49
S ee b el o w pp , . 2 5 -
26 .
50
S ee b el o w, p . 15 .

51
Cf on th i p is o nt M a yn ia l o p ci t pp 84 85 , 89-9 6
-
T he e r is so m e co n

p o em
. . . .
, .
,

f usi o n in t h e rfre e en ce s t o th e .
 P E RS ON AL RE L A T I ONS H I P 9

and encouraged h imto h Ope that ti m e and work would re veal the
p ossession of talent by thei r author F o r sev en years therea f ter the .

master labored with the disci p le The story i s told in M a upa ssa nt s .
’

o wn words :

P en d a n t se pt a nsver s j e fi s d es co nte s j e fi s d es n o uvel l e s

je fi s d es , , ,

j e fi s meme un d rame déte stab l e I l n en est r i en re st é L e mai tre l i sa i t .

’
.

to ut p u i s l e d i m an ch e s u i van t en d é j e unan t d evel oppa i t s es cr i ti qu es ’

, , ,

e t enf o n ga i t e n m oi pen a pe u deux ou t r oi s pr i n ci pes q u i sont l e r es u m

’ ’

, ,
e

d e s es l ongs e t pa ti en ts en s ei gn em en ts « S i o n a u n e o ri g i na l i t é d i sa i t i l . .
-
,

a dé gager ; si o n n en a pa s i l faut en a cq u é ri r u n e »
i l fa ut av a n t t o u t 1 52 ’
.
,

We should take account O f M a upa ssa n t s sta te m ent here that none ’

O f all the atte mp ts o f his seven years app renticeshi p was allowed to ’

surv i v e We p ossess there fore in all p robability no f urther s p e ci

.
, , ,

mens than those already mentioned o f the work done by himun der
”

the eye o f the m aster We m ust seek f o r the literary influence then
.

i n considerable m easure as M a upa ssa n t s re m arks i n the f oregoing ,

’

p assage suggest i n the general a pp lication by the latte r throughout

, ,

his subsequent work O f the p rinci p les inculca ted by the form ,
er .

What these are i s indi cated i n the succeeding well known p aragra p hs -

O f the article f romwhich quotation has already been m ade “ They .

will be discussed in a subsequent chap ter o f thi s thesis 55

.

I n 188 5 M au p assant wrote an art icle o n Flaube rt which serv ed as

a p re face to the Q uant i n edition o f B o uva r d et P ecu ch et Thi s has
’

been inserted in M a upa ssa n t s Oeu vr es P o s thum es II S om

’
e account ,
.

will be gi ven o f it i n a subsequent section o f this thesis 56

M au p as .

sant s first p ubli shed v olu m

’
e containing hi s v erses was dedica ted , ,

a Gustav e F laubert a l illu st r e et p aternel a m i que j ai m

“ ’ ’
, e de toute
ma tendresse a l i r r épro cha b le mait re que j a dmir e av ant tous This
,
’ ” ’
.

i s the dedication which M au p assant says m ade Flaubert wee p 57

.

A gain i n his re p ly to M S arcey M au p assant quotes Flaubert and

, .
,

others as being j uste m

“
ent i rrités de la p rétention des critiques
d im po ser un genre aux ro m
’ ”5 3
anciers Finally othe r re ferences to
em
.
,

hi s m ories o f Flaube rt no t p articularized now because no t co n ,

p . xxiii .

53
S ee ab o ve p ,
. 8 .
56
S ee b el o w , pp . 21 If .

54 ( L R) ,
pp . xxi ii xxv
-
.
57
S ee ab o ve .

55
S ee b el o w ,
pp . 2 1- 3 7 .
58 M A pp en d ix ,
p . 275 .
10 FL A UBE R T A ND M A UP A S S A N T

cerned w ith li terary theo ry are to be found here and there in his
,

w orks 59
.

I n thi s chap ter w e hav e studied then the di rect p ersonal relation
sh ip bet w een Gusta v e Flaube rt and Guy de M au p assant We ha v e .

seen tha t i t began thro u gh the general f riend shi p o f t h e Flaubert and
Le P o i ttev in fa milies strengthened by the co mradeshi p o f Flaubert
,

a n d A l f red Le P o itt ev i n The influence o f the latter w as still felt

.

w hen Flaubert ca me to kno w Guy de M au p assant the ne phew to , ,

who mhe was attra ct ed at first p artly by his re m embrance O f the

uncle There soon grew u p howe v er between the Older and the
.
, ,

yo u nger ma n a v ery strong mutual aff ection w hi ch led i n ti me t o the

establi sh ment of the m aster and p u p il relationshi p Thi s a ff ection .

was rein forced in the case o f M au p assant by an ad miration whi ch led

h imto sub m it to a most rigorous censorshi p o f his literary e ff orts and ,

w hich op ened the way for Flaubert v irtually to i mp ose his o wn

theo ri es o n the younger artist .

59 Fo r e xampl e , M P ar
. .
,
p . 2 64 ; pp . 2 39, 2 4 1-44 ; Au S .
,
pp .
7,
19 1, 196- 97 .
 CH A P TE R II
D I S CU S S I ON A ND E XE M P L I F I C A TI O N OF DEF I N I T E LY
S T A T E D T H E OR I E S R E GA R D I N G LI FE ( WI T H
I N T R O D U CT I O N )
B e f ore going o n to consider the theories O f Flaubert and M au p as
sant regarding the world in general and literary m atters in p articular ,

it will be w ell to look f o r a short ti me at certai n si milarities i n the i r

li ves whi ch will ha v e to be taken into account i n tracing likenes s e s
in thei r work s B oth were N orm an o n the mother s side and p assed
.
’

thei r youth and m u ch o f their later li f e i n N or mandy I t wa s po s .

sible thus for the mto Obtain f ro mp ersonal observ ation that kno w l
edge o f N or man li fe ch a r a cte r a n d landsca p e which they dis p lay
, ,
‘

They were also acquainted with P arisian li fe although not both to th e ,

sa m e extent and mov ed in P ari s in the sa m

,
e literary ci rcle .

Throughout li fe the two men were con fronted by circu m stances

w hich tended to sadden Flaubert sp ent his youth in close p roxi mity .

t o the sights and sounds o f a hos p ital ; M au p assant ea r ly ga i n e d a

"

p erce p tion o f the un fortunate relations exi sting between hi s fa ther

and mother Both were unha pp y in much o f thei r school li fe and
.

were in late r days atta cked by the law for alleged o ff ences against
morality in their works E ach p assed through the shattering ex pe .

r i en ce s o f the War o f 18 7 0 Flaubert as a national guard

1
M au p as , ,

sant in the fighting force F o r a considerable p ortion o f their .

res p ecti v e careers they li v ed li v es o f solitary laboriou s ness R obust .

in early youth they were subsequently assailed by m

,
aladies whi ch
em bittered existence .

B esides all this the tastes o f the two m en were si m

, ilar in m any
res p ects E ach had a liking f o r the grotesquely co m
. ic 2
B oth .

1
Co rr I V, 33 et c Th e fact s regar d ing th e l i fe of F l aub e t r ar e a n
t ke
Mm e d e Co m
.

r mth
.
, ,

par tl y f o e ma nv il l e p e ed to Cor r espo n

S o uv eni r s of r fix
d a n ce I a n d p a t ly f o mt h e nt o d ucto y no te to M a d a m
.

r r i r
e B ov a y ; t h o se co n r r
c e n ng M aupassant co m e f omM ayn ia l Oth e auth o t es a e nd cated h e e
, ,

ri r . r ri i r i i w r
e
n cess ary .

2 For e xampl e , xi me d Camp S

Ma u r
o uv en i s l i t té r ir
a es, I 164 65 et c ; F
-

m
. .
,

B r unet i er e L e R o a n t r li t
, ,

, pp 4
na u a s e, . 02 - 3 , etc . M a yn ia l no tes th i s char ac
t er i st i c i n M aupassant .
12 F LA UBE R T A ND M A UP A S S A N T

s ho w ed an early interest in literature an es p ecial f ondness f or S hake ,

speare and a desi re t o try thei r hands at m any for m s o f literary

o ui l h et co m
,

co m p osition They w ere f riends O f Louis B ing under ,

his i nfl u ence at the form

.

ati v e p eriod They delighted i n nature . .

They had i n co m mon a p assion f o r trav eling and looked to the v isiting
o f foreign scenes as a m eans o f esca p e fro mi rkso m e ci rcu m stances .

I t is interesting to note here that in the co u rse o f thei r t ra v els they

vi s i te d v ery much the sa me p laces — A lgeria Cor s i ca S icily I taly , , , ,

S outhern Fran ce S witzerland B rittany — so that w e f requently find

, ,

th e s a m e i t inerary described by both 3

.

A v ery c u rio u s re s e m blance i s the reci p ro cal attra ction w hich they
des cr i be the msel v es as p o ss essing toward m en and w o m en de p ri v ed
O f reason
‘
I n the case O f M au p assant we naturally connect thi s w ith
.

h i s s ubsequent m adness ; in that o f Flaubert it a pp ears to be related

t o hi s m orbid fondness for the abnor m al and the grotesque .

I n the light O f all these si mila rities it would be strange i f there

w ere not coincidences i n the works o f the two e ven w ithout the lit ,

e r a ry friendshi p w hich we ha v e studied in the p re v ious cha p ter We

are m
.

et here by the di ffi culty o f distinguishing the likenesses in their

w ritings due to the influence o f the o n e ma n u p on the other f rom

t hose which arise o ut o f the general thought and p ractice o f the e p och

and s chool to w hich both belong R ese m blances then to be o f v alue .

,

in deter mining the extent o f the relationshi p between the two authors
must be s p ecifi c sho w ing agree men t in form or i n content o r in
,
,

, , ,

both I n the succeeding p ages o f thi s thesi s s p ecial attention will be

.

p aid to the more con crete instances o f si milarity .

R egarding the likenesses between the two authors the critics hav e
co m p arati v ely little to say The younger ma n i s hailed on all sides .

as the disci p le O f the older ; but the rese m blance i s n o t analyzed or i s ,

analyzed only i n the scantiest way I t i s generally agreed that such .

i nfluence a s exi sts i s observ able c hiefly in M a upa ssa n t s earlier work ’
,

be fore he had quite e v ol ved his own m ethod E xa m p les o f the kind .

o f co m pari son o f the two to be dis co ve red in cri t i cis mare as f ollows .

B runeti ere in s p eaking o f so me earlier works o f M a upa ssa nt s says

,
’
, ,

“
There i s too m u ch Flaubert i n h im Le m
”5
aitre finds that the Olde r .

3
S ee b e l o w, p . 84 .

4
Fo r e x mp l
a e, N d V . . I , 50 ; C o rr I.
, , 164 ; M a da me He r mt e , pp .

2 5 3- 5 5

5
B r un et e e, i r Le R o mn
a r
n a tu a l is te, p .
342 .
14 FLA UBE R T A ND M A U PA S S A N T

testi m o ny o f D o um ic dre w extensi v ely u p on his o wn ex pe 15

t o t he ,

r i e n ce t o s u pp ly h i mwith m ateri al f o r w r i t ing Here then i n t h e .

,

a cce ptance o f s u gges t ions a fter w ards t o be worked out in his O w n

w ay w e see p oss i bili ties f o r influence u p on him I f any such sugges
, .

t ions can be traced ba ck to Flauber t they w ill p robably furnish ev i

d en ces O f relationshi p be t ween the t wo 16

We must n o t forge t o n the .
,

other hand t ha t F laubert ac cording t o hi s disci p le warned the latter

, , ,

agains t i mi ta t ion and that M au p assant p assed o n the w arning

,
17
.

S im ilari t ie s w ill t here fore p robably resul t rather fro mt h e un co n

, ,

scious re pr o du ct i on o f un forge t table me mories than f ro mconscious

c o p ying
8
Thei r occurrence will be rendered all the m
.
1
ore likely by
t he fac t t hat both m e n are engaged with s u bj ects O f so m e w hat si milar
na t ure and that the younger has an unbounded ad mi ration for t h e
,

older 19
.

The t w o authors ma ke definite state m ents regarding si milar

theori es belie fs and likes o r dislikes I n the ca s e o f Flaubert these
, , .

are contained for the m ost p art in his let t ers w i th oc cas i onal re fer ,

e n ces i n hi s o t her w ritings Wi th M au p a s sant s uch p ersonal ex p res .

s i ons are found distribu t ed more o r less throughout his w orks .

A general outline will no w be gi v en o f t h e t heories held in co m mon by

t h e t w o in so far a s w e can gain a kno w ledge O f t he s e f ro mt hei r
,

o wn ut t eran c e s S om eti me s w e ha v e i n addition to th e i ndi v idual

.
,

sta te ment s o f each M a upa ssa n t s re p ort o f Flaubert s doctrine A ny

,
’ ’
.

ne w p oint thus brought out will be noted We shall also endea v or to .

Observ e as w e go along how far they carry o ut in thei r works the

t heories w hich w e m a y f ro mdefini t e p ronoun ce m ent di sco v e r t he m
, ,

t o hold in co m mon .

To both Flaubert and M au p assant p resent reali ty i s odious 20

,

t h e w orld i s m ore or less o f an illusion and all things are subj ect ,

to an inexorable fatality 2
I t is the sordid the co mmon p lace th e dis .
2
, ,

( N o v em r
“
L Oe uvr e d e Guy d e M a upa s sa n t R D M be pp
’
l 5 . . . 1, .
,

187 ff .

”3 Fo r e xm
a ple, s ee b el o w , pp .
—
63 65 87 90 97
, , , ,
100 - 10 1, 102 - 103 .

17 pp . xxiii xxi v ; - C o rr pp .
,
. cl ii l iii
-
c .

18
Cf F e . rr er e, l E s thé l i q u e d e Gus ta v e
'
F l a u b er t p ,
. 26 1 .

19
S ee a bov e pp 8 9
, .
, .

20 For ex a m p l e C o rr I I 140 ; I II
,
.
, , , 85 , 18 1- 82 , 2 32 - 3 3 ; I V, 2 43 ; V .
382 .

Fo r exa m p l e C o rr I V 3 36 ; C o rr p cx l v ; p 45
21
. . .
, .
, , .
,

Fo r ex a m p l e Co rr V 5 12 ; Co rr p cv i ; c f i bid pp cx
22
, .
, ,
.
,
. . .
, .
, cx n .
 TH E OR I E S RE G RD I N G L I E A F 5

agreeable or the horrible that i s generally re p resented by the m M i s

, ,
.

ery o r degradation is the al m ost uni v ersal lot O f thei r p ersonages .

S hould ha pp iness see mat ti m es to flit within the gras p o f so me ex cep

t i o n a lly fortunate m a n o r wo m an it is only that disenchant m ent and ,

sadness all the dee p er m a y re s ul t The o n e great word wh ich Charles .

B o vary is re p resented as uttering — “

c est la faute de la fatalité ’

might be taken as the motto for the i r p icture o f li fe U nhappy beings .

are t ra m p led by the inexorable march o f ev ents o r are made t o suff er ,

fo r gi v ing way to p assions to which they can no m ore hel p yielding

than they ca n a v oid being born D eath with its re p ulsi v e p hysical .
,

conco mitants is fo r m a n the end o f all thing s ; the i de a Of i m

,
mort ality
i s but an inv ention o f the p resu m p tuous i magination The general
24
.

e ff e ct o f such a p resentation is p ain ful ; there results f ro mit f o r both

w riters a keen sense o f sadness and O f indiv i dual isolation 25
E sca p e .

fro mactuality i s sought through e x cursions either in p erson o r in ,

thought to far o ff countri es and ti mes which p ossess the ro m

,
-
antic
gla m or O f distant enchant ment 26
Thus their pe r so n a ges E m ma .
fi

B o v ary R o sa n ette P ierre R oland A ndré M ariolle and others— long

, , , ,

to fly f ro mp resent reality to future p ossibility 27

Gene ral rese m .

blance in at m “
o sp here o f gloo mbetween the works o f Flaubert and
”

those o f M au p assant m u s t not howe v e r be considered as p rov ing in , ,

itsel f the i nfluence O f one u p on the other as it may deri v e equally ,

well f ro mthe s p i rit o f the mat erialistic e p och i n whi ch both li v ed .

The next p oint i n the argu ment for relationshi p i s p erha p s more
im p ortant because more distincti v e than a p essi mistic outlook u p on
, ,

li fe I t i s the insistence o f both m

. en o n the uni v ersal
“ ”
b etise o f
hu m ani t y a b etise p ervading all ranks f ro mthe su p erstitious and
— “ ”
,

stolid p easants to the inert and ineff ecti v e A nciens o f Carthage o r

”
,

the inane re p resentati v es o f modern French society en countered by

23
MB . .
,
p 480 . .

For e x ampl e I pp 175 - 7 6 ; C o rr I 168 194

24
, , 407 ; . .
, , , ,

2 3 2 , 2 99 ; IV, 2 6- 28 ; C or r p .
, . c xl iv p .
7; pp 69 7 5 .
- .

25
Fo r e xamp l e ,
Co rr .
,
I V, 14, 15 2 , 3 57 ; V, 2 75 ; C o rr pp cxxx .
,
.
,

c xl v ; pp 12 8 2 9 .
-
.

26
F o r e x am p l e C or r I I I , .
, , 8 5 , 18 1- 82 , 203 , 2 3 2 - 33 ; I V , 29, 2 43 ; V , 3 82 ;
pp .
92 ff .

27
MB . .
,
pp . 2 7 1-7 2 , e t c .
; p .
45 9 ,
et c. p . 204 ; N C,
. . pp . 2 2 3 -2 4 ,
I 6 F LA U BE R T AND M A UP A S S AN T

M au p assant in S outhern France .

28
I ts sp ecial exp onent is the r espec

t able bo u rgeois who stands rather for an attitude o f narrow co m

“
,
”

p l a ce n cy o r dog m atis m than for any p articular class — H o m a i s w ith ,

his p o m p ous and ridiculous Sp eeches M P a tisso t with his mania .

,

for exer cise ; the go vern m ent funct i onary who p lays his p art in ,

guid i ng th e chariot O f s t ate through the i ncessant p e ri ls O f a storm

“
y
sea ; the honné t es fe m
” 9 “ 2
mes w ho des p i se thei r un fortunate sisters ,

while being not o n e whit bette r than they 30

One p articular for mO f .

“ ” “
b etise exhibited by this bourgeois i s that O f seeking for decora
t ions E xa m
. p les are furnished by H oma i s in M a da me B ova r y and
M S a c re m ent i n M a upa ssa nt s n o uv ell e entitled D ecor e A nother
’ ’ ’
31
.

mani festation o f stu p idity i s subserv ience to habit B oth authors

.

hated monotony and the li fe o f habit and stro v e in thei r restlessness

to esca p e fro mit es p ecially as we ha v e seen by t rav eling 32
Th i s
, , , .

hatred they ex p ress in thei r works The stu p id Charles i s a creature .

o f habit as are the dull e m

,
p loyees o f L H er i tage E mma and
f3 ’ ’
’

Jea n ne o we p art at least O f thei r unha pp iness to the m onotonous

, ,

tenor o f thei r daily existence The un v arying li fe o f the count ry o f .

,

the p rov incial town o f the bureaucratic or i ndustrial co m munity i n ,

P aris i s constantly p ortrayed together with the deterio rating o r

, ,

exas p erating effects o f that li fe 84

S corn f ul hatred o f the bourgeois
“ ”
.

and O f ma n in general beco m es with Flaubert and M a u p assant an

obsession as i s e videnced by the following quotations :
,

FLAU B ER T M AU P ASSAN T
’
L i n s uppor ta bi l i te
’

de la s o tti s e I l fl otte d an s Par i s t ant d e betis es

mi
hu a n e es t d ev e n u e ch ez mi o un e ven ue s d e t o us l e s co i n s d u mo nd e ,

ml di
a a e, et le mt o est fa i bl e .
qu
’
on en é pr o uv e co m nze
'

nu ac

P r e sq ue t o us l es h umai ns ont l e don ca bl e me nt C or r p .

,
. cv iii ] .

23
Fo r e xampl e, p . 108 ; MB . .
,
p .
40 ; M P ar
. . : L e B a pté m e, pp .

13 5 - 44 ; S al ,
p . 120, etc .
; pp . 24 ff .

29
ME
p 197 . .
, . .

3 ° F r exa m p l e M B pp 110 12 180 etc ; O P II : L es D i ma nch es d u n -

‘ ’
o , . .
, .
, , . . .
,

b o u rg eo is d e P a r i s pp 7 11 14 etc ; M E pp 197 ff ; M H a r : L H éri l oge pp

’
- . . .
,
.
, , . .
, . .
,

4 1 163 ; M E pp 42 2 2 3 ;
- pp 60 77 - -
. . . . .
,

31M B pp 477 78 48 1
. pp 2 43 5 3 32
S ee a b o ve p 12
-
.
- . . .
.
, .
, ,

93
F o r ex a m p l e M B p 6 1; M H a r pp 4 1 163 , . .
, . . .
,
.
- .

3‘ F r
o ex am p l e M B pp 3 1 62 etc ; T C : pp 5 6 etc ; p .
, , . . .
-
, . .

S ui ci d es pp 2 3 2 3 3 ; Yv ette :
.

E n Fam
. .
, ,

13 ; L M T . .i lle pp 139-4 1; .
, .
-

P r o menad e pp 2 0 1 4 ; L e P er e p 3 8 ; M P a r pp 49 If ; L 1B
,
’
-
. . . . . .
, , ,

L Epr e uve pp 137 44

’
-
. .
,
 THEOR I E S RE GA RD I N G L I E F 17

de m pé'

ex a s et j r er, e ne re s p ir e Je vo i s d es farce s fa r ce s
c h o s s, e , ,

l i b rement q ue d an s l e d é ser t ( C o r r fa r ce s et d a ut r es q ui so n t t r i st e s
’
.
, ,

me tou t l e
,

IV ,
t ri st e s , t r i st e s ; en so m ,

mo n d e es t bet e, b ete, bete, i ci co mm e

a i l l eu r s C or r .
, p. cx xii ] .

S uchan attitude o f exas p eration as that e v idenced by t h e fore

going paragra p hs see ms to us excessi v e I t ex p lains howe v er the .
, ,

cynical tone which c haracterizes the work O f the two m en H o w far .

,

w e are led to ask was thi s exasp eration and the resulting cyni cis m
,

an inheritance f ro mthe older m a n in the case O f the younger and ,

how f ar w as it an inhe rent idiosyncrasy ? I n the fir st o f the f ore

going quotations f ro mM au p assant and in othe r p assages o f his letters
t o Flaubert there i s a suggestion that the ex p ressions are dictated
36

by the fact that the di s ci p le i s writing to the m aster The second .

p aragrap h fromthe younger ma n p roduces howev er a greater im , ,

p ression o f sincerity and can be su pp orted by further ev idence i n the

sa m e direction We m a y at least say this that i f M au p assant had a
.
, ,

natural bent toward scorn o f hu manity as see ms unquestionable it ,

was certainly not di m

,

inished through hi s i ntercourse w ith Flaubert .

Hu m an b eti se was s p ecially e m

“ ”
p hasized by the latt er as his disci p le ,

B oth men hold that the only ho p e

’

tells us in B ouva r d e t P ecu ch et

,
37
.

for anyone w ho w ould m ai ntain hi s indi v i duality i s to kee p hi msel f

enti rely separate f ro mordinary hu m anity 38
Am ong the su p re me .

follies o f the day thinks each is de m ocratic gov ern ment w ith all its
, , ,

im p licat ions M odern tyranny is béte to be sur e b ut some form

39
.
“ ”
, ,

o f aristocracy is at any rate p re ferable t o de m I n modern

_

ocracy 40
.

li fe grace o r p ardon i s substituted f o r j ustice Flaubert laying the

“ ”
,

bla m e for thi s on Christianity M au p assant o n ro manticis m War 41

,
.

i s an e v idence o f the inerad i cable brutality and unreason O f the

35
C f al so. on
“
b et ie s a n d sco rn O f h mnity u a , C or r I .
, , 43 ; II , 2, 43 , 44, 69,
7 ,
0 103, 12 6, 17 9, 18 8 6
4 5, 9 ,
-
1 2 2 2 -2
3 , 2 82 , 2 99, 3 08 , 32 6 , 44 5 ; I II , 2 5 , 112 , 2 62 ; IV ,
203 , V, 2 74 ; e tc.

36
For e xamp l e , C o rr pp
.
, . x ix iii xi v
c , c , c , et c .

37
OP . .
, II: E tu d e s ur Gus ta ve F l a u b r t pp 4 e ,
. 10 , 106 ff .
, 13 7 .

33
Co rr I V 80 ; .
, C o r r pp cl cli ; c f
, pp 110 11 .
,
.
-
. .
- .

39
C or r I V 34 60 ; .
, C or r p civ
, , .
, . .

4°
Corr I 196 ; I V 61;
.
, , pp 2 3 6 9 36 39 etc , .
-
,
-
,
-
,
.

41
C or r I V 80 ; C I I V 60 ; , L es S o i r é es d e M ed a n p 82
.
, , . .
18 FL A UBE R T A ND M A UP A S S A N T

hu man ra ce The barbari t ies o f war fare are exhibi t ed both

t hrough the c ruel t ie s p rac t i sed by Carthaginians and m er cenaries i n
S a la m mbo and through th e atrocities p erp etrat ed by the P russ i ans
‘

and w reaked on t he m by way o f v engeance in th e s t ories o f

M au p assant 43
.

To th e t w o men rel i g i o n w hich each ad mi t s to be uni v ersally pres ,

ent in o n e for mo r an o ther fu rnishes but addi t ional i llus t ra t ions O f

“4
,

beti s e and hate fulnes s What more s t u p id than man s a flfirm a t io n s .

’

and negations regarding the super n a tu r a l P 45

What m ore detesta .

ble t han exi s t ing e cclesiastici sm? "

I n it s es sence religion i s either 4

a su p ers t i tion a habit o r a ro m anti c extra v agan ce and i s co n

, , ,

n ect e d n o t i n f requently wi t h sensual ind u lgence The p easant i s the .

p rinci p al ex p onent o f su p erstition in both writers examp les being ,

found where v er religion i s mentioned in connection wi t h p easant li fe .

F é l i cit é con fusing her p arrot w ith the Holy S p iri t and the fi ll e de
“7 “

fe rme a tt ributing su p erhu man p owers O f insight to her cu r e are

” ’
8 4

ty pi cal o f thei r class R eligion as a habi t i s exhibited in the t aking .

for gran ted by all ranks O f the religiou s cere m onies a tt endant o n the
di ff erent s t ages o f li fe E v en by the indi ff erent or th e hostile it i s .

considered but natural that the Ch u rch should p reside o v er t h e initial

stages o f li fe o v er marriage and death and should d igni fy w ith her
, ,

blessing the ordina ry occu p ati ons o f m a n on land o r sea

49
R eligion .

as ro mantic ext ra v agance i s illustrated in the cases o f E m ma B o vary

and O f Jeanne i n Un e Vi e both o f w ho mex p erience v iolent pa r ox ,

ysm s O f religious fer v or p rod u ced by c i rcu m stan ces and fostered by
ro man t i c senti m ents 50
Em ma serv es further as an examp le o f the .

connecting o f religi on w ith sensuality 51

in which she rese m bles ,

Julien Jeanne s husband and si milar characters o f M a upa ssa n t s

,
’ 52
,
’
.

42
C 0r r .
,
I V , 48 49 ; -
pp . 1-
5 59 .

‘3
S al .
,
for e xamp l e, pp . 128 - 3 5 , et c .
; fo r e x mp l
a e, M lle F . .
,
pp .
3 -
27

L a F o l l e, pp .
3 7 43 -
.

44 C o rr I I .
, ,
15 1, 2 02 , 2 3 2 ; L e Gu eux ,
pp . 17 8- 7 9 .

45
C o rr I V .
, , 3 5 1, 3 85 , e tc .
; pp .
39 40 -
.

‘6
Co r n I V . 3 8. 3 5 3 3 7 1. 3 7 7 ;
. .
pp .
7 . 3 0. 62 ; et c .

47 pp .
53 54 -
.
48
H i s to i r e d
’
une fil l e d e f e rm e, p . 66 .

49 Fo r e x mp l
a e, ME . .
,
pp 9 37, .
464 67 ; T C : U G S
,
12 5 , -
. . . .
,
pp . 6 1-64 ;
pp . 2 97 , 3 4 16
1 -
; U V, . . pp .
5 8 6 1, 75 7 6,
-
1 6
9 ; B -
A , pp 2 7 3 ff -
. . .
, 5 6 1-
73 .

50
For e xampl e, ME . .
,
pp .
4 9, 5 , 95 9 8
2 2 -
; UV . .
, pp . 2 63 , 2 6 5 - 66 .

51 ME . .
,
pp . 2 98 , 446 .
52
UV . .
,
p . 2 66 ; cf . a l so B -A . .
,
pp .
5 5 5 2 , et c
1-
.
 THE OR I E S RE G RD I N G L I E A F 19

P riests and other re presentati v es O f the chur ch are made by ea ch

w riter stu p id co m monp lace o r hate ful A ttack s on ordinary reli
5
, , .
3

gi o u s belie fs and state m ent s o f p h i loso phical religion are p ut into

“ ”

the mouth s o f H o m a is o f
“
l e baron o f M oiron O f R en a r d et and O f
”
, , , ,

many other characters i n the works o f both men 5

.
4

N either author holds any v e ry h i gh con ce p tion o f w o m ankind .

E ach s p eaks o f wo m an as i ncom p rehensible unreasonable per fi d , ,

ious 55
They agree that there i s little v ariety i n fe m
. inine chara cter .

M au p assant says that Flaubert was disdain ful o f wo m en j udging ,

the mse v erely f ro ma distance but exhibiting a certain tenderness ,

to w a rd the mw hen brought i nto close r relati onshi p 57

The Older .

ma n hi msel f ex p resses a some w hat s i milar thought w here he Sp eaks

s ou v erain m é p ris w ith w h i ch wo men are regarded essen
“ ”
o f the

t i a lly while being treated outwardly with de ference A s one would

58
.
,

ex p e ct the usual p resentation O f wo m

,
en lo v e and m arriage gi v en , ,

by the two w riters i s cynical with p ractical eli m inat ion o f the i deal , .

I f by chance w e find a good woman lik e M me A rnoux o r Jeanne

, ,
59
,

she is al most certain to be either co m monp lace o r stu p i d O ccasion .

ally indeed we hav e gli mp ses i f not o f the ideal at least o f a less
, , , ,

sordid and un p leasing conce p tion E xa m p les are the childish devo .

tion o f Justin to E m ma i n M a da me B o va r y the faith fulne s s o f such

60

si m
,

p le creature s as Féli cité in Un Co eur s impl e o r R osalie i n Un e

Vi e and the constant a ff ection o f the wom
61
, an i n Corsica w ho had
gi v en u p e v e rything fo r the m a n she lo v ed and ex p ressed hersel f as

p er fectly satisfied a fte r fi fty years o f the hard li fe to w hich she had
53 Fo r e xamp l e , cf . L
’
a b bé B o ur n i s i en in M B . .
, pp . 15 5 -
59 etc .
; l abb e P i co t
’

and l a b bé To lb ia c
’
in U V . .
,
pp . 17 7 , 182 , 2 3 4, 2 63 -
64, et c .
; th e b o nn es so eu s r ”
of

pp . 62 64. 7 3. 7 4 7 6
-
. .

54Fo r exa m p l e M B pp 106 7 45 4 5 5 etc ; pp 3 18 ff ; U V p

,
. .
,
.
-
,
-
,
. .

M o i r o n pp 2 0 1 3 ;
. . .
,

26 7 ; C d L . . . pp 49 5 0 ; pp 2 5 ff , .
-
.
-
. .

55 F r
o ex amp l e p 2 99 ; C o rr III 334 ; IV 13 ; I I 12 9 3 0 ;
, . .
, , , ,
-

I 2 09 ; I I 6 ;
, p 25 ; , p 2 16 ; M P ar pp 44 4 5 46 ; . . . . .
,
-

p 80 ; M P a r p 40 ; p 93 ; M ll e F p 7 3 ; etc
. . .
,
. . . .
, . .

5“
Co rr I V 3 85 ; M l l e F R épo ns e a
.
, pp 2 7 8 7 9 ; c f
,
-

L a P a r u r e pp 5 9 60
. . .

-
.
, .

57
O P I I 9 1 144 . .
, , ,
.

58
C o rr I I 12 2 .
, , .

L Ed S ; U V
’
59
. . .

60
ME . .
, for e xamp l e ,
pp . 2 99, 469 .

61
Fo r e xampl e , p .
42 ; U V . .
,
pp .
3 18-2 3 .
20 FL A UBE R T A ND M A UP AS S AN T

de vo ted hersel f S u ch p resentations are howe v er the exce p tion ;

.
62
, ,

t h e general p icture is p essi m istic in the extre me .

A n i dea m entioned by the two men— in the cas e o f M au p assant

a p parently f ro mthe re feren ce as a refle ction fro mFlaube rt—is that
, ,

o f t h e hatred o f literature entertained by go v ern ments an e cho o f 63

,

t h e ro m antic doctrine O f the litera ry m an s m a r t ryr d o m ex pres s e d

’
, ,

fo r instan ce by D e V i gny S u ff ering for the sake O f a r t con fers o f

,
.
,

co u rse a certain dis t in ct i o n and raises those w ho endure it far abov e

, ,

s u ch banali t ies as off i cial de corat i ons fo r w hich both m en as w e , ,

s hould ex pe ct feel conte mp t 6

, .
4

I n str i king contrast with thei r hatred of ma n i s the v ery definite

lo v e they cherish for ex t ernal nature Thi s i s thus ex p ressed by .

Flaube rt i n w riting to A l fred Le P o ittev in : “

Tu me dis qu e tu
d e v iens de p lus en p lus a m o u reux de la nature mo i j en de v iens ’
, ,

e ff réné J e regarde quelque foi s les ani m

. aux et mem e les arbres av ec
une tendresse qui va j usq u a la sy m p athie ; j épro uv e p resque des ’ ’

s ensat i ons v olu p t u euses rien q u a v oi r m

’
ai s quand j e v ois ,

S im i larly M aupassant sp eaks o f certaines minutes d a mo u r av ec la

“ ’

Terre l e so uv eni r d une sensation délicieuse et ra p ide co mm

,
’
e de la ,

c aresse d un p aysage A s o n e w ould then ex p e ct fine d escr ip

’
.
,

tions O f nature are a m ong the m ost co m mon and most characteristic
features o f the w ritings o f both E xa m p les are uni v ersally p resent . .

A s w e saw at the beginning o f the cha p ter the En v iron m ent o f ,

Flaubert and M au passant tended to giv e the ma p essi mi stic outlook ,

w hich ex p resses itsel f in thei r contemp t for the world and for ma n ,

e sp e cially for the bourgeois Go v ern m ent religion w o mankind

“ ”
.
, , ,

all co me u nder thei r scorn I n the midst O f the general stu p idity the .

li t era ry ma n i s a m artyr f o r his cause On the contrary lo v e o f .

,

external nature furnishes to each the satis faction which he does not
find i n m an .

62 B o n h eu r pp 8 1 87 M a up a ssa nt sub seq uently sp o i l s

Le -

th i s st o r y wh er e r ep ea t ing i t i n S u r l E a u h e m akes th e wo man co mmi t

. .
,

’
, , ,

su i c i d e u p o n d i sco v e ri n g t h e un f a i th f ul n ess o f h er h usban d C f M ah n s

'
’

r ema r k on th i s sto ry p 2 82 O f his vo lume o n Maupassant

. .

. .
,

3 C rr
“ o I V 42 1 430 ; V 4 12 ;
.
, , , C o rr p cxv i , .
,
. .

“ 4
C o rr I V 35 0 363 ;
.
, , C o rr pp cl iii Cl v
, .
,
.
-
.

“ 5
C o rr I 163 64 ,
-
.

: A Ven d r e p 95
“ 6 M P r. a . . .
,
22 F LA UBE R T AND M A UP A S S A N T

and e v ery thing M au p assant gi v es a clearer definition O f i m

.
4
pe r so n

al i ty and al s o a more general s t ate ment regar d ing the a pp earance o f

an a u t hor i n his w ork H e recognizes t hat s u ch a pp earance is i n e v .

i ta b l e see i ng tha t any m an s v ie w o f the w orld i f i t be original must ’

, , ,

be d eri v ed fro mpersonal Ob s erv ation and reflection Thus also in .

t h e ca s e o f t h e charac t ers in a book The au thor can but i magine how .

he w ould feel a n d a ct i n t heir p la ce and i n p i ct uring the mhe in a ,

s ense re p roduces hi m sel f I m p ersonali ty i s t hen to M au pa ssant n o t .

t h e absen c e o f an author f ro mhis w ork— that i s i m p ossible— b ut the

artistic conceal ment o f the au thor s ines ca p able p re s en ce i n hi s w ork 5 ’
.

Fla u bert had ex p ressed the sa m e conclusion w hen he said : L a uteur“ ’

dans son oeu v re doit é t r e co m me D ieu dans l un iv er s p résent p ar t o ut ’

,

et v is i ble nulle p art ; but he had n o t worked o ut the argu m

” 6
ent as
M au p a s sant has w orked i t o ut I n a ctual p ract i ce bo th au thors .

adhere t o i m p er sonali ty to a cert ain e x tent but only to a certain ,

ex t ent Flaube rt i s on t he whole i m

. p ersonal in M a d a me B o va ry and
in L E d u ca ti o n s en ti m
’
en ta l e I t i s diffi cul t there to tell what his own .

O pinion i s regarding t h e m aj ority o f the p ersonages and e v ents .

Wh en w e co me to B ouva r d et P é cuchet howe ver the treatment i s too , ,

i ronical to be i mp ersonal there i s too e v idently a set p ur p ose in the ,

cons t ant ridiculous ine ffi cien cy o f the t wo bon sho m “

mes I n the
”
.

effor t a f t er i mp ersonali ty there i s al s o a tendency to o v e rshoot the

mark and arri v e at i mp assibili ty shown i n w hat s t rikes one as t he ,

hear t less re ci t a t ion O f the abnor mal c ruel t ies in S a l a m mbé S o me

7
.

ti mes Flaubert de p art s f ro mi m p er sonali ty in the o ther di rection ,

exhibi t ing a de cided sy m p athy for h i s characters Thi s is t rue in .

certai n O f hi s p i ctures O f h um ble u s ually p easant li fe as f o r exa mp le , , , ,

“ ”
in th e case o f l e pere R o ua l t O f J u stin o f the Old se rv ant o f the , ,

“
Co mice s i n M a d a m
”
e B o v a r y as well as o f Félicité i n Un C o e ur ,

s im M au p a san who sees as w as noted h dif f i cul y O f

9
p l e
s
s t t e ,
t , ,

im p ersonality m ore clearly than Flauber t also forsakes t h e im p er ,

sonal a tt itude m ore usually and O ften m ore co m p letely than does
hi s master S o me o f his w ork l i ke Flaubert s is i m
. p ersonal o n the ,
’
,

4
C o rr I II .
, , 5 24 .
6 C o rr I I.
, ,
182 .

( L R) ,
pp . xi xx
-
. Fo r e x mp l
a e, pp . 185 , 2 15 , —
3 48 5 0 .

9 Fo r e x mp l
a e, MB
. .
,
pp .
4 4 , 3 7 2 3 8,
1-
2 2 -
46 1, 462 63 ,
-
2 99, 469, 2 08 - 9 ; TC
. .
,

pp .
3 64
-
.

9
S ee a bo ve .
 TH EOR I ES RE G R DI N G L I E R A T ARY PR O E D UREC 23

whole ; for exa m p le stories like B el A mi L a P a r ur e L H ér i tage -

,
’
,

and those tales o f p easant and fisher li f e which see m t o em

, ,

body the stolid acce p tance o f f act charact e ri stic O f the classes they
re p resent 11
M any stories such as the earliest B o ul e d e S ui f
.
, , ,

w ritten p ossibly with the B o uvar d e t P ecu ch et attitude toward

’

hu m anity p ro minently i n mind are like the si milar e ff orts o f Flau , ,

bert too i ronical to be i m p e rsonal S o meti mes Flaubert s i rony i s .

’

hu morous as where he makes p eo p le say ridiculous things ; here

,

12
,

M au p assant goes f urther than Flaubert occasionally eli m inat ing , ,

o r al m ost eli minating the irony and leav ing the hu m or i n the ,

ascendant ”
B rutally i m
. p assible also M aup assant can be i n hi s
de p iction o f horrible things E xa m p les are n ouvell es like L I vr ogn e .
’

and Un e V en d etta 14
On the othe r hand he p ossesses to no s m
. all
extent the gi ft o f exciting sy m p athy by the si mp le narration o f the
facts o f real li fe 15
Thi s is esp ecially true in connection with his
.

stories o f ill treated ani mals and children and o f those un f ortunates
-
,

whose cri m es o r distresse s as he p i ctures the m ha v e a pp arently been , ,

forced u p on the m by a p itiless so ciety 16

I n hi s later w ritings .

M au p assant tends m ore and m ore to gi v e u p the i m p ersonal attitude

and to express either directly o r through the m
,
outh s o f his char
a ct e r s hi s sy m
, p athy f or v arious f orms o f su ff ering o r the record
17
,

o f hi s o wn di stresses A l l thro u gh thei r work both authors d o in

18
.

fact transgress the bounds o f i m p ersonality either by direct com

ment o r by p utting into the mouths o f thei r ch aracters the ex p res
19

1° pp .
59 74 ; -
M H ar . .
,
pp .
4 1-163 .

11 F o r
e xamp l e, L e peti t F ut, pp .
—
7 9 89 ; L e Vi eux ,

pp .
9 104 ;
1-
E n M er, pp 12 9 .
-
39 .

12
Fo r e xampl e, ME . .
,
p . 180 ( speech of Ho mi a s ) .

13
F or e x amp l e, To i n e .

14 pp . 12 5 -34, 13 7 -45 .

15
C f Lo
. mb r o so , S o u ven i r s sur M a upass a n t ,
p . 162 .

13 For e xampl e , M H ar
pp 189 94 ;
. C oco pp 15 0
. :
’
L A n e, .
-

L e P a pa d e S i m
.
,

56 ; on pp 119 34 ; L e Gu eux pp ,
.
-

L e P a r t Pa r t II pp 207 17
.
,

17 3 82 ;-
, , .
-
.

17
F o r ex a m p l e M O pp 3 2 3 2 6 ; N C pp 200 205 2 2 4 2 5 2 3 3 37 etc
, .
-
.
,
.
-
. .
, .
-
,
-
,
-
, .

18 F r
o e x amp l e S pp 7 7 92, .
-
.

e x am p l e M E pp 92 148 390 ; pp 47 2 6 1 62 2 66 383

19 F r
o , . .
, .
, , .
-
, , , ,

407 ; pp 5 9 178 ; pp 10 30 ; U V pp 34 69 7 5 100 12 3 2 12

In co mpari so n wi th most writ er s Fl auber t h a s v ery l i ttl e o f
.
, .
, . .
, .
, , , , , ,

2 48 3 3 0 ; etc
, .

t h i s i nter v ent i o n O f t h e auth o r i n pe r so n .

24 F LA UBE R T A ND M A UP A S S A N T

sion o f though t s w hi ch th e la t ter co u ld not naturally ha v e Mau .

”

p assan t al so f requen tly t alks in the first person w here such p ro

c ed u r e i s e v idently n o t a m ere real i st i c detai l I t is furt her t rue
1 2
.
,

as has been p oin t ed o u t by cr i t i cs that bo th men e mbody in thei r

2
,
2

w orks thei r o w n li v es and su rro u ndings as see ms indeed to be ,

ine v itable when p er s onal Ob s erv at i on is i nsisted on as t h e m ain

so u rce o f i n form a t ion .

The two au t hors hold t hat the great task o f th e no v elis t i s t o

M au p assant thinks t hat Flaubert s
“ ” 3 ’
re produ c e na t ure t ru t h f u lly .
2

no vels acco m p li sh thi s for they exhibit la v ie meme

“
,

They agree also as to the meaning here o f truth fully ”

The fai t h f u l .

re p resentation o f nat u re denotes not the serv ile transcri p tion of

facts b ut ra ther the translation o f those fa cts in ter ms o f p roba
“ ”

b i l ity th ro u gh the subordination o f the less to the m

, ore i mp ort ant ,

and through the selection o f the uni v ersal and constant to the
exclusion o f the accidental and e p he meral 25
M au p assant thus .

’
de sc ribes for ins t an ce Flaubert s constr u ction o f character The
, , .

latter he says i magined ty p e s and p r o ceeding by dedu ction m

, , ade , ,

t he mp er for ma ct s characteri sti c o f their te m p eraments On e must

26
.

ackno w ledge t hat it i s a rather narrow nat u re w hich the t wo

“ ”

men pict ure I t i s ad mi tted howe ver by those who discuss the
.
, ,

matter that the p resentation i s faith ful in its way F o r in stan ce .

,

Fla ubert i s said to be too t r u e f o r the t heatre ; w hile B runeti ere

27

de clares regarding M au p assan t t hat the la t ter renders e v en that

A s far a s one s p ersonal
’
which o n e has not noticed i n the real 28
.

kno w ledge o r ex p erience goes it w ould see mt o confir mthe v erdict ,

o f the critic s A gain and again o ne i s struck by the absolute agree

.

men t o f th e p i cture wi th w hat o n e knows or can i magine O f the

20
Fo r x mpl M E p 47 5
e a e, . .
,
. .
21
For e xamp l e, S 1E .
’
.

22
Fo r xamp l e P B rg t E
e , . ou e , s sa i s d e psy ch ol og i e co n te mp r o a i n e, I , 148,

15 6 ; Du m i l F l b r t t l M éd
e sn , au e e a e ci n e, p . 2 77 .

23
Co rr I I 3 4 ; II I 486 87 ;
.
, ,
21 - 1 ,
- p . 84 .

2" II :
OP . .
, E tu d e s ur Gus ta ve F l a u b e r t, p .
96 .

2 5 C rr III 183 , 44 9 ; I V , 2 4 5 , 3 7 5 ; I I , 112 13 ; I II , 12 9 , 193 ; ( L R)

-
o .
, , ,

pp xiii xi v x v
.
-
, ,
xii ; M l le F : R a M A o lff, p 2 8 2 ; M ll e F
. . . W . . : R . d M FS . .

p 2 77
. .

26
O P II : . .
,
p .
99 .

27 R D esch a r
. m m ni l
es e t R Du . es , A u to u rd e F l a ube t r ,
I ,
2 42 -43 .

28
F . B r un e t i er
“
Tr i R m
e, o s o a n s, R D M . . .
( Ma r ch 1, pp . 202 - 14
 THE OR I E S A
REG R DI N G L I E RA R Y PR O E D URE T C 25

actuali ty re p resented The m ethods O f p roducing the e ff ect O f .

reality will be discussed in subsequent p aragra p hs .

I n order to acqui re the knowledge requi si t e for a truth ful rep ro

d u ct i on o f nature keen observ ation i s the fi rst necessity I t is also .

the indis p ensable condition o f originality M au p assant says that .

Fla ubert enj oined u p on h imthe p ra ctice o f looking long enough at

w hat he de s ired to re p resent to disco ver in it an as p ect which had
not been seen nor recorded by anyone be fore h i m ”
V e ry si milar .

p assages on thi s subj ect are found in the t w o authors .

FLA U B ERT M AU P ASSAN T

F l aub ert i wr i t i ng Mm a en t pr o v i ent or i
’
s to e de Le t l de l
M a u pa ssan t of h er so n gi n a l i te, q u i est u n e a n i é r e speci a l e
’

m ’

“
A ve c le te mp s il gagne r a de r
de pens e , d e v o i , d e co pr en d e e t r m r
l
’
o r i gi n a l i te,
’

un e m i er
an e i n di vi de j uger
”
«L R , »p v . iii ] .

d u ell e d e voi r e t de s en ti r ( ca r to u t F l a ub ert v o i r et d e ’

s de s en t i r
es t l a) [ Co rr .
,
I V, is e x pand ed i n M a u pa ssan t .

A second p assage
contains another p hrase o f Flaubert s Va i r ’
,
* °

” 3°
t o u t es t la et v oi r j uste .

To Flaubert seeing i s absorbing the Obj ect I n connection with .

the co m p osition o f Un Co eur si mpl e he w rites : D e p uis un mois

“

j ai sur ma table ump erroquet e mp aillé a fi n de « p eindre »d a p r es la

’ ’

nature S a p résence co m
. mence a me fatiguer N i mp orte ! j e l e .
’

garde a fi n de mem pli r l am e de p erroquet

’ ” 31 ’
.

M au p assant thus re p orts Flaubert s ad v ice to h im ’ ‘

Q and v o u s pa s se z m
u e d i s a i t i l d evant u n é p i c i e r a ss i s s ur sa po r t e
,
-
, ,

d evant u n c o n c i erge q u i f um e sa p i pe d e van t u n e st at i o n d e fia cres , ,

mo nt r e z mo i cet é p i c i er et ce co nci e r ge l e ur p o se to ute l e u r apparence

-
, ,

p hys i qu e co ntenant a u ss i i nd i qu é e pa r l a dr esse d e l i mage to ut e l e ur ,

’ ’
,

nat u r e mo r a l e d e fa c o n a ce q u e j e m
, e l es co nf o n d e ave c a ucu n a u t re

é p i c i er o u ave c a ucu n a u t r e co n ci e r ge et fa i te s m o i v o i r par un s e ul m ot ,

-
, ,

en q uo i un ch eva l de fi a cr e n e re sse m b l e pa s a u x c i nq uan t e aut r e s q u i l e

s u i ven t et l e pr ec ed en t
32
.

the p assage f ro mFlaubert we hav e si m

In p ly a slightly i ronic
descri p tion o f one a pp li c at ion o f the method o f seeing I n that .

f ro mM au p assant we hav e a descri p tion not only o f the m ethod o f

“
seeing but also o f its results —
”
the definite i m p ression p roduced
29
P . eJ . : ( L R) ,
pp xxiii i v
.
-
.
31 C or r .
,
I V, 2 68 .

3° C o rr .
,
p cl i
. .
32 p . xxi v .
26 FLA UBE R T AN D M A UP A S S A N T

and t h e rendering O f the i m p ression i n fe w and skil ful words The .

sa me q u otation w ill be seen to de v elo p the i dea O f the charact er “

i st i c de ta i l S uch obse rv ation as has been i nd i cated in v ol v es o f

”
.
,

course preci se attention to all detail but es p ecially to the chara c

,
“
,

t e ri st i c de t a i l on wh i ch M a u p assant ins i s t s The ad v ice to find

”
.
,

o u t and render t his chara cter i s t ic detai l

”
see ms at first sigh t to
c on t ra d i ct t h e o t her co u nsel to a v o i d the a cc i dental and p ic t ure

only t h e con s tant The characteri stic detail ho w e v er i s n o t a cci

“
.
”
, ,

den t al ; it is inherent by nature in the obj ect described ; i t has only

not yet been disco v ered o r p resented Flaubert hi m sel f exp lains .

what he means by the accidental i n the follo w ing p assage : “

J e m e

s ui s touj ours e ff orcé d aller dans l am e des choses et de ma r r ét e r

’ ’ ’

aux généralités les p l u s grandes et j e me suis déto u rné ex p r es de ,

l a cci d en ta l et d u dra m
’
atique P as d e m o ns tr es e t pa s d e h er os f
’'
'
i 3
.

The obj ect re p resented i s to be an a verage Obj ect ; the originality

O f t h e au t hor is to c ons i s t i n exhibiting a hitherto unkno w n as p ect

o f t h e a v erage Obj e ct w hi ch has be co m e t o h i m characterist i c , ,

O f it To illustrate—both Flaubert and M au p assant would hav e

.

described one p arti cular red ca rnation in order to distingu i sh it

f ro mall other red carnations but would p robably ha v e a v oided the ,

descri p tion O f a green carnation .

O n obse rv ing the actual p racti ce o f the two m en we find t hat

the characteri stic detail i s in general introduced less strikingly

”
, ,

i n the work o f Flaubert than in that o f M au p assant I ts funct ions .

in ei ther case are v arious By Flaube rt it i s so meti mes used t o .

uni fy a descri p tion all o ther details being m , ade subo rdinate to i t .

For instance at the beginning o f the thi rd cha p ter o f S a l a m

, mb é ,

Carthage i s de p icted ac cording to the lights and shado w s caused by

the moonlight falling u p on i t O ften howe v er i n thi s w riter the
m
a4

mul t itude o f minor details introduced I n the e ff ort a f te r co p lete

.
, ,

ness bl u rs the i mp ression so that it i s diffi cult to distingui s h a ,

i f su ch i s p resent “ I n M au p assant o n the

“ ”
characteri stic detail
5
.
,

other hand o w ing to the constant use o f the characteri stic de tai l
,
“ ”
,

outline s are Sharp ; descri p tions are easily gras p ed and once gras p ed
ma y u sually be su mmarized i n o n e o r two words and re me mbe red
, ,

wi thout di fficulty Good exa mp les ma y be found i n al most any O f

.

33
C o rr .
,
I V, 2 45 .
3‘
S al .
,
pp .
55 56
-
.

35
For e x mp l
a e, ME . . pp 130- 3 1 . I s the ri v r e th e ch a r a ct e ri ti
s c d eta l i
h r ?
.
,

o f t he sc en e e e
 THEOR I E S A
RE G R D I N G L I TE R ARY P R O E D UR E C 2 7

his works The characteristi c detai l i s e m

.
86
p hasized by both men ,

again by M au p assant more di stinctly and m ore O ften than by Flau

bert through recu rring m
,
ention A n exa m p le i s the re p eated re f .

e rence i n Flaubert to the a w kward and co m

,
mon p ersonal a pp earance
o f Charles Bo v ary which see m s to sy m bolize that m an s stu p idi ty
,
37 ’
,

and in M au p assant to the elegance o f Julien w hich furni shes an ,

indication according as it waxes or wanes o f the s t at e o f the

, ,

latter s a m ’
orous affai rs 38
O ther exa m p les f ro m Flaubert are the .

insi stence on the lack o f energy o f Frédéric M oreau in L E d u ca ti o n ’

sen ti m en ta l e the design ation o f the m

’
,
ercenaries in H annibal s gar
“
den each by a distincti v e t rait and the use o f the characteristic ,

detail as a conclusion i n the case O f S a la mm

”
b Os v eil floating behind
’

her when she i s seen i n the chariot 39

Corres p onding i n stances .

fro mM au p assant are the dwelling o n Forestier s ill health and M m e

’
-

F o r est ier s s m ile i n B el A m

’
i the characterizing o n e by o n e o f the -
,

tra v elers i n the diligence O f B oul e d e S n if and the concluding O f the ,

s to ry entitled L e P er e with a sentence gi v ing the outstanding as p ect

o f the conduct o f the

I n order to accomp li sh distinctiv e as w ell as a ccurate p resenta

tion both Flaubert and M au p assant seek to a v oid hackneyed ex pres
A certain use o f idées re c ues i s m
“ ”
s i ons . ade howe v er in Flaube rt ,

and more occasionally in M au p assant i n the conv e rsat i ons o f p er

so n a ges to who mit i s desi red to gi v e the characteristic o f
“ ”
b etise .

Good exa m p les are to be f ound throughout B ouvar d et P é cuchet

and i n the re m arks o f H o m a is the Ab b é B o u r n i sien etc in , , .
,

M a da m e B ova r y
“
u
I n M au p assant i nstances are to be sought a mong
.

e cclesiastical p ronounce m ents such a s the address o f the cu r e i n ,

L a M a is o n Telli er o r i n the con v ersation o f gens d u m onde l i ke

“ ”
, ,

that between the two w o m en in the stage coach to w ards the end o f
B o u l e d e S ui 3 12

36 Fo r ex ampl e , th e r pre ese nta t i on of th e ch a ra t r in

c e s Un e Vi e ,
pp .
3 46,
-

35 1 et c '

37
MB . .
,
pp . 2, 5 9, 7 6, 85 , 14 1, e tc .

38
U V,. . pp .
3 9, 5 7 , 12 6, 13 1, 188, etc .

39 pp . 12 , 3 0, 32 , 34 35 , -
9 93 , 110, etc
2 -
.
; S al ,
pp .
3 a nd 2 5 .

4° B .
-
A .
,
pp 8 .
-
9, 12 0, 12 7 , 19 1, etc ; .
3 1, 3 3 , 46, 64, 99, 119, 120, 12 6, et c .
;
pp . 14-2 0 ; C p .
44 .

41 F
or e xampl e, pp .
4, 5 , 8, 11, 17 , 2 4, etc ; . MB . pp .
, . 102 -7 , 15 6- 5 9, etc .

42 pp .
3 7 38 ; U V ,
-
. . p . 2 34 ; p .
73 ; UV p. .
, . 13 6 .
28 FLA UBE R T A ND M A UP A S S A N T

Corres p onding to the characteristic detail in descri p tion and

ne ce ssary fo r its deli m itation is the m “
o t j uste i n language .

Flauber t had s aid t hat it was ti me to gi v e to art the p recision o f the

p hysi cal science s 3
M au p assant had m aintained that art was
.
4

ma the matical and t hat great e ff ects were to be Obtained by si mp le

,

a n d w ell co m
— bi ned mean s The mo t j u ste i s a mong th e mo st
“ ” 44
.

i mpor tan t o f t hese means B oth men dwell on the subj ect M au p as .
,

s an t relating how Flaubert i ns i sted u p on p reci s e ex p ression

“5
With .

t he m as t er the mo t j uste i s usually connected w ith hi s i dea o f the

“

i ne v itable corres p ondence bet w een sound and sense ; w ith the p u p il
t he e m p hasis i s rat her o n t he actual j us tess e o f the ma t The fol .

lowing quotations will illustrate what is m eant .

Flaubert says
Ce so uc i e x t é ri e ure q ue v o us m
d e l a b ea ut é e r epr o ch e z est p o u r m oi

une m é o
t h d e
*
Q uand j e dé co u v r e un e m
. a uva i se a ssonan ce o u un e r é pé t i
t i o n d an s u n e d e m es p h r a se s j e s u i s S ii r q u e j e pa t a uge d an s l e fa u x ,

a f o r ce d e ch e r ch er j e t r o u ve l ex pr ess i on j us te qu i é ta i t l a s eu l e e t qu i
’
,

es t, e n mem t mp e e s,
’
l ha r mo ni eus e .
46

Fla ubert then finds the m

, o t j u s te with the ai d o f t h e har m
,
onious
word .

M au p assant re p orting Flaubert s ad v ice to h i m s p eaks as

,
’
,

follows :
O b séd é par c e tt e c oy r an ce ab so l ue qu il
’
i s te gu n n e
’
a ni ér e
n er
’
m
pr i m mot p r r
’
d ex er u n e ch os e, n u our l a di e, u n a dj ecti f pou l a qu a l ifier
et u n v e rb e po u l r ’
a ni m er , il se l i vra i t a un lab e u r s ur h u a n p o ur d é co u mi
a ch a qu e p h ra se c e
v r i r, o t, ,
m c e t t e é pi t hé t e et c c v erb e . Il r
c oya i t a i ns i

3 une h a o ni e rm
ys ter i eu s e d es m '

ex p r ess i o n s , et qua n d nu te rm j t e us e n e

l ui se mbl ai t poi n t eu ph o n i q u e i l ,
r
e n c h e ch a i t u n a u t e r ave c un e i nv i n i b le c

pa t i en ce , c e r ta i n qu l i
’
ne t ena i t pa s l e v rai ,

We find in these words the m o t j us t e defined as a noun an a d j ec ,

O the rwi se the p assage si m p ly states again the

”
t i v e or a v erb
,
.

t heory o f Flaubert quoted i n the p re ceding p aragra p h .

I n ano the r p assage a f te r sp eaking O f Flaubert M au p assant , ,

goes on w i th hi s s p ecial definition o f the m o t j us te as

“
a noun an ,

I l f aut donc cherche r

” “
adj e cti ve o r a v erb
,
H e then continues : .
,

‘3
C o rr I II 113
.
, , .
46
C o rr .
,
I V, 25 1 .

C o rr p .
,
. cl ii .
47
OP . .
, II : p . 130 .

45
F o r ex a m ple ,
( LR ) pp . xxi v xx v -
.
30 FL A U BE R T AND M A UP A S S A N T
doc t rine o f the t w o a u thors A n atte m p t will there f ore be made .

to illustra t e the m “
o t j uste
”
by means o f the following exa m p les .

c hosen m ore or less at rando m I t has not been thought ad v isable .

t o i nclude i ns t ances o f words used m erely i n thei r ordinary sense .

The ma t j us te in Fla ubert as a s i ngle word

“
en t r a i t dan s que lque cho se d e m
E l le erve i l l e u x Ou tout se r a i t pa s
s i on e x ta se d é l i re ; u n e i m
,
mensi té bl eud tr e l en to ur a it l es s o mmets d u ’
,

ma a t th e b egi n
,

s en t i men t é ti ncel a i ent so u s sa pen sé e [ S ai d o f E m

n i n g o f h e r i n t ri gu e wi t h R o d o l p h e ] p .

t o ut a ut o u r d e la pén i n sul e car th ag i n o i se u n e cei n tu r e d ec um e

b l an ch e o sc i ll a i t [ O f th e w ave s b reaki ng o n t h e sh o r e ] ( S a l p
”
. .
.
,

D es c an d é l ab r e s b r iI l a n t su r l es ta b l e s a l i gnée s d an s t o ut e l a l o ngue u r
“
,

d u va i s seau fa i sa i en t d es bu i ss ons d e f eux

,
H er odi as p , ,
.

Emma de ,
ve st i b u l e sen t i t t om
s le be r su r s es é paul e s co m
,
me nu ,

l i n ge u h mi de l e fr o i d d u p l at r e
”
p .

me un dOme s a ppuya i t a
,

L e c i e l d un bl e u t end re arro n d i co m
“ ’ ’
, , ,

l ho riz o n s u r l a d en t e l ure d es b o i s
”
’
p
e ave c d es h u r l em
.

l e ch agr i n s eng o ufi r a i t d an s s o n am en ts d o ux
’
,

co m me fa i t l e vent d h i ver dan s l es Ch ateaux abando nn é s ( M B p

’ ”
. . .
,

L a co nve r s a t i o n d e C h ar l e s é t a i t pl a te co m me un t ro tto i r d e r ue
‘
,

p .

p u i s vena i t u n e fi l e d e mi n ce s b o ul ea u x i n cl i né s d an s d es ,

a tti t ud e s el egi a qu es : p
’ ’

The m
.

a t j us t e in M au p assant as a single word

L a r s ena l d e l e spr i t pay san f ut v i dé B ec : F a r ce N or m

“ ’ ’ ” ’

a nde .
,

p .

Um flo t d e s ol e i l t om b a i t su r l a r i v i ere en dor m
“
i e e t l u i sa n te [ O f th e .

S e i ne o n a h o t d a y ] ( Y v e tte p , .

“
L a t o r ch e i l l umi na i t l e gr and r i dea u d e sap i ns ( U V p . .
, .

L e p l a tane e t l e t i l l e u l s e d ev é ta i e n t rap i de m en t so u s l es r afa l e s

’

p .

L e l o n g d e l a r o u t e l h e r b e q u e n e co u v r a i t p o i n t en co r e l o m b re
“ ’ ’

, ,

i mp én é trab l e d es ci me s éta it e d rue, l ui sante v er ni e de sé ve no uve l l e

, ,
”

p .

I I é t a i t l a i d n ou e ux co m me umt ron c d Ol i vi er [ O f Co r si can ba n

“ ’
.
,

d it ].
(A n S L es B a n d i ts C o r s es p
.
, .

reading the words italicized abo v e o n e has the feeling that

On ,

they are exactly the ex p ressions required in the p laces where they
occur S o m e exa mp les will now be gi ven o f p hrases as mots“

j uste s .
 TH E ORI E S R EGA R DI N G LI TE R A R Y C
PRO E D URE 31

Flaubert
“
A in i
s ena i t d ev ant ces b o urge o i s épano ui s cc dem
se t , i si ecl e d e s ervi ,
-

[ Th i s ph ra se i s app l i ed t o t h e Ol d s ervant O f th e C o m i ce s wh o
“ ”
t ud e .

re ce i ve s a me d al fo r fi f ty year s o f slavi sh serv i ce ] ( M B p . .

, .

Q uan d e l l e e ut a i n s i un peu ba ttu l e br i qu et s u r so n co e ur san s en

“

fa i r j a i ll i r u ne ét i n ce ll e
.

[ Of E m ma t r yi ng to g i ve h e r se l f
,
“
,

p
.

M au p assant

pa i s em
“
D an s c et a en t d u s ol eil a bs en t, t o ut e s l es sente ur s d e l a t erre
se r é panda i ent .
”
[ Th e ph ra s e i n i ta l i cs d e sc r i b e s t h e pea ce o f n i gh t ]
p .

“
Un e gro sse fe mme , bd ti e en f or ter ess e ,
re mpl a ca i t R o sa l ie
p .

B esides striking co m binations o f words such as are illustrated ,

abo ve both Flaubert and M au p assant e m

, p loy somewhat v ague
p hrases which seemto contain rather an e ff ort a f ter the mot j uste
“ ”

than the attain m ent o f it E xa m p les are gi ven below . .

Flaubert :
“
Q u el qu e c h os e d es v i ta li tes
'

pl a n eta i r es l e pé n é t ra
’
it
med i t at i ng i n th ma i
.

i
,

“
of H ann b al n (S a l p e so .
, .

“
C é t a i t co m
’
me un e mo ntagne l umi neuse quel qu e ch o se de s u r h uma i n , ,

é c r a san t to ut d e so n O p ul en ce et d e so n o rgu e i l [ S a i d o f t h e Te mple .

,

seen b y H er od f ro mh i s c i t ad e l ] H er p .
, .

M au p assant
v o i s i ne po rt a t i
en e ll e ce qu el que f r ipe
’
’

sa , ch ose de ,
d a r ti

fi ci el
’
q u o n t, en général ,
l es an c i enne s act r i ce s , (B .
-
A .
, p
.

M au p assant f requently
uses une sorte de in such p hrases ,

“ ”
instead o f quelque chose de .

Le m urm u re d es v o ix mo n ta i t
“
u n e s or t e d e pouss i er e d e br ui t

[ O f vo i ce s o f crowd h eard fromso m

, .

e d i st an ce ] (M O pp 38 -
.
, .

The use o f a succession O f words in st riv i ng for the mo t j us te

is m uch more co m mon i n M au p assant than in Flaubert but i s ,

occasionally found also i n the latter .

FL AU B ERT M AU P ASSAN T
E l l e en t ra i t dan q e lq e h e s u u c os I l l ui d e manda i t co n s ei l , pi ti é ,

de merve i ll e x u t t era i t pu o ou s as s e co u rs , pr o tecti o n ,

c o n sol a ti on ,

s i on , ex t d éli r
a s e, [M B p 5] e . . .
, . 22 pp 5 4 .
32 FLA UBE R T AND M A UP A S S A N T

We co m e no w to conside r the attitude o f the t wo w riters on the

q u es t ion O f bea u ty in general effect a p art fro mt h e s p e cific de t ails
p rod ucing t he res u l t Thi s w as the sup re me concern O f Flaubert
. .

For ma n d idea w ere i ndeed in hi s eye s inex t ricably interde p endent , , ,

b u t o f t h e t w o for mw as th e m
, , ore i m p ortant He see ms to hav e
0
.
5

i mag i ned style as s o me thing abstrac t ed fro mand su perior t o t h e

“

c on t en t w hich i t clothed There w as ho w e v er in p racti ce an un

.
, ,

breakable conne ction be t w een sound and sense between the m ot ,

e uph o n i q u e and t h e m o t j us t e H is final tes t for ac cura cy O f ex p re s.

s ion w as to read a p assage aloud I f thu s rea d aloud it did not .

, ,

sat i s fy his fastidious ca r he set to w ork t o alter it H e says him , .

sel f Les p hrases ma l écrites n e rési sten t p as a cet t e épreu v e ; elles

O pp ressent la p oitrine gén en t les batte ments d u coe u r e t se trou v ent
, ,

A ll thi s sho w s Flaubert s

” 5 1 ’
ain s i en dehors des c onditions de la v i e .

extre me care for t h e rhy th mO f hi s p rose Fro mw hat he has said .

i n o ther p a s sages w e gather the idea t hat style was to h imthat p art
o f an author s w ork where the intangible so m
’
e thing which we call
“
genius would beco m
”
e a pp arent “
D ans la p récision des asse m .

b l a ges la rareté des ele m ents l e p ol i de la surface l ha r m

’ ’
, o n i e de
, ,

l e n sem b l e n y a t i l p as une v ertu i n t r in séq ue une es p ece de force

’ ’
- -
, ,

di v ine quelque chose d é ter n el co m

,
me un p rinci p e ? ’ ”5 2
H e e v en
goes so fa r as to declare
C e qui me se mb l e b eau cc q ue j e v o ud r a i s fa i re c e st un l i vre sur r i en ’

ém
, , ,

u n l i v r e san s a t t a ch e e x t é ri e u r e q u i s e t i end r a i t d e l u i m e pa r l a f o r ce
,
-

i n te r ne d e so n style co mme l a t e rr e san s et r e soutenue se t i ent en l a i r

,
’
,

u n l i vre q u i n a u r a i t p r e sq u e pa s d e suj e t o u d u m o i n s o u l e suj e t sera i t

’

pre sque i nv i si b l e si ce l a se pe ut L es oeuvre s l es p l us b e l l e s son t ce l l e s

, .

OiI i l y a l e m o ins de m at i ere ; p l us l ex pr essio n se r a ppo ch e d e l a pen sé e ’

,

p l u s l e mot co l le d e ssus et di spa r a i t p l u s c e st b ea u 53

,
’
.

M au p assant re p or t ing Flaubert no t es the fact that to the latter

, ,

form was the work itsel f and f or m and content were i n ter
'

the ,

de p endent “ H e furnishes us besides wi th a descri p tion O f Flau

.

ber t s p ro ces s o f reading aloud ( to which the word gueuler i s

’ “ ”

attached by those who m ention it Flaube rt hi msel f included ) , .

Q ue l q ue f o i s 11 prena i t fe u i ll e pap i er la h a u t e ur
’

la de l é l ev a it a
ix mrdan te
,

r e ga rd co ud e d é cl a mai t ne
’ ’
du , et s a ppuya n t su r un , d u vo o

5° C rr o .
,
I , 196 , 2 44 ; II , 12 9 , 42 6, 4 30, etc ; . I II 113
, , 162 , 2 68 ; I V, 2 46 .

5’
C rr o .
,
I V , A pp en d ix , p .
45 7 .
53
C o rr .
,
I I 86
, .

52
C rr o .
,
I V, 2 52 - 53 .
54
OP . .
,
II : pp . 12 9- 30 .
 TH E OR IE S A
RE G RD I N G L I TE R AR Y P RO E D C URE 33

et h a ut e . ryt h me d e s a pro se s a rr é ta i t co mm
I l é co ut a t l e i e p ou r sa i sir ,
’

u n e so n o ri té f uyan t e co m b i na i t l e s to n s é l o i gna i t l es a sso nan ce s d i s

, , ,

p o sa i t l es v i rgu le s ave c sc i en ce co mme l es h a l t e s d u n l ong ch e mi n 55 ’

.

ha v ing once disco v ered a harmonious p hrase Flaubert

A f t er
found it says M au p assant i m
,
p ossible t o change e ven where such , ,

change would hav e been to the adv antage O f the sense 56

H e quotes .

a long p rono u nce ment o f F l a ub e r t s on the rare d i ffi culty and dignity ’

o f rhyth min p rose

57
H e gi v es also t wo definitions o f what see ms
.

to h imt o be Flaubert s con ce p tion o f style I n one p la ce he s ay s ’

.

that style to Flaubert i s not a m ere m atte r o f word s but i ncludes all
the qualities o f the thinker and wri t er 58
I n another p a ssage o n the .

sa m e p age he di stinguishes between styles — the se p arate m

“ ”
anners
o f wri ting p eculiar t o se p arate indi v iduals — and style —
“ ”
something
w hich has al most a being o f its o wn a p art f romcontent and whi ch ,

does not v ary f ro m one author to another I t seems here to .

mean rather what we should call the ins p i ration o f genius than
“ ”

anything else The t wo definitions are not necessarily co n tradi ctory

.
,

but the latter see ms to co m e nearer than the fo rmer to what we

ha v e seen to be F la ub e r t s o wn idea O f styl e
“ ” ’
.

M au p assant when he co m es to s p eak for hi msel f says that the

, ,

t rue p ower o f literature lies n ot so much in what is said a s in the

method O f p re p aration and p resentation The ex p ression must accord .

w ith the i dea such agree ment p osses sing a certain beauty not p er
,

cept ib l e by the cro w d

59
.

A s we turn now f ro m theory to p ractice a general p erusal of

the works o f the two m e n leads to the i m p ression that thei r styles
are on t he whole not closely si milar On e m
, ,
isses for exa m p le .
, ,

i n the p recision o f the younger ma n the general romanti c atmos p here

o f the ty p ical Flaubertian p as s age N either does o n e usually find .

i n M au passant the s trik i ng p h rases with rhyth m ical e ff ect co mmon

es p ecially in the earlier work o f the Older write r Where o n e doe s
'

find su ch p hrases contrary to custo m i n M au p assant o n e might

, , ,

be led to sus p ect an influence es p ecially where thought o r wording ,

or both a re at all alike The two following p hrases suggest such .

a rese m blance
55
I bid , . p. 13 1 .

56 I bi d .
,
p. 132 .

57
I bid .
,
pp . 13 2 - 33 .
34 FLA UBE R T A ND M A UP A S S A N T

FL AU B ERT M AU P ASSAN T
L
’
o b l iq u e gé n u fl e x i o n de s dé L
’
o nd e
n c t ue u se
o d es co n so l a
vots p r e s sé s p . t i o n s e ccl é s i a st i q u e s p .

The rhyth mO f these two p h rases i s v ery si milar and the ideas ,

are a t lea s t relat ed .

I n t w o othe r resp ects there i s a rese mblance bet w een Flaubert

and M au p assant i n p oint O f style On the one hand both attain to .
,

a consi derable degree o f j ustesse o f tone as w ell as O f w ord A s

“
.

exa m p les f romFlaube rt o n e migh t cite the generally p oetic e ff ect

o f L a L ég en d e d e S a i n t J u l i en l H a spi tal i er co m p ared with the s im ’

pl ici ty o f U n C o eu r s im pl e The sa m e quality i s v ery e v ident in .

p ractically all o f M a upa ssa n t s stori es o f p easant l i fe as for in ’

, ,

s tan ce i n th e la conic recital o f the acciden t i n E n M er or in t h e

, ,

fa miliar con v ersati o n o f L a B ete a M a i t B elh a mm e

60
O n t h e other
’
.

hand there is frequen tly a dis parity m

, ore or less d i stinctly felt
between style and s u bj ect I n Flaubert w e hav e as in M a d a me .
,

B ova ry t h e o pp osi t ion bet w een ro mantic style and co m monp lace
s u bj ect ; i n M au p assan t we meet O ften t h e contrast bet w een char m
,

ing s tyle and ut t erly d i sagreeable subj ect B oth m en e mp loy many .

Si m ilar te chnicalities o f style ; the s e w ill be t aken u p i n la t er

p aragrap hs 61
.

The t w o author s a gree that there m ust be har mony between word
and i dea not only in se p arate p assages o f a w ork b u t also throughout
.

t h e w hole work S uch unity i s f requently attained through th e

.

i ronical p resentation O f li f e w hich results i n large m easure fro mthe ,

s corn o f hu m anity entertained by eithe r N othing esca p es their .

i rony ; all classe s all conditions all si t uations and all e ven t s t ouched
, , ,

by the mco me alike under the lash I n ex p ressing itsel f thi s i rony .

assu mes v arious for ms S o m eti mes it m ani fests itsel f i n ci rcu m
.

stances P eo p le are constantly being du p ed or disenchanted E m

. ma .

Bo vary for exa m ,

p le des p ises the one ma n who e ve r truly lo ves ,

her and see m s to be touched by so me faint realization o f her mi s

take only a t the ele v en th hour 62
Mm e Loi sel wears hersel f o u t i n .

orde r to re p la ce a neckla ce w hi ch turns out to ha ve been o f false

6°
pp . 12 9 -39 ; M P ar
. .
,
pp .
79 91
-
.

61 A f te rM a da me B o va ry t h e styl e o f r
F l a ub e t t en d s to l o se i ts fig r iv u at e

i
q ua l t y, so th a t i n h is l a t e r w rko s it a pp r o xi ma t es r n
t h e d y ess a n d si mp l i i y c t
of M a upa ssa n t s ma nn e
’
r .

“
2
M B P p 437 438
. .
. .
.
 THEOR IES RE GA R DI N G L I TE R A R Y P R O E D URE C 35

stones and is i n form

,
ed o f the fruitlessne s s O f he r labor only a fte r
she has lost f ore v er youth beauty and ha pp iness 63
S ometi mes the
, , .

ironical e ff ect i s increased by a p rocess O f cu mulation as in B a u l e d e ,

S ui f where the res p ectable characters a pp ear o n e a fter anothe r

“ ”

as kna v es and hy p ocrites beside the w o m

,

an they des p ise o r in ,

B o uva r d e t P ecu ch et where Flaubert takes u p successi v ely the di f

’

f er en t de p art m ents o f hu m an thought only to Show the f olly o f all , .

The idea that thought i s o n e o f the worst things i n li fe because it -

makes men w retched i s exp ressed in so many words towards the

beginning o f thi s book and occurs m ore than once in M au p assant
,
64
.

A n i llustration o f its ac c e p tance by both m en is that they describe

most symp athetically those characters least distingu ished by think

ing— the s i m p le ani mal like p easants I n the p ursuit o f irony the
,
-
.

characte rs are so m eti m es m ade to say ridiculous things ; f o r instance ,

in the m anner o f H o m a i s and the H o m a i s li e p ersonages in M a u

k
-

p assant S ometi mes a remark by the a utho f suppl ies the p oint o f
'

65
.

i rony as where A rnoux i s said to seek le subli me a bon marché

,
“ ”
,

or where m “
o n oncle S osth ene
”
i s described as libre p enseur p ar
“

b é t i se
”66
.The e ff ect o f m uch o f the i rony o f both authors is that Of
sardonic hu m or—a n attribute O f authorshi p which Flaubert ex p resses
h im sel f as desi rous O f dev elo p ing in order to ac co mp lish the i ronic
p icture a f ter which he stri v es M au p assant thinks that his maste r .

has attained thi s p articularly in B o uva r d et P ecu ch et The p assage s

’
.

ex p ressing these ideas are as f ollows :

L AU B ERT
F M AU P ASSAN T
Le co mi q e a r r i v é a l
u
’
ex tr é m e, M a u pa ss an t fi nd i n B s o uv a r d et

le co mi q ue qu i ne v o us fa i t pas
’
P e cu ch e t
“
un co mi q e t t p u ou a r t i cu

ri r e, le cyn i s m
d a n s l a bl a gu e, est
e l i er , n u co mi q u e s i n i s tr e
”
II ,

pour m o i t o u t cc q u i m i
e fa t l e p l us

env i e co mme éc ri va i n [ C o rr .
,
II ,

i n less a pp arently i roni cal hu morous situat ions in M au p as

E v en
sant there i s O ften a sting in the v ery extre mity o f the absurdity 67
.

“
3 P a r u r e pp 69 7 4
La ,
.
-
.

64 Fo r e xamp l e p 13 ;
,
pp . .
3 3 1;
0-
B .
-
A .
,
p 2 11
. .

65 Fo r e x amp l e M B pp 111 12 etc ;

,
. .
, .
-
,
. Un C oup d eta t pp ’
,
.
3 3 1,
-

32 , etc .

60 p .
56 ; p . 109 .

67 For e xamp le , Toi n e ; M a ri us I n Un e Vi e ,

pp . 132 -3 3 , 139 ; etc .
36 F LA UBE R T AN D M A UP A S S A N T
M au passant is at ti mes
frankly and gratuitously v ulgar or exh i b i t s ,

a coar s enes s w hich a pp ears also in Fla uber t and fro mw hi ch he wa s ,

a t leas t n o t d i s couraged by the la tt er I n th e later w orks o f

69
.

M a upas s an t and t o a m u ch s maller degree o f Flaubert as sy m p a thy ,

increases i rony t ends to d isa pp ear al though ne v er perha ps entirely ,

ab sen t 7
.
0

W i t h regard to s ubj e ct s bo t h men hold tha t any subj e ct i s ,

a d mi ss i ble b u t tha t t h e au thor sho u ld choo s e w hat i s su ited t o h i s

p era ment Fla ubert concedes so much to te mp era ment that he
,

tem
71
.

declares subj ect s are not chosen but i mp ose the msel v es t hrough
i t s influence M as t erp ieces m . a y be written on any subj ect e v en the ,

mo st in sign i fi cant and vulgar The author seeing t hat he i s t o be .

,

c ont rolled by his own te m p erament must be f ree f ro mthe int er fe r ,

ence O f external critici s m I n these p oin t s M au p assant agrees w ith .

h is m aster ei t her ex p li ci t ly o r i mp lici tly U p on inv estigation we di s -

.

c o v er t hat t h e subj ects a ct u ally sele cted by the t w o are for the m o st
p art realistic —the re p resentation o f middle class med i o cre hu man
“ ”
-

i ty in t h e p ro v in ce s or in P ari s o f the p easant o n hi s nati v e soil o f , ,

t h e go v ern m en t funct iona ry in the p er for man ce o f hi s monotonou s

duties O f illi cit lo ve o f bir th marriage and death ; E v en in the p ic
, , , ,

turing o f m ore far Off m ”

atters as in S a la mmb é o r in M a upa ssa n t s
-
,
’

s t or i es o f fanci ful beings o r o ccurrences the real i stic method i s

72 “ ”
,

used s uch p rocedure and de t ails being ado p ted in p resentation as

,

w ill gi ve the i mp ression o f actual f act What the method o f dev el .

o pm en t is w ill be discussed i n t h e suc ceeding cha p ter O f thi s thesi s .

I f all subj ects are equally wor thy and i f formis the su p re me co n ,

c ern o f art i t w ill follow t ha t t h e art i st w ill w rite for t h e sake o f art
,

alone A s a ma tter o f fa ct Flauber t held v ery s t rongly the theory

.
,

o f art for art s s ake o f t he non — con c ern o f a r t w i t h m

“ ’
,orali ty o r
utili ty M au passant t hus su ms u p hi s m
. as t er s teaching on t hi s m at
’

t er : A ll grea t w ri t er s ha v e p ro t e st ed against m aking thei r works

dida ct i c P rin ci p le s are i ndis p ensable to th e social order b u t le tters
.
,

and the social order ha v e no t hing in co m mon The chie f con cern .

“3 F o r e x mpl
a e, ce rt i a n el e mnt e s i n th e st o ry of To i n e .

“
9
Fo r e x mp l
a e, S al ,
p . 15 3 ; p . 103 .

70
S ee abo v e pp 2 1 24 , .
-

7 1 C rr
a I I 82 84 85 86 87 2 93 ; I II 147 304
.
, , ,
-
,
-
, , , , 5 42 ; I V, 2 55 ; «L R »
v ii v iii x ; M ll e F : R a
,

pp 2 7 5 F
f
-
. .
, . .

72
Fo r ex a m p l e L e H o r la pp 3 48 , ,
.
-
.
 CH A P TE R I V

L I KE NE S S I N E M P L O Y M E N T OF GE N E R A L
R E A L I S T I C DE V I CE S

Besides the li t erary de vices O f Flaubert and M au p assant already

discussed w hi ch result f ro mthe theories definitely stated by t he m
, ,

t here are additional litera ry p rocedures e m p l o yed by both which for ,

the most p art they share i n co m ,

mon w i th the other realists o f the
day I n t racing the relationshi p between the t w o men it w ould n ot
.

be w ise to o mit consideration O f s uch p rocedures f or ce rtai n o f the m ,

may co me f ro mthe one to the othe r instead o f being a co mmon

heritage I n any e v ent when taken along with less di s p utable ca ses
.
,

O f influence the asse m ,

blage o f the mw ill p ossess a cu m ulati v e weight
O f p roo f for the relationsh ip

M any o f these pr o cedes no w to be considered m

.

y be grou p ed
’

,
a ,

“ ”
t ogether under the head O f reali stic details The first O f these
details is the p ractice O f beginning i n m
.

edi as r es which i s the usual ,

procedure o f both m enin thei r no v els and a f requent one O f M au p as

’
san t s in his Shor t stories Closely akin to this i s the ending with a
.

kind o f broken Off effect lea v ing i n the reader s m

“ ”
-
,
ind the i dea o f ’

’
an action still continuing as in real l i fe S o conclude Flaube rt s , .

M ad a m e B o v a r y L E d u ca ti a n s en ti m
’
en ta l e a n d H er o d i as and M a u
‘ ’

e a n and B el A m
, , ,

i besides so m
’
p assant s N a t r e C o e u r P i er r e cl J ,
e of -
,

’
t h e latter s short stories
1
.

D efinite t i m e indi cation s are exceeding l y co m mon in both authors .

The year the month th e d a y th e hour o f an e v ent i s O f ten m

, , , en ,

t io n e d wi t h extre m e exac t itude I n so me stories one ca n date exactly .

or a pp roxi mately al mos t e v ery e p isode E xa m p les would be Un .

C o eu r s im pl e and U n e Vi e On t h e o t her hand t here are narrati v es

.

w i th little o r no definite dating like Flaube rt s S a i n t Juli en l H a s ,

’ ’

pi ta l i er o r M a upa ssa n t s M o n t Or i a l D ating i s O ften f ro mthe age

’
-
.

o f a charac te r or characters o r f ro ma well known and defini t ely

’
,
-

fixed e v ent—a hi storical fact f o r instance su ch as so me p olitical , ,

1
Fo r e x mp l
a e, in Un Co up d eta t L e
’
P er e etc
m
.
, ,

2
S ee Un Co eu r si pl e and Un e Vi e al r ea dy menti oned wh e r e so m o f th
e e

menti on o f a ges
, ,

de fi it
n e d at i ng i s d on e t h r o u gh .
 LI KE NE S S I N GENE R AL RE A LIS T I C DE VI CES 39

occurrence L E d u ca ti a n s en ti m en ta l e f u rnishes m any exa m p les O f

’
.

t hi s latter m ethod as do also M a upa ssa n t s stories O f the Franco ’

,

P russian War La p s e o f ti me is so meti mes denoted in so many

3
.

words som 4
eti m
,
es i mp lied through the use o f the i mp er f ect tense
o r i n the m ultitude o f ha pp enings O ccasionally it i s suggested by
5
.

t h e rea pp earan c e o f so m e thing to w hich attention has been ca lled

be fore and which has then been lost f ro mv iew f o r a ti me A n
,
.

exa m p le in Flaubert is the wedding bouquet o f M adame B ov ary p ut ,

aside by her o n the e v ening o f her arri v al i n Tostes and discov ered ,

in a drawer w hen she is about to leav e the p lace a fter long continued ,
-

ex p erience o f di s enchantment "

A si m i lar i nstan c e i n M au p assant is .

furnished by the ca lendar marking for Jeanne the day o f her de p ar

t u re fro m school li fe to ex p ected ha pp iness in the future w hich , ,

found by her with other c alendars in the at tic a fter long years o f
, , ,

disa pp oint ment i s utilized in he r e ff ort to reconstruct the p ast The

,
7
.

actual mention O f the ti me in both writers is Often made i n the m ost

ca sual way as befits the reali sti c m U n a p r es m
“ ’
,
ethod idi ( c é ta it l e .
-

2 0 j an v ier B ouv ard ét ant a son co m p toi r re c ut une lettre ,

a pp ortée p ar l e facteur ”8 “
C é t a i t en 18 2 7 a u m ois de j uillet Je m e .
’
, .

”9
trou v ai s a R ouen en garnison .

A sp ecial m ethod O f ti me i ndication p erha p s m ore distincti v e o f ,

Flaubert and M au p assant than those already discussed i s that gi v en ,

by m eans O f so me ha pp ening denoting th e season o f the year Thi s .

i s fairly f requent i n Flaubert and it i s p ossible that M au p assant m ay ,

hav e taken it f ro mh im Well kno w n exa m p les are the s p lashing o f .

-

dro p s O f m elting snow o n E mma s p arasol and the falling o f the ri p e ’

,

p each fro magainst the wall when R odol p he and E mma are i n the
garden together 10
A frequent instance in M au p assant i s the rather
.

co m monplace mention o f f alling leav es to suggest the autumn sea

son 11
. The heavy heat o f summ
“ ”
er is noted by both m en
12
S om e .

3 For e a x mp l e pp 3 8 ff , 3 11, 409 tf 45 6 if 47 5 ff ; M ll e F pp

Am
.
, . .
, , . .
, .

3 27 ; M l l e F
-
. : D eux is pp , . 2 09-2 1 .

4 TC
. . : p .
57 ; U V , . . p . 288 .

5 For e xamp l e, TC . . : pp . 82 -89, et c .

; M O -
.
,
pp . 12 1 fi .
, et c .

6
MB pp 44 45 94
. .
,
8 .
-
,
. p . 14 .

r
_

7
U V pp 2 3 67
. .
,
9 .
, . A ppa i ti o n p ,
. 157 .

1°
M E pp 2 3 2 7 5 ; c f B r unet i e r e
. .
, .
, .
,
Le R o m a n n a tu a lis te, r pp . 18 1- 83 .

11
F o r e x am p l e U V pp 118 19 ; , . .
, .
- pp . 2
3 33
-
e tc .

12
F o r ex a m p l e M E p 2 84 ; pp 466-
67 ; p 70 ;
E n F am
. .
, , . . .

il l e p 13 7 ,
. .
40 F LA U E R T A N D B M A UP A S S AN T

ti mes ti me O f day i s ind i cated t hus characteri stically as w ell as

t he ,

t he ti m e o f year Both men f o r ins t ance call attention to ano t her

.
, ,

generally Obse r ved ci r cu m stance t h e p ee p ing o r fluttering o f the

“ ”
,

bi rd s in the v e ry early m orning 13

.

A co m mon method o f gi v ing v i v idne s s to a narration i s that o f

t aking t hings for gr an t ed
”
ex planation being o mitted as i f o n e w ere , ,

d eal i ng w i t h a well known obj ect o r current e v ent Flaube rt has

-
.

som et i mes ca rri ed t his p ractice so far that the result i s a sense
o f v agu ene s s p resent for instance on reading many p assages o f
, , ,

S a la m mbé When not p ushed to ex ce ss ho w ev er th e p roced u re

“ .
, ,

lends an e ff ec t o f reali ty to a p icture the author as it w e re asso , , ,

cia t i n g t h e reader w ith hi m sel f in his knowledge A good exa m p le .

i s the in t roduct ion o f Charles B ovary into the s choolroomat the

beginning o f M a d a m e B ov a r y w hen the w riter and others are su p ,

p osed to be witnesses o f hi s adv ent A no ther instance in the same

15
.

book is t h e mention w i tho u t co m ment o f th e p av ilion at t he angle

“
, ,

o f t h e w all t o which E m
”
ma d i re ct s her solita ry w alks at Tostes
, .

The p ractice O f p a rtici p ation by the author i s co m mon in M au p assant ,

one o f w hose regular pr ocedes i s to begin the relation O f an ad v en t ure

’

as i f it were so m e thing p e rtaining to current gossi p or an incident ,

told a mong friends H i s I corres p onds i n these cases to Flaubert s

“ ”
.
’

“
w e a t th e beginning o f M ad a me B ova ry H is own creations are
”
.

bro u ght in a s i f t hey were e v ents kno w n in the world fa miliar to

16
author and reader alike .

A no t her de v ice used by both m en i s to rela t e a descri p tion to li fe

by means o f so me p icturesque o r v i v id detai l For instance when .

,

the ri v e r at Y on v ille I A bb a ye i s p i ct ured we are told that it is there

-
’
,

t ha t the boys o f the neighborhood fish S om eti m es a detail o f thi s .

kind see ms to obtrude itsel f unnecessarily u p on o ur notice as in the ,

c ase o f the bl u e seal u p on the letter brought to Charles B o v ary by

nigh t fro m Les B er ta ux

“ ” 17
I n M au p assant the p rocedure i s f re .

quent H ere i s an exa m

. p le taken fromthe o p ening p aragra p h o f
U n j our M a ssiva l l e m
“
N o tr e C o eu r : usicien l e celebr e a u teur d e
’

, ,

13
Fo r x mp l
e a e, ME . .
,
p . 16 ; U V . .
,
p . 22 .

14 Fo r e x mp l
a e, b eg i nin ng o f S al .
15 MB . .
,
p . 1 .

1° For ex mp l a e, M P ar . . : L l
’
n ca n n u e, p . 109 , L Epi ng l e,
’
p . 187 , Ca i ra ,
p . 2 33 ; Le H rl o a , e tc .

17 ME . .
,
p .
95 ; i bid ,
p . 15 .
 L IKE NE S S I N GE NE R AL RE A LIS T I C DE VI CES 41

« R eb ecca » cel ui qu e d epui s qu i nz e a ns d éj d a n appel a i t « l e j eun e e t

, ,

il l u s tr e m
,

a i tr e» dit What see mat first sight to be su p erfluous

,

details are m uch less co m mon in M au p assant than in Flaube rt The .

foll o w ing is an exa m p le o f what might be called one B oule de S ui f .

has j ust Off ered M Loiseau so m e O f her chicken

. sur la p ointe
’
d un couteau to uj o u r s l age d a n s s a pa che i l enle va une cuisse toute
’

v erni e de gelée

I n the w orks o f both Flaubert and M au p assant there i s consider

able e m p loy ment o i technical detail o f v arious kinds M edical and .

p athological p articulars f requently used with caricatural intent are , ,

found in connection with the p ied bot o f M a d a m

“ ”
e B ov a ry with the ,

di p htheria case o f L E d u ca ti a n s en ti m en ta l e with the m

’
ineral s p rings ,

o f M a n t Or i a l with the folly o f M a da m

-
,
e H ar m e t as well as in m any ,

othe r p laces 19
Fi nancial ite ms i n the m
. atte r o f business dealings o f ,

inheritances and o f other m ,

oney transactions recur constantly in
Flaubert s nov els and i n M a u pa ssa nt s r a m
’
a n s and n o u v el l es Ex
’
.

am p les are the manoeu v res o f Lheureux O f Frédéric o f B el A mi O f , ,

-
,

A nder m att and o f m

,
any others 20
V arious other scientific or p seudo .

sci en t i fi c details are largely used by Flaubert as in the erudite di sser ,

t a t io n s o f S a l a m mba and the absurd discu ssions o f B ouva r d et

‘

P é cu ch et N earest to these i n M au p assant are the m

. any local words
em ployed without ex p lanation in the accounts o f the latter s trav
, ,
’

clings in A lgeria 21
.

P articulars regarding f ood costu me f urniture es p ecially when , , ,

the se are o f unusual kinds are v ery co m mon in Flaubert and less , ,

co mm on though still cons t antly disco v erable in M au p assant D e

, , .

s cr i pt i o n s o f such things i n the latter where they are found a re , ,

less extensi v e than i n the f or m e r M au p assant see ming to b e here ,

-

less bourgeoi s in hi s interest than Flaubert E xa m

“ ”
p les o f the .

details under di s cussion are to be found in the accounts Of the feasts

and o f the costu m es o f the he roine s in M a d am e B ov a r y a n d i n

p 25 . .

19
M E pp 2 4 1 5 8 ; pp 401 4 ; M O pp 2 2 1 30 etc ; L M G
- - - -

Ma da m e H er m
. . . . . .
.
, .
, , . .

e t pp 2 5 3 67 ; S a l
,
p 45 etc ;
. pp 8 5 92 ; etc
-
.
, .
, . .
-
.

20
M B pp 13 2 5 2 62 63 et c ; S a l pp 7 8 84 et c ;
. .
, .
, ,
pp 139 40 etc ;
-
, . .
, .
-
, . .
-
,
.

pp 14 17 etc ; B A pp 12 7 2 8 etc ; M O pp 11 2 9 17 8 7 9 etc ;

.
-
, . .
-
.
,
.
-
, . .
- .
, .
, ,
-
,
.

M H a n : L H ér i tag e pp. 88 89 etc U V pp 306 7 ; etc

.
’
,
-
, . . .
, .
-
.

2 1 F o r e x am p l e A u S p 3 7 l e g a u mde l a g ha d e S ai da p 40 b i en a u
“
, .
,
’
.

d el a d u c h o t t ; et c ; c f K i p l i n g
,
”
. . .
42 FLA UBE R T AND M A UP A S S A N T

S ala mmbb
as well as o f the house f u rnishings in both books
,
-
.
22

I n stan ces o f the same kind O f thing in M au p assant are the d escr ip
t ions i n N o tr e C o eu r o f the dinner gi v en by M m e de B urne and o f ,

”
S om e s p ecifi c detai l s s uch as th e ’
t h e fit t ings o f t ha t lady s house .
,

u se O f the word
“
acaj ou in connection w ith furniture and the
”
, ,

in tr odu c tion Of secretaries wi th o r wi tho u t secret d rawers “ w hi ch , ,

are si mi lar i n t h e t w o m en are p robably to be attributed t o a co m mon ,

acquai n t an ce with p re v ailing fashion .

There i s f req u ent re feren c e i n bo t h au thors t o his t ori cal e v ents .

S om eti mes thi s mention i s confined to t he gi v ing O f the date o r the

na m ing o f the e v ent 5
S om eti mes the fortunes O f the p ersonages .
2

are closely related to the historical sit u ation re ference t o the charac ,

t er being interwo v en w ith des c ri p tion o f the fact as in nu m erous ,

p assages o f L E d u ca ti a n s en ti men ta l e o r in M a upa ssa n t s stories o f

’ ’

the War o f S om eti mes extracts f ro mhistory are gi v en in co n

n ect i o n wi t h descri p tions o f p laces P a r l es C h a mps a t par l es Gr ev es .

furnishes good exa m p les o f thi s 27

S om e i nstances are found in .

M a upa ssa n t s a ccounts o f hi s t ra v els A n e p isode o f N or m

’
28
an li fe .

ca lls forth fro mhi m also o n o n e occasion so m e facts O f N or m an

his t o ry 29
A v ery frequent for mo f historical re ference in the works
.

O f the t w o authors acco m panied so m eti mes by ci t ations i s that to , ,

w ell known w riters o r other famous men both conte mp orary and
-
,

belonging to the p ast— f or exa m p le to S i r Walter S cott to R ousseau , , ,

to V oltai re to R obes p ierre to N a p oleon to B alzac etc

,
30
P erha p s , , , .

22 Fo r e xampl e, ME . .
,
pp .
3 3 9, 43 45 , 69, 83 ,
8 - -
17 9, et c ; . S al .
,
pp .
4 5 , 14,
-

103 -4. 2 48 - 49 .

23
B .
-
A .
,
pp . 120- 2 1, 12 3 , 12 5 ; N C, . . pp . 15 , 3 8, 48 , 80, 146, 185 , 192 -93 , et c ; .

N C,
. . pp .
5 7 -
.

24
Fo r e x mp l
a e, ME . .
,
p .
3 66 ; M -
O, . . p .
70 ; U V , . . p .
33 ; MB . .
,
p .
47 8 ; U V
31
11 33 . 2 40

25 e xamp l e
Fo r p 42 ; pp 42 4 2 5 etc ; .
-
S a int
A n to i n e p 2 2 3 ;
.
, .
,

,
pp 109 10 . .
-
.

6 2
pp 409 ab out 5 00 etc ; S et c
.
, , . . .

27
f o r ex a mp l e pp 13 17 19 5 2 5 3 etc , .
-
, ,
-
, .

28
F o r ex a m p l e A u S pp 186 2 17 30 etc , .
,
.
,
-
,
.

29
pp 32 33 .
-
.

3 ° F r ex m
o a p l e M E pp 5 1 80 8 1 115 12 5 147 2 44 etc , . .
,
.
, , , , , , , .
; pp . 15 ,
19. 2 1. 3 9. 4 42 . 105 . 19 5 . etc ;
1-
. 144- 45 . 3 18 -1
9. 33 5 . e tc .
; pp.

13 7 , e t c .
; UV . .
,
pp .
3 , 33 ; B .
- A .
,
pp .
93 94 , 197 ;
-
M . pp . 114, 15 1; M P ar
. .
,

pp . 2 5 5 , 2 64, 2 68 ; pp . 2 6 1-62 ; e tc .
 L IKE NE S S I N GE N E R AL RE AL IS TI C DE VI CES 43

here might be included M a upa ssa n t s mention o f Fla ubert once o r ’

t w ice in a rather gossi p ing way to tell how he m et certain p eo p le at ,

F l a ub er t s or how the latte r made such and such a re m

’
,
ark o n such
and such an occasion 31
I n o n e p assage M au p assant narrates a v i sit .

to the p u pp et sho w o f S ai nt A ntoine wi t h Flaubert and B o uilh et

-
”
-
,

li nking this and other v isits the reto w ith the re me m brances o f hi s
childhood 32
O f historical i m
. p ort also f o r the p eriod to whi ch they
belong e v en i f not unique O f thei r kind are the p ictures gi ven by
, ,

Flaubert and M au p assant O f conte mp orary li fe whether in Fran ce o r ,

abroad .

Throughout thei r works b o th author s note the sounds p ro p er to

thei r descri p tions S o m eti m es we are inv ited to listen to the ani m
. al s
i n the country es p ecially t o the crowing o f cocks and the barking O f
,

dogs 33
S om eti mes it i s the ringing o f bells that we hear o r the
p assing o f v ehicles o r the con fused mu rmu r o r more definite noi ses
. .
,

o f a city
34
S om eti m
. es a character p ays attention to the beating o f
her o wn heart “ V ery O ften the e ff ect o f the s ound i s heightened
.

through being O pp osed to the i m p ression O f silence o r o f silence and

darkness M ost frequently m. entioned i n thi s connection i s the strik
i ng o r ticking o f a clock o r watch in the stillness o f night O ften i n a
'

death cha m ber 36

S ilence is occasionally e m
. p hasized o n the other ,

hand through the contrast with slight noises such as those made by
, ,

the little wild creatures i n the underbrush at night o r by the m ys ,

t er i o us denizens o f the sea 37

.

A s well as to sounds Flaubert and M au p assant call attention v ery ,

f requently to Odors p leasant or un p leasant natural o r a rt ifi cia l 38

, ,
.

3 1 Fo r e x ample ,
Au S pp .
7, 19 1, 196 ; M P ar . .
,
p . 2 64 ; p . 2 69.

32
S o uven i r s, pp . 2 3 7 -44 .

33 Fo r e xampl e, ME . .
,
pp . 17 , 18 , 190, 203 , 2 2 1, 466 ; pp .
463 , 467
pp . 11, 14 ; U V, . . pp . 19, 2 1- 2 2 , 5 0, 119 , 134 , 343 ; P i er r o t, pp .

5 1 5 7 , L es S a b o ts p 99 , Un Ca q ch a n ta
-
,
.
,
pp . 184, 188 , 19 1,
’
L A v en tu r e d e W l t era

S chn a fl s, p 2 4 1, L a T o b e p 2 5 3 ; a n d
'
. m , . so o n .

34
ex amp l e M R 9 9 15 3 3 64 3 93 80 3 5 3 ;
Fo r . 99 7 0 7 1 7 6 etc ; . .
. . . .
.
. . .
.

M ll e F p 2 6 ; B A pp 5 0 5 3 ; U V p 3 5 4 ; N C p 7 1; etc
. .
, . .
-
.
, .
, . .
, . . .
, . .

3 5 F o r e x am p l e M B pp 43 8 39 ; U V p 19 -
. . . . . . .
, , ,

3° M E .p 454 ; p 113 ; etc

. . . .
,

37 M B p 2 7 5 ; U V pp 18 19 ; L Epa ve pp 7 9 80
’
- -
. . . . . . .
, , ,
.

e x am p l e S a l pp 34 5 6 6 1 94 95 132 17 8 7 9 2 47 etc ; M O
38 F r -
o , .
, .
, , , , ,
-
, , . .
-
.
,

pp 96 101 103 ; B A p 45 ;
.
, , E n Voya g e pp 2 44 45 ; etc
.
-
.
, .
, .
-
.
44 FL A UBE R T A ND M A U PA S S A N T
The w ord nauséabond is co m mon i n bo th The e ff ect o f Odors on .
39

ma n i s Ob serv ed 40
.

M u ch sp a ce i s like w ise gi v en to color S o m eti mes color is p iled .

u pon c olor
“1
th i s being done i n p laces i n order to p rod u ce a ridiculous
,

o r i roni cal effect Thus Charles B o v ary on his fi rst a pp earance i s

.
, ,

de cked o u t in an absurd c o mbination o f colors 42

Thus also the .

t a p es t ries in Jeanne s roo mare executed ac cord i ng to a m

’
os t bizarre
color sche me
-
“ I n this latter p assage it al mo st see ms as i f M aup as
san t w ere making fun o f the p ractice o f adding color to c olor F r e
.

q u ently t w o con t rasting co lors are mentioned together as in the ca se ,

o f t h e pi geons O f M a d a me B ova ry and B o u l e d e S ui f “ .

E nu m erations are frequent i n the w ritings O f the two m en In .

Fla ubert t hei r more usual fo rmi s that O f a p iling u p o f diff erent
de t ails i n an e ff ort a f t er co mp leteness A good exa m p le i s furni shed .

by t h e account O f the p re cio u s stones in the cav erns Of H annibal ,

w here an at t e mp t i s made not only to mention as many different kinds

o f ge m s as p ossible b ut also to d i ff erentiate the mac cording to origin
and the nature o f the reflection they cast 5
I n M au p assant generally .
4

and oc casionally i n Flaube rt enu merations consist O f a bringing

together o f s i milar details i n order to gi v e p ro minence to so m e p ar
t i cu l a r p oint
46
The e ff ect resul t ing fro m the fo rmer ty p e o f
.

enu meration tends to be that o f v agu eness ; f ro mthe latter that o f

p hasis I nstances are the naming o f many an imals i n L a L egen d e
,

em
’

d e S a i n t J u li en l H a spi ta l i er 7
i n order t o p ortray the orgy o f
’
,
4

sla u ghter i n w hi ch Jul i en i ndulges and the noting o f the m u l t it u ,

d i no u s flowers and insect s i n the thicket v isited by Jeanne and Julien

i n order t o p roduce the i m p ression o f heat and s w arming li fe
,

‘8

When an author rest ri cts hi msel f i n ex p lanation o r descri p tion to

.

t ho s e t hings alone w hi ch m a y be p ercei v ed by the s enses it see m s ,

39 For e x mp l a e, S al .
,
p .
34 ; p . 147 ; p
. 103 ; e tc .

40
For e x mpl a e, MB. .
,
pp 2 88 89 ;
.
-
S a u v ee
’

,
p . 17 5 .

41
Fo r e x mp l a e, S al .
,
p 17 6 ; M P a r p
. . .
, .
58 .

42
ME . .
,
p . 2 .
43
U V, . . pp . 14- 15 .

44
MB . p . 15 0, l eu r s pattes r oses et l eu r ail
s es bl a nch es p .
7 1,
a r mé e p i geo n s il mil i eu
.
,

un e de b l a n cs a v ec nu o e r os e ( ta ch é , au , d
’
un

p o i nt n a ir )
,

‘5
S al p .
, . 17 6 .

‘3
Fo r e x mp l a e, ME . pp 3 .
,
.
, 10, 36 ; S a l p 17 6 ;
.
,
. pp .
47 48 , 5 1 T C
- .

p .
9 1; U V pp . .
, .
5 5 1;
0-
B .
-
A pp 5 6 106.
, .
, , 136 ; e tc .

47
P a ge 9 1 .
‘3
U V pp 5 0 5 1
. .
,
.
-
.
46 F LA U E R T A N D B M A UP AS S AN T

by means o f the corres p onding sensation Em ma for examp le .

55
, ,

a f t er L eon s de p ar ture re m ’
ains d a ns n u fr oi d h o r r i bl e q u i l a tr a v er
” 5 “
sa it
6
Jeanne o n the day of her wedding has u n e gr a n d e s e n sa ti o n
.
, ,

Ge s ture action con v ersation a pp ear

”57
d e v id e e n t a u t s o n co r ps .
, , ,

an ce at t itude or a ttendant c ir cu mst ance m

, a y furnish the key t o the
,

psychology o f a charac t er The li t tle Hannibal aslee p ex t end s h i s .

, ,

sm all a r m dan s u n e a tt itude i m

“
perati v e
”5 8
I n L a R o ch e a ux yu il l e .

ma ts th e las t arri v al s its down at t able se f rottant les mains ”5 9

, .

Em ma dies w ith a horrible laugh 6

Georges D uroy as he walks .
0
,

al o ng t h e s i de w alk shoulder s th e p eo p le he p asses out o f hi s w ay 61

, .

P easant re marks are as one w ould exp ect characterized by n a i vete , ,

’

in both authors 62
The u p rightness o f M ada me A rnoux mind see ms .
’

t o c orre sp ond to the regularity o f her features the narrowness O f

63
,

M iss Harriet s li fe to the m eagrene s s o f her fr ame ’ 64

S uch char
a cte r i z a t io n by m eans O f ex t ernal man i fe st at i on m a y see m to be
.

w holly i nadequate ; yet it has been sa i d o f M au p assant and it

might be sai d o f Flaubert tha t he has p robably all the p sych ology
,

ne cessary for the p erson s he de pi ct s 65

Con v ersely the follo w ing
re mark made rega rd i ng Fla ubert m
.

a y be a pp lied like w ise to M a u

p a ssant that he someti mes re p resents a senti ment by means o f a land

,

sca p e o r p art o f a lands ca p e o r through a figu re f ro m nature

, , .

Changes in the feelings o f characters acco m p any changes i n the

season s or the wea t her 67
B oth men ex p re s s m ore t han on ce th e .

feeling O f p eace fulness and sa t is faction ex p erienced o n a beauti ful

moonlight night E mma s i mp atience and boredo mare e mbodied
68
.
’

in the monotony O f the scene u p on which she gazes .

55 B r un et i er e L e R o ma n n a tu r a lis te pp 168 7 1
Cf .
, , .
-
.

5“ p 2 13
M E p 17 3 . .
,
59
. . . .

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

58
S a l p 339 .
, .
“ 1
B A pp 2 7
. .
-
.
,
.
,
.

02
F o r ex a m p l e M B pp 2 7 2 8 2 09 etc d i al o g ue in L e ,
. .
,
.
-
, , . i
V e ux

pp 9 1 104 .
-
.

63 pp 6 65 120 2 2 etc .
, ,
-
,
.

64 1
1111042 pp 1 3 6 ,
.
-
.

6 Lem
5
a i tr e L es C o n tem po r a i ns ( e d i t i o n O f
,
I 3 07 , .

“ 6
C f B r unet i er e . pp 17 4 ff , . .

6 7
F o r ex a m p l e M E pp 87 48 1; S a l p 3 5 3 ; U V pp 368 69 ; , . .
,
.
, ,
. . .
,
.
-

pp . 8 -
12 .

68
Fo r e x mpl
a e, ME . .
,
pp . 2 7 4- 7 5 ; S al .
,
pp .
5 5 56 ; U V , -
. . pp .
7 7 1,
0-
72 ;
pp . 8 ff .
 LI KEN ES S I N GE N E RA L RE A L IS TI C D E VI E S C 47

E l le co mm
pa r regard e r to ut a l en to u r po ur v oi r si r i en n ova i t
en ga i t ,
’

ch a ng e d ep u i s l a d ern i ere f o i s q u e ll e é t a i t ven ue E ll e re t r o u va i t a ux

’ ’
.

memes p l a ce s l es d i gi ta l e s et l es ravene l l e s l es b o uque t s d o r t ie s entou r ant ,

’

l es g ro s ca i l l o u x et l es p l a que s d e l i ch en l e l o ng d es t ro i s f en é t r e s d o n t
, ,

l es v o l e t s t ouj o u r s cl as s é gr en a i en t de p o u rr i t u re su r l e u r s b a rr e s d e fer
’
,

r i l lé
ou s .
69

Jeanne s sadness o n he r return f ro mCorsi ca i s ty p ified by the

’

mourn ful autu mn landscap e a pr é s a v oi r regardé quelque .

te m p s l e ciel Ou roulaient des nuages s ombr es elle se déci da a sorti r ”

,
.

Was it the sam “

e count ry as in M a y ? Where were la gaieté enso
l eill é e des f euilles et la pOé sie v erte d u gazon ?
” “
E t cette gr i s er i e d e
,

l a i r cha r gé d e vi e d a r om es d a tom es f eca n d a n ts n ex i st a i t p lus

’ ” ’ ’ ’ ’
.
, ,

The shi v ering p o p lars sent down a sorrow ful and incessant rain o f
yellow lea v es The shrubbery was as la mentable as a death cha m
. ber ,

de p ri v ed as it was o f its g reenn ess ; et l e m

“
ur m ur e d es f eu i ll es

t om b ees e t s eches que la bri se p oussait re m uait a m

’

oncelait en tas , ,

p ar endroits s embla i t n u d o ul our eux s o upir d aga ni e

,
” 70
The follow ’
.

ing are exa m p les O f figures ex p ressing senti ments .

f ut urs co mme l es ri vage s d es t r o p i qu e s pro j ettent su r

L es b o n he u r s , ,

l im men sit é qui l es pr eced e l eu rs mo l l e sse s nat al es un e b r i se parf umée et

’

, ,

l o n s a sso upi t d an s cet en i v r e m

’ ’
ent san s meme s i nqu i é t er d e l ho r iz o n que ,
’ ’

’ ’
l On n a per co i t pa s .
71

E lle en ta i t enf o n cé e d an s un t r o u a ux bo rd s i nacce ssi b l e s d o nt e l l e

se s ,

n e p o ur r a i t j a ma i s so r t i r et to ute s s o r te s d e ma lh e u r s re sta i ent suspendu s ,

s u r s a t et e c o m me d es gros ro ch e r s qui t omb era i en t a l a premi ere

o cca s i o n 2
7
.

M any other exa mp les the sa me kind o f thing m ight be gi v en of .

A ty p e o f figu rati v e ex p ression i n both Flaubert and M au p assant ,

p articularly f requent in the latte r usually found i n the f ormo f a ,

co mp arison in the for m er i s that o f re ference to m a n as

“
18 b ete
h u maine o r e ven in f urther de p reciation as l i nsecte hu m
,

” “ ”7 3 ’
, ain , ,
.

M au p assant also i n one p assage ex p oses the theory that e v e ry m an i s

like so me ani m al 74
M any di ff e rent ani m als are used f o r p ur p oses o f
.

“
9
ME p 61 . .
,
71
.M E p 32 . . .

7°
U V pp 118 19 . .
,
72
.
- p 83 . . .

73
F o r e x am p l e M B pp 2 09 2 5 6 ( compari son to an i m al ) S a l pp
, . .
, .
,
.
,
.
7 0, 2 2 1 .

E n F p 17 9 ; M H a r : E n V p 2 95 ; S l E pp 3 8
’
etc ; . .
, . . . .
, . . .
, . if , etc ; .

M ll e F . p 28 4 C f th e p ract i ce o f B al zac Z o la etc . . .

, , .

74 p 11 . .
48 FLA U E R T A N D B M A UP A S S AN T

co m p arison S ometi mes a co mp ar i son i s rep eat ed ; for examp le

.
75
,

t h e t ho ugh t o f t h e m ercenaries as bei ng l i ke li o n s occurs more than

on ce in S al a m mb while certain ty p es o f women are described by
76
,

M au p assant as rese m bling hens 77

.

Closely all i ed to the p i cturing o f m “

a n as a b e te
”
i sthe de p i cting
o f ani m als a s hu man Thi s i s m u ch more co m mon in Flaubert .
,

so me w hat less co m mon i n M a up assant than the p re v io u s co mp arison , .

I n both a u thors the re p resentation is accompl i shed through th e a ttr i

b u t io n o f actions w hich could be p erfor m ed o nly by a reasoning being .

The monkey i n the Te m ple o f Tanit i n S a l a m mbé see ms to p rotest

against the p ro fanation o f the te m p le ; the Ol d d o g in L a P eu r act s
78

as i f p o ss essed by the same terror as his hu m an co m p anions This

79
.

i s e sp ecially t r ue in th e cases w hich ha v e to d o w ith the ill treat m ent -

o f ani m als E xa mp les are the m utilated ele p hants i n S a la m

. mbé and
t h e p oor Old horse
“
Coco i n the story o f that na m
”
e .

Things also are constantly p ersonified by bo th Flaubert and M a u

p assant Fo r exa mp le the H i rondelle in M ad ame B ova ry and
“
,

ph in S a l a m mbé give the i mp ression Of being alive Thus

.

the z ai m
“ ” 81
'

also do the p endulu mo f Jeanne s clock in Un e Vi e and B ernard s ’ ’

’
li t tle boat which founders i n S u r l E a u and f o r which he griev es as
, ,

for a friend 82
.

I n descri p tion there are many S i mi larities between the t w o authors

in method o f d e sc ribing and in things described B oth use so m eti m es .

“
massed some ti mes scat tered descri p tion The best exa mp le O f
“
,
”
.

t h e latter ty p e i s p erha p s M a d a m e B o v a r y which exhibits also fo r , ,

i nstan ce w ith regard to the p ersonal a pp earance o f the chie f p erson

age the fault which i s likely to result f ro mthi s m
,
ethod—vagueness
o f general i m p ression w ith occasional discre p ancy 83 “
S cattered
”
, .

75
For e xampl e, S al .
,
pp .
3, 18, 2 2 1; B -A . .
, pp . 63, 109 , 112 ; M P ar
. . : La C , .

pp . 12 7 , 12 8 , etc .

7°
Pag es 3 . 34 3 5 . 107 . 3 87
-
.

77
U V,. . p . 62 ; p . 16 ; M P ar . . : T ri b u na ux r us t iq u es , p . 17 9 .

73
S al .
,
p . 10 1 .
79 pp . 8 1-84
3°
S al .
,
p . 186 ; pp . 146- 5 6 .

81
MB . .
, pp . 107 , 3 05 , 3 63 , et c . S al .
,
pp .
99, 108 , 109- 10, etc .

32
UV . .
,
pp .
55, 12 3 , etc ; . S . lE
’
.
,
pp . 166-67 .

83 For e x mpl a e, MB p 19,

“
Ce q u el l e ava t d e b ea u, c e ta ien t l es yeu ;
’
i ’’
x
m i
. . .
,

q uo iq u i l s
’
f ussent b r u ns, i ts se bl a ent n o s a cau se d es c l s, ir C f p 45 , i
m mb r
. .

wh e r e it is sa id o f th e sa e ey e s t h a t th ey a re
“
no ir s 3 l
’
o e et bl e u f a n cé
au gr and j ou r .
 L IKENES S I N GE NE RA L RE A L IS T I C DE VI CES 49

de s cri p tion is less suitable f o r sho rt stories than for no v els i nas much ,

as it needs greater s p ace f o r its dev elo p ment than i s a ff orded by the
f e w p ages o f a con te I t i s there fore e mp loyed less by M au p assant
.

than by Flaubert and w here it i s used i s o f a rather different kind

, .

I nstead o f giv ing certain details to whi ch cert ain othe r details w ill be
added in a subsequent p as sage M a upa ssa n t s p lan is rather to furnish ,
’

at on ce s u ffici ent to forma co m p lete p icture o f the p erson p lace o r , ,

th i ng t o be des c ribed ; then i f he returns to the descri p tion it i s either

, ,

in order t o e m p hasize further some detail already ment i oned o r to

re cord the changes p roduced by ci rcu m stances E xa m p les can be .

found in any o f hi s no v els I n Flaubert s Tr o i s C a n tes and in M au .

’

p a s sant s short stories massed descri p tion is the rule I t is O f

’ “ ”
.
,

c ourse found also in the no v els where m

,
any things are described ,

only once Here again Flaubert so m

. eti m es tends to v agueness
through the e m p loy ment o f a mult itude o f details without any suffi
ci e n t ly outstanding single detail
84
I t i s p ossible that M au p assant may .

—
hav e been influenced i n the di rection o f clearness by seeing the su p er
fl ui ty o f detail i n certain p assages O f hi s m
’
aster s works Certain it .

is that hi s Own p ictures are rendered singu larly clear v i v id and , ,

co m p lete in v ery few words H e makes one o f his Characters exp ress .

h i s for m ula thus

A ve c paysageun b r o ss é en q u e l q ue s l i gne s et u n e pe t i te h i sto ir e d i t e
en q ue l que s p h r a se s , on pe ut do nner cro , ye z
-
vo u s , le vra i caractere d un ’

pays l e fa ir e v i vant
, , v i s i b l e d ra m
,
a t i qu e 8 5 .

In his later work as i n Un Co eur si m , pl e Flaubert a pp roxi m ates ,

to M a upa ssa n t s si m p licity Take f o r examp le the f ollowing de

’
.
, ,

scri p tion O f Félicité s p er s onal a pp earance t h e only o n e in the story

’
,

S on v i sage é t a i t ma i g r e e t sa v o ix a i gue A v i ngt ci nq a n s o n l ui en .

-
,

d o nna i t q ua r ant e D es l a c i nq uan t a i ne e l l e n e m

. arqua p l u s a u cun é ge ,

et t o uj o u r s s i l en c i e u se l a t a i ll e d r o i t e e t l e s ge st e s m
, ,
e su r é s s e mb l a i t un e ,

fe m m e en o i s f on cti o nn a n t d u n e m
b , a n er e a u om
i t
’
a ti q e
u
86
.

E v erything i n thi s p assage leads u p to the keynote O f the descr ip

tion which is ex p ressed in the words italicized The use o f such a .

“
keynote i s a f requent de v i c e for the i m
”
p arting O f unity to a p icture .

F o r i nstance the thought O f the cathedral as a setting for E m

,
ma s ’

attracti v eness gi v es that building a certain as p ect i n the eyes o f Léon .

84
For e xampl e, Cha r l es B ova ry s ’
cap, MB . .
, pp . 2 -3 .

85
C En V , . p . 2 43 .
86
TC . . : pp .
5 6
-
.
50 FLA UBE R T A N D M A UP AS S A N T

L e gl i se , co mme
i r gi gante q e d i p a i t a t r d e lle ; l
un b o ud o s u , se s os u ou
’
es

i t
v o I es i li i t ps
’
r r e e i l l i r dan l mb re l nfe i n d
nc n a en ou cu s
’
o a co ss o e so n

a m r l v i tra x r e p l end i a i en t p r i l l mi ner

ou : es u v i a ge t l s ss ou u so n s e es

en en ir a ll a i en t b r ul er p r q e l l e pp i t mm
,

c so s e ange dan l ou u
’
a ar i co un , s a

f mé e d p ar f m
u es u s .
87

T t ake now an exa m

O p le fro mM a p assant—the li felessness O f th u e

w in t e r sea on i the main moti f in the following p assage f ro m

s s

Un e Vi e :

L es fe r me s i so l é e s d an s l e ur s co u r s carr é e s d err i e r e l e u r s r i dea u x d e ,

g r an d s a r b r e s p o u d r é s d e f ri ma s se m b l a i en t en d o r m
,

i e s en l e ur ch emi se ,

b l an ch e N i h om me s u i b ete s n e so r t a i ent p l us ; seul e s l e s ch e mi né e s de s

ch a u m
.

i é r e s r é v é l a i en t l a v i e ca ch é e par l es m i nce s fi lets d e f umé e qu i

mo nta i ent d r o i t dan s l a ir gl aci a l ’
.

L a p l a i ne l es h a i e s l e s o r m e s d es cl Ot ur es t o ut se m bl a i t m o r t t ué par

p s en t e m
, , , ,

le f roi d D e t em p s o n en tenda i t craqu e r l es ar b re s co mme s i ,

l e ur s m
.
,

e mb r e s d e b o i s se f u s sen t b ri sé s so us l é co rc e ; et pa r f o i s un e g r o sse ’

b r an ch e se d é t a ch a i t e t t om b a i t l i n vi n ci b l e ge l é e pé t r i fi a n t l a sé v e e t
’
,

o m
r pant l es b res fi 88
.

I t has been generally allo w ed that des ri p tion p re p onderates o er c v

narration i n Flaubert Thi s i s true f hi s earlier no els which my . o v , a

be ai d to p roceed o ften by a series o f descri p tions

s I n so me o f his .
89

later works ho w e er the s tyle i s rat h er narra t i e than descri p t i e ;

,
v ,
v v

for exa m ple i n U im It i s

’

C pl and B ,
d t P h t n o eu r s e o uv a r e ec uc e .

here that Fla bert conne t s most closely w i t h M au p as ant whose

u c s ,

general manner i s narrati e Thi we should ex p ect f ro ma m th v . s an e

greater p art f w hose work cons i sts f Short stories M au p assan t

o o .

more less carries the method O f his short stories into hi no els
or s v .

O f both m i t is t rue that they a oid for the m

en ost p ar t long v ,

unbroken descri pti e p assages and i ntrodu e details f descri p t ion v c o

as req i red D escri p t ions are e ry freq ently generalized by bo th

u . v u

t hrough re p rodu tion o f t h p er manent features i n a p icture Thus

c e .
,

’
i n th e account o f the sun s rising o ver Carthage Flaubert while , ,

kee ping hi s re presentation suffi ci ently distin cti v e yet seizes u p on ,

t ho s e a t tributes w hich m i ght be p redicated o f any si milar sunrise "o

.

Th u s al s o in like s cenes o f M a upa ssa n t s Am ong the most striking

91 ’
.

exa m p les o f thi s gen eraliza tion are the p i ctures gi ven by both au thors
8" ME . .
,
p .
33 1 .
89
Cf . B r unet i e r e ,
pp . 17 9, etc .

93
Page 15 8 .
9°
S al .
,
p 21
. .

91 For e xamp l e, U V, . . pp . 2 2 , 96, 2 45 .

 L IKE N E S S I N GE NE R AL RE A L IS T I C D E VI E S C 5 1

of cal mand beauti ful m oonlight nights in which there i s con veyed ,

the v ery char mo f p eace and li mp id light which we hav e all ex pe

r i en ced which has been known p resu mably since the beginning o f
,

ti me and which will continue su pp osedly to be known until the end

,
92
.

The sa m e tendency to generalization i s observ able i n chara cte r de

scri p tion B oth m e n de p i ct for exa m p le the eternal p easant and , , ,

ited extent the eternal fe m

.

t o a certain li m
“ ”
inine Thi s tenden cy ,
.

t o general i ze see m s at first suggestion to contradict the theory o f the

, ,

“
characteristic detai l On se c ond thought howe v er it will be seen .
, ,

that the t wo are not inco m p atible A scene o r a p erson to be recog .

n iza b l e m ust p ossess o n the whole attributes that co m e within the , ,

range O f our knowledge ; when s uch attributes ha v e once been

gras p ed we look for the distincti v e t rait which mark s Off that scene
,

o r p erson fro m others A m oonlight night i s a moonlight night .

,

whether in Carthage o r at les P e u p les ; but in the o n e instance the

“ ”

light falls u p on un collie r d or a la p oitrine d un dieu ; in the other

“ ” 93 ’ ’

it i llu minates l e tilleul et l e p latane

“ ”94
Hannibal and A nder matt are .

both m “
en o f a ff ai rs but the o n e hoards hi s wealth in Carthaginian
cellars whi le the other utilizes hi s i n modern s p eculation
,
95
.

D escri p tion is acco m p li shed v e ry f requently in both authors

through the eyes o f one o r m ore o f the characters eithe r m o v ing o r ,

standing still 96
I f the chara cte r is mov ing we hav e described what
.

he sees as he adv ances ; i f he i s standing still the recital i s o f what

lies o r p asses be fore h im S o m eti m es here Flaube rt s e ff orts a fter ’

co m
.

p leteness may lead h iminto discre p ancy : he ma y record more

than anyone could p ossibly see in a t ransient glance as where E m ma
i s made to read the long descri p tions o n the p ictures Obser v ed by her
,

as she tra v erses the bi lliard roo mat La V a ubyessa r d

“ ”97
M au p as -
.

sant app ears to a v oid thi s k ind o f m istake p erha p s through noticing ,

its eff ect in his master s work 98

On the whole howev er descri p tion
’
.
, ,

through the eyes o f a p ersonage i s con s i stent i n both writers ; that i s

no m
,

ore i s re p orted than would be actually seen by the p arti cular

92
Fo r e xampl e, ME . .
,
pp 2 7 4 7 5 ;
.
-
S al .
,
pp .
5 5 56 ; U V ,
-
. . pp . 16- 19, 7 7 ,
0- 1

2 37 ; C pp . 8 9 -
. S ee ab o ve p 46 , . .

93
S al .
,
p 55. .
94
U V,
. . p .
71 .

95
Sal , . pp 166 if ; M O p
. .
-
.
,
. 11, etc .

96 Fo r e x amp l e S a l pp 92 , .
, . ff ; . pp . 6-7 ; N C , . . pp . 116- 17 ; U V,
. .

pp . 23 ff .

97 ME . .
,
p . 66 .
98
S ee abo ve p , .
49
.
52 FLA UBE R T AND M A UP A S S A N T
c hara ct er o r characters under the Sp e cific c i rcu mstances F o r i n .

s t ance the first p ict u re O f M m

,
e A rnoux i s as follows Frédér i c i s .

looking at her f ro ma little di stance .

E l leava i t un l a r ge ch apea u d e pa i l l e ave c d es r ub an s r o se s q u i pa l ,

pi t a i e n t a u ven t d e rri er e e l l e S e s b and ea u x no ir s con t o u r nan t l a p o i n t e

, .
,

d e ses g r and s so u r c i l s d e scend a i en t t r es b a s e t s e m b l a i en t p r e s se r a m

, ou

r e u sem en t l o va l e d e s a fi g u re S a r ob e d e m o u sse l i ne C l a ir e t a ch e t é e d e
’
.
,

pe t i t s p o i s se r é pan da i t a p l i s n o m
,
b re u x E l l e é t a i t en t r a i n d e b r od e r .

q u e l q u e ch o s e ; et so n ne z d r o i t so n m en to n t o ut e sa pe r sonne se d é co u pa i t , ,

u
s r l e fond cl e l ai r e
b l u
9 ’
.
9

It w ill be noticed that o w ing to where F éd é i was standing and t ,

r r c o

t h p osit i on in which M m A rnoux was sitting with her e m

e broidery e ,

her large hat w ould onceal he r eyes and the u pp er p art o f her face ; c

t hey are t here fore not de ribed,

H er gown being a m p le would ,
sc .
, ,

hide her feet ; accordingly no mention i made O f these The s .

100

des ri pt i on i s o therwise co m
c p rehe nsi e as Fr ed eri s eager eye would v ,
c
’

take in all he could see A exa m p le o f the sa me kind f thing i n . n o

M au p assant i s to be found at the end f B l A m i D u R y i s lea ing o e -

. o v

th hurch a fte r hi marriage ; he does not see the crowd there f he

e c s , or

i s thinking only o f hi m sel f Then it strikes himthat the throng i s a .

trib t e to hi msel f ; at once he notices the concourse !

u
“
L q il o rs u
’

p a r int l seuil il p c t la foule a massée une foule noire b ru is

v su r e ,
a er u , ,

san t e enue l a p our lui p our lu i George D R y Le p eu p le de

,
v ,
s u o .

P ari s l conte mp lait t l i it H e i magines future triu mp hs

e e
’
en v a . .

“
Puis rele ant les yeux il dé ou rit l a bas derr i ere la p lace de la
, v ,
c v -
,

Concorde la Cha m bre des dé p utés E t il lui se m

, bla qu il allait f ai re .
’

un bond d p ortique de la M adeleine u p ortique d P l i Bour

u a u a a S-

bon . Thus w hat i s seen i s O ften an indication f the characte r

” 101
o or

c ondi t ion f the w ho ees For examp le monotony i s someti mes

o one s .
,

indicated through not i ng the p assing and re p assing o f the sa me p eo p le

across an n hang i ng scene D e cri p t i on through the eyes o f a
u c .
102
s

p e rsonage i closely connected with a de ice al ready mentioned

s v ,
103

99 p . 6
.

100 H o wev e r , on p . 12 , r mmb ran O f h w

in h i s e e ce o sh e l o o ked h e , r eca l l s

t he a pp ea r a nce of h er fee t P r b b ly h n t i d t h m
. o a e o ce e , not a t th e fir st gl ance ,

b ut as he co n s id r e ed h er a ft r w r d e a s .

101
B .
-
A .
,
pp .
57 73
2 -

102
Fo r e x mp l
a e. M -B pp . 89 90 ; U V -
. .
, PP
103
S ee a bo v e pp , . 8
4 49 5 0
-
, .
54 FLA UBE R T AN D M A UP A S S AN T

charac t ers The in form .ation i s c on v eyed i n dialogue or m onologue ,

d irect or ind i rect o r i n narrati v e F o r exa m

,
p l e E mma i s discussed .
,

by t h e first w i fe O f Charles and by his mother by Lheureux by , ,

H om a i s by the busybod i es o f Y on v ille

,
and w e hav e related to us
a t length the t hough t s o f Charles O f Léon o f R odol p he regarding , , ,

he r I n th e sa me w ay M m
. e d e Burne for m s a constant subj ect o f
conversation and o f t hought for her c i rcle es p ecially for M ariolle
115
.
,

I n the t w o au thors unde r discussion th e reader i s struck by the

v ery large u se m ade o f contras t its p resence being al most uni v ersal ,
.

The ty p es O f contrast are nu merous O n e f requent for mi s that .

O f the O pp o s i t ion be t w een charac t e r and surround i ngs For instance .

,

t h e dain t iness o f M m e A rnoux stands o u t agains t her s ordid en v i ron

ment on the de ck o f th e s t eamer w here we first see her ; o r t o take ,

an exa m p le f ro mM au p assant the innocence o f the girl Y v ette i s ,

markedly i n contrast w ith the mi li eu in which she li v es 116

The .

contrasts O f sound and silence O f light and shadow o f natural and , ,

ar t ificial light O f colors ha v e al ready been m

, entioned
,
”
O ther .

contrasts are those between a pp earan ce and actuality between nature ,

and m a n bet w een p ov erty and riches etc

,
118
,
.

I n discussing descri p t ion somethi ng has already been said O f

narra t ion w hi ch it w i ll be unne ces s a ry to re p eat
,
119
This p aragra p h .

w ill take u p so me additional p oints M au p assant it has been .

,

shown 12 0
has rela t i v ely m
, ore narration in his works than Flaubert .

With regard to p lots one w ill notice that these are si m p le in the
works o f the t w o men as o n e can su m marize in fe w words the actual
,

plot interest in any o f the no v els o r short stories For i nstance i n .

Un C o e u r s i m
,

pl e and Un e Vi e w hi ch are m uch al i ke the w hole , ,

p lo t has to do w ith the re p eated disapp oint ments which th w art the
natural a ff ect ions o f the he roine The sli m p lot interest in the .

no v els i s a m p lified by means O f e p isodes and descri p tions S o me .

w orks such as L E d u ca tia n s en timen ta l e and B el A mi, p roduce the

,
’
-

effect o f a suc ce ssi o n o f e p i sode s e v en o f s i m ilar e p i sodes a , ,

v ary ing m ea sure o f un i ty being s e cured through the greater or less

p re p onderance o f so me character situation or idea I n B o uva r d , , .

S ee “6 L E d -S ’
DP 5 6 ; Yv e t te
116 n o t e 114 . .
-
.
.

“7 S ee a bo ve . DD 43 . 5 3 . 44
118
Fo r e x mp l
a e, ME . . pp . 149, 4 3 4,
0 -
72 ; L a Ve illé e, pp .
5 5 60
-

P a r u r e pp
,

UV. .
,
p . 2 45 ; La ,
.
5 9 74
-

119
S ee a bo ve p ,
.
50 .
12 0
S ee abo ve , ll 50
 L IKE NES S I N GENE R AL RE A LIS T I C DE VI CES 55

et
’

P ecu ch et p iling u p i s used to dep ict the b etise f the two

thi s “
o

m ; in S l mmbo it i s e mp loyed t e mp hasize the s p lendors the

en a a o or

cruelties O f ancient li fe ; in M d m B v y it se rves to bring ut a a e o ar o

the p rogressi e disillusion m ent f the heroine Thus also in M u

v o . a

p a sant e p isode a fter e p i sode i mp resses u p on us the ruthless ad ance

s v

o f Bel A mi to social and p olitical p ro minence the in fatuation f

“ -
”
,
o

M ari olle for M m de B ur ne or the p er p lexity f O li ier B ertin

'

e ,
O v

c aught between the attraction O f the daughte r and the desire to be

f aith f ul in dev otion to the mother 12 1
E ach O f Flaube rt s three short .
’

stories p ossesses a nu mber o f e p isodes and is in fact rather an , ,

“
abbre v iated no v el than an ordinary short story ”
M a upa ssa n t s .
’

co n tes with so m
,
eti mes but a single e p isode exhibit m ore clearly , ,

o n the other hand the p ower to sei ze and p er p etuat e j ust the p oints

essential f o r the m
,

aking o f good stories M a upa ssa n t s relati v ely .

’

much greater si mp licity an d clearness are n o more app arent in

descri p tion than in narration where agai n Flaubert s excessi v e att en ,
’

tion to real istic detai l tends to v agueness and occasionally to dis

c r epa n cy
12 2
S om e narrati v e p assages i n both authors outline the
.

’
course o f a character s thoughts 12 3
rather than any succession O f
e v ents and p roduce a se mi des c ri p ti v e i m
,
p ression The same eff ect -
.

is acco m p lished by the many p aragrap hs i n the i mp er fect tense

narrating habitual action 12 4
and by the general tendency to use that ,

tense i n p assages where o n e m ight p ossibly ex p ect the p reterite “ 5

.

A de v ice that i s e m p loyed by both authors is the i mmobilizing o f a .

chara cter in a well d efi n ed situatio n i n order to tell us som -

ething
rega rding that character through the m ediu mo f the thought s su p
p osed to be p assing within his mind at the ti me 12 6
Thus E m ma
B o v a ry s re v eries a fte r he r m
.

’
arriage and arri v al at Tostes ; thus
Georges D uroy s m u sings o n returning to his shabby roo m a f te r
’

12 7 ’
hi s fi rst e v ening at the Fo restier s .

12 1 B el -A mi ; N tr C r ; F r t omm l M t
a e oeu a c e a ar .

12 2
Fo r xamp l mpar e d i ffi ulty f utl ining t r y Of S l mmbo; com
e e, co c o o s o a a

p a r e al so time f C ha r l j u r n y t R u n di e d b y E rn t B o vet i n
’
O es o e o o e as scu ss es

L e R é al i m
,

an a r t i cl e on
“
e d F laub e rt R H L I
s 1 36 e ,
”
. .
-
.

12 3 For xamp le
e p 12 ;
,
pp 62 64 . .
- .

12 4 For xampl
e p 3 3 ; N C pp 174 7 5
e, . . .
,
.
-
.

12 5 For x ampl e
e p 37 7 ( fir t paragrap h ) U V pp 6 1 62 ( para
, . s . .
-

graph pag e a nd b eginn ing Of nex t )

a t en d o f o n e .

12 6
C f B r unet i er e
. pp 17 4 ff , . .

12 7 M E pp 48 if ; B A pp 5 7 5 8
. . .
- -
. . .
, ,
5 6 FLA U BE R T A ND M A UP AS S AN T
D ialogue and monologue bo t h di rect and indi rect are used by , ,

Flaubert and M au p a s sant to characterize to des c ribe and to nar , ,

rate 1 8
ne v er to mark t i m
2
e There is mu ch m ore O f bo t h dialogue .

and monologue in the latter author than in t h e form

,

er I n fact .
,

so me o f M a upa ssa n t s short s t ories are told al m ost entirely i n dia ’

logue or i n monologue 1 9
Both authors see mto p osses s the p o w er .
2

of m aking thei r p ersonages say exact ly the right thing N o thing .

,

for exa m ple co u ld be m ore a pp osite than thei r p easant con v ersa
,

t ions
13 0
.I n thi s M au p assant i s assisted by his free use O f dialect
and other s p ecial f or m s o f s p eech w hich are f ound m uch more ,

rarely i n Flaubert “ 1
S om eti m es striking re marks usually Short .
, ,

gi v e the key to characters or situations E xa m p les are Charles .

B o v ary s C est la faute de la fatalité at the end o f M a d a me B o va r y

“ ’ ’
,

and the Old beggar s J so m “

mes tous égaux l a de vant beside the
” ’ ’
,

cor p ses O f Gi lbe rte and Julien i n U n a Vi e 13 2

There i s occasionally .

i n M a up assant a s u ggestion o f Flaubert s fa mous de v i c e O f al t er “ ’

na t ing d i alogu e w ith its attendant effe ct o f i rony as fo u nd i n the

”
, ,

acco u nt o f the Co mices agricoles

“ ” 18 3
For exa m p le w e hav e t he .
,

con v ersa t ion at the ta bl e d h é te o f the H otel S p lendi de or For

“ ” ’
,

es ti er s s p eech to D uroy p unc t uated by the counting o f his score at

’

billiards 13 4
M au pas sant i s m
. uch less care ful than Flaube rt abo u t
using introductory v erbs o f saying and occasionally goes so far ,

a s to ado p t the dra m atic de v ice o f inse rting merely the na me o f the
s p eaker at t h e beginning o f the s p ee ch
13 5
.

I n order to av oi d monotony Flaubert and M au p assant carry all

p rocedures along together ; there i s constant interchange o f d escr ip
tion narratio n and dialogue t w o O f the three o r all three being
m
, , ,

so meti mes co m bined in one p aragra p h o r e v en in o n e sen t en ce

12 8 F or e xamp l e, ME . .
,
pp . 110- 16, 85 88 ; N C ,
-
. . pp . 25 ff .
,
2 7 4 , 17 5 -7 6 .

M P ar M a i t B el h a mme ; C o nf essi on pp
’
12 9 L a B é te La
‘
. . : a ,
.

2 7 7 -85

13 0 ME . .
,
p . 209 ; U V, . . pp . 200-2 04 .

13 1 F
or e xampl e, a ny Of M a upa ss a nt s ’
p easa nt s to ri es ; M Har . . :
’
L H ér i
ta g e ; p 3 5 7 ; S a l p 57 . .
, . .

13 2
M E p 480 ; U V p 28 2
. .
,
.
13 3
M E pp 197 ff . .
,
. . . .
, . .

13 4 M
O pp 5 5 7 8 ; B A pp 80 8 1
.
-
.
,
.
-
.
-
.
, .
-
.

18 5 F o r ex a m p l e M P a r : Tri b u na ux r us tiq ues pp 177 84 . . .

-
, ,

F o r ex a m p l e L Ed S p 4 5 1; N C pp 135 36 ; p 13 5 ( second
’
13 6 -
. . .

sen t en c e i n s eco n d co m
. .
, , ,

p l ete par a g rap h ) ; B A ( secon d pa r a gr ap h fir st sen .

-
.
,

t en ce ) c f B r u n et i er e
. pp 180 8 1 , .
-
.
 L IKE N ES S I N GE N ER AL R EA LI S TI C D E VI ES C 57

D escri ptions p ersons p laces

Of
and things are constantly inter , ,

mingled . O o r things is O ften co m

D escri p tion f p laces bined with
’
an account o f a character s thoughts 13 7
A short sentence o f di a .

logue o r m onologu e o r a brie f p assage o f dialogue i s not seldo m , ,

em p loyed to break a long descri p tion o r narrat i on 13 8

There i s .

f requent interchange o f the di rect and the indirect for m s O f dialogue

and monologue 13 9
M any p aragra p hs n o t o f dialogue end with a
.

Short sp oken sentence ”0

.

I n p aragrap h stru cture the re is so me l i keness between the work s

of
the“
t w o men The co mbination o f descri p tion
. narration and , ,

dialogue i n a si ngle p aragrap h has already been noted ”1

The av er .

age length O f the p aragra p h i s taken on the whole about the same , ,

i n the two Flaubert tends m ore in hi s earlier works toward the

unu s ually long p aragra p h M au p assant m
.

ore in hi s later 14 2
I nstances , .

can be found where M au p assant di v ides a m ong se v eral p aragra p hs

descri p tions which Flaubert to j udge f ro m si milar cases in the ,

works O f the latter would kee p within o n e p aragra p h ,

”
Thi s m ay .

be p art O f M a upa ssa nt s e ff ort a fter greate r clearness which was ’

,

suggested be fore 14 4
Flaubert s p aragr a p hs leav e i n general the
.
’

im p ression o f greate r deliberate artistic unity than M a upa ssa nt s ’

.

The latte r frequently uses the sentence p aragra p h a habit traceable -

,

p robably in p art to his j ournalistic exp eriences

.

14 5
Flaubert also .

em p loys this form but less o ften 9 constantly howev er his

4“
, ,

marized i n a sentence someti mes an

,

longe r p aragra p hs m a y be su m ,

antithetical senten ce 14 7
The brie f narrati v e p aragra p hs o f the two
w riters are m
.

uch alike i n their use O f short ab ru p t sentences with ,

the historic tense S e v eral exam p les follow which are gi ven in
.
,

13 7
For e xampl M B pp 6 6 ; U V PP 9 ff
e, . .
, . 1- 2 ~ 1
13 8
For e x ample M B p 355 ; T C , p 6; M o. .
, . . . : . 2 r o PP I S 3, 136

13 9
Fo r exampl e pp O ; B e DP
, . ZO -
IO - .

140 Fo r examp l e p 3 38 ; B
, D 95 . o 1
14 1
S ee p r e d in g parag r ap h
ce .

14 2 Fo r examp l M N C e, .

14 3
Fo r examp l e f th fir t paragr aph d ri bing th h
, c . e s esc e o us e at T o stes n i
43 44 ) wi th th fir t f r paragraph d rib ing l in
“
MB ( pp P eup l es
- ”
. . . e s ou s esc es ,

U V ( pp
. . . 12

14 4
S eeab o ve pp 49 S I 5 5 , .
. .

14 5
S ee p r act i cal l y anywh e r e i n M a upa ssa nt s wo r k ’
.

F o r e x amp l e i n L Ed S
14 6 ’
, . .

14 7
Fo r e x am p l e cf par agr a p hs on pp 116 17 M E ; pp
, . .
-
,
. . . 2 14- 15 , S al ;
. e tc .
5 8 FLA UBE R T A ND M A UP A S S A N T

p arallelolu mns for t h e sake o f co m

c p ari son in form not in subj ect , .

They are taken fro mL E d u ca ti a n s en ti men ta l e and B el A mi

’
-
.

FL AU B ERT M AU P A SS A N T
Po ur se venge r d e so n ma i t r e , E l le ne r
pa l a p o i nt de so t r ir et

s an s d o u t e, le ga r g n o se ca n ten ta fut ch a r man t e de t o ut s e f a qo n s

de so u ri re p .
[B .
-
A .
,
p .

’
C é ta i t j
r d e r é cep t i o n D es
ou . E t i ls se r e nd i r en t d an s un r e s

v o i t u r e s st at i o nna i en t d an s l a co ur . t a ur a n t vo s D ur oy m i in
e par l a i t .

D e u x va l e t s se pr é cipi té r en t so us p l us gu ere I l m a n gea p o u r n a v o i r

.
’

la m a r qu i se e t un t ro i si em e a u h a ut , pa s l a i r d a v o i r pe u r p u i s d an s l e
’ ’
,

i t 51 m
, ,

d e l e s ca l i e r se m ar ch er d e j r il mp g
’
, ou a cc o a na B o i sr en a r d au

vant l u i p . j r na l
ou et il fit sa b e so gne d
’
u ne
T o u t a co u p M art i n o n a ppa r u t , ,
f a go n d i t r a i te
s et ma h i nal e c . On
en fa ce so u s l a ut re p o r t e E l l e
,
’
. le t r ouv a c r ane [B .
-
A .
, p .

s e l ev a I l l ui af r i t so n b ra s
. . I ] s a ss i t e t s e m
’
i t 51 r é fl éch i r .

F r é d é ri c p o u r l e v o ir co nt i n u er s e s
,
I l ava i t j e t é s u r sa pe t i te tab le un e
gal an ter i e s tr a ver s a l es t abl e s d e
,
c ar t e d e so n a d ve r sa i re re m i se par
j eu et l es r ej oig n i t d an s l e gran d R i va l a fi n d e ga r d er s o n ad r e sse
, .

sa l o n ; Mm e D am b r eu se qu i tta 11l a r el u t co m me il l ava i t déj a l ue ’

a u ssi t Ot s on c ava l i er e t l e n tr e ti n t
’
v i ngt f o i s d an s l a j o u r n é e L o ui s .

mt
,

fam il i er em en t p . L a n gr e m a n t, 17 6, r ue M ant ar re .
*

R i en d e p l us [ B .
-
A .
,
p .

The rather abru p t e ff ect p roduced by the short sentences with

the historic tense i s to be Observ ed in the f oregoing p aragra p hs .

The i mp ression o f dry p re ci sion is indeed O f ten p roduced by M a u

p assant s work ’
14 8
.

There i s so me general rese m blance also be t w een certai n d e scr ip

ti v e p aragra p hs in the two authors A n exa m p le i s gi ven where the .

subj e ct o f the two p aragra p hs i s the sa m e the descri p tion o f a ,

stagecoa ch .

FLA U B ERT M AU P AS S AN T
C et a i t un co ff r e j a un e po rt é C e t a i t un e v o i ture j a un e ,
m on

par d e u x g r and e s r o u es qu i mon ,

t ée s ur d es r o u es j a un es a us si
t an t j u squ a la h a ut e u r d e l a b i ch e
’
, a ut r efo i s ma i s ren d ue s p r e sq ue
,

em pé ch a i e n t l e s V o yage u r s d e vo i r gr i se s par l a ccumul a t io n d es ba ues

’
.

l a r o ut e et l e u r sa l i ssa i en t l es C e ll e s d e d evan t é ta i en t t o ute s

é pa ul e s L es pe t i ts carrea u x d e se s
. pe ti te s ; ce ll e s d e d err i er e h a ute s ,

“3 F o r e x ampl e, Un e Ven d e tta ,

pp . 144-45 ; Ta i ne : L e P ér e
J ud a s ,
pp . 2 7 8- 7 9 .
 LI KE NES S I N GE N E R AL RE A L IS T I C DE VI CES 59

va s i sta s é tro i t s t remb la i ent d an s et f r el e s, po r t a i en t le ca fir e di f

l e u r s ch zi ssi s q uan d l a v o i t u re é t a i t f o r me e t e n fl é co mme umv ent re d e

fermée et garda i ent de s t a ch e s d e

,
bé te . r Tr oi s o ss s e b l an ch e s, d on t
b a u e 98 et l a pa r m
,
i l eu r v i e i l l e ,
on r e ma r q a i t
pre mi er co u p u au

co u ch e d e p o u s s i er e qu e l e s p l ui e s d oe il l es t et e s é n o r m e s et l es gr o s
’
, ,

d o r a ge m ém e n e l av a i en t pa s t o ut gen o u x ron d s a tt el é es en a r ba l ete

’
, ,

a fa i t E l l e é ta i t a ttel é e d e t r o i s
. d eva i en t t r a i ner ce tt e carr i o l e q u i
ch ev a ux don t l e pre m
, i er en a r ba ava i t d u mon st r e d an s sa st r uct ure
l or squ on d e scen d a i t l e s et so n a l l ure L es ch ev a ux sem
’
l éte ,
et , :

cO t es e l l e t o uch a i t d u f o n d en c a ho
,
b l a i en t endo r mi s d éj a d evan t
t ant [ M B p l é tr a n ge véh i cu l e
’
-
.
,
. LB a . . .

MB . 99 7 7.

I t will be Observ ed that the f oregoing p aragra p hs ha e about the v

sam e length and begin i n the sa m e way They m ention largely th e .

sa m e things about the coach : the yellow color the cu m brous body , ,

the large wheels the m u d with which it i s s p attered the three , ,

horses one i n f ront O f the othe r two by which it i s hauled There

,

e s im
.
,

i s so m ilarity in wording ( indi cated in the quot tions by italics ) a .

The general i m p ression c n eyed by the Flaubertian p aragrap h i s o v

that O f a m onstrous unwieldy ehicle ; M au p assant takes m , v on

ity as the keynote O f his p icture c lls the coach a m

”
t
s r os onster , a ,

and m akes the horses also m onsters i order t e mp hasize still n o

fu rthe r the same general e ff ect as Flaube rt .

B oth Flaubert and M au p assant S how a s p e i al use f the short c o

sentence f forcible e ff ect at the end o f a p aragra p h cha p ter or

or , ,

sho rt sto ry “ S uch sentences are O f a ri ous ki nds

.
9
S om etimes v .

we find a brie f e m p hatic statement an interrogati e o r exclama

, or v

tory p hrase S om eti mes the sentence i s

.
15 °
f dialogue Of on e o or

monologu e ; to this re ference has already been made abo e The v .

15 1

sentence my contai n a charact eristi c detail regarding a p erson

a ,

a p lace an e ent , other interest I t my also contai n su mma ry

v , or .
15 2
a ,

F
14 9 xampl e S l p 4 ( th ir d paragr ph )
or e p 3 ( fir t par a
, a . . 10 a . 11 s

p 4 ; T C H ; th maj ri ty f M
,

gr ap h ) ; p 4 9; . 0 . 1 2 . . : en e o o au

pa ant h r t t ri
ss
’
s s o s o es .

F
15 0
xamp l e M E p 6 ;
or e R li P r d t p 5 ; M E p, . .
, . 2 osa e u en ,
. 1 2 . .
,
.

3 34 ; M en uet ,
p . 69 ; M B . .
,
p .
3 14 ; L e Gu eux ,
p . 182 .

15 1
S ee abo ve p , .
57 .

Fo r e x ampl e S a l p 2 5 ; M H ar « Ga rc B a ck! » p S al
15 2
, .
,
. . . : on , nu . 2 4 1; .
,

p .
37 9 ; M H ar . . : L Or i en t p 32 4 ;
’
, . p .
5 92 ; B .
-
A p 2 33
.
, . .
60 FL A UBE R T A ND M A UP A S S A N T
c onclusion or co m ment , B esides th e use o f interrogati v e and .
15 3

ex cla matory sentences w hich has already been mentioned such , ,

senten ces are f u r t her f requently e m p loyed i n the usual course O f

p aragrap hs to lend v ariety o r e mp hasi s to the s tyle E xamp les are .

v e ry n u m erous The ca re f u lly const ru ct ed p eriodic sentence is

15 4
.

more co mmon in Flaubert t han in M au p assant 15 5

.

By Fla uber t transi t ion is i n general v ery as s iduously regu lated ,

by M a u passan t much le s s so ”6
The result i n the case o f the latter .

t ends O f t en t o an e ff ect o f j erkiness S om e O f the r a m a ns for .

,

exa m p le p roduce t he i mp ression o f a su ccession o f short stories

,

ra ther t han O f one continuous long s to ry wi t h succeed i ng cha p ters 15 7

.

The dislike o f ex p lanation 15 8

frequently a pp arent in the t w o writers
de p ri v es both o f o n e use ful m ethod O f transition in so far as they
yield t o t his dislike The diffi culty o f transition is s p ecifically .

acknowledged by both m en
15 9
E ach e m p loys O f course the ordinary .
, ,

methods o f transition : the use O f adv erbs o r adverbial conj unctions

o f ti m e and O f o ther m
, eans o f re ferring ba ck o r for w ard to p reced
ing o r s uc ceed i ng sentences p aragra p hs or cha p ters The con , , .

n ec t i o n i s constan t ly indica ted for instance between consecuti v e , ,

cha p ters in M a d a m e B o va ry and U n a Vi a S om eti mes the transition .

i s acco m p lished by a v i rtual continuation o f the narrati v e without ,

break o r wi t h b ut li ttle break f ro m o n e cha p ter to another as , ,

bet w een cha pters V I I and V I I I o f the first p art o f M a da m e B ov a r y ,

or be t ween cha p ters V and V I o f Un e Vi e .

Wi t h regard to v oca bulary 16 °

both Fla u bert and M au p assant
follow as w e Should ex p e ct the realist p rinci p le o f making tlie
, ,

15 3 MB . . p .
48 1; Un d h e, p . 12 1; T C : H er ; p
. . . 190 ;

r ri r
,

R e n co n t e, p . 2 26 ; S al .
,
p .
4 14 ; La e ne H o tense p 86 , . .

15 4 Fo r x mpl M B p 7
e a e, . .
, . 1 2 ; B -A . .
,
p . 282 .

15 5
S ee p i a l ly M d m B
es ec a a e ova ry .

15 6 Co mpar S hinz N t “
e c , o es su r le v o cab ula ir e d e M a upa ssant , et c .
, R evu e
d es l a ng u es m ra a n es p .
5 12 .

15 7
Fo r exa mpl e, U V ; M -O
. . . .

15 8
S ee v e un d er r ea l i st i c d eta i l pp 38 40
abo , , .
, .

o r exam p l e M a yn ia l L a Vi e et l oeuvr e d e M a upassa n t p 99 q uo ta ’

15 9 F
.
, , , ,

t i o n ; F l a ub er t C o rr I II 345 ; etc
, .
, , .

61 0
S ee a s th e f o u n d a ti o n f o r th e who l e O f th i s p a r a gr a p h A nna A hl s tr o m
, , ,

E tud e s u r l a l o ng u e d e F l a u b e r t M acon 1899 a n d Ol o f B osson Guy , , ,

d e M a upa ss a n t q u e l q u es r ech er ch es s ur sa la ng u e L un d 1907

, , ,
62 FL A UBE R T AND M A U PA S S A N T
r ep r é enter
s r
l e pa l er d e ses pe so nnage s so u s r une f o rme « re to uché e » il
,

n o us l e i
d o nne t el q u l est , ave c t o us ses so l é c s
’
i me s to ute s ses né gl i gence s
, ,

t o u t e sa r ud e sse ,
t o ut s e i té
r
s e s c ud s .
16 4

I t w ill be a pp arent fro mw hat has been

sai d abo v e that M aup as
sant s language is according to the general acce p tation o f t he ter m
’
, ,

more reali sti c t han Flaube rt s

” ’
.

I n this last chap ter we hav e been studying the v ery considerable
rese m blan ce between Flaubert and M au p assant i n matters o f literary
p rocedure not mentioned in the p receding cha pter We hav e seen .

t ha t they e m p loy to a certain extent the same kinds o f realistic

de t ail the sa m
, e for m s o f figu rati v e ex p ression the sa m e m ethods ,

in descri p tion narration and dialogu e the sa m

,
e de v ices in p ara
, ,

gra p h and sentence structure and i n use O f language A s said .

be fore 16 5
the pr a céd és di scussed in thi s chap ter are in the m
, ain , ,

t h ose ado p ted in co m mon by the r ea li stic w riters o f the day S o me .

w hich may p erhap s be more distincti v e O f the t w o authors i n ques

tion than O f other realists are the follo w ing : ti m e design ation by
means o f re f erence to charact eristic denoting sea son O f year ;
descri ption in a ray o f light o r in shado w ; narration o f the p ast
li fe O f a character i m mobilized through the mediu mO f that char
’ “ ”
a ct e r s thoughts ; alternating dialogue ; use o f a short sentence
t o end p aragra p h cha p ter o r story ,I n considering the pr o céd és
, .

o f t h i s cha p ter it has not been i ntended as was said be fore 16 6

to , ,

attribute to the mm ore than the weight of cu m ulat i v e testi mony when
taken i n conj unction with other e v idence p resented f o r the rela
t i o n ship o f Flaubert and M au p assant .

16 4
B osson , o p . ci t-1 D 7
18 5
S ee a bo ve p,
.
38 .

13 3 I bi d .
 CH A P TE R V

R E S E M B LA N CE S I N PL O T , C
I N I DE N T C H A R A CT E R I ZA T I O N
, ,

ID EA S ,
A ND WO R DI NG
the p recedi ng cha p ters there ha v e been considered si m
In ilarities
between Flaubert and M au p assant in theories and pr o ced es as well
’

as the history o f thei r p ersonal relationshi p M any concrete ins tances .

o f rese m blance hav e been mentioned by way O f illustration I t yet

m
.

re ains t o discuss othe r s p ecific exa m p les O f likene s s between the

two in fact i dea and wording wh i ch hav e for the m
, ,
ost p art , , ,

n o t been noted i n illustration o f p re v i ous p oints .

There are fi rst o f all rese m blances in what m

,
a y be called gen ,

eral e ff ect ”
M a upa ssa nt s L e L oup which narrates the killing O f
1 ’

e at m
.
,

a huge gray wol f has about it so m ewhat the sa m,

os p here O f
l egendary m ysteriousness as Flaubert s S a i n t Juli en l H a spi ta li er 2 ’ ’
-
,

the i m p ression being increased by certain details o f likeness : I n

both stories the scene i s laid i n a p ast re m ote enough to be more
o r less shadowy in both there are certa i n extraordina ry qualities
,

attributed to ani mals o r to an ani mal in both the e v ents t ransp i ring ,

p roduce an abhorrence O f the chase succeeding a great p assion

there for 3
L i keness in general eff ect i s also obser vable in Un Co eur
.

si m pl e and U n a Vi e both O f which gi v e the i m p ression of an accu

mula tion o f mis f ortunes ov erwhel ming an un f ortunate vi ct im There
,

i s a certai n general si m ilarity also as was i m p lied be fore between

4
, ,

so m e p assages in M a upa ssa n t s letters and in Flaube rt s I n letters ’ ’

.

w ritten by M au p assant to his p rece p tor there are traces O f an

exaggerated and excla m atory style foreign as fa r as o n e can j udge , ,

f ro mthe other letters in the Conard edition to the form5

er s usual ,
’

e p istolary m anner but exceedingly co m mon in the latter s corre

,
’

S po n d en ce
6
A pp earing as they d o in letters f ro mthe younger to
.

1 pp .
3 5 44 - .
2
TC . .
,
pp .
77 -
12 5 .

3 p . 12 5 ; LL . .
,
p .
36 ; pp .
92 9 3 ,
-
I O7 I O -
LL
. .
, pp .
3 8, 4
42 0-
°

pp .
; L L
92 , 117 . .
,
p .
39 ; pp . 8
93 95 , 4 93 ,
-
-
113 ff ,
103 , 106 ff .

LL
. .
,
pp . 6 6
3 5 3 . 44. 3 44
- -
.

4
S ee ab o ve p 17 , . .
5 C orr pp .
,
. xx v l
c -
x x n .

6 For e xamp l e C o rr I , .
, , 7 7, 13 5 ; II , 109, 2 90, etc .
64 FLA UBE R T A ND M A UP A S S A N T

the Older ma n they read l i ke re m arks made by the p u p il i n co n si d

,

cration o f t h e i deas and m ethods O f the master .

The follo w ing p assages will illustrate what i s m ean t They .

are t o be co m p ared w ith those quoted alongside not i n s p e ci fi c ,

details but in general m ,

anne r .

F L AU B ERT M AU P ASSAN T
L hi sto i r e Zo l a r ix Z o l a n e st pa s d éco r é—a ca use
’
’

d l e a c o de
est p i t o ya b l e E st ce b é t e ? m ai s l a r t i cl e q u i l a é cr i t d an s l e
’ ’
.
-
de
q u e st cc q ui n e st pa s b ete i [ C o r r L e ch ef d u cab i
’ ’
-
.
,

I V . 3 49] n et m ’
a d i t q ue l e i n i st é r e n e po u m
O ui j a i l l b r h re d Z l a
,
’
u il a r m oc u e r o . va v ai e n t pa s * l u i d o nne la
C e t é n r me ! Q and i l ma r a
’
s o r ix en u
’
u c o cc on

d nn é l defi n i t i n d N a t ra l i m
o a e r eve o E u q i a rti le l
u s ,
.
7
n uo un c ce

j e e r a i pe t et re
s N a t ral i te
u -
ri ti q e dé t r i t il l t alent d Z l a ?
un u s c u u -
e e o

2 mi p
.

M ai d i i 1s
’
c mprendre
, o C rr p xi v ]
a s co . o .
, . c .

Et H iq q i a fa i t
enn ue Q d i te v
u d Z l a ? mi j , a ux ue s- o us e o o e

C ap i ne uc nf é r en e
s, une l l t r ve ab l m
co en t f c A ve z
sur e e ou so u ou .

N at r al i m
u e! Oh ! m D i e !
s v l a r ti le H g ! on u o us u so n c su r u o so n

m D i e ! [ C rr I V
on u art i le
o .
,
l p et e
, nte m p c su r es o s co o

Et l m an i fe t e p l i t i q e d Z l a ra i n t
e s b r h r e l R ép bl i q e
o u e o s e sa oc u « a u u

m g t l R é p b l i q e d mb r er
en a an a t l l i t té r a t r e »
u u L R ép b l i q e
e so ,
e a u « a u u

s i elle b l ét d d d réa
n ar
’
ore e r a na t ral i te
’
en e ll e
ar era p »
u s u s ou ne s as ,

li m ! d
s e nat ral i m u e pa r d n ! J E N E S U I S Q U UN S A V A N T »
u s , o «
’

D Ol ! d Ol ! [ C rr I V 3 65
r e r e o— ( ri en q
.
,
e l a ! —q e ll e
,
ue c u

md e t i e ) — l qi t i al » l o s , «
’
en 1e e so c ,
-
e

do m en t h m ai n — l ér i e d cu u a s es
—
,

f m l ve r ra m a i ntenan t or u es* , on

l d d l i v re gran d r m an s ur e os es s « o

e l n l f r ml e na t ral i te » I s o a o u u s . e ne

i g t el a t su s
’
u u n sava n * c es

p yra mi dal l t it p e on ne r as

C r pp —xxi ] o r .
, . cx x c .

The foregoing p assages ha v e been chosen for purp oses O f illus

t r a t i o n because they are conce rned with the sa m e subj ects : the
decora t ion o f Zola the stu p idity O f the go v erning classes the p re, ,

tensions O f Zola and the na t uralists I n the mwill be noticed the .

sa me general tone o f exas p erati on the sa m e tendency to m ulti p ly ,

7
Wo r d O f ten u sed b y F la ub e rt in i mi lar p la
s ces i n l e tt e r s ; cf .
, for e x mpl
a e,

C o rr I I I .
, , 3 9, 2 44, 2 98 ; I V , 362 ; etc .
 RE S E M BL N ES A C 65

em p hases through the use o f italics and o f excla mation p oints the ,

sa m e em p loyment o f unusual exp ressions .

There i s so m e si milarity between the p lots o f the two m en .

Fo r instance there are sev eral stories O f M a upa ssa n t s which recall
,
’

Ma d a m e B o va r y The fi rst o f these to be m entioned is Un e Vi e

.
,

which is like Flaubert s no v el i n m any p articulars o f p lot I n both ’

.

cases a large p art O f the sto ry i s concerned w ith m arital treache ry .

I n o n e case i t i s the w i f e in the othe r the husband who i s the , ,

O ff ender The se p arate instances o f un faith fulness recorded are

.
,

in each book t w o in nu m be r R odol p he and E m,

ma i n M a da me .

B ov a r y Julien and Gilberte in U n a Vi e m

,
ake riding a m eans to thei r ,

i ntercourse and seek their rendez v ous in the woods and o n the
c ount ryside The cabane a m
“
bulante O f U n e Vi e takes the p lace
.
”8

o f the
“
tonnelle O f M a d a m
”9
e B o va r y The two sinners E m ma .
,

and Julien co m e to an unnatural end a beggar being connected i n

, ,

each ca se w ith the catastro p he 10

A n excursion by boat enters i nto .

the lo v e m aking o f Léon and E m

-
ma o f Julien and Jeanne 11
In , .

bo t h stories the child o f the heroine a p et d o g re v ealing letters p lay , , ,

so me p art There are frequent j ourneyings by stagecoach by ca r

.
,

r i a ge by train
, I n each case the heroine changes her p lace o f abode
.

du ring the p rogress o f the p lot M oney matters exert a considerable .

influence in the two there being talk O f debts o f m ortgages and , , ,

O f selling o f p ossessions E m ma is ruined by her o wn extrav agance .

,

Jeanne by the bonté Of he r p arents and hersel f and by the p rodi

“ ”

ga li ty o f her son Jeanne i s m ade unha pp y by Julien s stinginess i n

.
’

money matters no less than Charles by E mma s waste fulness I n ’

.

M a da m e B ovar y we ha v e Lheureux and his agents who conduct

the m oney aff ai rs ; in Un e Vi e the Jew and others who co m e to

Jeanne rega rding P aul s debts I n both boo ks there i s the d escr ip ’
.

tion O f a p ublic cere m ony ; i n o ne the Co m ”

ices agricoles ; i n the
“ ” 12
other the christening O f the Jeanne The account O f either .

celebration follows the cour s e o f the lo v e r s as they walk : R odol p he

and E m ma p ass f ro mp lace to p lace seeing the v arious sights O f ,

“ ”
the day and finally taking re fuge i n the salle des délibérations whil e
,

the s p eeches are being deli v ered and the p rizes gi v en ; Julien and
8
U V, . . p 2 7 6 etc
.
, .
1°
ME . .
,
pp .
448 49 -
U V,. . pp 280 .
-
82 .

9
ME . .
, p 2 34 e t c
.
, .
11 MB . .
,
pp .
3 5 3 ff . UV
. .
,
pp 44 ff
. .

12
M . E .
,
pp 183 2 14 ; .
-
U V,
. . pp .
5 6 62 -
.
66 FLA UBE R T AND M A UP A S S A N T

Jeanne des cend fro m les P eu p les to the beach w here the chris ,

tening o f the boat take s p lace R odol p he makes ad vances to E m ma .

,

Jul i en t o Jeanne during the p rogr ess o f t h e cere m , ony I n bo th .

s t ories w e ha v e a se v ere illne s s o f t h e heroine cause d i n E m ma s ,

’

case by R odol p he s desertion in Jeanne s by the sho ck o f disco v ering

’
,
’

her husband s infideli ty E m ’

ma s attack i s said to be brain fever ;
.
13 ’

Jeanne s i s n o t t hus na m
’
ed but see ms t o be the sa me t hing I n ,
.

both books we hav e a ball a death scene and a watch by the dead , ,

included in the p rogress o f the p lot I n both there is an ele ment .

o f the horrible ; for exa m p le in M a d a me B ova r y the account o f the ,

bl i nd beggar and in Un e Vi e the narration o f the death o f Julien

,

and Gi lberte .

A no t her story which has so m e p oints o f rese m blance wi t h

M a da m e B o va ry i s L a P a r ur e “ I n i t we hav e a w oman who like .
,

Em ma i s or i magines hersel f to be enti rely o ut o f he r ele ment

, , ,
.

L i ke Fla u bert s heroine M ada me Loisel drea ms O f a di ff erent li fe

’
, ,

and l i ke her too i s i n v i t ed and goes to a ball i n a socie ty to w hich

, ,

s h e cannot ordinarily ho p e to be ad m
’
itted Like Fla u bert s heroine .
,

she enj oys t h e ex p erience but i s afflicted a fterward by resul t ing

s adness M i s fortune aff ecting the w hole li fe follows i n each case
.
,

although di ffe rent in character and extent

A l s o containing l i kenesses to M a d a m
.

e B o va r y i s the story o f

t h e l i t tle p ro v in c ial w ho co m es to P ari s and forces hersel f in t o une“

a v ent u re d a mo u r only to be disillusi oned by her ex p erien ces The

” ’
, .

heroine o f Un e A v en tu r e pa r i si enn e has like E m

15
ma ente rt ained , ,

i nordina t e longings for P arisian glo ry beneath a pp arent a cqu ies

c ence i n t h e m onotonous course o f her e v eryday li fe Like her she .
,

buys a n d r ea d s society j ournals and i s esp ecially attracted by t h e

gla m or o f w hat M a u p assan t calls des horizons de j o u issan ces

_

c ou p ables e t r a v a gea n t e s
6
E s p ecially does she indulge he r drea m .
1
s
during the night contra sting the w orld o f her i m ,
agi nation with her
co m monp lace surroundings Here again she rese mbles E mma A s . .

i n the case O f th e F l a ub e r t ia n chara cter the drea ms o f M a upa s sa n t s ,

’

heroine end i n disen chant ment .

B e t w een Uh C oeu r s i m pl e and Un e Vi e there are m any si mi

’
l a r it i es. Flaubert s Félicité is now like Jeanne now like R osalie , ,

in M a upa ssa n t s story The main thread o f the p lot concerns he r

’
.

rese m blance to Jeanne B oth si m p le minded and w i th unusual

.
,
-

13 M E
. p 2 90
.
,
.
1
M l l e F pp 193 205
.
5
.
, .
-
.

pp 5 9 7 4 10 I i d p 194
b .
-
. .
, . .
 RES E M BL N ES A C 67

ca p acities f o r de v otion suff er f ro mblow a fter blow to the a ff ections

dealt by death o r disa pp oint m
,

ent whi ch leav es the v icti m aged , ,

benu m bed and stupefi ed clingi ng des pe rately to m

, ,
em ories o f the
p as t and to the Obj ects which recall those me mories Like R osalie .
,

Félicité i s a f aith ful serv ant t o a so m ewhat exacting m istress and ,

shows in he r m
,
’
i stress i nterest considerable shrewdness brav ery , , ,

and p ower o f economy The relation o f m .istress and m aid i n both

stories be co mes increasingly o n e O f i nti m acy and a ff ection the t wo ,

uniting es p ecially i n re me m brances o f the p ast I n so me res p ects .

Jeann e rese m bles M me A ubain o f Un C o eu r s i m p l e rather than

, ,

Félicité Both hav e two f arms attached to thei r p ro p erty both lose
’

.
,

thei r fortunes in later years sell so me o f thei r p ossession s and go

, ,

to a less ex p ensi v e house B oth s p end m uch o f thei r ti me in idle

.

brooding leav ing the di rection o f a ff ai rs to the f aith ful se rvant

,
.

B oth p ossess a so n called P aul wh o a fter being sent to school to , ,

which he rej oices to go f or the sake o f the co m

,

p anionshi p to be
enj oyed , f alls into i rregular ways o f li fe contracts debts which his ,

mother p ays and p assing unsucces sfully fromon e e mp loyment to

,

another finally m
,

,
arries a wo m an distaste f ul to the latter I n the .

course O f thei r de velo p m ent both stori es touch u p on m any like

co m ings and goings O f p ro v incial li fe and both gi v e gli m p ses o f ,

fishe r folk .

Th e next works o f Flaubert and M au p assant to be co m p ared are

L E d u ca ti a n s en ti m en tal e and B el A m
’
i While there i s considerable -
.

rese m blance here it is harder to s p eci f y than I n any o f the cases

,

already taken u p B oth stories deal with the ca reer O f a youn g

man who p asses th rough v arious ex p er i ences o f P ari sian li fe the
.

o n e t o fai lure the other to success

,
A cer t ain unity i s gi v en in each .

case to the ra m bling story by relating e v e rything t o the f ortunes

o f the chi e f character Frédér ic beginning w ith fair chances throws
.
, ,

away all O p portunities and acco m p lishe s nothing owing to hi s ,

“
mollesse and lack o f deci sion D uroy starting with hi s fortunes .
,

at an exceedingly l o w ebb ad v ances chiefly thro u gh the aid O f his

, ,

mistresses and by means o f ruthless sel f assertion to a p osi t ion O f -

im
,

p o rtance beyond that f o r which he had hop ed A t first indeed .

he i s rather like Frédéric i n want O f decisi v eness but th e weakness ,

gradually v ani shes as he beco mes sure o f hi msel f I n other res p ects .

the t wo m en are si m ilar Both drea mO f great things to be done and

.

enj oyed i n the future B oth p ossess considerable fascination f o r

.

the O pp osite sex ha v ing in the course o f the ex p eriences related i n

,
68 FLA UBE R T AN D M A UP A S S A N T

t he story lo v e a ff ai r s p rogressing si m
,
ultaneously w ith three se p a
rate w o men TO the delight O f t h e s u c ces s f u l suitor one o f the s e
.
,

w o men is in each case the great lady o f the story whom ea ch

“
,
”
, ,

has been ad v ised to cul t i v ate i n o rder to f u rther hi s m aterial inter

ests O n e lo v e a ff ai r i n both books p ersis t s through all v i ci s situdes
.

t ha t o f F r é dé r i c w ith M m e A rnoux that O f D uroy w i th M m e de ,

M arelle B oth m . en besides beco m e engaged to young gi rls for the

, ,

sake o f thei r fortune s Frédéri c after w ard s es ca p ing f ro mhi s m ar,

r i a ge D uroy car rying hi s thro u gh

,
I t i s interesting t o note for .

re v elation o f the character o f Frédéric that i n the three instances

w here marriage is suggested to himit is the wo man in each case
w ho does the p ro p osing 17
Mm e A rnoux in L E d u ca ti a n s en ti .
’

men ta l e M me de M arelle in B el A mi have little daughters to w hom

,
-
,

Frédéri c and D uroy sho w atten t ion I n both books the husband o f .

o n e O f the w o m en lo v ed dies o f lung di sease in the course o f the

s tory
18
The lo v er is p resent during the final scenes assists i n the
.
,

w atch by the dead and looks a fter the funeral arrange ments , .

F r é d é r i c then is about to marry the wi dow M m e D am b r euse but , ,

abandons her a fter what he considers an insult o ff ered by her to

Mm e A rnoux D uroy acco m p lishes his marriage with M adeleine
.

Forestie r a fte r the death o f her husband but subsequently di vorces

her On o n e occasion an insult t o M me A rnoux in v ol v es Frédéric
.

i n a duel with Cisy 19

D uroy also finds hi m sel f co m mitted to a duel
.
,

i n his case through an insult bestowed u p on hi mby a ri v al j ournal 20

.

S om e incidents O f the duels are mu ch alike D uroy rese m bles rather .

the Cisy o f Fla u bert s sto ry than Frédéri c i n his m ’

echani c al actions ,

hi s thi rst his desire for an accident to p re v ent the occurrence his
, ,

ext re me terror Frédéric and D uroy act si milarly i n that both look
.

in the glass to see i f they show tra ces o f fear w here up on both dis ,

co v er the msel v es to be p ale Both also think o f the p robable e ff ect o f .

a tragic ending on their p arents I n neither duel i s anyone hu rt and .

,

the e vent i s treated by the two authors as a rather ridiculous p er f o r m

ance The ins u lting notice i n a j ournal f ro mw hi ch Frédéric su f
.
,

fer s no less than D uroy ha pp ens to the for m e r in an ac count O f the ,

duel which p u t s h i min a most un fa v orable light I n m any other .

p articulars D uroy see ms to i mitate Frédéri c Both co me o f p ro vin .

c ia l fa m ilies and betake the m sel ves to P aris against the wi ll o f thei r
1" L ’
EdS ,
pp .
3 , 54 4 , 561
62 1- 2
.
19
I b id .
,
pp.
3 18 ff .

13 I b id .
,
pp .
5 37 ff ; B -
A . .
,
pp . 221 ff .
2° B -A . .
,
pp . 2 30 ff .
70 FLA UBE R T A ND M A UP A S S A N T

o thers owing p ar tly to hi s a pp earance w ith as is hinted its rese m

, , , ,

blance to the traditional ideal o f bene v olence 31

I n some ways D uroy .

shows also considerable si milarity to D eslauriers F r éd é r i c s friend ,

’
.

H e i s o f the social class rather o f D eslauriers than o f Frédéric and

a pp ears at first like him in shabby clothing borrowing m
, ,
oney fro m ,
“ ’ ”
a friend D uroy s father is a cabare t ier the latest a v oca tion o f
.

D eslauriers fa t her i s the sa m

’
e B oth gi v e the i m p ression o f p os .

s essing greater energy than F r é d é r i c Finally D eslauriers rese m bles .

D uroy in his j ournalisti c in t erest .

I n L E d uca tio n s en ti men ta l e and B el A mi there are besides the

’ “

-
,

charact ers already m entioned others which corres p ond in ce rtain ,

details I n both books there are two m

. en o f a ff ai r s o n e o f w ho mis ,

of m u ch greater p ro minence than the other Forestier is like A rnoux .

in his fe v erish acti v ity i n his fondness f o r bibelots and i n so m

“
,
”
e ,

othe r interests ; he i s like D a m b r eu se as has already been p ointed o ut , ,

in the m anner o f his death Walter rese m bles D a m b reu se i n do m i .

nating the financial situation o f the story and i n exhibiting the

s el f i m
-
p ortance and othe r characteri stics O f a financial magnate .

Am ong the wo men M m e Walter rese m bles M m e Da m b r euse as ,

has been said in being the grande da m

32
,
“ ”
e i n her relations with the ,

p rinci p al character and in her j ealousy o f the younger w oman w ho

,

takes her lo v er f ro mher I n her p uerilities she is like R o sa n ett e .

rather than M m e D am b r e u se Her absurd in fatuation for D uroy .

further rese m bles som e w hat that o f La V a tn a z f o r D el m

”
ar The .

daughter o f M m e A rnoux ha s al ready been re ferred to as ha v ing her

counter p art in the child o f M me de M arelle B oth little girls are re p .

resented as acting l i ke grown up p eo p le and es p ecially as dis p laying -

a coquet ry i n ad v ance o f their years .

B esides the si m ilarities in s p ecific i nci dent already m entioned there

are a few others w hich ought to be noted here I n both stories .

the chie f character i s annoyed by a scie “ ”

Frédéric by that o f -

“ ”
A rn o ux D uroy by that o f F
,
“
I n both there i s a p ublic
ceremony i n the M adeleine characterized by i rre v erent beha v io r o n ,

t h e p a rt o f those p resent 34
I n both a p icture o f the Founder o f .

Christianity p lays so m e p art ”

I n each so me mention is made o f the .

condition o f French a ff airs in A lgeria .

81 pp 103 43 1 33 etc ; B A pp 5 08 5 5 1 etc

.
,
-
, . .
-
.
,
.
, , .

a b o v e p 68 Ed S p 84 etc ; B p
’
32
S ee ,
.
83 L .
, .
, . .
-
A .
,
.
3 45 , etc .

34
pp 5 46 47 ; B A pp 5 6 1 ff
.
-
.
- .
, . .

35 p 4 2 9 ; B A pp 47 8 ff S ee bel o w p 86
. .
-
.
, . .
,
. .
 R ES E M BL N E S A C 7I

In addit ion to p articular rese m blances there i s considerable like

ness i n general setting between L E d u ca ti o n s en ti m en ta l e and B el
’

Am i. B oth gi v e p icture s o f P ari sian society o f v arious gra des and

ty p es inv ol v ing excu rsions at all hours o f the day and night through
, , ,

all p arts o f P aris and into all m anner o f p laces of business and o f
legi ti m ate and illegiti m ate p leasure I n both m uch s p ace is allotted .

to the social ha pp enings which i llustrate the society i n question—to

balls rece p tions dinners etc I n each the p olitical e v ents o f the day
, , , .

are closely conne cted with the f ortunes o f the characters B el A m i .

-

is in the main a story o f j ournalis m; L E d uca ti a n s en ti m en ta l e has

’

likewi se m uch to say o f j ournals and j ournalists Financial a ff ai rs .

o f v arious kinds enter largely into the de v elo p m ent o f the p lots I n .

social and business m atters the at m os p here i n the two books is o n e

o f scandal and dece p tion o f intrigue o f sordi d quarrel so m eness and
’

, ,

un d ign i fi ed stri v ing .

B esides the cases in which a whole story o f M a upa ssa n t s corre ’

spo n d s to the whole or to p art o f a story o f Flaubert s there are m

’
any
i nstances o f si milar i ncidents and scenes I n F a r ce N or m an de
”
there .

i s described a wedding p rocession through the fields like that o f

Em ma in M a da me B ovar y There i s the same order o f p rocession
m
37
.

and the sa me at os p here o f p easant gaiety I n M a d a m e B ova r y the .

cort ege is called une seule é char p e de couleur ; i n F a r ce N a r m

“ ” 38
ande

it is co m p ared to a serpent f The p eop le following E mma p roceed

“ 9

to the acco m p ani ment o f a fi ddler s eff orts ; those i n F ar ce N a r ma n de ’

to the shots fired Off i n honor o f the b ridegroo mwh o i s un chasseur “

,

f rénétique ”40
The sounds o f the fiddl e e v en when heard f ro ma
.
,

distance fri ghten the little bi rds away

,
41
I n F a r ce N o r ma nd e the .

fla ming shawls o f the wo men ha v e the sa m e e ff ect O f astoni sh ment

u p on the hens the ducks and the p igeons o f the far m
, yard 42
, A s im .

fl a r i dea is found in P eti t S o l d a t 4 3 where it is sai d that the shining ,

leather shakos and co pp er buttons o f the t w o little soldiers sto p the

“ ”

larks o v erhead 4
A fter the p rocession there i s i n both stories the
.
4

sa me lengthy feasting and the sa m e f ree j esting with a p redilection ,

3° pp 87 95 .
-
.

37
MB . .
,
pp 3 7 38
.
-
.
41
MB . .
,
p .
38 .

38 I bi d .
,
p 37. .
42 C p 89. .

39
C p 89 . .
43
M P ar
. .
,
pp 2 87 .
-
99 .

40 I
bi d , . p 87. .
44
I bi d , . p . 2 91 .
7 2 FL A UBE R T A ND M A UP A S S A N T
for prac t ical j oke s I n M a F emme and Un e Vi e there i s al so .
‘5 ’7
“

mention o f a N orman w edding feast and the s u cceeding rusti c ball ,

t h e p assages be i ng al m ost p recisely the sa me in the t w o places .

A th i rd p rocession acro s s the fields thi s ti m e going and co ming , ,

ins t ead o f only c o mi ng a s i n the for m er stories i s described in L e ,

B a pté m e
“8 I n all three des cr ip tions o f p ro cess i ons attention is called
.

t o t h e p laying o f chi ldren round and about the m ov ing co m p any o f

t hei r elder s The last na med p ro c ession i s l i ke the p receding t w o
.
-
, ,

follo w ed by a feast and rude j oking Other p ro cessions through the .

count ry are E mma s funeral p rocession in M a d a m e B ov a r y

"9
’
the ,

pr o ces s ion to the shore at the chr i stening o f the Jeanne in Un e

“ ”

Vi e 50
,
the p rocession o f the sacra ment t o the house o f the dying
p easant woman in L e D ia bl e and the p rocession at the blessing o f
51

ony in a p easant co m
,

t h e s p rings i n M o n t Or i a l
52
A nother cere m -
.

mu nity w hi ch i s de pi cted by bo th Flaubert and M au p assant is that

o f the fir s t c o m munion A ccount s are gi v en o f this i n Un Co eur .

s im B and M i T i I n all three

’
63
p l e o,
u v a r d e t P e cu ch e t L a a s o n e l l er ,
.

t h e v eils o f the little girls are de s cribed by m eans o f v ery s i mila r

fig u res I n Un C o eu r s i m pl e they are said to for m a field o f
“
.

sno w ”
in B o uva r d et P ecu ch e t the children kneeling rese m “ ’

ble a
l i ne o f white clouds ; i n L a M a i s o n Tell i er they are en v elo p ed in
” 55

“
a cloud o f sno w y tulle M a upa ssa n t s account O f the cere m
”5 ° ’
ony .

i s v e ry m
’
u ch longer t han eithe r o n e o f F laubert s and its sa t irica l ,

t one m a y well ha v e been caught f ro mB o uv a r d e t P ecu ch et

’
The .

midnight mass o f Christ mas E ve is also mentioned by the two men

in B o u v a r d e t P e cu ch et Un R év eill o n and C o n te d e N a é l
’
57
‘
B oth , ,
.

s peak o f the coldness o f the night ( i n all three stories ) o f the lit tle ,

ligh t s in the darkness made by the lanterns o f the p easants ( in B e P . . .

and C d N and o f the s cene o f nai v e faith in the chur ch ( i n all three
. .

stories ) I n M a d a me B o va ry and i n M a n t Or i ol a p ublic celebration

.
-

ends w i th fire w orks the exhibi t ion o f w hich de pa rt s in ea ch case ,

45
MB . .
,
pp . 8
3 4 1;
- pp .
9 95
0 -
.
49
ME . .
,
pp 465 66 .
-
.

46 pp . 2 65 - 7 6 .
50
U V, . . pp 5 8 5 9 .
-
.

47
UV . .
,
pp .
79 81 -
.
5 1L . H .
,
pp 128 29 .
-
.

43 M H ar . .
,
pp . 2 45 -
53 .
52 M O .
-
.
,
pp 2 3 2 3 4 .
-
.

53 TC
. .
,
pp 2 5 2 6 ;
.
-
pp .
3 4 16 ;
1 - pp .
3 38
1-
.

54 TC
. .
,
p 25
. .
55 p .
3 15 .

5° p 30 . .

57 pp 2 97 98 ; .
-
M lle F .
,
pp . 17 3 -7 5 ; pp . 67 -7 0 .
 RES E M BL N ES A C 73

so mewhat f ro mthe p rearranged p lan A s m all incident o f a p easant .

58

asse m bly which i s noticed by both authors i s the f ollowing I n .

M ada m e B o v a r y while the crowd i n the street i s listening to the

ices agri coles there co m

,

s p eeches at the Co m“ ”
es a gust o f wind and , ,

t ous les grands bonnets des p aysannes se so ul ev é ren t co m me des

“
,

ailes de p a p illons blancs qui s a git en t ”5 9

I n L es S a ba ts a si milar
0 ’
.
,
6

gust o f wind blowing through the o p en doors o f a chu rch o v er the

,

“
bonnets blancs des p aysannes tosses u p i n its p assage les longs ,

rubans des coi ff ures ”61

I n L e R osi er d e M a d a me H usso n there i s
62
.

a p ublic address disting u i shed by so mething o f the sa me inanity as is

a p parent in the s p eech o f the counsellor at t h e Co m “
ices
To be mentioned also i n thi s conne ction are the account o f the m eet
ing o f the club in L E d u ca ti o n s en ti m ’
en ta l e and o f the suff rage society

in Oeuvr es pos thumes II 64

The audience consists i n each ca se of , .

ridiculous and ine ff ecti v e figures a mong the mcertain forei gners the , ,

s p eeches are f oolish and the gathering i s disorderly The w hol e , .

re p resentation i s e v i dently intended to be caricatural .

S e v eral ti m es both in Flaubert a n d i n M au p assant it ha pp ens

that a p erson in need o f so m e k ind goes to a chur ch o r to a p riest f or
aid L hi s ta i r e d un e fill e d e f er m
.
’
e
65
re s e m bles here in a short p as
’

sage the ex p erience O f E m ma B ov ary E mma hearing the bell ring .

em
,

ing the A ngelus and re m bering her con v ent days goes to the
,

chu rch where she m

,

, eets the A bbé B o u r n i si en To h imshe tries to .

tell her troubl e but re p ulsed by his strange lack o f co m

, p rehens ion
,

lea v es h imwith her distress uns p oken

,

66
R ose goes to church and .

p rays at the ti me o f the A ngelus Then she seeks out the cur e ; but .
’

he goes o n with his dinner as he waits for her to s p eak and she like
ma de p arts with her secret un re vealed A n incident in B el A mi
,

Em
,

-
, .

whi ch has se v eral po int s o f contact with o n e i n M a d a m e B o va r y is

'

that where M m e Walter gi v es D uroy a rendez v ous in the Chu rch o f

the Trinity 67
S imilarly E m
. ma has p ro mised to meet Léon in R ouen
”
Cathedral Like details are noted i n the scene outside o f the church
.

— the brightness o f the su m mer sun and the p lashing o f the wate r in
58
MB . .
,
p . 2 11; M . pp . 2 45 48,
-
2 5 2 -5 3 .
61 p .
99 .

59
MB . .
, p . 207 .
62 p . 24 .

6° C pp .
99 -1
09 .
63
MB . .
,
pp . 197 - 2 02 .

64 pp .
433 43 ; O P -
. .
, II : S éa n ce publi q u e ,
pp .
7 3 80
-
.

65 pp .
55 -
91 .
67
B -A. .
,
pp .
3 94, 397 4 12 -
.

“
6
ME pp 15 3 - 5 9 63
MB pp 32 8 , - 6
. .
, . . . .
,
.
33 3
0 .
74 F LA UBER T AND M A UP A S S AN T

the fo u ntain I n bo th ca s es the lo v er arri v es to o early and makes the

.

c i rcu it o f t h e na v e no t i c ing a mong o t her thing s the l i ght falling , , ,

through the colored w i ndow s I n bo th he beco mes i m p at ient a n d .

finally sits do w n to w ait L eon s s olitude and s u bsequent mee t ing .

’

w i th E mma are di st u rbed by the suisse w ho wishes to exhibit the

“ ”
,

s i gh t s o f th e cathedral Likewise D uroy s w a i t ing and his rendez v o u s .

’

wi t h M m e Wal t er are p unctuated by the ste p s and by the words o f

u n gros m on s ie u r w ho also asks so me questions regarding the his

“ ”
,

t o r i ca l m onu men t s o f the church D uroy like Frédéric fi rst beco mes .
, ,

aware o f the a r r iva l o f hi s m

'

i stress on hearing the rustle o f her dress .

Here the w ording i s v e ry si milar .

FL AU B ER T M AU P ASSAN T
C eta i t e ll e L é o n . se l eva e t co u C et a i t e l l e . 11S C l eva ,
’
s a v a n ga

r ut a sa r enco nt r e p . v i ve men t [ B .
-
A .
,
p .

B o t h wo men try to break loose f ro mte m p tation E mma by mean s ,

o f a letter which she has written the p re v io u s e v ening and now hands

t o Léon M m e Walter i n words as D uroy and she kneel side by side

, , .

B oth subsequently atte m p t to obtain re solution i n p rayer desp air ,

i n gly looking for su p ernatural aid Both find thei r distress but .

in c reased by the at m os p here o f the chur ch M m e Walter i s dcli v .

ered f o r the ti me being by the ad v ent o f a p riest w ho mS h e constrains ,

to hear her con fession E m ma gi v es w ay t o Léon A nothe r scene . .

i n a church this ti me bet w een husband and wi fe has nothing i n

,
69
,

co m mon w ith the foregoing exce p t the distress o f the w o man .

A dditional p laces o f rendez v ous all u ded to by both authors are : a

carriage o r diligence ; a s p ecially p re p ared a p art m
70 71
ent ; the end o f a
garden ( in M B and B A an arbor ) the public street ; a conserva
72
.
7 3
.
-
.

tory ; and so o n I n M a d a me B ova ry Léon and E m

74
ma go o n an
.
,

excursion in a rowboat A si mila r incident i s found in L ettr e tr a uve e

’

su r n u The follo w ing p oints are alike in both : the t wo dine

09 pp . 13 - 15 .

7°
ME . .
,
pp . 6
33 3 ;
-
8 B -
A . .
,
pp . 12 8 -2 9 ; Un E ch ec , pp .
45 5 0 ;
-

L A veu,
’
pp .
5 5 6 ; etc
0- .

71 pp . 6
39 , 4 7
0 -8
; B -
A . .
,
pp . 140 ff .
,
etc .
; N C,. . pp . 112 ff ; e tc .

72
M E . .
,
p . 2 34, et c .
; L e M a l d A nd r é ,
’
pp . 12 5 - 2 7 ; B .
-
A .
,
pp .
497 , 5 0 1 .

78 pp 395 .
, 3 97 , 399 40 1;
-
B -A . .
,
pp .
5 4 4 1;
0-
N C, . . p 12 1
. .

74 p 17 6 ; . B -A . .
,
p .
496 , e tc .
; OP . .
,
I: L a S er r e, pp 147 .
-
54 .

75
OP . .
,
I ,
2 14- 17 .
 RES E M BL N ES A C 75

in an inn by the waterside ; they e m bark i n the darkness o f e v ening ;

they ski rt wooded shores ; influenced by the m oonlight they i ndulge “

in senti m ental tho u ghts and obser vations .

A situation that i s f ound m ore than once in both authors i s that

o f the desertion o f a wo m a n by her lov er There is considerable .

general rese m blance in this connection between the stories o f Félicité

in Un Co eu r si m pl e and R ose i n L h i s toi r e d u n e fill e d e fer m
” ’ ’
e .

B oth are ser v ants on a far mand go through the usual p rocesses o f
p easant lov e making I n each story p ro mise o f marriage has been
-
.

gi v en by the m a n and the distre s s o f the p oor gi rl on being le ft i s

,

unusually keen The likeness between the case s o f E mma B o v ary

.

and Jeanne in Un e Vi e has already been mentioned 77

A nother .

i nstance is that o f M me Walter who i s fo u nd unconscious the m orn ,

ing a fter hearing that her dau ghter has gone away with D u R oy ”
.

Two incidents in M a da m e B ova r y ha v e a long train o f su c cessors

i n the works o f M au p assant These are the finding o f hi s w i f e s lo v e .

’

letters by Charles a fter her death and the exa m

79
ining o f hi s sou ,

v en i r s by R odol p he
80
For a long ti me a fter E m ma s death Charles ’

does n o t O p en the secret co mp artm

.

ent O f her bureau de p ali ssandre

“ ”
.

O n doing so at las t he unearths t h e letters o f Léon those from , ,

R odol p he being sub s equently found in a box He i s thro w n i nto w ild .

des p ai r by his di sco v ery In U n a Vi e Jeanne watching by her m other .

, ,

a fter the latter s death takes the dead wo m ’

an s letters fro m the ,
’

drawer o f the secrétai re d a ca j ou and reads the m A m

“
ong the m ’
.

are letters f roma lov er o n the p e rusal o f which she is shaken like , ,

Charles with a p aroxys m o f uncontrolled grie f A v ery si milar

, .

instance is to be found i n L a Vei ll ee where a so n and daughter

'
81

watching by a dead m
, ,

other take he r letters f ro mthe drawer w here ,

they ha v e been ke p t and o n reading the mm ake to thei r horror and

,

a maze m
,

ent a discov e ry like Jeanne s I n N os L ettr es the re v ela

82 ’

tion co m
, .

’
es to a stranger A rri v ing f o r a v isit at a f riend s house he .
,

i s gi v en the unoccu p ied roo mo f the deceased Tante R ose

“
There .
,

o n looking in the
“
secrétai re d a ca j ou f o r w riting m
”
aterials he finds ’
,

a secret co m p artment which he succeeds i n o p ening H e reads the , .

letters therei n contained which f urnish e v iden ce o f a hitherto un su s ,

pected lo v e a ff ai r o f the dead wo m an s I n L e P ar d o n a wi fe i s

“3 ’
.

76
TC,
. pp 7 10 ;
. .
- pp .
5 9 64 - .
80 I
bi d .
,
pp 2 7 8 80
.
- .

77
S ee ab o v e p 65 , . .
81
OP . .
,
I 5 5 60
,
-
.

78
B A pp 5 5 2 5 3
.
-
.
,
.
-
.
82 pp 2 08 16 .
-
.

79 M B pp 47 8 7 9
. .
, .
-
.
83 I bi d , . pp 92 96 .
, .
76 FL A UBE R T A ND M A UP A S S A N T

in for med o f her husband s treache ry through an anony mous letter ’

,

and again through a note to himf ro mhis dying mistress whi ch she ,

pi ck s up and reads I n L Or d o n na n ce a husband recei ves like ne w s

84
.
’
,

o f h i s w i fe in a letter w ritten by her j ust be fore she co m mits sui cide

and found by h imo n her work table o n his re t urn f ro mher f uneral -
.

A nothe r letter f ro ma suicide co m p osed during his last night and ,

disco v ered next day on hi s table narrates t he causes o f his sel f ,

destruction—disillusion m ent enn u i and the m em ory o f the p ast , ,

brought back by souv enirs that he has p reserv ed ”

H ere m ight be
mentioned the letter o f E mma to Charles exp laining the p oisoning o f
.

hersel f 36
‘
. Letters taken fro munde r a p rie D ieu in the M adeleine
“ ”
-
,

according to L es C a r ess es ha v e again to do w ith a lov e i ntrigu e

”
,
.

A v ariation i n the m ediu mo f rev elation occurs i n U n F a n and i n

88

U n Ca s d e d iv or ce 89
I n the former a j ournal discovered a fter hi s
.

dea t h i n the secretary O f an estee m ed j udge shows himto hav e been

a fflicted wi t h ho m icidal m ania and to hav e co m mitted mu rders under
its co m p ulsion I n the latte r the j ournal o f the husband is quoted
.

by the la w yer for the w i fe as p ro v ing la folie p oétique o n the p art

“ ”

o f the ma n and conseque nt good reason for the granting o f the

,

di v orce .

We co m e now to the second incident na m ed at the beg i nn i ng o f

t he p receding p aragra p h which is the exa m ining o f his souv eni rs by ,

R odol p he This he does a fter lea v ing E m

. ma and be fore w riting his
lette r O f f arewell to her H e has ke p t these sou venirs i n an o l d .

bi scuit box and turns the mabout with callous indifference

- 90
A so m e .

w hat si milar collection O f sou venirs i s enu merated by the suicide

who has been s p oken o f abo v e as hav ing le ft a letter ex p laining hi s
de p arture 91
O li v ie r Bertin also s p ends so m
. e ti me i n going through
9 2— “ ”
his sou veni rs o f the countess Sorrow fully like the S uici de not , ,

heartlessly like R odol p he S orrow f ully also does la baronne ins pect
,
“ ”
.

“
her relics ””
—the relics which a fter w ards re v eal he r secret to her
“

daughter Jeanne hersel f we are told i s p re p aring her boite aux

.
“
, ,

84 pp .
96-101 .

85
S u i ci d es ,
pp . 2 2 9 - 39 .

pp 43 5 3 7 .
-
. p . 2 79 .

87 pp 2 8 1 88 .
-
.
91
S u ici d es ,
p . 2 37 .

88
M P a r pp 16 1 7 3
. .
,
.
- .
92 pp . 2 95 -96 .

3° pp 2 18 2 9 .
-
.
93
UV . .
,
pp .
33 , 2 2 7 - 28 .
78 FLA UBE R T A ND M A UP A S S A N T
Je m lé e ve a mi d i .
J e v i en s i ci , j e de j e u ne j e b o i s , des b o cks , j
’
a t t en d s

la n u i t j e d i ne j e b o i s d es bocks ; p u i s ver s u n e h e u r e ct d e mi e du mat i n

, , ,

j e r e t o u r ne m
,

e co uch e r par ce q u o n fe r m e C e st c c q u i me m b é te l e p l u s
’ ’ ’
. .

D ep u i s d i x a n s j a i b i en pa s sé s i x ann é e s su r c e tt e b an qu e tte d an s m
’
, on ,

co i n ; e t l e r e st e d an s m on l it j am a i s a i ll e u r s J e ca use q u e l q uef o i s ave c , .

d e s ha b i t u és 103
.

A ll t hrough t h e con versation which th e B o ckeu r has w ith the

o the r p ersonage o f the s t ory he calls o ut constan t ly the w ord s w hich
for m t h e t i t le « Gar c on un B ock a n ex cla m
,
ation not quite so ,
-

la con i c a s R egi m “
b a r t s B ock !
”
A t the end o f the story he breaks hi s
’

pip e and la m en t s o v er th e ti me it w i ll take h i mto bring another to t h e

sa m e p itch o f p er fection This recalls D ussa r d ie r 104
to who mha p .
,

pens t h e sa m e a cc iden t with the sa m e regret follo w ing B oth Fla u ,

.

ber t and M au p assant de s cribe in v arying ter m s p laces o f entertain

men t which hav e in co mmon the a ccoun t they gi v e o f the motley
crowd 105
. A n incident alluded to in each author i s the following .

R o sa n ett e in L E d u ca l i o n s en ti m e n ta l e thro w s c ru m
’
bs to th e fish in
the
“
étang des car p es at Fon t ainebleau during her v i sit t o the
”

chat ea u w i t h Frédéri c I n hi s house Wal ter in B el A mi has a ,

-
,

large p ond w ith s mall fountains containing quelques énor m

,
“
es p ois ,

s ons rouge s
” 107
whi ch are t a m e and co me to the sur face to be fed
,
108
.

A nother ani m al ins t an ce i s a s f ollo w s I n Un C o eu r s im pl e i t will .

,

be re me m bered there i s a p arrot w hich beco m es the p et o f Félicité

, ,

w h i ch i s st u ff ed a fter it s deat h and w hi ch the si mp le woman co mes ,

t o con fuse in he r thought w ith the re p resentations she has seen o f the
H oly S p irit 109
I n t w o O f his tales M au p assant s p eaks o f p arrots I n
. .

B o i tel l e he me rely gi v es a descri p t ion o f th e different bright

110

colored and noi sy p arro t s e x p osed for sale on the quays at Ha v re In .

L e N a ye “ he t ells th e story o f a w o man whose husband has been

l

dro w ned a fter she ha s su ff ered years o f abuse f ro mh im S h e buys

“

a p arro t at a s ale but is so terrified o n hearing it s p eak to her in the ,

v oice o f her husband and in the words wi th w hi ch he had been w on t

103
M H ar . .
,
p . 2 35 .
104
L E d -S
,
°
1 PP
105 Fo r e x mp le a ,
pp . 163 ff ; Ta i ne : L A r oi r e pp
.
’
m ,
. 15 0 -
5 1; L I B
’
.

L e M a s q u e, pp . 15 9 - 7 5 ; B .
-
A .
,
pp . 18 if ; O P I I : E ssa i d A
. .
,
’
m o ur, pp 5 7 5 8 .
- .

100
p .
462 .
107
B .
-
A .
,
p .
489 .

108
B -A . .
,
pp .
5 09, 5 10-
11, 5 13 , 5 14 ; c f . S al .
, pp . 14- 15 ; c f . a l so OP . .
,
II
Un D i n e r et q uel q u es idé es, p . 63 .

10°
TC . .
, pp .
40 ff .

“0 pp “1
.
7 8-80 .
PD I I 9-3 3
 R ES E M BLA N CE S 79

to assai l her that she regards it as a r e e m ,

bodi ment o f his s p i rit kills -
,

it and throws it into the sea a fterward p raying to be forgi v en f o r the

, ,

cri me she thinks she has c o m mitted Thi s story i s l ike Un C o eur .

s im p l e in the connection o f the p arrot with the su p ernatural .

I n M a da me B ova ry L E d u ca ti on s en timen ta l e L in u ti le B ea u te ,
’
,
’ ’

and F o r t co m me la M a r t are p ictured scenes in theatres during a re p

resen t a t i o n
112
A l l gi v e so m e general descri p tions o f the crowd o f
.
,

the m o v e ment o f the greetings and con v ersations there taking p lace
e B ov a r y and in F o r t co m
.
,

Those in M ad a m me la M a r t are alike in

so me p articulars E m ma i n the on e b ook Ol i v ier B ertin in the other
.
, ,

connect the m usic and the words o f the o p era with thei r o wn m
_

elan
cho ly thoughts and are sti rred by the strong lo v e interest o f the

story .

Like Flaubert M au p a s sant s p eaks not seldo mo f v arious f or m , s

o f hu m an m alady H e gi ves for i nstance a descri p tion o f a .
, ,

di p htheri a case as does Flaube rt in L E du ca ti on s en ti m , en ta l e

113 ’
.

O n e account o f m is fortune which has details o f likeness to a p assage

i n the works o f the older m a n i s that o f
“
l e p ere Clo v i s in M o n t
”

“ ”
Or i o l The O l d beggar cured the year be fore by his daily baths
.
,

in the waters O f the O riol s p ring has beco me m ore inca p acitated than
e ver and la m
,

,
ents hi s bad fortune in p ublic to all w ho will listen to
h im .
114
S o al so does the blind m endicant in M a d a m e B o v a r y w ho m ,

H om a i s has tried and fai led to cure

115
A nder m att in M o n t Or i o l .
-

a i s t ries to hav e the beggar i m

, ,

l ike H o m p ri soned U nlike H o ma is

,

.
,

he does n o t succeed i n thi s but he manages to silence o l d Clo v is by ,

othe r means 116

.

S e v eral duels are de p icted by the two authors The p oints o f .

rese m blance between the duels o f Fré déric and D u roy ha v e already
been considered 117
I n L H er i ta ge a duel is threatened between
118
.
’ ’

M aze a nd L e sa b l e who mthe form er has insulted A s i n F r é dé r i c s

, .
’

duel in form
, ation has to be sought f ro mauthorities o n certai n tech
n i ca l m atters The occurrence i s rendered ridiculous like the duels
.
,

o f Frédéric and D uroy e v en m ore so in fact i n that the usual satis , , ,

faction is av oided th rough the signing by the p rinci p als o f docu m ents
112 ME . .
,
pp .
3 7
0 - 16
; pp . 12 6-2 7 ; pp . 2 2 -3 4 ; pp .

3 7 3
1 - 2
.

113 pp 401 4 ; .
-
pp . 86 -92 .
115 ME . .p 47 3
, . .

M O pp 2 3 5 3 7 116 M B p 47 4 ; M
114
.
-
.
, .
-
. . .
, .
-
O;
. pp . 2 3 6-38 .

117
pp 3 18 3 0 ; .
-
B -A . .
,
pp . 2 3 0-49 ; see al so abo ve pp , . 68 , 69 .

118
M H a r pp 110 16
. .
, .
- .
80 FLA UBE R T A ND MA UP A S S A N T

c ontaining m utual excuses I n Un L ci che the coward o f th e .

119

s tory i s in v ol v ed in a duel o w ing to an insult o ff ered to a wo m an w ith ,

who mhe ha pp ens to be A s in t h e ca s es o f Frédéric and D uroy hi s .

a p pro v al o f hi msel f is re p laced by fear Like the mhe looks in the .

glass and finds hi msel f p ale Hi s terror increases until it surp asses .

e v en tha t o f Ci sy i n L E d u ca ti o n s en ti men tal e H e finally co m mits ’

.

suici de because he feels that he cannot face the ordeal Un D uel .

relates a ha pp ening o f a di ff erent kind I n it a French m an kills a .

Ger m an who has i nsulted himas a French m an a f t er the de feat o f

18 7 0 The ele ment o f caricature always p resent i n these accounts
.
,

o f duels is su pp lied here by the i ntrodu ction o f t wo E ngli sh m

,
en who
act as seconds to the French m an and by the fact that the v ictor has ,

ne v er be fore held a p istol w hile hi s antagonist i s an ar m y o ffi cer 12 0

,
.

A nothe r w a r story B o u l e d e S u i f introduces the hunger m oti f , , ,

w hich i s found besides i n I dyl l e and L e Vaga bon d as well as i n ,

S al a m mb a 12 1
A ll e mp hasize t he commanding brutalizing p ower o f
‘

.
,

hunger and the v oracity o f the hungry be f ore the sight o f food I n .

L e Va ga b on d also as in S a l a m mbé are mentioned the dreams o f f ood , ,

characteri sti c o f a condition o f starv ation

12 2
B oth Flaube rt and .

M au p assant gi v e an un p leasant p icture o f an Old m a n p itiable in his ,

infirmi t y who is a gourm and a nd who shows his gour m

,
andis mby ,

p o in ting o r gras p ing hel p lessly at the dishes be fore h im The t w o

12 3
.

w riters also indulge thei r fondness f o r sati re at the exp ense o f the
citizen soldiers who m -
ake clu m sy and ine ff ecti v e e ff orts to rouse
t he m sel v es f ro mthei r corp ulent sloth to the de fence O f thei r coun
t ry 1 4
. Two p assages o n this subj ect are so m
2
ewhat al i ke .

FLAU B ER T M AU P ASSAN T
L es u n s, s
’
i mgi a n a nt q u i l fa l l a i t
’
g r os n a ll a ien t pa s par l es
L es
’

b ea u co u p manger p r ou a cq u é rir d es r ue s q u au pa s gymna st ique p o ur

’

fo r ce s se go r gea i ent
, , et d
’
a ut r e s . f o n d r e l e ur gra i sse et pr o l onge r
i n commod és par l eu r co rp en ce
ul ,
l e u r h a l e i ne l es fa i b l e s p o r ta i en t
,

j ef m p o ur se d e s fard eau x p o u r f o rt ifi er l e u r s
’
s ex ten u a i en t de es

fa ir e ma i gri r [S a l .
,
p . muscl e s pp 15 .

“9 pp . 107 - 21 .
120
OP . .
,
I , 15 9- 6 1 .

”1 pp . 22 -2 9 , 7 5 76 ; M H a r
-
. .
,
pp . 2 03 - 11; LH . .
,
pp . 2 2 7 -42 ; S al .
,
pp .

3 6 1 68-
.

12 2
S al .
,
pp 366 67 ; L H : L V p 2 2 8
.
-
. . . .
,
. .

12 3 ME . .
,
p 68 ; L H : Un e F a mi ll e pp 17 8 8 1
. . .
,
.
-
.

1“
S al .
,
p 12 0 ;. Un C o up d é ta t pp 15 16 ; Ta i n e :
'

,
.
- L es P r ison ni ers ,

p . 18 1 .
 RE S E M BL A N CE S 81

another likeness to S a la m
S till mbé i s the ment ion in L e L a pi n , ,

o f the horses neighing towards the m orning light as do the sacred

horses towards the sun in the fo rm
,

er story .

M any p assages in Flaubert and M au p assant giv e descri p tions o f

death O f burial and o f the resting p laces o f the
, , I n the -

nature o f the case they hav e m uch in co m mon S crutiny however .

, ,

fails to re v eal any distincti v e likenesses rese m blances being confined ,

to the uni v ersal ci rcu mstances and conco m itants o f thi s hu man ex pe
ric u ce A m ong the fa m
. ous ce meteries described are those o f P ere
Lachai se and M ont m artre in P aris and the Ci meti ere des Ca p ucins
“ ”
,

near P aler mo i n S icily ”7

The frequency o f such descri p tions is to .

be connected with the thought o f death entertained by the two

autho rs This has been re ferred to in a p re v ious cha p ter
.
12 8
F re .

quent likewise are scenes o n board p assenger boats

, ,
12 9
Al l those .

cited m ention the start o f the boat and all exce p t U n E ch ec and Un e ,

Vi e s p eak o f the bustle and noise o n board I n Un E chec the man .

telling the story watches a wo m an o n deck as Fré déric d oes M m e ,

A rnoux The wo m an reads and s m

. iles whi le reading as M m e ,

A r noux i s p ictured doi ng The m an m akes a dva n CCS to he r like .

'

F r é dé r i c and is m ore success ful therein than the latte r L a M er

, .

rese m bles the Flaubertian descri p tion i n that the p eo p le take dinner
du ring the p assage .

Flaubert and M au p assant were both n ati v es O f N orm andy and

ha v e le f t us nu m erous p ictures o f the N or m an countryside ( which
both knew and lo v ed ) es p ecially o f that p ortion lying between R ouen ,

and the sea E ach p ortrays the p lains and the undulating st retches
.
,

with clu m p s o f trees at i ntervals the dusty highroads running like ,

ribbons through the country the farm s p rotected by rows O f p o p lars ,

12 5
S al .
,
p . 2 1; p . 106 .

12 6
For e xampl
6
43 5 49. 45 3 9 ; pp e. -
0 MB
5 3 7 5 . 5 7 4 76. 5 83
-
. . pp .
- -
.

E n F pp 15 0—
,

85 ; T C : . pp 3 7 -38, 5 7 -64 ;
.
5 4, 16 7, 1
.69 76
-

m
. .
,

L es T o ba l es, pp 2 5 1 57 ;
-
L a To be pp 2 5 3 60 ;
-
.
’
L o dan m , . r
n a n ce, pp -
6
95 9 , L a M or t e pp
. 2 2 1-
0
3 ; U V pp 2 0 2 6
3 45 , 4 47 ;
- B -A
,
pp ,
. . .
, .
-
. . .

2 7 8—89 ; pp 3 5 4 7 2 .
-
.

12 7
L Ed S
’
pp 5 48 49 ;
.
,
.
-
L es Ta mba l es pp , . 2 5 1- 5 4 pp . 69-7 6 .

12 8
S ee ab ove p 15 , . .

12 9 pp 1 11; .
- I II , 180, 18 1-82 ; M H ar . . : M a n Oncl e Ju l es ,

pp . 2 7 6- 84 M P ar . . : D é couv e te, r pp . 2 49- 57 Un E chec ,

pp .
37 44 -

U V,
. . pp .
93 98 - pp . 2 3 3 7 , 39 42 ;
1- 2 -
Au S . L a M er ,
pp . 10- 12 .
82 FLA UBE R T AND M A UP A S S A N T
or bee ches sheltering a p ple orchards and yards re p lete w ith lazy
ani mal l i fe the fields gay with p o pp ies and other flowers the strea ms
, ,

and p ond s t h e f req u ent roo fs o f thatch the Chatea ux with thei r
, ,

parks the v illages wi t h thei r churches ce me t eries inns and

, , , ,

“
mai ries th e lo fty cli ff s along the coast
”
,
13 °
O n e o r t w o des c ri p tion s .

ha v e more s p e cial p oints o f l i keness For i n st an ce the following .

,

paragra phs p ortray si m ilar scenes in a so me w hat si milar manner .

FLAU B ERT M AU P ASSAN T

E l le [ l ri v ere ] l ai t
a an I l a ll a i t v i t e l l ng d l t i t
1 co u s s , e o e e ro e

b r i t r ap i d e
u , t fr id a l eil ; d ri v i er e q i mo a i t gr gnai t b i l
e o
’
o e u us s , o ,
ou

g r an d h r bs m i ey r b a i
esen t l i t t fi l
n ces si t d an ’
l i t d h
co u b on na e a s s on
’
er es,

en e mb l e e l n l
s ,
r an t q i l
s o e ut d
co u l L u es so u s une va e e s a u es . es

p o u ss a i t t mme d , eh l r co gr e p i e r re ét t l
es c r
ev e u es o ss s s, arr an e co u s ,

ve r t ab and nn ée é t l i t dan ava i ent a t r d e l le

es o s s
’
b rre l e t
a a en s u ou
’
s un ou

sa lim p i dité Q e l q ef i a l. d ea u r t e d rava

u t e t er m
o s, i n é e a
’
u , u n e so e c

p i nte d j n
o es l fe i l l e en n e d d é m Pa r p l a e
o cs ou su r a u o u
’
cu e . c s,

l
( es é f
n nui n e t e 2 patte
a r s, ét i t d
un a ad e d
s c p i ed s c
’
a en es c sc s
’
un ,

fi ne ma r h a i t
s p ait L
c vent i nv i i b l e
ou se q i fa i a i ent
os . e so u s s, u s ,

so l e i l t r aver a i t d r ay n l spet i t s l
’
fe i l l e
un l o l i ane e s so u s es u s, so u s es s,

gl b l e b l e
o u d s nd e q i us es o t it d verd res gr
u se su c so u s un o e u ,
un os

c é d a i en t en r evant ; l i b r it
se c l er e t d x ; p i p l l in es v eux u co e ou u s us o ,

éb r an h é m ir a i ent dan l ea l be r ge é l gi i t ren ’ ’

l
s a u es c s s u es s s ar ss a e n , on

l e r é r e gri e ;
u co d e l a t t a l en
c c nt r a i t
s au p e t i t l pa i i b l eou i o un ac s O l

nagea i en t l e t r i te pa r mi t t e
,

tou r l p r airi e e mbl a i t v i de

, a s c s u s ou

pp 3 1 0 tt h l r r t q i nd i e ce e c ev e u e v e e u o o au

f nd d r i ea x al m
.

e o es u ss u c s

PP 3 41
-

B oth passages here describe a little strea mflowing along through

t h e country by a v i llage I n one case the strea i s turbulent in the . m ,

o ther it i s s mooth The general a pp earance o f the ri v er s c o u rse is .

’

the sa m e i n both o vershado w ed by willo w s and f ringed wi th reed s ,

and long gra ss to which the figure o f che velure v erte is a pp lied
“ ”
, .

A ri v er p laced si m ilarly to that i n M a d a me B ov a r y washing the ,

w alls o f the gardens on o n e side and bordered o n the other by fields ,

i s re ferred to i n N o tr e C oeu r 18 1
On e or two p ictures o f far m .

13 °
For e xamp l e, ME . .
, pp . 16- 18, 6
4 , 6 1 6
- 2
, 6 5 , 7 , 95 100,
2 -
15 3 ; p .

110 ; pp . 2 3 , 2 4-2 5 : pp 5 5 -5 8, 7 6 7 7 ;
.
-
p .
32 ;
p 9. C o up d eta t p 2 1; M H a r p
: Un
’
, . .
, .
7; pp .
3 4; U V,
-
. . pp . 2 3 -2 6 ,

339 40 344 45 ; O P
-
I 2 66 ;
, p 19 -
. .
, , . .

13 1
N C p 231 . .
,
. .
 RE S E M BL N E S A C 83

k itchens are alike i n noting the reflection O f sunlight o r fi r elight in

the b ri ght kitchen utensils o f v arious kin ds 13 2
I n three p assages .

M au p assant describes the sa m e v iew o f R ouen as i s indi cated by

Flaubert where E mm a s gradual a pp roach to the city fro mY onv ille is ’

retailed ”3
A l l the p ictures re p roduce the out standing fe atures o f
the scen e—the ri v er the church spi res the factory chi mneys L e
.

.
, ,

H o r l a is further like M a d a m e B o v a r y in m entioning the p leasant

sound o f the church bells o n the early m o rning ai r M au p assant m ore .

than once s p eaks o f Croisset Flaubert s ho me 13 4

besides describing ,
’
,

in L e H or l a ”
a house and garden like his f riend s and mentioning
‘ ’
,

in B ou l e d e S ui f the in v asion o f R ouen by the P russians during

which the Croi sset house was occu p ied by the m as we know f ro m ,

the older man s corres p ondence 13 6

I n the first E du ca ti on s en timen
’
.

ta l e 13 7
there is a p icture o f H av re rese m bling i n so me p articulars that
gi ven in P i er r e e t J ea n 13 8 —
through its m ention o f the throng o f
boats in the harbor o f the brightnes s o f the lighthouses o f the greasy , ,

thickness o f the fog Flaube rt has one M au p assant fou r d escri p .

, ,

tions o f M ont S aint M ichel 13 9 - -

.

B esides li v ing in N orm andy the t wo w riters i n que stion resided ,

much in P aris which both hav e described ov er and ov er again Flau

, ,

bert es p eci ally i n L E d u ca ti on s en ti m en ta l e and M au p assant in the

’
,

many storie s w hich hav e to do with the li fe o f the metrop olis A s

may be ex p ected they o ften de p ict the sa e s cenes but again n ot
with disti ncti v e si m
,

i larity The greater frequency o f night p ictures .

m ,
.

in M au p assant i s to be noted 14 0
O n e descri p tion sev eral ti m es .

re p eated is that o f the p arade o f carriages i n the Cha m p s E lysees and -

the B oi s de B oulogn e 14 1
The reflection o f the sun o n p arts o f the .

13 2 MB. .
,
p 18 ;
. p . 27 ; B -A . .
,
pp . 193 - 94 ; OP . .
, I , 2 67 .

13 3
ME. .
,
pp 363 .
-
64 ; Un N o rm d an ,
pp . 143 -44 ; LH . .
,
p .
4; B -
A . .
,

PP 3 2 1-2
3 . 33 5
13 4
For e xamp l e, p .
9; B .
-
A .
,
p .
3 3 1; etc .

13 5Pp 3 .
-
4 .
13 7 III ,
17 9 .

13 “
C orr .
,
I V , 44 -5 9 .
13 8 Pp . 18, 2 1, 42 , 93 , etc .

13 9 pp .
3 10 17 ; -
L a L eg en d e du M on t-S a i n t-M i ch el,
’

pp . 103 -4 ; LH . .
,
pp . 10- 11; N C, . . pp . 6
7 5 7 , 94 105
- -
.

14 °
Cf . L a N ui t, ,
pp . 2 19- 2 8 .

14 1 pp .
33 , 2 18, 2 98- 99, 5 7 8;
0 -
III 4 5;
-
M lle F : A C h eva l
P r omena d e pp
, .
,

p . 15 9 ; Le P er e pp , . 8
3 39 ;
-
Yvette : , . 2 06-7 ,
2 09. 2 11 p .
5; B -A
.
. PP 3 5 5 4.
2 -
3 59. 5 3 3 ; pp 97 100 104.
-
.
84 FLA U E R B T A ND M A UP A S S A N T

c a rriages and harness is s p oken o f in L E d u ca ti o n s en ti men ta l e ’

( p 33 ) and in L i n u til e B ea u té ( p 5 ) the co ming u p O f a cold wind

’
. .

on the pro menaders in L E d u ca ti o n s en ti m en ta l e ( p 2 98 ) and F or t

’

me l a M a r t ( p
.

com There i s an ac count o f a v isit to Fontaine .

bleau i n L E d uca ti o n s en ti m en ta l e ( pp 4 5 9—
’
77 ) and i n N o tr e C o eu r .

( pp 2 2 9 ff ) I n addition to N ormandy and P aris both m

. . en ha v e ,

so m ething to say about B ri t tany S outhern Fran ce es p ecially the , ,

R i v iera Co rsi ca S w i t z erland I taly and A lgeria

,
14
I n many cases
, , , .
2

t h e yo u nger m a n see m s t o ha v e follo w ed the footste p s o f the Older i n

v i s iting these p laces for the sa m e or al most the sa me route w ill be , , ,

outlined and t h e sa m e na mes w i ll o ccur in the narrati v e There is

, .

no thing to denote howe v er that the o n e was influenced by the other , ,

i n hi s descri p tions o f what both saw f or the msel v es P ossibly there .

was an influence in the exciting o f interest This in turn ma y ha v e .

ca u sed a wish to see p laces already p ictured in thought Like Flau .

bert M au p assant t ra v eled in B rittany o n f oot

,
14 3
The p art v isited .

by bo th w as the so u thern shore o f the p eninsula M arseilles with .

i t s tee m ing li fe is p ortrayed by the two m en

14 5
I n R ome neither likes .

S t P eter s
.
“ 6
Flaubert p raises M ichael A ngelo s Last Judgm
’
.
“
ent ” ’
,

w hich M a up assant condemns 14 7

I n L a Vi e er r a n te during the .
,

descri p tion o f Tunis M au p assant s p eaks O f a r u ined aqueduct near ,

the to w n as l a qu ed u c de Carthage dont p arle Flaubert dans

“ ’

We hav e been considering hitherto for the m ost p art d escr ip

tions o f o u tdoor scenes ; there are also many o f v arious kinds o f
interiors w hich likewise furnish few instan ces o f striking si milarity
,
.

“2 S ee f o r , examp l e, F l a ub e t r ’
s P a r l es C ha mps et pa r l es r
g ev es , N o tes
d C rr M a upa s sa n t i
’ ’
de v oya g es, an o espo n d a n ce ; s A u S o l e l, S u r l E a u, a nd

L a Vi e e rr a n te .

“3 M ayn ia l L a Vi e , et l
’
o eu vr e d e M a upas sa n t ,
p . 183 .

14 4
cf . B . eP .
, pp .
3 8 if ; C o r , I , r . 2 8 3 - 85 ; Un F ls i ,

pp . 199 200 ;— M P ar . . : A Ve n d r e, p 100 L e B a pté

.
,
me pp ,
. 13 6- 3 7 , P e ti t S o ld a t ,

p. 288 ; P eu r pp 2 7 4 7 5 ; Un e S o ir ee p
La ,
.
-
,
. 143 ;

A n S : E n B r e tag n e pp 2 5 1 80
.
,
.
- .

“5 C o rr I 1 I 11 12 ; I I 2 92 93 345 46 ; pp
5 3 ; I II 7 2 ; .
, , , ,
-
,
-
,
-
.

2 02 ff ; A n S pp 9 10 183 84 ; .
,
Py r enees p 397.
-
,
-
,
. .

“6 Co rr I I 66 ; C o rr p cl v i
.
, , .
, . .

“7 C o r r I I . Co rr pp cl v v i -
.
, , .
,
.

14 8
Tu n is p 146 ; c f C o rr II I 3 3 5 36 34 6 , . . .
, ,
-
,
.
86 F LA UBE R T A N D M A UP A S S AN T

descri p t ion O f hands— the gnarled and de f o rm ed hands o f the worker

long p ale hands o f the m
,

a n or wo m
“ ”
the ,
an o f higher station the ,

s o ft re p ulsi ve hands o f an A rnoux or a Walter

,
15 8
Feet no less .

t han hands are o ften all u ded to and t aken as sy m bolic The broad .
,

un w ieldy boots o f Charles B o v ary see mto ty p i fy stu p idi ty no less

t han the fee t
“
fort p lats et fort gros o f Walter S ch n a ff s the
, , ,

si mp le Ger m an soldier 1 9
The gros souliers o f t h e p easants cor
“ ”
.
5

re sp ond to t h e charac t er o f th e wearers no less than the dainty shoes

of Em ma o r o f M me A rno u x 16 0
Mm e de M arelle s dia m ond which .
’
, ,

held by a thread o f gold hangs fro mher ear co m “

me une goutt e , ,

d eau q u i aurait glissé sur la chai r suggests S a l a m

’ ”
mb Os hollow ,
’

p earls filled wi th p er fu me f romwhich de moment en mo ment une

,
“
, ,

go u ttele t te qu i to m bait mouillait so n é p aule n u e ” 16 1

The likenesses .

between the diligence in M a d a me B o va ry and that in L a B é te a M a i t ’

B el ho mme hav e al ready been p ointed out 16

I n L A v eu and A pr es .
2 ’

the desi gnation o f a stage coa ch as a co ff re j aune is re p eated

“ ”
'

16 3
.

There are se v eral en u merations o f di ff erent kinds o f carriages 16 4

.

D e s cri p tions o f p ict u res are co m mon including di scussion o f po r ,

t rai t s o f characters and o f re p resentations o f Christ 16 5

R iches and .

their p ara p hernalia such as bibelots o f m

“ ”
any kinds occu p y a , ,

c onsiderable p la ce i n the w orks o f both m

16 6
en .

I n M au p assant there i s some use o f na mes w hich hav e e vidently

a more o r less close connecti on with na mes i n Flaubert The na me .

“
Le P o it tev i n for i nstance occurs se v eral ti mes
” 16 7
,
recalling the , ,

15 8 Fo r examp l e, MB . .
, pp . 208 - 9 ; L H . . : L e D i a bl e ,
p . 12 7 ; p . 187 ;
LH. . : Le M rq i a u s de F u m er a l , p .
97 ; p . 6 1; B -A . .
,
p .
50 .

15 9 ME . .
,
p 59 ; .
’
L A v en tu r e d e Wa l ter S ch n a fl s ,
p . 2 35 .

100
Fo r e x amp l e ,
p .
77 ; ME . .
,
pp . 83 , 109, etc .
;
p . 115 .

16 1
B -A. .
,
p .
37 ; cf . al so p .
43 ; S a l .
, D 2 59
.

16 2
S ee abo v e pp , .
58 59 -
.
19 3 p .
5 2 ; 01
)
I. 2 98

1“M E p 35 ; . p 2 9 ; M H a r : L a F i cell e
.
,
. 2 18 ; p 2 98 . . .
,
p . . .

F o r exa m p l e M B pp 2 0 32 6 4 16 ; p 5 ; T a in e : L A mi P a ’
105 .
, . .
, , , .

t i en ce p 2 9 ; B A pp 196 ff 32 7 ; pp 2 14 ff 307 8 etc ; L I B ’

- .
-
. . .
. . .
,
.
, , , .

Un P o r tr a i t pp 183 84 ;
,

pp 19 ff 82 ff 2 3 1 ff 2 94 ff 119 ff 2 4 1 ff ;
,
.
-
. .
, .
,
.
, .
, .
, .

p 42 9 ; B A pp 47 8 ff ;
. p 14 .
-
.
,
. . . .

10° F o r e x a m pl e M B pp 65 76 ; S a l pp 166 ff ; L Ed S p 2 7 etc ; -

.
’
.
. . .
, ,
. .
, , ,

Q u i sa i t f p 2 48 ; L a B a r o nn e pp 87 95
, .
, .
-
.

107
F o r ex a m p l e M l l e F : L V p 2 26 ; p 2 68 ; O P I
,
. . .
,
. . . .
,

p 97 . .
 RES E M BL N ES A C 87

fa mily f riendshi p which was the beginning o f the relationshi p

between the t wo m en There are one o r t w o sou v eni rs also o f
.

“ ’
F la ub e r t s S aint A ntoine ”
I n M a upa ssa nt s story o f that title
.
18 8 ’

the na m e i s a pp lied to a N orm an p easant called A ntoine whose , ,

“
cochon i s the P russian soldier billeted u p on h i m O ther m
”
ention .

o f the sa m e na m e in co m p arisons i s f ound i n L a peti te R oqu e ( p 44 ) .

and B el A m i (p -
The na m e P olyte i s a pp lied i n L A v eu to
“ ” ’

the dri ver o f a diligence in L e L a pi n to the m

.

a n o f all work o n a
,
- - -

farm recalling the P olyte o r H i pp olyte

,
“ ” “ ” “
l e gar c on de l a ub er ge
”
,
’
,

i n M ad a m e B o va r y
16 9 “
P aul i n Un Co eur si mpl e i s the character
”
.

corres p onding to P aul i n Un e Vi e I n L E du ca ti on sen ti m

“
en tal e
.
’

w e hear o f la p etite a M R oque ( p

“ ”
and i n M au p assant w e
. .

ha v e the story o f la p etite R oque O ccasionally the na m es see m

“
.

to be gi v en w ith so m e s p ecial m eaning in V iew Thus an un fortunat e .

wo man i s called Félicité and a false lov e r B el A m “

,
i
”
A lm ost all ,
-
.

the titles o f Flaubert s no v els are taken fro mthe na m ’

es o f p ersonages
i n the nov els M au p as sant also uses largely the na m
. es o f characters
f o r the titles o f his r om
_

a n s and co n tes Where he does not the d e sig .

nation frequently lacks di stincti v enes s .

I n characterization there is much si milarity between the two

authors This has already been co nsider ed to so me extent in co n
,

n ect i o n with p lots and incidents whi ch de p end i n whole or in p art

o n the characters o f the p ersonages in v ol v ed as i s the case in L E d u

’
,

ca ti o n s en ti men ta l e for instance S om e additional rese m blances will

.

be treated here Flaubert s best known characte r is p robably E m

.
’
ma
B o v a ry O f who m there are echoes in his subsequent work S a
, .

la m mbO f o r exa mp le rese mbles her i n her longings f o r the una tta in
, ,

able M lle R oque i n he r dissatis faction with p resent ci rcu m

, stances 17 0
.

On co m p aring Flaubert and M au p assant we find that there exists a

close likeness in character between E mm a B o v ary and Jeanne o f U n e
Vi e There i s also a m
. arked contrast between the m which see ms at ,

ti m es to be i ntentional o n M a upa ssa nt s p art as i f he had set Jeanne ’

,

o v er against E mm a designedly in o rder to e m p hasize the likenes s

between themby m eans o f thei r di ff erences I n so m e cases J eanne s .
’

ex p eriences suggest to o n e that they are p lanned so as to ca rry o ut

Em ma s i maginings
’
.

16 8 2 17 -3 2
pp .

16 9
pp .
5 0 ff . pp . 107 ff
'

17 0
p 357
. .
88 F LA UBE R T A ND M A UP A S S A N T

B o th are educated i n a con vent at R ouen the o n e entering a t ,

t w el v e and t h e o t her at thi rteen

17 1
cut o ff f ro mconta ct w ith ord i na ry ,

h u ma n a ff ai r s and s u bj e ct ed to unnat u ral influences whi ch tend to

encourage an already too acti v e senti m ental i m agination B oth s p end .

mu ch ti me at the conv ent i n drea mi ng o f lo v e and leav e its w alls

behind wi t h extra v agant ho p es for the future and w ith an already
confir m ed habit O f mind w h i ch i nfluen ces all t he i r f u ture li v es .

E ach gi rl return s to her ho m e in t h e c o untry on leav ing s chool .

Jeanne has been ke p t by her f ather rig i dly secl u ded fro mthe w orld
and i s astonishingly ignorant o f realities I n her outlook she i s s enti .

mental i f on the whole healthy minded E mma while p osses sing

,
-
.
,

a n a i v et e o f a kind i s mu ch more s op hi s t i cated than Jeanne in her

,

knowledge o f li fe and her senti mentality shows al ready a m

, orbid
quality .

I n the coun t ry Jeanne takes great delight lov ing nature in all its ,

a sp e cts and filled w ith the j o y o f li v ing To E m

, ma the country i s .

d istaste ful for she knows it too i nt im

, ately o n its m ore sordi d side ,

and th e li fe t here is w eari so me and unin t eresting B o t h s p end mu ch .

ti me alone and ind u lge in that drea ming w hich i s througho u t both ,

books the great si milari ty between the two chara cters I n bo t h case s
, .

the drea m s are full first o f ex p e ctations for the future and then
, ,

o f regret s f o r the p ast The e ff ect o f the drea ming i s in each ca se

.

t he sam e— t h e se p arating o f the drea mer fro mthe a ctualities o f li fe ,

and the begetting o f unreal o r extra v agant i deas and ex p ectations o f ,

dis content o r re v olt .

I n thei r dreamings the two wo men rev eal the radical di ff erence
bet w een their natures E m ma is fundamentally sen sual ; Jeanne i s
es s en t i ally p u re E mm
.

a a ty p ical exa m
. p le o f the fe mme incom
“
,

p ri se et p assionnée fosters within her s el f notions o f a grand p as

”
,

sion like that o f the heroines o f w ho mshe has read la légion lyrique
“
,

de ces fe m mes adult eres ; Jeanne dreams o f a lov er who i s also

” 17 2

a h u sband o f ch i ldren o f a l i fe o f a ff e ction in the chatea u with w hich

, ,

most o f her li fe has been connected and which i s to be hers B oth .

exhibit certain delicacies in act and thought s p rin ging i n t he o n e ,

case fro msel f indulgence i n the other fro minnate p u re minded

-
,
-

ness E m
. ma wishes for material luxury for change for so me thing , ,

extraordinary to ha pp en Jeanne would be sati sfied wi t h les si m “

p les
’
bonheu rs d une existence To both realization falls short
" 1 ME . .
,
p .
48 ; U V . .
,
p .
3 .
17 2 ME . .
,
p . 2 25 .
"3 U V . 0 3 70
90 FL A UBE R T A ND M A UP A S S AN T

b ut an indi fferent mo ther her lo v e for her ch i ld being s p as mod i c ,

and so meti mes a p ose ; Jeanne I s une mere fanatique erring t here
“ ”
,

by i n th e o ther di rection I n p ersonal a pp earan ce they are di rect .

an t i theses o n e o f the other E m ma being dark and rather sl i ght , ,

17 9
Jeanne fai r and v igorous looking -
.

I n cer tain p articulars as has been said Jeanne s exp erience see ms ,
’

to fulfil E m ma s i magi nings Her voyage to Corsica i s o n e examp le

,

’
.

o f this Of E m
. ma we read
E lle n gea i t q ue l qu ef o i s que c eta i en t l a p o ur tan t l es p l us b eau x j o ur s
so

d e sa v i e l a l une de m
, i e l comme o n d i sa i t P o ur en go fiter l a d ouceur il
, .
,

e fi t fa l l u s an s d o ut e s e n a l l e r ver s c e s pa ys a n o m s s o n o re s O iI l es
’
, ,

l en d e m a i n s d e mar i age o n t d e p l u s suave s pa r e sse s ! D an s d es ch a i se s d e

p o ste so u s d es s to r e s d e so i e b l e u e o n mon t e a u pa s d e s ro ut e s e sca r p é e s
, , ,

é co ut an t l a ch a nso n d u po st i ll o n qu i se r épét e d an s l a m on t a gne ave c l e s

cl och e tt e s d es ch evre s et l e b r u i t so ur d d e l a ca sca d e Q u an d l e so l e i l se .

co u ch e o n r e s p ir e a u b o r d d e s go l fe s l e pa r f u md e s c i t r o nn i e r s ; p u i s l e ,

so ir s u r l a t e rr a ss e d es v i ll a s s e u l s e t l e s d o i gt s conf ond u s o n r e ga r d e
, , ,

l es é to i l e s en fa i san t d es pr oj e t s I l l u i se m b l a i t qu e cer t a i n s l i e u x su r
.

l a t e r re d eva i en t p r o d uir e d u b o nh e u r co m me un e p lant e part i cul i ere a u ,

so l et q u i p o u s se m a l t o u t e a u t r e pa r t [ M B p . .
, .

A llowing for the ro manticis mo f the ex p ression the fi rst p art o f thi s ,

p assage recalls Jeanne s wedding j ourney by the gul fs and through ’

the mountains o f Corsica cc long v oyage a u p as p ast its hauteurs

“ ”
, ,

I t calls to mind also the e motions p rodu ced in her by

her surroundings there and her re m em brance o f these days in a f te r
,

years as a m ong the ha p piest o f her li fe .

O ther exa m p les o f the fulfil ment o f E mma s dreams i n Jeanne s ’ ’

ex p erience are as follows E m ma hankers as has been said a fter the .

, ,

nobility ; Jeanne is o f noble rank E m ma would like to see P aris ; .

Jeanne has v i sited P ari s E m ma hop es to hav e a son ; Jeanne s child .

’

i s a son E m ma w i shes that he r husband were beau s pi rituel

.
“
, ,

distingué a t ti rant ; Julien p ossesses at least at fi rst so m

”
, e o f these , ,

18 1
attributes .

M ore l i ke E m ma i n so me resp ects than her daughter i s Jeanne s ’

mo ther la baronne S he i s addi cted like E mma to the reading o f

“
,
”
.
, ,

"9 MB . .
, pp
. 2 0, e tc .
,
148 , etc .
; U V,
. . pp .
3 4
-
.

18 °
UV . .
, pp .
93 113, 102
-
.

19 1 I n al l t h ese d eta l s i Ma upassant see mt s o be w rking

o o ut su gg ties o ns
ca u ght f r mFl a b r t
o u e .
 RE S E M BL N E S A C 91

ro m antic fiction such as that o f S i r Walter S cott to a consequent

, ,
18 2

exaltation o f p assion as the m ain thing in li fe and to an easy toler ,

ance o f a m orous i rregularities S h e i s fond o f the nobility and much .

i mp ressed with their i m p ortance S he has had a love intrigue in her .

p ast histo ry which i s di scov ered as i s E mma s after her death

,
’
,
.

edi umo f her letters

,

through the m 18 8
.

Othe r likenesses to M ada m e B o va ry are nu merous Those i n .

Un e A v en tur e pa r i s i enn e and L a P a r u r e ha v e already been m en

t i o n ed
”4
. I n M J o ca s te we hav e an i nstance o f di sillusi onment
‘

18 5
.

rather like Jeanne s than like E m ma s but attaching to E mma through ’ ’

that interm
,

ediary Henriette in M o n si eu r P a r en t i s like E m ma i n

.

her detestation and consequent t reat ment o f he r husband 18 6

The .

f ollowing p aragrap h might describe al most equally well the Bo vary

situation :

I ] ava i t é p o u sé qu e l qu e s a n n eé s pl us t Ot un e j e une fe m
,
me a i mée ,

t end re m ent qui l e t ra i t a i t a pré sent ave c une r ude sse et un e aut o r i t é d e
d e spo te t o ut pui ssant E l le l e go u r man da i t san s ce sse po u r t o ut ce q u i l ’
-
.

fa i sa i t et pour tout cc qu i l n e fa i sa i t pa s l ui repro ch a i t a i grem ent ses ’

mo i nd re s a cte s ses h ab i tud e s ses si mpl e s pla i sir s ses go ii t s ses a l l u r e s

,

, , , , ,

se s ge st e s la r o nd e u r d e sa c e i n t u re et l e so n pl a c i de d e sa v o i x
18 7
.
,

On one occasion Henriette says to her husband : Ti ens tu n e seras ,

j am ai s q u un e loque ump auv re si re un p au v re ho m

’
me sans v olonté , , ,

sans fermeté sans énergie j ust as E mm

”
,
a exclai ms o f Charles ,

“
Q uel p au v re ho mm e ! quel p au v re ho m me !
” 18 8
A t ano t her ti me she
ex p lains t o her lo v er he r reasons f o r detesting her husband which
might also be E mma s Fi rst o f all he i s her husband ; then he ex a s
,
’
.
,

p erates her constantly by his stu p idity and slowness O f compr ehen
sion .

There is f urther likenes s to E mma to be found in M a n t Or i o l -

.

A t first n o t m uch gi v en to drea m ing 18 9

Mm e A nder m att i s brought ,

through B r étigny s adv ances to p ercei v e ecstasies not yet enj oyed ’

and to long f o r the mlike Jeanne and E m ma ”0

When her drea m s .

18 2
S ee b el o w , pp , 15 6-5 7 ,
18 3
S eeab o ve pp ,
. 65 , 7 5 .

18 4 M l le F .
, pp 193 205 . pp 5 9 7 4 ; see
-
.
- abo ve p 66 , . .

M ll e F 18 ° S ee e speci al l
p 260 y pp 5 3 5 38,
18 5 . . . . 2 2 -3 0, -
, ,

18 7 M P ar
. .
,
p 5 ; c f M B pp 5 7 69 77 86 etc
. . . .
, .
, , , ,
.

18 8 M P ar
. .
,
p 2 7 ; M B p 86
. . .
, . .

I SO
M -O. .
, p . 21 .
I 9"
M . p . 139-40
92 FLA UB E R T A ND M A UPAS S A N T

are realized she exclai ms : M ai s j e l ai m e j e l ai m e ! recalling ’ ’ ”

by contrast E mm a s J ai un a mant ! u n a mant !

“ ” 19 1
I n her thought
’ ’

at a s ubsequent p er i od sh e re p eats al m ost these w ords o f E m ma s ’

,

w ith a sugges tion o f the latter s delight at possessing cette fi év r e d u

“ ’

S h e th i nk s : A uj ourd h u i il é t ait son a m

” 9 “ ’
bonhe u r .
1 2
ant ! son
a man t ! D onc elle a v ai t u n a mant ! E lle étai t sa maitresse !— 5 a
maitres s e ! E lle rép était ce mo t dans l e secret de sa conscience—sa
ma i t re ss e
Mm e R oland i s ano t her w ho i s re p resented as ha v ing li v ed like ,

Em ma by the si de o f an uncongenial husband cherish i ng dreams

,

“
de clai rs de lune de v oyages de baisers donnes dans l o m bre des ,
’

soi rs , and as hav ing succu m

,

”
bed like E m ma to the o ne who has , ,

bro u ght to her that f or which she has longed 19 4

.

The masculine counterp art o f E m ma B ov ary so f ar as dreaming ,

goes i s Frédéri c M oreau A t all stages o f hi s ca reer until the v ery

, .
,

last he rese mble s t he youth ful wanderer o f A V en dr e drea ming

, ,

“
a to u t cc q uon a tt end sans cesse a tout ce qu on dési re a la fortune
’ ’
, ,

a la gloi re a la fe m me
,

” 19 5
, w ith p erhap s t h e orde r rev ersed H i s , , , .

p rop ensity for re verie is closely associated wi th hi s other character

i st i c o f ine ff ecti v enes s I t i s also allied to hi s ro m anti c f eeling for
.

Mm e A rnoux w hich dominates hi s w hole li fe and extends e ven

,

t o e v e rything connected with her 19 6

I t i s ho w e v er rather F r é dé r ic s .
, ,
’

i nca p ability o f a ction w hich i s re p eated in M au p assant B reti gn y .

,

for instance i s sai d to be inca p able d un e ff ort continu

,
” 19 7
An
’
.

extre me exa mp le i s fo und in R egr e t 19 8

This i s the story o f a m an .

o f sixty two who see m -

s to hi msel f to ha v e li v ed a f utile li f e H e
, .

re v i ews his existence as he looks o ut o f th e wi ndow at the f alling

ra m
Si en co r e v i e ava i t é t é r e mp l i e ! S i l ava i t fa i t q ue lque cho se s i l
sa
’
,
’

ava i t eu d es aven ture s de g r an d s p l a i s i r s d es succes d es sat i s fa ct i on s d e

, , ,

to ut e s o r t e M a i s n o n ri en I l n a v a i t ri en fa i t j am
. a i s ri en q ue se l eve r
,
.
’
, ,

mange r a ux meme s h e ure s et se co uch er ,

Il
’
n a v a it meme p as é té a i mé .

mar -
0, p . 165 ; M -B . .
,
p . 225 .
19 5
M P ar
. .
.
p .
98
19 2
MB . .
,
pp . 2 2 5 -2 6 .
19 ° Fo r e xample ,
p .
78 .

p , 17 2 ,
19 "
M -O . .
,
p . 109 .

1“ P ej . .
,
fo r e xampl e, pp . 106, 187 - 90 .
19 3
MH ar .
,
pp . 2 5 7 -6 7 .
94 FLA UB E R T AND M A UP AS S AN T

p art of each day . E ven the garments of the w i fe are p reser v ed by

both .
2 08

We turn now to another likeness i n m a sculine characterization .

R odol p he i n M a d a m e B ova r y i s a ty p e o f the

m
p redatory male
“ ”
, ,

w hose p rey is wo an H e has successors in M au p assan t J ul ien in .

,

Un e V i e is one ; P aul B r et ign y in M a n t Or i o l i s another To both

, ,
-
, .

o f these m en m a y be a pp lied equally well the descri p tion gi v en o f

R odol p he as de t e m
“
p éra ment brutal et d intelligen ce p ers p icace ”2 °9 ’
.

A l l three s ho w the ex p e cted cynicis m in a m orous aff ai rs E a ch .

make s ad v ances to th e wo man o f his p u rsuit for his o wn p urp oses ;

each soon t ires o f his conque s t being desirous o f p er p etual change in ,

matters o f the kind ; each i s careless o f the blows he deals his v icti m .

A l l three can lay clai mto a c ertain elegance and p ower o f attraction ;
all are p ossessed o f so me degree o f wealth Georges D uroy o f B el .
,

Am i already described
,
2 10
would al s o belong to this class f ro mcer ,

t ain o f hi s characteri stics .

I n M au p assant further there are some traces o f H o ma is and o f , ,

the caricat ure o f V o l ta i r ia n i sma pp arent f requently in the utterances

o f the p harma ci en
“ ” 11
The doctors in M a n t Or i o l f o r exa m p le .
2 -
, ,

sugge st h imin thei r f ussiness thei r sel f i m p ortance and exaggerated ,

-

s el f co n fi d ence thei r ridi culous actions and absurd would b e learned

-
, , ,
-

p ronounce ment s 2 12
S o also does the do ctor in Un C o up d é tat
.
2 13 ’

t hrough the sa m e fussine s s and sel f i m p ortance the same p osing -

,

and fondness for elaborate language as well as through hi s extre m e ,

desi re fo r p ubli c glory M S acre m ent in D éco r e i s like the p harm

’

a . .
, , ,

ci st obsessed w ith a longing to be decorated and writes p a m

,
p hlets , ,

as does H o m a i s i n the ho p e o f attracting the attention o f the go v e rn

,

ment 14
L i ke his p roto ty p e also he does e v e rything m
2
ethodic
ally . On the O pp osite side o f the m edical situation f ro mH om a is

are the cri pp les w ho a pp ear in both authors The p ied bot o f “ ”
.

H i pp olyte i s re p eated in the V énus R ustique o f D es V er s ( p 136 )

“ ”
.

and i n the story o f L e Gu eux 16

A no t he r cri pp le with an i mp ortant .
2

2 08 B ij o ux p 143 ; c f M E pp 47 1 47 2 7 3
L es ,
. . . .
,
.
,
-
.

2
ME
09
p 1.8 1 .
,
.
2 11 M
B f o r ex a m
. p l e pp 106 7 . .
, , .
-
,
2 13 - 14 , etc .

2 10
S e e a b o v e pp 6 7 if 2 12
,Cf M O 1 3 4 14
71 .ff . . o
-
'
)
- , .
, e tc .

2 13 pp 15 32 .
-
.

2 1 ‘ pp e sp DD . CL M B pp 187 2 13 . . ‘ '
l '
, ;

2 15 P a e 2 1 c i
g 5 ; f o r e x amp l e M E pp 2 3 1 33 340 ff etc
.
, , . .
, .
-
, .
, .

2 16 p 177 . .
 R ES E M B LAN CES 95

p lace in a p lot i s l e pé r e Clo v is o f M a n t Or i ol w ho drags his ,

-
,

right leg ( p S om e souv eni rs o f H i pp olyte also attach to the

”
.

? "
hideous inn serv ant o f Un F il s He i s thus described when first
seen : 11v enait m
“
aintenant de p uiser de l eau p our les che v a ux et ’

p ortait ses de ux seaux en boitant av ec ume ff ort douloureux de la ,

j am be p lus courte ” 2 18
O n e is at once re m i nded o f Hi pp olyte as he
.

goes li m ping about hi s business at the L i on d o r o r through the

’

2 19
v illage .

B esi des the inn serv ants othe rs belonging to the class o f de p end ,

ents suggest si m ilarity I n M a d a me B o var y there i s an o l d seam

.

stress w ho co m es to the con v ent where E mma is at school an d ente r

tains the gi rls with her tales o f gallant ry C l o ckette i s the account .

o f a si m i lar old sea mstress whose v isits are a m ong the childish m em ,

o r i es o f the s p okes m
’
an i n the co n te S he frequents hi s father s .

house and tells himstories whi le she sews 220

.

Lov e for children and the influence o f childhood occu p y attention

both in Flaubert and in M au p assant E m ma B ovary i s recalled f rom .

t h e orgy o f the m a sq ued ball by the thought o f B ertha slee p ing at

ho m e 221
. Charles Bo va ry is redee med at ti mes f romhis una ttracti v e
ness by his a ff ection f o r his child 2 2
A si m ilar redee m ing a ff ection 2

and by m
.

is exhibited by R o sa n ette in L E du ca ti on s en ti m en ta l e
? ”
ore ’

than one o f the outcast or un fortunate wo m en i n M a upa ssa n t s ’

stories 224
N um
. erous other instances o f this senti m ent ca n be
f ound . The other side o f childhood— the cruelty o f the young
ani m al— is likewise re p resented by the t wo authors We hav e the .

schoolboys torm enting the awkward shy boy at the begi nning o f ,

M a dam e B ov a r y and torturing the p oor little lad in L e P a pa d e

“

Si m on .
2 26

M ost the rese mblan ces j ust dis c ussed hav e to d o with M a d a m
of e

B ova r y ; there are also a few associated w ith S a l a m mbo There i s a

ilarity between the u p bringing and outlook o f S ala m
.

certain si m mb o
and Jeanne B oth hav e been ke p t by thei r f athers shut u p f ro mcon
.

tact with the world and co m e to m eet it i n consequence with greater

2 1"
C pp . 2 05 - 13 .
2 19
Fo r e xampl e , M -B PP 195 , 2 62 .

2 18
Un F i ts, p , 2 05 ,
22° L H . .pp 8 1 82
,
.
- .

221
MB p 403 Fo r ex a mp l e M B pp
222
. .
, . .
, . .
,
. 2 7 0- 7 1, 47 3 .

2 23
F or e x amp l e pp 5 55 5 6 5 74 Ff , .
-
,
.

2 24
For e x ample p 56 ; L M ,
pp . . . 2 7 - 28 : pp . 68 ff .

225 F or ex am p l e M P a r e n t et c 2 2 6 L M
, .
, . . T .
,
pp . 119-34
9 6 F LA UB E R T AN D M A UP A S S A N T

or less ignorance o f its w ays A second detail o f l i keness to S a .

lam mb o found in M au p assant bears witness rather to Flaubert s ’

exact re p roduction o f unchangi ng A f rican li fe 228

th a n to any close
l i tera ry relation shi p between the t w o authors When we first s ee .

t h e Car t haginian m aiden w e are gi v en a picture o f he r lo fty head

d re ss a n d o f the abundant j ewelry with which she i s adorned In .

his a cco u nt o f the P ro v in ce o f A lgiers M au p assant de p icts the dress ,

o f the Oulad N ai l w hich includes also a monu mental co ifi ur e

“ ” “
-
”
,

and many j ewels The corres p onding p assages are as follows .

F L AU BERT M AU P ASSA T N
fem
un eme appa ra i t debout ,

s u r u n e p o r t e ave c u n e l a r e c of
g , f
f u r e q ui s e m b l e d o r i gi n e assy
’

r i erm e su r m o nt é e d un én o r m e dia ’
,

d ém e d or ’
.

Sa ch evel ur e, po udrée d
’
un a ve c l eu r s h a u tes coff
abl e i et m f orm f u r es a d i a dé m es q u i rappe l l ent l es
’ ’

s v ol e t r ea e en e de
md m
,

t o ur s el on la o e d es e g r es b a s r e l i e f s egypt i en s
-
l e s Oulad ,

la fa i sa i t pa r a i t r e N a i l a t ten d ent
’

ch a n a n eenn es, .

p l us gran de D es tr ess es . d e per l es P u i s en vo i ci d a utr es ave c ’

mem
,

a tt a ch é e s a ses t e mpe s d e scen da i ent la e co i fl ur e m

‘
o n umen ta l e : un e

j u squ a u x c o i n s d e sa b o uch e r o se
’
,
m tg on a n e ca r r é e qu i la i sse pend re
co m me un e grenad e ent r o u vert e de aque cot é u ne gr a n d e tr ess e
’
. ch

11y a va i t su r s a poi t i n e r r m m a ss e tom b ant j u squ a u b a s d e l o r e i l l e

’ ’
,

rr l mi
bl a g e d e pi e i mi tan t es u n eus es , p u i s re l ev é e en arr i er e p o u r se
r r i r r r e l é a i l l e d ne
pa l e u b ga u es c s
’
u pe r d r e d e n o u vea u d an s l a m a sse
m r ene S b r a ga r n i d d i
u . es s, s e a o pa q u e d es ch eve u x E l l e s p o r ten t .

man t r ta i ent
s, d
so t ni q e nus e sa u u t o uj o ur s d es d i a d é m es d o n t q ue l

s an s man ch es [S al .
,
p . q ue s u n s s o nt f o r t r i che s L a poi
-
.

t ri n e es t n a y e e s o u s
’

l es co ll i e s , r l es
mé d a il l es, l es l ou r d s bi j o ux ; et de u x
f o r te s r
ch a i n ett e s d a gen t
’
f ont
tom b e r j u sq u a u b a s ven tre u n e
’
-

gro sse serrure d e m em e m é tal cu ,

r i e u sem en t c i se l ée a j o u r et d o n t la

c l ef pen d a u b o ut d une a u tre ’

ch a i ne
’
L a P r ov i nce d A l
yer pp 64 66 64]
, .
, ,

2 27
S al .
, p 6 1; U V
, . .
, D 3 . .

223
Cf . L . B er tr a n d ,
“
Le C i nq uantena ir e d e S al a mmbo ,
”
R D M. .
(J une
I, esp . pp 5 94 95
.
-
98 F LA UB E R T AND M A UP A S S A N T

There are o n e or two o t he r s p ecial details o f si m ilarity between a

cer tain p ries t in Fla ubert and a certain p riest in M au p assant The .

A bbé B o u r n i s i e n for instan ce tells o f being sent for to cure a co w ;

,
23 7
,

the A bbé To l b ia c i s thought to hav e s p ecial p owers in this direction .

The A bbé B o ur n is i en i s res p ected all the m ore on account o f his

athle t i c f ra me ; the A bbé V ilb o i s i s honored becau s e he i s the mos t
muscular ma n i n the district 23
A p hrase a pp lied by both w riters to 9

me mbers o f the clergy when sp eaking scorn fully o f the mis l homme
.

“ ’

a la soutane o r l ho m me en The re p resentation o f

” “ ’

the clergy i n M au p assant tends to beco me caricatural as do his p or ,

t ra ya l s o f the E nglish
2 1
and o f un married wo men o f a certain age 2 42 4
.

I n M a upa ssa nt s S n r l E a u we read the following words : C est

’ “ ’ ’

’
une foule e t cette foule est q uel qu un u n v aste indi v idu collecti f
, , ,

aussi distinct d une autre foule q u un ho m me est distinct d un autre

’ ’ ’

ho m me ”2 43
This characterization is worked o ut by both Flaube rt
.

and M au p assant in thei r nu m erous descri p tions o f crowds Contrast .

,

fo r exa m p le the throng at the Comices agri coles o f M a da me

“
,
”

B ova r y w ith the nu merous street gatherings o f L E dn ca ti o n s en ti ’

men ta l e ; o r comp are the p easant crowd in L a F i cel l e with the asse m
bly round and i n the M adeleine at the end o f B el A m i 244
B oth note -

the strange i m
.

p ulsion that sways a crowd—what Flaubert calls l e “

magnétis me des f oules enthousiastes ” 245

The idea o f the accu m ulated .

e ff ect o f the multitude s b eti s e i s also ex p ressed by both

“ ” “ On e
’
.

eff ect a pp arent i n glancing o v e r a crowd is noted by the t w o men in

som ewhat the sa m e words I n both i nstances it is a p easant ga ther .

ing that is be ing described .

F L AU BERT M AU P ASSA T N
et , s u r l a l o ng u e o n du l a tzo n
'

de L es r
co n es d es b oeufs ,
l es h a u l s
t o us ces c o rp s t ass és, on v oya i t s e ch a pea ux a l o ngs poils d es paysan s
l ev er au vent , co mme un fl ot, q ue lque ri ch es et l es co i fi es d es paysanne s
23 7
ME . .
,
p . 15 7 .
23 8
U V, . . pp . 2 90- 9 1 .

23 9
ME . .
,
for e xamp l e, p 105 ;
. Le Cha mp d Ol io i er s p
’
,
.
49 .

2 4°
p .
32 4 ; U V , . . p 27 4 ;
. p .
30 .

241
Fo r e x mp l
a e, To i n e : N os A ng l a i s ,
pp . 203 - 16 .

242 Fo r e xampl e, M i ss Ha rri et ; a nd T a n te L i so n in Un e Vi e .

2 43
P a ge 108 .

2 “M E . .
,
pp . 183 - 2 14 ; for xampl
e e, pp .
38 ff .
, 3 97 ff .
, et c .
; M H ar
. .
,

pp . 2 15 4 8; 1
9 -A .
,
pp .
5 7 73
2 -
.

2 15
1
3 5 11
5 ” 9 ,
42 0 ; p . 109 .
24° p . 2 09 ; pp . 110- 11 .
 RES E M B LAN CB S 99

crim ere b l an ch e , ou ai ll i r
s d es é mr g
e e a i en t a la f
s ur a ce de l
’
a s se m
co r n es a i g u es, et
'

d es té t es d h o-
’
mms e bl ee L a F i cel l e, p .

qui co u r a i ent [M B pp 9 . .
, . 1 0

A gai n , -
as here i s o n eo f general i m
o f ten the rese mblance ,
p ression ,

with fai rly close likeness o f details— the great sea o f m en s and ’

ani mals heads with here and there o n e r i sing abov e the ordinary
’
,

mass .

I n the p r eceding pa r agra ph we s p oke m0re than once o f rustic

gatherings I n both authors we hav e re p resentations o f the p easant
.

and fisher classes o f N orm andy and B rittany I n diff erent i ndiv i d .

ua l s we ha v e the v arying and e v en contradictory characteristics o f

these classes clearly brought o ut— dee p enduring but o ften i n a r ti cu , ,

late aff ecti on faith f ulness cal macquaintance with and acce p tance
, , ,

o f the facts o f li fe shrewdness cautiousness keenness i n m ,oney ma t ,

ters si m , p licity no less than t ri cke ry mental li mitation su p erstition , ,

stolidity brutali ty roughness and coarseness l ow i deals o f m

,

, , orality , ,

f ondness f or p leasures o f the t able and f o r f arces “ ” 247

S p ecial .

em p hasis i s gi v en to the shrewdness o f the N orman and to the su p er

st it i o n o f the B reton B oth m en obser v e the nearness o f the p easant
“

in certain as p ects to the b rute E ach says so m ething o f p easant .

costu m e and a pp earance They re f er also o n the on e hand to the .

, ,

strong f ra me o f the country m a n o r wo m an and o n the other t o , ,

the de form ation o f that f ra me through constant and brutal manual

toil 24 8
.

I n p rev ious chap ters there hav e been considered the i deas d efi
n i t ely enunciated by the two m en regarding li fe i n gene ral and lit

c rary p ro c edure in p articular as well as the ex em l i fi ca t i o n o f these

p ,

i deas in p racti ce I n the followi ng p ages wi ll be treated other ideas

.

si m ilar in the two but not included by the min the i r ex p lic itly p ro
no un ce d theories .

There i s fi rst o f all the thought o f the salutary e ff ect of ordinary

, ,

thi ngs E m ma coming home i n the di ligence a fter her unsuccess f ul

atte m
.
,

p t to get money in R ouen i s turned f romthe p oignancy o f her ,

trouble by the s p ectacle o the well known obj ects along the way
f 24 9 -

Jeanne i s roused fro ma p athy to new feeling as she holds in her a rms
.

2 “ Fo r e xampl e. ME . .
,
pp . 18 . 2 7 - 2 8. 2
3 33 .
-
35 -
42 . 7 2 . 190 if 2 08 - 9. 2 3 7 -3 9.
numerous
,

2 49,461 63 , 467 69 ; - -
pp . 2 7 28 , -
3 7 , et c ; . M a upa ssa nt s
’

p easant sto es a nd th e ri p easants i n UV . .

, B -A , N C
. . . .

248
I bi d .
2 49
MB .
p .
4 15 .
 oo F LA UB ER T A N D M A UPA S S A N T

he r in fant grand child The drea m s o f a father or m other o v er .

t h e f u t u re o f a child are to be found re corde d in M a d a m e B o va r y

The em
,

L E d uca ti o n s en ti m e n ta l e Un e Vi e and else w here 51

’ ?
o , ,

t io n a l a ction o f m u si c is noted se v eral ti m The connection o f

25 2
es
mo onligh t w i th lov e making i s frequent ly e mp hasized as is the more ’
-
,

general idea o f wh i ch th i s i s a p art that lo v e needs s p ecial p la ces

, ,

and ci rc u ms t ances for it s d ev el Opm en t

53
The thought that lov e .
2

not al w ays a v ery high ty p e o f that p assion—i s the only good thing
i n li fe i s exp ressed by both w r i t ers 25 4
.

D rea m s o f forei gn countries and the longing to tra v el therei n

hav e been al ready alluded t o s e v eral ti mes as described frequently by
both men 55
U sually the drea m s contain m
?
ore o r less o f what M a u
p assant calls la v ieille p oésie des enl ev e ments no ctu rnes des chaises
“
,

de p oste des auberges t outes les char mantes a v entures des li v res
,
”25 6
,
.

The coun tries the msel v es e v en i f they ha pp en to bear such ordinary ,

na m es as I taly or Corsica are f requently p ictured as les p ays

“ ” “ ” “
,

ble u s les p ays roses les p ays in v rai se m

, blables et m er veilleux in , ,

t rou v ables et touj ours cher chés qui nous font j uger m édiocres tous
les autres ” 57
I n B el A mi there i s a co mp arison deriv ed f romthis
.
2 -

longing fo r the unattainable : I l n a va it j a m

“
ai s songé aux fi ll es de ’

so n di recteur que co m me on songe aux p ays lointains qu on n e v erra ’

j am ais ” 58
.
2

I n Fla ubert s Cor r espon da n ce ( I 15 8 ) there i s a short sentence ’

,

which suggests a m uch longer p assage in M au p assant 25 9

the m ediu m ,

o f co m mu nication here being p robably discussion o f the same sub

25 0
p 379
U V, . . . .

25 1
M E pp 7 8 . .
,
.
-
, 2 7 0- 7 1; p .
5 84 ; U V . .
,
p . 229 ; S al .
,
p . 61 .

25 2
F o r ex a mple ,
ME . .
,
pp .
7 0, 3 09 , 3 10-
11; pp . 8, pp .

3 2 1-
32 , 26 1 ff ; N C , . . pp . 13 8-40 .

25 3
Fo r e x mpl a e, ME pp 60, 2 7 4-7 6, 3 54 5 6 ; -
C-d l »,
DP L -P-R
J u li e R o m
. . .

i
,

a n pp 2 15 18 ; U V pp 70 7 3 ; M B p 82 ; U V pp 107 ff
, .
-
. .
,
.
-
. .
, . . .
, . .

25 4
F o r ex a m ple pp 604 6 12 ; M l l e P er l e p 14 1 J u lie
R om
.
, , , .
,

a i n pp 2 10 ff ; B A
,
p 12 3 . . .
- .
, . .

55 2
F o r ex a m p l e M E pp 5 6 5 7 7 1 112 13 2 7 1 72 ; pp 97 133 ,
. .
, .
-
, ,
-
,
-
.
,

2 45 3 60 3 65 469 5 84 ; C o rr
, , I I 5 9 63 ; D es Vers : Un e Conq ué te p 2 1
, , .
, , , ,
.
,

p 3 ; U V pp 5 3 54 3 63 ; B A p 5 40 ; M O p 15 0 ;
. . .
, pp 45 .
-
, .
-
.
,
. .
- .
, . .
,

108 ; A u S : P r ef ace p 5 ; . pp 92 ff , . . .

”6 3 A p 5 37 2 7
M 0 p 113 ; c f M E pp 5 6 2 7 1 ” 8 Pa e I 6 5
9
- -
.
v .
g
. . . . . .
,
.
. .

259
L a C ote I ta l i en n e pp 36 39 Th e pa laces m en t i o ned a r e th o se ,
.
-
.

of Gen o a .
10 2 FLA UB ER T AND M A UP A S S A N T

stormcor res p onds to the terrible deed o f the d runken m an ; i n L a

t i t R o q u e the falling lea v es are sai d to be the tears o f the trees

p e e ,

o v e r t h e ending o f the year and p erha p s o ver the murdered child

“ ? “9

There are tra c es also o f t hi s thought in Flaubert ; fo r exa m p le w here ,

t h e cl ouds p ile u p and the rain fall s as E m ma looks out o f the window
a fter L eon s dep arture fro mY onv ille ’ ? 70
I n general however the , ,

treat m ent o f na ture in Fla u bert i s m ore o r less detached f ro mthe

ci rcu mstances o f the story ? 71

The p atheti c falla cy i s not the only for mo f ro m

“ ”
anticis mt o be
found in the authors i n q u estion R o manticis ma pp ears for instance .
, ,

in thei r ex p r essed longings already o ften noted to flee f ro mburden , ,

so m e reality to w ard the distant the unattainable This attitude i s ,

.

em bodied for Flaubert in S a la m mbo i n L a L egen d e d e S ai n t Ju li en ‘ ’

l H ospi ta li er and in H er o d i a s ; for M au p assant in L e H o r l a and

’

i n other weird stories o f the su p ernatural There i s besides i n Flau .

be rt a cer t ain all p erv ading sense o f the m ysterious due at least i n
-
,

p art to the v agueness p roduced by hi s su p erabundance o f detail ,

w hich has o ften the e ff ect exactly opp osi t e to that o f the exactitude
i ntended Corres p onding i n so me sort to thi s i n M au p assant i s the
.

wei rdness already alluded t o .

R om antic thoughts o f lo ve o f f orei gn countries o f P ari s o f the , , ,

future etc u tt ered by characters like E m

,
.
,
ma B ov ary Léon Jeanne , , ,

and P aul B r eti gny hav e also al ready been discussed S uch ideas , .

are continually being tra ced t o t h e reading o f ro m anti c w riters es p e ,

ci a l ly o f S i r Walter S cott whose na m e occurs f requently in both ,

au t hors i n thi s connect ion ? 7

I n t hus linking thoughts w hich are 2

re p resented as ha v ing for the m ost p art p e rnicious consequences , ,

w ith the name s o f ro mantic writers both Flaubert and M aup assant
make a certain attack o n ro mantici s m One might also call ro manti c .

i n a sense t h e extre me e v en grotesque caricature o f B ouva r d et , ,

P é cu ch et and o f m any o f M a upa ssa n t s stories ? 73 ’

A kind o f rese m blance obser vable so meti m es bet w een Flaubert

and M a u p as s ant i s t hat in w hich an i dea o f the older m an s i s taken ’

269 p .
33 .
27 °
MB .
, P ~ I 67 .

27 1
Fo r e x mpl a e, t h e g en e a l t ea t r r mt en o f na tu e r in M a da me B o va ry .

27 2
Fo r e x mp l
a e, ME . .
,
pp
48 5 3 ; .
-
pp . 19 , 2 1- 2 2 , 2 5 , etc ; . UV . .
,
p .
33
P . ej .
,
p 13 ; O P I I :
. . .
, L A ng é l us, p
’
. 188 .

273
Co mp a r e o n t he s ub e ct j r m t i i mi
o f o an c s n M au p a ssa n t t he a rti cl e by
Ol in H . Moo r e on
“
Th e R o manti i m f G y d c s o u e M a up a ssan t in
( Ma r ch , pp . 6
9 134
-
.
 R ES E M B LA N CES 103

u p and ex p anded or gi v en concrete reality by the younger S o me o f .

the p assages used i n illustration o f other p oints m ight a pp ly equally

well here F o r instance when Jeanne goes to Corsi ca she t ra v els
.
, ,

so m ewhat as E m ma would hav e liked to tra vel sees in p art what ,

Em ma would hav e liked to see and finds there so me o f the transp orts ,

which E m ma thinks she might hav e exp erienced i n another coun

t ry 27 4
The stories o f L e B o n h eur and J uli e R o m a in
”5
also realize
certain o f the detai ls o f E m ma s lov e longings E mma we are told ’
.
,

o n o n e occasion would ha v e m ade co n fi d en ces to the p endulu mo f

,

her clock ; Jeanne p ractically does so 27 6

I n L E du ca ti on s en timen ta l e .
’

( p 466 ) there i s a des c ri p tion o f o a k trees i n which they are s p oken

.

o f as e m bracing This idea i s considerably ex p anded by M au p assant

.

i n N o tr e C o eur ( p where the trees that e m brace are howev er .

, ,

not oaks I n L E d uca ti on s en ti m

. en ta l e again during the watch a f ter
’
, ,

the death o f M D a m b r eu se the ca rt s are heard ru m . bling by to the

market M aup as sant describes such carts as they go p ast under the
.

street la m p s the light bringing o ut the colors o f the diff erent v ege
,

”7
tables with which they are loaded .

There yet re mains to be considered a ty p e o f si milarity which

has already been illustrated to a large extent in discussing other p oints
— si m ilarity in wording A dditional exa m p les o f this will be giv en .

here Fi rst o f all there are scattered here and there througho u t the
.
,

wo r ks o f M au p assant p hrases which wh il e n o t corres p onding d efi

'
'

n i tely to any p articula r p hrases o f Flaubert s ha v e yet in thei r com

’
,

p ositi o n a certain Fl a ub ertia n suggestion S ome examp les follow .

Ch i co t ava i t l a i r ’
d
’
un b i f te ck cr u c ch a é d an s u mb o nnet de s ape ur
[ M H ar
’
. . L A n e, p
m
.

“
Ce s d a e s p l u s ch a mar r é e s q ue l e s ch a sub l e s d es ch ant re s
p .

“
et r ange sympath i e des é mo t i on s po i gnante s
L
’'
pp 34
I ] pr é senta i t u n ma gn i fi qu e é ch ant i l l o n de l a go uj ate ri e nat ure l l e
.

au
mi l i t a ir e v i cto ri e u x ”
p .

L e j ar d i n fl eu r i d es p o l i sso nner i e s d i st i nguée s [ B A p

“
-
. . .
,

Un N i agara d e b a r b e ”
II p , .

2 “U V pp ME pp
. .
, .
93 ff ; . cf . . .
, .
5 6, 27 1 .

27 5
pp .
7 7 87 ;
- pp . 203 - 18 .

27 3
ME . .
, p . 86 ; U V , . . pp .
55, 12 3 .

27 7
p .
5 43 L a N ui t, p . 22 3 .
10 4 FL A UB E R T AN D M A UP A S S A N T

P icturesq eness f ex p ression tending to grotesqueness the use

u o ,

o f all i terat i on and a general rhyth m ic e ff ect are the characteristics

o f t hese quotations whi h re m
,

ind us f the ty p e o f p hrase w ith c o

whi h we ha e beco me ery fa m

,

c iliar in M d m B v y The v a a e ova r

? 78

excla m d su rp rise recalls one f Flaubert s m

“ ” ’
a t ion G ethods
r r r ra n e o

o f em p hasi s i n his C p d o r r es on a n ce
? 79

E xcla m ations f regret f the p ast the p art f ro m antic o or on o

drea mers are f requent and much alike in the t w o authors .

F L AU B ERT M AU P ASSA T N
C om me ’
c el a i t
’

v i eux t o u t cel a ! C om me c e ta i t l oi n comme to ut

’ ’

é t a i t ch an gé co m
,

[M B p . .
, . me l aven ir l ui
,
’

C o mme c el d i t l oin t ou t cel a ! se m b l a i t d iff er e n t ! p .

co mm l i t l e c e a
’ ’

oi n ! [M . B .
, p . Com me c e ta i t l oi n comme c e ta i t
-
’ ’

,
’ ’

C omm l e b e al déj a l ui s embl ai t l oi n l e tem

,
p s o u e ll e parco ura i t cc
l oi n ! pp .
77 meme pays j e une fi l l e et gri se d e
, ,

Oh ! co mm c e
’ ’

eta i t l oi n p . r eve s p .

C om me c eta i t l oi n dej a! [ M O
’ ’

,
- .
,

A lo r s F r éd é r i c se r appe l a l es p.

fo ur s déj a l o i n p .
Q ue
’
c es t l oi n ! qu e
’
c es t l o in !
I : C o rr p .
, .

Ces fo u r s pa ss es , si l oi n, si l oi n !
[O P . I : F i ni p , .

In M with the m
ad a usic bo x and the a utom
mB e ova r y the m an

a t o n s and in Un e Vi e o l d
“
p ere L astique send f orth f ro mti me
”

to ti m “
e un long j et de sal iv e brune ”280
.

On e o f the m ost striking d escrpti o n s in Flaubert i s that o f the

glance o f D r Lari v i ere The re are two si milar p assages in M a u
. .

p assant .

F L AU B ERT M AU P ASSA N T
S on r eg a rd , p l us t r an ch an t que O f th e j ud g e in Un F o u i t i s s ai d
se s b i st o u ri s, v o us d escen d a i t d r it
o il se mbl ait li r e ou fon d d e l eu r s

i o ns l d
’
m e et d ésa ti cul a i t r to u t i
c m es, leu r s pen sé e s e
s c r ete s, et

x mp l
27 3
Fo r Cette p a ssi o n mer v e i ll euse q ui j usq u a l o r s s eta it t enue
e a e,
'

co mm mg ra d i
e u n o sea u a u p l um age r o se pla na n t don s la spl end eur d es ciels
Le su i sse al o r s s e t ena i t su r l e s eu i l pl us m
“
po é t i qu es ( p 5 5 )
”
. a j es t u eu x

q u u n ca r di n a l e t r e l uisan t co m me u n s a i n t ci bo ir e ( p 330) etc

, ,
’ ”
. .

27 9
B A p 3 8 1; f o r e x a m
.
- p l e C o rr I V 108
.
,
.
, .
, , .

28°
M E p 90 ; U V 1 . 1 46.
, . . .
,
10 6 FL A UB E R T A N D M A UP A S S AN T

FLA UB E RT M A UPA SS A NT

l es d e rn i e r s fe u xe et du c rép u sc u l

p r e n a n t t o u t e s l es f o r m es co m m e u n

pe u p l e fant a st i que d e co nt e s f é e
r i qu es pé t r i fi é pa r q ue l q ue p o uv o ir
,

s u r na t u r e l .

J a p
’
e r us
c a l t e r na t i ve men t d e ux

mo i ne s d e bo ut d une ta i l le gi gan ,
’

t esq ue ; un é vé que a ss i s c r o sse en ,

ma i n mi t r e en t ete ; d e p r o d i gi e use s
,

fi gur e s n u l i on acc r o up i a u b o r d de
,

l a r o ut e u n e fe m ,
me al l a i t ant so n
enfant et u n e t ete d e d i ab l e i m
men se co r nu e gri ma ga n t e ga r
, , ,

d i enne s an s d o ute d e c e t t e f o ul e em
pr i so n n é e en d e s co r p s d e p i e rr e
[A u S E n Co rse p .
, .

The follo w ing p oints o f l i keness between these descri p tions are
obse rv able A general i m p ression i s gi v en i n each o f a re markable
.

chaos o f huge and fanta st ic ro cks I n the Flaubertian descri p ti on .

and in t hat f ro mP i er r e e t J ea n t hese are said to be p iled one u p on

another and to rese m ble the rui ns o f so m e great v anished ci ty I n .

the last p art o f the Flaubert descri p tion and i n the first and thi rd
p assages fro m M au p assant some o f the rocks take the forms o f
ani mals I n t h e second extract f ro meach o f the authors t h e rocks
.

are seen on the slo p e o f a hill The adj ecti v e m “ ”

onstr u eux is used .

by Flaubert and i n the quotation f ro mUn e Vi e .

There are also m any exa m p les o f th e e mp loy ment o f si milar

“
locutions such as s ans dou t e ;
,
” 82
o f si milar adj ecti v es such as 2
,

enor me
( 6 ” 283
( a great fa v orite with Flaube rt and v ery frequent in
M au p assant ) o f o t he r si m “
ilar words such as f ri sson and its de ,

292
Fo r e x mp l a e, S al .
,
pp . 66 , 133 , 15 1, 15 8 . 2 3 2 . 2 60. 3 7 3 ; L E d -S
’
u PD 15 .

60. 7 9 80. 98 . -
363 . 3 69 . 3 7 5 . 3 7 8. 3 88 . 393 . 399 400. 405 .
103 . 109 . 147 . 2 40. .

409 42 1. 4 3 3 . 434 . 44 9. 460 46 1. 462 . 47 4. 482 . 49 1. 5 03 . 5 12 5 2 7 . 5 3 1. 5 5 0.

. . .

5 7 8. 5 84. 5 85 . 5 90 9 1; pp 13 . 2 4. 36. 42 . 48. 5 7 ; L S R . pp 165 . 2 7 2 ;

-
. . . .

M P a r . pp 46. 5 3 . 6s. 8 5 . 11s. 119. 12 4 15 7 . 207 . 2 34. 2 68. 2 7 s ;

. . .
pp .

17 . 12 6 . 130. 13 4. 146. 147 . 193 . 194 . 2 5 5 . 2 6 1; P M .

99 . 116. 12 1. 139. 140.

169 , 2 2 6 , 2 36 ; etc .

288
1
7 1
9 e x mp l
a e, pp .
5 2 , 3 88 , 4 10. 4 5 7 . 466 . 608 ; L . M T .
pp 5 1.
2 02 ; M Har . .
,
pp . 15 7 , 160 ; Ta i n e p ,
. 139 ; p . 222 ; et c .
 R ES E M B LA N CES 19 7
“ '

r i va t ives
? 84
and equi v alents The word de gringoler used in figure ,

by Flaubert i s re p eated by M au p assant in one s p ecial figure w hich

, ,

he e m p loys several ti mes I t i s that i n which he describes a town

m
? 85

pe as une v raie cascade de m

“
on a aisons blanches dégringolant
a la m
”
er .

I n the use o f figu res there are a nu mber o f rese mblances between
F laubert and M au p assant .

The ribbon figu re i s frequently f ound i n both

“ ”
.

F L AU BERT M AU P ASSA T N
grande ro ut e qui étend a i t san s
La Par la fen et r e o n d é co uvra i t un ,

en fin i r son long r u ba n de po u ss i er e l o ng r u ba n d e r i v i er e [M H ar . . .

[M L H e r i ta g e p
’ ’

. B .
, p ,
.

mva
.

C e st ’
u st e re ct angl e l a i ssan t , L e s l o n gu e s fe u i l l e s b r u i ss a i ent ,

vo i r ses r u ba ns de b u i s pare i l le s a des r u ba ns j a une s [ U .

p . V p .

to the abo v e i s the serp ent figure

R elated .

E ll e la r i vi ere] ét a i t gel é e l e
-
L a S e i ne co ul a i t v er s M a i ,

s o l e i l d o nna i t d e ss us c é t a i t co mme so n s L a ffitt e co mme un i mmen se ,

’
-
,

un g r and s e r pen t d a r gent a rr et e s e rpen t d an s l a verd u r e

’
co u ch é
v

s ur l h erbe
’
III p [B A p , . .
-
.
,
.

co m
A nothe r p arison found i n both authors i s that o f anything
b right red in color such as the sky at sunset p o pp ies in a field etc , , , .
,

“ ”
to sang .

F L AU BERT M AU P ASSA N T
L es fl a m b ea u x r é pan du s pa r On e st e x a l t é l o r sque l e so l e i l
ter r e b r ul a i e n t en co r e en a l l o ngean t s e n o i e d an s u n o c é an d e n uage s ,

95 e t l a s u r l e s pav é s d e na c r e s a n g l a n ts e t q u i l j e t t e a ux ri v i er e s "

c o mme des t ach e s de s a ng [ S a l p d es refi et s ro u ge s [M H a r p .

,
. . .
, .

L e s o l e i l b a i ssa i t ver s l h o r iz o n
’
,

i nondant d e cl a r té l es p l a i ne s ve r
284
F o r e x am pl e pp 13 7 1 2 2 9 404 42 0 499 5 12 5 2 6 5 95 ; , .
, , , , , , , ,

pp 12 3 1 3 8 5 7 7 0 ;
.
, ,
pp 2 7 2 7 3 5 3 5 102 108 112 ; L H pp 5 8
, ,
.
, , , , , , . .
, .
, ,

9 3 0 3 5 44 46 2 10 2 12 2 18 2 7 3 2 7 6 2 80 28 1 2 8 3 ; M
. . . . .
pp 44 63 116 . . . . . . . .
. . .

12 9. 14 1. 143 . 155 . 15 5 . 17 3 . 187 . 189. 2 08 . 2 08 . 2 08 . 2 4 5 . 3 06 . 3 49. 3 5 1. 3 7 8.

405 , 4 10, 42 3 ; et c .

2 85
C o rr .
,
I , 3 90 ; cf . ME . .
,
p . 194 , a n d 3 60 ; p . Un S o zr ,
p . 12 8 ; c f . B .
-
A .
,
p .
55 ; A u S . : A lg e r ,
p . 14 , La K a by l i e p ,
. 165 .

286
Cf M E . . .
,
p .
37 ; T C . . : p . 14 ( sca fr fig r e ) ; u R os e,
p . 16 ; M P ar . .
,
p . 60 ; B -A . .
,
pp .
3 16, 3 3 5 ( ri bb n fig r e ) o u .

28 7
Cf . al s o III , 140 ; M P ar . .
,
pp . 60 6 1 ; L H-
. .
,
p . 2 54 ; P
116 ; OP . I I 49 , .
 08 F L A UB E R T A N D M A UPA S S AN T

FLA UB ER T M A UPA S AN T S
doya n t es, ta ch é e s d e p l a ce en p l ace
par d es col z a s en fl e u r et par
’
l or ,

le s a ng d es coque l i cot s p .

288
37 9] -

A f e w additional likenesses in figures are as f ollows

F L AU BE R T M AU P ASSA T N
q ue l quef o i s l es ab e i ll e s t o ur , Un gro s i n se ct e b a tt a i t l es
n oyan t d an s l a l umi ere frappa i en t , mr u s c om me une bal l e p .

co nt r e l e s ca rr eaux co m me d es
ba ll es d o r re b ond i ssan t e s E l le pa ssa l e re ste du j our
’

p 2 39 ] romp ue et e x tén ué e qu e si ,

ll a cco m p l i ssa i t s a pet i te t ache 9 la pl ace d u vi eux ch eva l bl a n c,

q uot i d i enne a l a m a n i er e d u ch eva l on l ui e ut f a i t to u n er dep u s r i
de m a n eg e qu i t o u r n e en p l a ce l es a ur o r e ma h i ne a b at t re
’

,
l la c le
ye ux b an d é s i gn o r an t d e la b e so gne
, gra i n p .

q u i l b ro i e
’
pp 10 .

The follo w ing figu re i s in v erted in M au p assant fro mits use i n

Flaube rt
F L A U B E RT M A U P AS S A N T
l es j ard i n s, co mm
e des La v a ste
p l age co uverte d e
f emmes s em b l en t fa i re l e u r to i lette mon de de to i l ette s d e co ule urs
, , ,

a va i t l a i r d un j a r d i n d e f emmes
,

po ur l es f ete s d e l ete ’ ’ ’

p
.

15 3 } [ To i n e : B o m ba rd p , .

i s not clai m
It ed that i n this cha p te r an exhausti v e account has
been gi ven o f all rese m blances between Flaubert and M au p assant i n
p lot incident characterization idea and wording M any si milari
, , , , .

ti es which p resented the msel ves ha v e indeed been rej ected f or o n e

rea s on or another Those included hav e been observ ed by the write r
.

i n the course o f s e v eral co m p lete readings o f the t w o au thors i n ques

tion Further p erusal w o u ld without doubt re v eal others w hich m
. ight
be instanced The atte m p t has been made all through to call attention
.

es p ecially to the likenesses which are striking o r at least f airly close .

The se m a y not as indeed they hardly a pp ear to do argue for the m

,
ost ,

p art conscious i mitation o f Flaubert by M au p assant ; they certainly

do see mto sho w a considerable degree o f suggesti ve i nfluence .

288
Cf . a l so p 97
. M l le F 4 1
1 . 2 11; LP R . .
.
p .
34
110 F LA UB E R T A ND M A UP A S S A N T

s ubsequent day s o f re m em brance o ve r the monu m ents o f that m

, as

t e r s a chie v e m
’
en t had ab s orbed so t horoughly th e essentials o f the
la tt er s tho u gh t and ex p ression that he re p roduces the mal m
,

’
ost un
c on s ciou sly What s trengthens th e argu m
. en t fo r th e suggesti v e type
o f infl u en ce is t h e f requen t diffi cul ty ex p erien ced in p u tting si de by

s i d e t h e exac t p oint s o f rese m blan ce between t wo p assages w hich

i mpre ss one a s closely s i mila r The fact that bo th men ex p ressed .

t he m selves i n so many words as O pp osed to th e i m itation o f one

a u thor by ano ther w ould len d furthe r weight to the contention that
t h e kind o f infl u ence t ra c eable bet w een the t w o m en i s suggesti v e

ra t her than i mi t ati v e .

I t goe s w i t ho u t s aying t ha t a considerable p ortion o f M au p as

san t s work is o f cour s e dis t incti v ely hi s o w n Other influences b e
’
, ,
.

s i des t hat o i Flaubert are also seen to hav e o perated u p on hi m .

We ha v e said more than once already for i nstan ce t hat Flaube rt , ,

and M au p assant w ere m en o f t heir day and generation and s u scep

t ible t o im pressions o f current t ho u ght and e v ent They belonged .

t o a circle w hi ch d i s cussed literary m atters and o ther a ff ai r s o f the

day with the u t most f reedo m E v idences o f e ff e cts p rodu ced by .

reali s t i c w r i t ers o the r than Flauber t are dis co v erable in the w orks o f
t h e younger m an M any o f these author s are m
. entioned by h i m
wi th w ords o f i nti ma cy o r o f admirat ion There are also many .

o u t s tand i ng p oints o f s i mi lari ty bet w een their w ork and hi s The .

follo w ing in stances are gi v en Fro mBalza c m a y co m

. e accounts o f
bu s iness tran sac t ion s and o f magne t i s m and ty pes o f character such , ,

as th e financial magnate and the r u t hle s s adv enturer as w ell a s a cer ,

t ain ele m en t o f d ri v ing force in m any stories To Zola ma y p ossibly .

be a t t ributed the t enden cy t o mention the un men t ionable w i th t h e

“

grea te st p oss i ble fulness ”

He ma y als o be p ar t ly re sp on s ible for
.

M a upa ssa nt s treat m ’

ent o f crowds and use o f sy mbols S ugges t ions .

o f D aude t are t o be found in the e m p loy ment o f sou thern excla ma

tions in th e descri p tion o f M P a t i sso t s p ara p hernalia w hich m
, .
’
ake s ,

u s t hink o f Tar t ar i n II in a frequent t endern es s to w ard

,

children and in t h e re p eti t ion o f certain i n ciden t s

, There are othe r .

w riters also w ho might be na med in connection wi th the question

o f M a u pa ssa n t s indebtedness b u t t hose already re ferred t o w ill
’
,

s u ffi c e by way o f e x a m p le When all allowances ha v e been made

.
.
,

ho w e v e r i t yet re m
, ain s true that M au p assant i s the disci p le o f Flau
ber t and o w es t o that m aster s i nfluence much that i s bes t in his o wn
’

w ork .
 B I B L I O GRA P H Y
r
F l a ub e t , Gu stave . Oeu vr es co mpl et es . 18 vols . Par i s : C o nard ,
19 10

M a upa s san t Guy d e , . Oeuvr es co mpl et es . 2 9 vo l s . Par i s : C o nard ,

1908

19 10 .

Fo r genera l grap hy s ee
b bl i i o the f o ll owi ng
D esch a r m es, R ené et D um e sn i l , , R en é . A u tour d e Fl a u ber t, II , 18 3 - 3 2 6 .

Par i 9 1 s, 1 2 .

L an so n , Gu st ave M a nu el bi bl i ogr a phi qu e d e l a l i tté r a tur e fr a n ga i s e

md m
.

o er n e . Vo l I V , R evol u ti on . et di x -
n euv e i e si ecl e . Par i s , 19 12 .

T h i eme H go P r phi qu e d e l a l i tter a tur e fr a n ga ise d e

’

, u . Guide b i bl i og a

18 00 Par i s 1907
a 1906 .
, .

B e s i d e s th e f o rego i ng t h e f o ll o wi ng b o o ks a n d art i cl e s h ave b een co n ,

s ul ted a m
, o ng o th er s i n preparat i o n f o r t h i s d i ssert at i o n Th e d at e s are
, .

t ho s e o f t h e e d i t i o n s u s ed .

A hl st r omA nna E tu d e s ur l a l a n gu e d e F l a u be r t
,
.
( D i ss ) M aco n 1899 . .
, .

A lb a l at A n t o i ne L a F o rm a ti on d u s tyl e pa r l ass i m
’
, . i l a ti on des a u teu r s .

2 d edi t i o n Par i s 1902 .

, .

L e M a l d é cr i r e e t l e R o m a n c o n tem por a i n Par i s 1895

’
. .
,

L es R o m an s co nte m po r a i n s et l e s pr o n o st i cs de S a i nt e B e u ve
“ -
,

L a n ou v el l e R evu e L X XX V I 3 17 3 7 ,
-
.

Le T r a va i l du s tyl e e n s ei g n é pa r l es cor r e cti o ns m a n us cr i tes d es

g r a n ds é cr i va i n s . Par i s 1903 ( C o nt a i n s L e T rava i l d u
, .
“
s tyl e d an s
Gu st ave F la ub er t, repr i nte d f r o mR evu e bl eu e X V I I I , 7 42
47 .
Al mir a s, H d .
’
. A va n t l a Gl oi r e . L eu r s de bu ts I
’

,
Par i s , 1902 .
( Guy
d e M a upa ssan t , pp 66
m
.

A ss el i n e a u , C h a r le s .
“ ’
L E du ca ti o n s en ti e n t a l e, et c .
, B u l l e ti n d u b i b
l i ophi l e pp 3 5 42 ( 18 7 0 .
-
.

B a r b e y d A u r evi lly J ule s L es Oeuvr es et l es hom

’
mes , .
, IV . Par i s ,
1865 .

( M Gu st ave F l a uber t pp 6 1
.
, .

L e R om a n c o n tempo r a i n Par i s 1902 ( Fo r - .

, . Fl aub ert , se e pp .

91
B a ude l a i re C h arle s , . L A rt
’
ro m a n ti qu e . Oeuvr es co mpl et es, III . Par i s ,

1868 - 7 0 .

B ea un i er , A nd r é . Fl a ub er t, R evu e d es d eux -
m o n d es ( J an uary ,

pp . 2 05 - 16 .
112 FLA UBE R T A ND M A UP A S S A N T

B e r t r and , i
C a r ne t s d e Gus tave Fl a ub ert R evu e d es deux
Lou s . L es ,

mondes J uly 15 19 10 pp 37 1 92 , , , .
-
.

L e c i nqu an t ena ir e de S a l a m mbo R evue d es deux mondes

“ ”
-
, ,

J une 1 1912 pp 5 7 0 98 , , .
-
.

F l a ub e r t e t l A f r i que R evue de P a r i s ( A p ri l 1
“
pp ’
, ,
.

5 99 62 4
-
.

r ( a vec f r a gm i n edi ts) Pa ri s 1912

’

Gus tav e F l a u b e t des en ts .

, .

B laz e de B u ry M l l e Y e t ta F r en ch L i ter a tu r e of To
, .
-
day B o sto n 1898
.
, .

“
M aupa ssant N ew R evi ew V
”
63 7 1 , ,
-
.

B lo ssom F A L a Co mp os i ti on d e S a la mmbo d apr es l a corr espon

’

m
. .
,

d a n ce d e F l a u b er t 185 7 - 1862 ) av ec u n es s a i d e cl ass e en t chr o n o

l ogi q u e d es l ett r es . E ll i ot t M o no grap h s I I I , . B al t i mre o a nd Par i s,

19 14 .

Co rre sp o ndan ce d e Fl aub er t, R evu e d hi s to i r e l i tter a i r e de

’ ’

La
l a F r a n ce, 19 13 pp . 194-97 .

B o ssom 0 Guy d e M a upa ssa n t quel ques r ech er ch es s ur s a l ongue

, .
,
.

( i ss ) L und 1907
D .
, .

B o urge t Pa ul E ss a i s de psych ol ogi e contem

, pora i n e Oeuvr es co m
.
pl etes .

C r i ti qu e I ) pp 97 147 ; A p pen d ix e s A B Par i s 1899

, .
-
, .
, .

E tudes et P or tr a i ts I ( Gustav e F laub ert pp 12 5 Par i s , .

, .
,

1889 .

B o u r n on F ernand . Le M an uscr it de S al a mmbo ,

” ’
LA mt a e ur
’
d a uto
ph es S ep te m
,

g r a b er , 15 , 1902 .

B o ve t , E rne t s .
“
L e R éa l i me d
s e Fl auber t , R evu e d h i s toi r e l i t tér a i r e d e
’

l a F r a nce, 19 11 pp . 1- 36 .

B r ande s , Ge o rg . Gust ave Fl a ub er t, i n E mi n en t A u thor s o f th e N i n e

t ee n thC en t u r y ( N ew Y o r k pp 2 59 309 , .
-
.

“
M a u pa ssan t R evu e bl eu e X L V I I I
”
32 9 3 5 , ,
-
.

M oder n e Geis ter F rankf ur t a M 2 d ed i t i o n 188 7 ( Gu st av . . .

, , .

Fl a ub e r t ) .

B rune t i ere F erd i nan d L e Pe ss i m

, i sme dan s l e ro man B el A mi d e . .
-

M a u pa ssan t C r ue ll e en i gm e d g B o u r ge t R evue d es d eux mo n des

”
, ,
-
,

L X,X 2 14- 2 7 .

Le R o m pp 2 9 5 1 16 1 2 2 0
a n n a tu a l i s te r .
( E spe c i al ly .
-
,
-
, 342
-
44 ,
397 Pa ri s 1883 ( Q uota t i o n s ma d e fro me d i t i o n o f
,
.

“
T ro i s R o m an s R ev u e d es d eux m o n des L XX X ,
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D oub l e t, Ge o r ge s . La
‘
~

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, .
’

. .
,
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,

j o u rs 2 v o l s Par i s 1903 ( Pp 2 12
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il i e u sa m .e th o d e ( F l au ,
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, ,
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b er t et l a m é d e ci ne ) ( D i s s ) Pa ri s 1905 . .
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. an ci er ) ’

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“
3 02 18
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, . . .
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Page s cho i si e s d e F l a ub ert R evu e bl eu e V
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117 2 0 , ,
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, , .
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Guy d e Ma u pa ssant pp 195 2 09 T o l sto i et Ma upa ssant pp 2 11 2 5 ) , .

-
, .
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V ( l a ph ys i o l o gi c de F l aub ert 343 Par i s 1905 , , .

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. .
, ,
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l am mbo E l l i ott M on o graph s I I B al t i more a nd Par i s 19 14

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L E s th e ti qu e d e Gus ta ve F l a u ber t Pa ri s 19 13 ’

.
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. . .
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F l a u b er ts Vers uchu ng des h ei l i gen A n ton i us n a ch i hr e mV er

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M G F l a ub e
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R ev ue co n

te mp or a i n e, L XVI 1
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” “ “
Gust ave F l a ub ert , L e ttr e i n é di te ( pp . 65 P a ysa ges d e Gr ece .

( pp .
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A N o te on F l a ub e t r ,
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A tl a n ti c M o n th l y L ,
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pp 18 2 7 M Guy d e M a upa ssan t pp 2 8 3 5 M Guy d e M a upa ssan t

.
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Fl a uber t p p 2 98 3 08 , .
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.
 B I BLI OGRA P H Y 115

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. a us er es ra es . u s Par i s ,
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bl XI l l
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b t
er S e nd e d i t i n
. Par i 9 3 co o . s, 1 0 .

L P h il phi d B a ry m Par i 19 1os o e u ov a s e . s, 1 .

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693 97 -

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-

pp 42 6 . i
F f th ed t o n Par s, 1909 ii . i .

Go n co u rt E d mnd J e J ou r r M em
’

, o et ul s de . nal d es Go n co u t . oi r es d e l a

vi e l i t té r a i r e . I - I V, 188 7 - 90 ; V -
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189 1- 96 . Pa ri s .
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, . . r r .

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ri r . i i , .

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, .
,

R evu e d e P a r i s 19 12 pp 609 2 9 8 49 7 0
, .
-
,
-
.

L es o e u v r e s po sth u m
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Gr egh F , . e s de Guy d e M au pa ssan t , R evu e bl eu e,
XV 46 5 67
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.

H a l pé r i n e K a -
mi n sky . Z ola , D u m a s, _
M a upass a n t .
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T o l sto i ) Par i s ,
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Gu stav e F l a ub er t , W stmi e n s te r R evi ew, C XL I V
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H e ll er, H .
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D i e E nt wi ck e l ung d er ne ue sten Ro mand i ch t u ng i n F rank
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n eu r a n zos i sch e S p och e r un d L i ter a tur , X , pp .

3 08 -
54
D er N at ura l i m in
s us d er R o mand i ch t u ng F rank rei ch s un d
”
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pp 1 . Par i s ,
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'

.
( Gu st ave Fl a ub e t r , pp . 18 5

Par i s, 1886 .
116 F LA UB E R T A N D M A UPA S S A N T

“
H ue t G S a i n t J uli e n I H ospi ta l i er M er c ur e de F r a n ce CI V
’
.
, , ,

44 5 9
H ug ue s G d , .
’
. Gus tave Fl a ub e t d r ’
ap r es s a co r r e sp o n dan ce , L e Co r
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J ame H en y
s, F e n ch r . r P o ets a nd N ovel i s ts . L o nd on . 18 7 8 .
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F l a ub e t, pp 2 5 2 r .

rt M a cm
“
Gu st ave F l a ub e i ll a n s M ag a z i n e L X V I I ( 1892
’
, ,

2
33 4 3
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.
( On co rr e s o p n den ce ) .

I nt r o d uct i o n to Th i rt ee n T a l es by Guy d e M a upas sa n t . N ew

Y o rk a nd Lo n d o n N o d at e .

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-
.

“
Th e M in o r F ren ch no vel i st s ( d e B e r nard , Go n co u rt , F l au
Th e Ga l ax y, XX I 2 19 ( Fl a ub ert pp , . 224

P a r ti a l P o r tr ai ts Lo ndo n 18 88 .
, .

L I r o n i e d an s l e r o m an fran c a i s L a n ouvell e R ev ue
“
K a h n Gu st ave
’
.
, , ,

XXIV 5 8 34
2 -
.

Le ro m an b o u r ge o i s L a n ouvel l e R ev u e XI X
“
34 5 9 2
-
, ,
.

K l i n cksi eck F r i e d r i ch Zu r E n twi ckel ungsg es chi ch te d es R ea l i smus i m .

f r a nz ci s is ch en R om
,

d es XI X ten J a h r h und er ts M ar b urg a n d

'

an .

Par i s 189 1 , .

“
K o ppe l E ,
M a u pa ssant N o r d u n d S u d L X I I I
.
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-
.

H L
.
-
“
. Pe ti te s N o te s v é t i ll e use s su r M a da me B ova ry R ev ue d hi s toi r e ,
” ’

l i tte r a i r e de l a F r a n ce 19 10 pp 395 97
’
-
. .
,

L a ca ssagne Za ch a ri e L a F ol i e de M a upass a n t ( D i ss ) T o ul o use 1907

, . . .
, .

L ang A n d r e w F ren ch N o ve l s a n d F ren ch L i fe N o r th A m e r i ca n

“ ”
.
, ,

R evi ew C L I V 2 7 32 ,
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L an son Gustave , E tude s u r F l a ub e r t en tete de pag es ch oi si es

. Par i s .
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189 5 .

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19 101 PP 939 4
L a r rou mt e . M a upa ssan t , R evu e bl eu e, XI 3 2 1-
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L a st i c, P a thol ogi e me n ta l e d a ns l es o e uv r es de Gusta v e

P h i l i bert de . La
F la u b e r t ( D i ss ) Pa ri s 1906 . .
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L a uj o l H enr i D e u x a r t i cl e s su r Gu st ave F l a ub e r t R ev u e bl e ue ( F eb
“
.
, ,

r ua r y 2 2 a n d Ma r ch 1 18 0
9 ) ,

Le R o m an et l a s ci en ce R ev ue u ni ve rs ell e I I 42 5 2 7 465 69
“
L e bl o nd .
, , ,
-
,
-
.

L ef r an c J ean Fl a ub e r t et M l l e B o sq ue t A n na l es r o m
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, . a n ti q u es ,

PP I 95 2 03 ‘

L eh mann , R ud o l f . D ie F o r ml m t d e e en e es S ti l s von Fl a ub er t i n d en
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u c , 0 .
118 FLA UB E R T A ND M A UPAS S A N T

M au rr a C har l e s s, . L es ro man ci e r s et l es co nt e u r s , R evu e e n cycl o

d i ue V I I I
3 66 7 2
’

p q
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L es r man i e r
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R ev u e e n cycl o é d
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M a yn i a l E d o u ard , ,
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La C o mpo s i t i o n d an s l e s r o man s d e M a u pa ssan t,
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La j eu n ess e d e F l a ub e t r . Pa ri s , 19 13 .

“
M a upa ssan t ,
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Le Co rr es p o n d a n t, CL X VI 2 49- 6 5 .

La v i e et l
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M erlet Gust ave , P or tr a i ts d h i er et d a uj our d hui I I ( Le réa l i sm

. e ’ ’ ’
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p hys i o l o g i qu e M Gu sta ve Fl a ub er t pp 9 1 Par i s 186 3

. .
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v el l e R evu e, N ew S er i es, X I I ( 190 1 4 58 65

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i
M o r ce C harle s , . L a Lhtter a tur e d e t ou t a l h eu r e
' ’ ’
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17 5 ff .
)
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M o se l l e . Guy d e M a upa ssan t , R evu e bl eu e , ( March 2 1, pp .
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F o tni gh tl y R evi ew, L XI V
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’

. . .
, ,

L e B o varys m e : un e mode r ne ph ilo s0ph i e d e l i l l u

“
Pa l an te Ge o rge s ,
.
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s i on M e r cu r e d e F r a n ce X L V I
, 69 ,
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Pa t r y H “
R a be l a i s e t Fl a ub ert R ev ue des e tu d es r a b e l a i s i en n es I I
’

.
, , ,

2 7 - 39 .

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,
an fran c a i s m
Ge o rge s od erne La . Le ,

R ev u e d es r ev u es XXX V pp 48 5 97 ,
.
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Plan ch e Gust ave L e R om

“
,
an fran c a i s en 18 57 R ev ue d es d eux m o nd es
.
,
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,

I 8 S7 . 91
1- 1
4 3 33
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P l a tz h o ff, E . Gust av F la ub ert , N or d un d S ud , , pp .

3 8 60
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2 89
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(M .

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u n vi eux cr i ti qu e, II . Pa ri s ,
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art et d e l t t ératurei . Guy d e M au pa ss ant ,
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La
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Le s O ri g i ne s d e Gu st ave F la ub er t, A nn a l es
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S ach se , J E . Gu st av F laub ert,
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, . Par i s ,
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,
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t ave F l a ub e r t pp 3 1 95 [ t h ree , .
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S a i n t R ené T a i l l and i er Le R é a l i s me é p i q ue d an s l e r om an S a l a mm
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bé . .
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R ev u e d es d eux m o n d es X L I I I 8 40 6 1 -
,
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“
L e R om an m i santh ro p i que L E du ca ti on s en ti men ta l e R D M ,
’
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L XX X I V 987 1005
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T entat i o n d e S a i nt A nto i ne R D M I I I
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b e r t P r efa ce pp v ii v iii 334 8 0 M au pa s s an t pp 13 16

, , .
-
,
-
, .
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,

Gu stave Fl a ub e r t F or tn i gh tl y R evi ew XX I X
“ ”
57 5 95
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’
. . .
, ,

sur S a l a m mb o pp 305 12 ; L E duca ti on s enti men ta l e pa r Gust ave

‘

, .
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’

Fl aub ert pp 4 15 , .

S ch erer E d m ,
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po r a i n e I V P ar i s , .
,

18 7 3 ( U m r o
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S ch i n z A No t e s su r l e vo cab ul a i re d e M au pa ssan t et d e M é r im
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M a u pa ssant ( T ran s l a t i o n ) Th e ,
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M o n th ly L X V I I I 69 5 7 0 1 -
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Mm e L a u r e d e M a upa ssan t ) R ev u e d es r ev u es X L I 5 96 603 , ,

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, .
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