Guy de Maupassant (1850–1893). Walter Schnaffs’ Adventure & Two Friends.
The Harvard Classics Shelf of Fiction. 1917.
Criticism and Interpretation. By Arthur Symons
E
As a writer, Maupassant was de race, as the French say; he was the lineal descendant of the early conteurs. Trained under the severe eye of the impeccable Flaubert, he owed infinitely, no doubt, to that training, and much to the actual influence of the great novelist, who, in “L’Education sentimentale,” has given us the type of the modern novel. But his style is quite different from that of Flaubert, of which it has none of the splendid, subdued richness, the harmonious movement; it is clear, precise, sharply cut, without ornament or elaboration; with much art, certainly in its deliberate plainness, and with the admirable skill of an art which conceals art.…
Not Swift himself had a surer eye or hand for the exact, brief, malicious notation of things and ideas. He seems to use the first words that come to hand, in the order in which they naturally fall; and when he has reached this point he stops, not conceiving that there is anything more to be done.…
A story of Maupassant, more than almost anything in the world, gives you the impression of manual dexterity. It is adequately thought out, but it does not impress you by its thought; it is clearly seen, but it does not impress you especially by the fidelity of its detail; it has just enough of ordinary human feeling for the limits it has imposed on itself. What impresses you is the extreme ingenuity of its handling; the way in which this juggler keep his billiard-balls harmoniously rising and falling in the air. Often, indeed, you cannot help noticing the conscious smile which precedes the trick, and the confident bow which concludes it. He does not let you into the secret of the trick, but he prevents you from ignoring that it is after all only a trick which you have been watching.—From “Studies in Prose and Verse” (1899).