ÊOf the French writers of romance of the latter part of the nineteenth century no one made a reputation as quickly as did Guy de Maupassant. Not one has preserved that reputation with more ease, not only during life, but in death. None so completely hides his personality in his glory. In an epoch of the utmost publicity, in which the most insignificant deeds of a celebrated man are spied, recorded, and commented on, the author of "Boule de Suif," of "Pierre et Jean," of "Notre CÏur," found a way of effacing his personality in his work. Of De Maupassant we know that he was born in Normandy about 1850; that he was the favorite pupil, if one may so express it, the literary protŽgŽ, of Gustave Flaubert; that he made his dŽbut late in 1880, with a novel inserted in a small collection, published by Emile Zola and his young friends, under the title: "The SoirŽes of Medan"; that subsequently he did not fail to publish stories and romances every year up to 1891, when a disease of the brain struck him down in the fullness of production; and that he died, finally, in 1893, without having recovered his reason. We know, too, that he passionately loved a strenuous physical life and long journeys, particularly long journeys upon the sea. He owned a little sailing yacht, named after one of his books, "Bel-Ami," in which he used to sojourn for weeks and months. These meager details are almost the only ones that have been gathered as food for the curiosity of the public. I leave the legendary side, which is always in evidence in the case of a celebrated man,Ñthat gossip, for example, which avers that Maupassant was a high liver and a worldling. The very number of his volumes is a protest to the contrary. One could not write so large a number of pages in so small a number of years without the virtue of industry, a virtue incompatible with habits of dissipation. This does not mean that the writer of these great romances had no love for pleasure and had not tasted the world, but that for him these were secondary things. The psychology of his work ought, then, to find an interpretation other than that afforded by wholly false or exaggerated anecdotes. I wish to indicate here how this work, illumined by the three or four positive data which I have given, appears to me to demand it. And first, what does that anxiety to conceal his personality prove, carried as it was to such an extreme degree? The answer rises spontaneously in the minds of those who have studied closely the history of literature. The absolute silence about himself, preserved by one whose position among us was that of a Tourgenief, or of a MŽrimŽe, and of a Moli�re or a Shakespeare among the classic great, reveals, to a person of instinct, a nervous sensibility of extreme depth. There are many chances for an artist of his kind, however timid, or for one who has some grief, to show the depth of his emotion. To take up again only two of the names just cited, this was the case with the author of "Terres Vierges," and with the writer of "Colomba." A somewhat minute analysis of the novels and romances of Maupassant would suffice to demonstrate, even if we did not know the nature of the incidents which prompted them, that he also suffered from an excess of nervous emotionalism. Nine times out of ten, what is the subject of these stories to which freedom of style gives the appearance of health? A tragic episode. I cite, at random, "Mademoiselle Fifi," "La Petite Roque," "Inutile BeautŽ," "Le Masque," "Le Horla," "L'ƒpreuve," "Le Champ d'Oliviers," among the novels, and among the romances, "Une Vie," "Pierre et Jean," "Fort comme la Mort," "Notre CÏur." His imagination aims to represent the human being as imprisoned in a situation at once insupportable and inevitable. The spell of this grief and trouble exerts such a power upon the writer that he ends stories commenced in pleasantry with some sinister drama. Let me instance "Saint-Antonin," "A Midnight Revel," "The Little Cask," and "Old Amable." You close the book at the end of these vigorous sketches, and feel how surely they point to constant suffering on the part of him who executed them.

Reproduction of the original: Notre Coeur or a Woman’s Pastime by Guy de Maupassant

This carefully crafted ebook: "Notre Coeur - A Woman's Pastime" is formatted for your eReader with a functional and detailed table of contents. The novel tells the story of a woman without a heart, frigid and probably a lesbian. The hero, facing this fascinating and awesome being, takes another mistress, who can hardly satisfy him. He is devastated by this passionate love, violent, melancholic and cruel. This is a painful novel, written by an already sick writer, in which he says farewell to all women in his life, the ones who presented the desire, the torment, and the victims... Guy de Maupassant (1850-1893) was a popular French writer, considered one of the fathers of the modern short story and one of the form's finest exponents. Maupassant was a protégé of Flaubert and his stories are characterized by economy of style and efficient, effortless dénouements (outcomes).

The novel tells the story of a woman without a heart, frigid and probably a lesbian. The hero, facing this fascinating and awesome being, takes another mistress, who can hardly satisfy him. He is devastated by this passionate love, violent, melancholic and cruel. This is a painful novel, written by an already sick writer, in which he says farewell to all women in his life, the ones who presented the desire, the torment, and the victims.

Bel Ami (The History of a Scoundrel): The story chronicles journalist Georges Duroy's corrupt rise to power from a poor ex-NCO to one of the most successful men in Paris, most of which he achieves by manipulating a series of powerful, intelligent, and wealthy mistresses. The novel is set in Paris in the upper-middle class environment of the leading journalists of the newspaper La Vie Française and their friends. Pierre et Jean is a naturalist or psycho-realist story, notably so by the subjects on which it treats, including knowledge of one's heredity (whether one is a legitimate son or a bastard), the bourgeoisie, and the problems stemming from money. Notre Coeur (A Woman's Pastime): The novel tells the story of a woman without a heart, frigid and probably a lesbian. The hero, facing this fascinating and awesome being, takes another mistress, who can hardly satisfy him. He is devastated by this passionate love, violent, melancholic and cruel. A Life is a satirical novel about the folly of romantic illusion. The novel tells the story of young Jeanne, full of hope and dreams of love, who discovers the outside world after finishing an education in a convent. She is looking forward to her new life and she is dreaming of the day when she will find the man who loves her. All her expectations are fulfilled, however… Mont Oriol Strong as Death

Bel Ami (The History of a Scoundrel): The story chronicles journalist Georges Duroy's corrupt rise to power from a poor ex-NCO to one of the most successful men in Paris, most of which he achieves by manipulating a series of powerful, intelligent, and wealthy mistresses. The novel is set in Paris in the upper-middle class environment of the leading journalists of the newspaper La Vie Française and their friends. Pierre et Jean - is a naturalist or psycho-realist story, notably so by the subjects on which it treats, including knowledge of one's heredity (whether one is a legitimate son or a bastard), the bourgeoisie, and the problems stemming from money. Notre Coeur (A Woman's Pastime): The novel tells the story of a woman without a heart, frigid and probably a lesbian. The hero, facing this fascinating and awesome being, takes another mistress, who can hardly satisfy him. He is devastated by this passionate love, violent, melancholic and cruel. A Life is a satirical novel about the folly of romantic illusion. The novel tells the story of young Jeanne, full of hope and dreams of love, who discovers the outside world after finishing an education in a convent. She is looking forward to her new life and she is dreaming of the day when she will find the man who loves her. All her expectations are fulfilled, however… Mont Oriol Strong as Death. Guy de Maupassant was a French writer, remembered as a master of the short story form, and as a representative of the naturalist school of writers.

Bel Ami (The History of a Scoundrel): The story chronicles journalist Georges Duroy's corrupt rise to power from a poor ex-NCO to one of the most successful men in Paris, most of which he achieves by manipulating a series of powerful, intelligent, and wealthy mistresses. The novel is set in Paris in the upper-middle class environment of the leading journalists of the newspaper La Vie Française and their friends. Pierre et Jean - is a naturalist or psycho-realist story, notably so by the subjects on which it treats, including knowledge of one's heredity (whether one is a legitimate son or a bastard), the bourgeoisie, and the problems stemming from money.