GUY DE MAUPASSANT – MAITRE DES CONTES ET DES
UNE VIE MOUVEMENTÉE
Guy de Maupassant was born on August 5, 1850, either at the Château de Miromesnil near Dieppe or at his maternal grandmother's home in Fécamp The Maupassant family, originally from Lorraine, settled in Seine-Maritime (Normandy) in the mid-19th century His father, Gustave de Maupassant, married Laure le Poittevin, a cultured woman with a strong literary background who was friends with Gustave Flaubert, influencing her son's life In 1854, the family moved to Château Blanc in Grainville-Ymauville, and in 1856, Laure gave birth to Maupassant's younger brother, Hervé After separating from her unfaithful husband in 1860, she relocated with her two sons to Étretat.
Maupassant spent his childhood between the sea and the countryside, surrounded by fishermen's children near the ocean and majestic sailing ships that would captivate him throughout his life He developed a love for nature and outdoor sports, often fishing with local fishermen and speaking the regional dialect with farmers His deep bond with his mother significantly shaped his early years.
He first attended a small seminary in Yvetot at his mother's request, where he began writing poetry at the age of thirteen His early Catholic education left him with a strong hostility towards religion, ultimately leading to his expulsion He then enrolled in the lycée in Rouen, where he excelled academically, immersed himself in poetry, and actively participated in theater productions During this time, he befriended Louis Bouilhet and, more importantly, became a disciple of Gustave Flaubert.
In 1870, shortly after obtaining his baccalaureate, he enlisted as a volunteer in the Franco-Prussian War Initially assigned to logistics services and later to artillery, he took part in the retreat of the Norman armies in the face of the advancing German forces Following the war, he hired a substitute to complete his military service and left Normandy for Paris.
In Paris, the young Maupassant spent ten years as a clerk, first at the Ministry of the Navy and later at the Ministry of Public Instruction, to which he was transferred in 1878 In the evenings, he diligently dedicated himself to his literary pursuits.
1877, Tourgueniev le rencontre et le trouve tout décati
Illness plays a crucial role in Guy de Maupassant's life and significantly impacts his literary work He endured various health issues throughout his life, beginning with a hereditary condition Maupassant's mother also suffered from lifelong nervous disorders, and his brother, Hervé, was institutionalized in 1887 before succumbing to madness Maupassant himself faced the same affliction as his brother, compounded by syphilis, which relentlessly poisoned his existence, despite his attempts to mock it.
"I have the pox, the real one, and I disdain the bourgeois." For a decade, his pastime has been boating on the Seine, always in charming company, particularly on Sundays and during holidays.
In the night of January 1 to 2, 1892, he attempted suicide with a pistol, but his servant, François Tassart, had removed the bullets He then broke a window and tried to cut his throat On January 7, he was admitted to a clinic in Paris run by Dr Émile Blanche He died from general paralysis a month before his 43rd birthday, on July 6, 1893, after eighteen months of near-total unconsciousness He was buried in Montparnasse Cemetery in Paris.
1 http://textes.libres.free.fr/auteur_guy-de-maupassant.htm
GUY DE MAUPASSANT – PRINCIPE ESTHÉTIQUE ET ÉCRITURE
2.1 Une œuvre grandiose par un petit genre
Guy de Maupassant began contributing articles to major newspapers such as Le Figaro, Gil Blas, Le Gaulois, and L’Écho de Paris, while dedicating his leisure time to writing novels and short stories Encouraged by his family's old friend Flaubert, he published his first book, Histoire du vieux temps, in 1879 In 1880, he collaborated with Zola on the collective work Les Soirées de Médan, where his first short story, Boule de Suif, achieved immediate acclaim, with Flaubert calling it a "masterpiece that will endure." The sudden death of Flaubert in 1880 left the emerging writer to navigate his own destiny.
In 1881, he published his first collection of short stories titled "La Maison Tellier," which reached its twelfth edition within two years By 1883, he completed his debut novel, "Une Vie," selling twenty-five thousand copies in less than a year With the royalties from "La Maison Tellier," he built his own house.
"La Guillette" in Étretat marks a significant point in the author's career, as his second novel, "Bel-Ami," was published in 1885 and achieved remarkable success with thirty-seven editions in just four months Following the release of "Bel-Ami," the author embarked on extensive travels through Algeria, Italy, England, and Brittany, enriching his experiences and inspirations.
In Auvergne, Guy de Maupassant regularly enjoys life aboard his private yacht, "Bel-Ami," sailing through Cannes, Agay, and Saint-Tropez, which inspires his work "Sur l'eau." Despite his busy lifestyle, he forms strong friendships with prominent literary figures, including Alexandre Dumas fils, who treats him with paternal affection Maupassant's passion for literature is further fueled by his relationship with Gustave Flaubert, who becomes his mentor, guiding him through his early career in journalism and literature During his time with Flaubert, he also meets influential writers such as Russian novelist Ivan Turgenev and Émile Zola, connecting with many authors from the naturalist and realist movements.
6 tombe également sous le charme de l’historien-philosophe Taine qu’il rencontre à Aix-les-Bains
Guy de Maupassant's extensive body of work showcases his remarkable talent across various genres, solidifying his significant contribution to French literature He authored approximately three hundred short stories and tales, six novels, over 250 articles, three travel narratives, two plays, and around one hundred poems Additionally, his early works from the 1970s, which include one poem, three plays, and several prose pieces, were advised against publication by his mentor, Flaubert.
The extensive number of translated works by Maupassant and their adaptations into film highlight his significant talent and influence on both French and global literature Notably, Maupassant stands out as the French author whose writings have inspired the most cinematic and television adaptations, with over 130 adaptations since "Le retour de son fils" (The Son's Return), directed by D.W in 1909.
Griffith avec Mary Pickford, jusqu'à la série de huit téléfilms intitulée Chez Maupassant et diffusée sur France 2 en 2007
In France, short stories are often viewed as a minor literary genre; however, Guy de Maupassant gained worldwide acclaim through this "small genre." He published over 300 short stories, collected in works such as "La Maison Tellier" (1881), "Les Contes de la bécasse" (1883), and "Contes du jour et de la nuit" (1885) His storytelling is characterized by naturalness, sincerity, simplicity, and occasional truthfulness Until the late 20th century, many literary critics worldwide recognized his talent and contributions Georges Duhamel, perpetual secretary of the Académie française, noted Maupassant's significant influence abroad, particularly on American literature André Maurois acknowledged him as a skilled technician, though he critiqued the superficiality of his depictions Blaise Cendrars, a renowned writer and recipient of the Grand Prix littéraire de Paris in 1961, affirmed Maupassant's status as a great writer whose insights will remain indispensable to historians.
Pour John Bojer, écrivain norvégien, Maupassant est ‘‘le plus grand prosateur que la France ait produit’’ 2
2.2 Principe esthétique de Guy de Maupassant
Le XIX e siècle est traversé par quatre courants littéraires principaux : le romantisme, le réalisme, le naturalisme et le symbolisme Pourtant, Guy de Maupassant ne suit aucun courant Il a défini ses conceptions de l’art narratif en particulier dans la Préface de Pierre et Jean intitulée Le Roman en 1887-1888 Pour lui, le romancier qui prétend ‘‘donner une image exacte de la vie, doit éviter avec soin tout enchaợnement d'ộvộnements qui paraợtraient exceptionnels’’ Cela parce que ‘’son but n'est pas de nous raconter une histoire, de nous amuser ou de nous attendrir, mais de nous forcer à penser, à comprendre, le sens caché des événements.’’ Pour atteindre ce but, le romancier ‘‘doit tout mettre en œuvre pour produire l’effet qu’il poursuit c’est-à-dire l’émotion de la simple réalité, et pour dégager l’enseignement artistique qu’il en veut tirer, c’est-à-dire la révélation de ce qu’est véritablement l’homme contemporain devant ses yeux’’ (Pierre et Jean,
Rejecting the "distorted, superhuman, poetic" vision of the romantic novel, as well as the excesses of psychological and artistic writing in symbolist literature, Maupassant embraces the ideal of an "objective novel." He embarks on a quest for realism while acknowledging its limitations For him, realism represents "a personal vision of the world that the novelist seeks to communicate by reproducing it in a book," necessitating the author's selective interpretation of reality based on their own personality.
As a distinguished student of Flaubert, Maupassant demonstrates exceptional observational skills in his narratives He excels in portraying familiar settings and characters, capturing their distinctive traits and characteristics with unparalleled precision.
2 BENHAMOU N., Guy de Maupassant – Etudes rộunies par Noởlle Benhamou, Editions : Rodopi B.V, 2007, p.45
The author aims to highlight the absurdities of his time, such as forced marriages and adultery, through simple yet impactful storytelling, rather than creating complex works His narratives, often perceived as small masterpieces, draw from real-life events, personal memories, and the mundane stories shared by friends By focusing on ordinary occurrences, both joyful and grim, he captures the essence of 19th-century realities that are frequently overlooked His keen observations of the world around him ensure that the characters are well-developed and the settings are vividly depicted.
Inspired by Flaubert and contemporaries like Schopenhauer, Maupassant portrays a deeply despairing world In this realm, unconsciousness, selfishness, and cruelty dominate, with humanity depicted as "a beast barely superior to others." From greedy peasants to insensitive bourgeois, inhumanity and ignorance are pervasive throughout society.
The author skillfully portrays characters, highlighting their moral qualities, flaws, and aspirations Some characters are so lifelike that the real-life inspirations have recognized themselves and even protested He adeptly meets the audience's expectations by staying attuned to contemporary interests, effectively elevating a genre that was imposed upon him.
Maupassant rejette également le naturalisme avec sa lourde documentation et avec son ambition démonstratrice d’un réalisme total à la Zola, mais il pratique un
3 LACAZE – DUTHIERS G., Guy de Maupassant, son œuvre Paris : Éditions de la Nouvelle revue critique, 1926, p 29
In the realm of literature, realism often portrays unfiltered aspects of life, as seen in the poignant depiction of Forestier's death in "Bel-Ami" and the grim imagery of a dog in labor in Chapter X of "Une vie." These examples highlight a stark, morally unembellished reflection of harsh realities, emphasizing the raw nature of human and animal experiences.
Maupassant prioritizes the simplicity of actions over psychological explanations, believing that "psychology should be hidden in the book as it is hidden in reality beneath the facts of existence." He focuses on action and character traits, with his natural conciseness constrained by the external requirement of journalistic limits, typically not exceeding two hundred lines Through these characteristics, he creates the illusion of reality in his stories Maupassant skillfully selects precise expressions to depict each character's traits from both an external and internal perspective This simplicity extends to his descriptions, sharply contrasting with Balzac's style His preference for density ultimately leads him to favor the art of the short story.
Les œuvres de Maupassant sont des reproductions détaillées de la réalité : ses contes et nouvelles constituent un miroir fidèle de la réalité du XIX e siècle
2.3 Thème et style d’écriture de Guy de Maupassant
LE XIXE SIÈCLE – UN SIÈCLE CONTRAIGNANT POUR
LA LUTTE D’ÉMANCIPATION DE LA FEMME
Le XIX e siècle est témoin du mouvement féministe naissant La forme la plus évidente d'action féminine est sans doute la participation concrète de femmes à des mouvements de révolte ou de révolution ‘‘Dans ce combat, la femme ne peut pas être neutre ; les optimistes, qui ne veulent pas voir le fond des choses, peuvent se figurer que le rôle de la femme est nul, qu'elle ne prend pas part à la bataille, mais ils ne s'aperỗoivent pas du secret et persistant appui qu'elle apporte à cette sociộtộ qui s'en va et que nous voulons chasser sans retour ( ) C'est pour cela que l'Eglise veut retenir la femme, et c'est aussi pour cela qu'il faut que la démocratie la lui enlève ; il faut choisir, citoyens : il faut que la femme appartienne à la science ou qu'elle appartienne à l'Eglise ( ).’’ 6 Il s’agit des luttes pour des revendications dans le travail, dans l’éducation et dans la politique
2.1 Les revendications dans le travail
En France, les militantes de 1789 sont pour l'essentiel tricoteuses, marchandes de halles, pauvresses, révoltées contre la misère, l'insolence et les
6 CRUBELLIER M., La mémoire de l'humanité - Les grands événements de l'histoire des femmes,
Editions Larousse, 1997 ‘‘Les lycées des jeunes filles’’, p 228-229
Seventeen privileges are sought by women, who have high expectations from the Revolution They articulate their demands through petitions, addresses, and grievance notebooks, focusing on issues they traditionally face These include the right to pursue a profession, protection for women's work such as sewing and embroidery, and inadequate wages.
In 1848, women actively participated in the revolutionary events of February, leading to their recognition of the right to work on equal terms with men Following their protests, national workshops were opened to them on April 10, albeit with a delay This marked the beginning of their civic engagement as they elected delegates to the Luxembourg Commission and advocated for reforms to improve their working conditions, including the establishment of childcare facilities and collective dining options.
Au XIX e siècle, même si l’homme et la femme effectuent les mêmes travaux, leurs salaires ne sont pas du tout équivalent Les femmes touchent en moyenne 27% de salaire de moins que les hommes A poste et expérience équivalente, les femmes perỗoivent en moyenne 10% de revenus en moins que les hommes C’est pourquoi, en 1866, les femmes du polissage débrayent pour obtenir ou se rapprocher de cette égalité Le premier congrès féministe international, réuni en 1878, réclame la liberté du travail pour la femme, l'égalité des salaires, la journée de huit heures, le repos hebdomadaire, un congé et des allocations de maternité, l'admission des femmes dans les syndicats, la reconnaissance de la maternité et des travaux ménagers comme travail social
The 19th century saw significant revolutions advocating for women's right to education, led by influential figures like Claude-Henry de St Simon and Charles Fourier In 1807, they championed not only women's suffrage but also the freedom to love, marking a pivotal moment in the fight for gender equality.
(1808) En 1838, est créée la première école normale d’institutrices : école primaire pour filles En 1848, Jeanne Deroin tente de se présenter aux élections législatives
18 de 13 mai, pour elle, ‘‘La cause du peuple et la cause des femmes sont intimement liées’’ En 1821, Julie Victoire Daubie est la première bachelière de France En
1862, Elisa Lemonnier crée l’enseignement professionnel féminin, public et lạc En
1867, Victor Dupuy instaure les cours secondaires publiques destinés aux filles En
In 1874, Joséphine Andree established the Women's Sewing Union, paving the way for women's collective action By 1876, Hubertine Auclert founded the Women's Rights group, a suffragist movement that successfully advocated for women's suffrage in 1883 The year 1880 marked a significant milestone as women gained access to universities, and in 1881, the Jules Ferry law made primary education public and compulsory for all children, regardless of gender.
Women in Paris and across the provinces are forming their own clubs, such as the Women's Emancipation Club and the Mutual Education Club for Women, and they are organizing numerous conferences They emphasize the necessity of emancipating both the populace and women, linking the right to vote, education, and employment as central issues Through the tireless efforts of Désirée Gay, women successfully advocate for the establishment of national workshops where they hold regular sessions that include reading laws and newspapers, discussing educational challenges, and engaging in philanthropic activities Starting in 1792, these clubs become more radical and participate in the political life alongside the Jacobins Notably, the Society of Patriots and Benefactors of the Friends of Truth, founded by Etta Palm d'Aedlers, advocates for the education of poor girls, divorce, and political rights Additionally, salons hosted by women from the elite, such as Mme Roland and Mme de Condorcet, serve as crucial spaces for both private and public discourse, facilitating exchanges between genders during the Revolution.
2.3 Les revendications dans la politique
Les revendications des femmes touchant aux droits politiques sont rares car il y a peu de femmes qui ont conscience de leur importance Les femmes de Provence
In 1789, 19 women protested against their exclusion from the Estates-General, prompting deputies to assert that they represented all citizens, including women In response, a woman named Madame B.B from the Pays de Caux articulated a compelling argument in her "Cahier de Doléances et Réclamation des Femmes," stating, "It is reasonably demonstrated that a noble cannot represent a commoner; therefore, women can only be represented by women."
In addition to written demands, women actively participated in the revolution, notably on October 5, 1789, when they formed the majority of the Versailles procession and entered the palace Historian Jules Michelet remarked, "What is most instinctive and inspired in the people are the women […] Men took the Bastille, and women took the King."
During the revolutionary period, women took to the streets in the weeks leading up to uprisings, urging men to take action by calling them cowards In doing so, they asserted their presence in the political sphere and played an active role However, once revolutionary associations took control of events, women were excluded from the deliberative assemblies, the armed populace (National Guard), local committees, and political associations.
Unable to participate in political assemblies, women occupy public galleries, earning the nickname "knitters." From these vantage points, they influence lawmakers with their hoarse voices In popular perception, these galleries hold significant political importance, and being present there signifies exercising a degree of sovereignty.
7 MICHELET J., La femme de la Révolution, Paris, 1854, p.19
8 CHARLES-FREDERIC R., Le Nộologiste Franỗais, ou vocabulaire portatif des mots les plus nouveaux de la langue Franỗaise, Grattenaver, 1796
In 1848, Jeanne Deroin emerged as a prominent figure in the feminist movement, highlighting the role of women in political and social organization Jenny d'Héricourt founded the Society for the Emancipation of Women, advocating for the repeal of the Civil Code and the right to divorce, emphasizing women's "material and moral independence." On March 20, Eugénie Niboyet launched the journal La Voix des femmes, which published letters and petitions, while on March 22, the Mayor of Paris met with the Women's Rights Committee, where members called for freedom and equality for women They demanded universal suffrage for 17 million people, but the Mayor deferred the decision to the National Assembly, set to be elected in April Niboyet, who later became president of the women's club established in April, asserted that women's rights were tied to their responsibilities as mothers, with initial demands focused on education and labor They aimed to improve the lives of female workers by proposing collective services, organizing courses and conferences led by Niboyet, Deroin, and Désirée Gay These "women of 1848," inspired by Saint-Simonism, were deeply committed to political equality and the right to vote For the upcoming National Assembly elections, from which women were excluded, Niboyet suggested the candidacy of writer George Sand, a passionate republican and political author aligned with the provisional government.
Malgré les revendications diverses au XIX e siècle, les femmes n’obtiennent pas de résultats évidents Elles sont confrontées à une situation très difficile à la fin du XIXe siècle
The primary obstacle to women's emancipation at the end of the 19th century was the precariousness of their professional situation Despite having equal qualifications, women earned lower salaries than men, faced higher unemployment rates, and were more likely to hold part-time or less skilled positions This disparity contrasts sharply with the superior academic achievements of girls compared to boys, particularly evident in the baccalaureate results The 1893 law aimed at professional equality proved to be ineffective Additionally, women bore the brunt of domestic responsibilities, with 70% of household tasks falling to them They were also excluded from local commissions, and until the end of the 19th century, there were no female deputies in the French administrative system.
The condition of French women in the 19th century is vividly depicted in the short stories of Guy de Maupassant In the following chapter, we will explore this theme by examining the female characters from various perspectives, focusing on their social statuses and distinctive portrayals.
PERSONNAGES FÉMININS DANS LES NOUVELLES DE
LA FEMME DANS LES NOUVELLES DE GUY DE MAUPASSANT
Les personnages féminins occupent une place très importante dans les œuvres de Guy de Maupassant Quelle que soit leurs classes d’appartenance, ils doivent subir les malheurs de différentes formes
Among the 80 short stories featuring significant female roles, 45 depict the lives of working-class women, including housewives, peasants, artisans, and servants These women confront a life of poverty and hardship Their portrayals can be easily found in the works of Guy de Maupassant, such as "The Farm Girl," "The Reweaver," "Rosalie Prudent," "The Bell," "The Drowned Man," "A True Story," "A Father," "The Clogs," "Regret," "The Inheritance," and "The Bequest."
In the short story "The Chair Caner," the chair caner embodies the essence of craftsmanship This poignant narrative explores her fifty-six-year passion for a pharmacist In a moment of compassion, she sacrifices nearly all her savings to help a young bourgeois in distress, highlighting themes of sacrifice and unrequited love.
Despite their deep affection, their love remains impossible due to societal norms that prohibit relationships between individuals from different social classes As he matures and marries, the young man forgets her, yet she continues to hold him in her thoughts Before her passing, she requests that a friend give all her savings to him, demonstrating the enduring nature of her feelings.
In "Rosalie Prudent" by Guy de Maupassant, the story revolves around Rosalie, a poor girl working for the Varambot family She is seduced by her employer's nephew and becomes pregnant, only to be abandoned by him Left alone and fearful of losing her job, Rosalie expresses her isolation, stating, "I have no one to talk to No one to share my troubles with I have no father, no mother, no brother, no sister, no one" (Rosalie Prudent, p.29) Despite her hopes of raising her baby alone, her situation worsens when she gives birth to twins.
In the face of overwhelming stress and financial hardship, Rosalie Prudent grapples with the impossibility of supporting two children on her meager income of twenty francs a month She questions the feasibility of raising one child, let alone two, and feels trapped by her circumstances Ultimately, the weight of her situation drives her to a harrowing decision, leading her to contemplate drastic measures.
In many of Guy de Maupassant's short stories, particularly in 25 out of 80 analyzed, bourgeois women are depicted as seemingly affluent yet fundamentally unhappy These middle-class women often endure marriages of convenience, as illustrated in tales such as "The First Snow" and "A True Story."
In the context of arranged marriages, true happiness often eludes individuals "The First Snow" narrates the story of a girl wed to a man chosen by her parents After a few months, misunderstandings arise between the couple, leading her to experience feelings of loneliness, a lack of affection, and, most notably, her husband's greed This unfortunate situation ultimately results in a serious and fatal illness for her.
L’image des femmes malheureuses à cause du mariage d’intérêt se trouvent dans d’autres nouvelles de Guy de Maupassant comme : Le testament, La dot, Une histoire vraie…
The story of "Le Testament" revolves around Madame de Courcils, who marries a country gentleman primarily for her wealth Tragically, just a month after their wedding, he betrays her by engaging in affairs with a servant and other women from the farm Their two sons, sharing their father's coarse nature, view her merely as a servant rather than as their mother.
Jeanne Cordier, a character from "La dot," faces a tragic fate despite her wealthy background She marries Simon Lebrument, who is primarily interested in her substantial dowry After their wedding, Jeanne relocates to Paris with her husband, only to find herself abandoned as he takes her entire dowry and leaves her isolated from her family.
In "A True Story," young servant Rose becomes pregnant by her aristocratic employer To preserve his honor, the aristocrat offers her a marriage to a scoundrel, who accepts but demands a substantial dowry, including land, a house, and inheritance rights after Rose's death Rose's life with this scoundrel is filled with suffering, as she endures frequent abuse from her husband, ultimately leading to her tragic demise due to this mistreatment.
Dans grand nombre de nouvelles, Guy de Maupassant nous montre la conséquence inévitable du mariage d’intérêt : l’adultère Par exemple : La fenêtre,
Confession d’une femme, Le rendez-vous, Une aventure parisienne, La confidence,
In the short story "The Window," the author illustrates the rise of infidelity in bourgeois society, stating that most marriages become stormy and contentious due to a lack of genuine understanding between partners Even the smallest quirks, stubborn opinions on various topics, or minor flaws can lead to irreconcilable enmity, highlighting the fragile nature of marital relationships.
25 acharnộs et enchaợnộs l´un à l´autre jusqu´à la mort, des deux fiancộs les plus tendres et les plus passionnés.’’ (La fenêtre, p.85)
In the story "Le rendez-vous," the theme of loveless marriages often leads women to seek affairs, as illustrated by the protagonist's feelings of monotony in her life and relationship She reflects on her husband, describing him as a good but ordinary man, highlighting her dissatisfaction: “Oh! My God! After! It was the hardest! He didn’t change his ways, the poor boy! What a good boy, but so dull!” This sentiment captures the essence of her longing for excitement outside her marriage.
In "Une aventure parisienne," a woman with a structured life and two children seeks to experience the vibrant Parisian lifestyle As a provincial woman, she uses a family visit as an excuse to travel alone to Paris While exploring an antique shop, she encounters a famous writer, whom the shop owner is trying to sell a Japanese trinket to Their connection leads them on outings to the woods, a restaurant, and the theater, culminating in a night together Initially believing she has found happiness, she soon realizes that the writer is accustomed to relationships with artistic women By morning, she flees, returning home to collapse in tears on her bed.
In the story "La confidence," the young Baroness de Grangerie faces misfortune due to her husband's unattractiveness, describing him as "insufferable," with a "big belly" and a "red nose." She finds him "very ugly, very ridiculous, and very repugnant," leading to feelings of nausea Disillusioned with romantic ideals, she ultimately seeks revenge by committing adultery.
Another type of woman that Guy de Maupassant is interested in is prostitutes In the 19th century, due to the lack of legitimate job opportunities, many women were forced to resort to the degrading profession of prostitution to earn a living.
PORTRAIT CARACTÉRISTIQUE DES FEMMES
In his short stories, Guy de Maupassant pays little attention to the physical descriptions of characters Consequently, we focus on the characteristic portrayal of women in Maupassant's works, which provides a detailed caricature of 19th-century women.
Positive representations of women are seldom found in the stories and tales of Guy de Maupassant Instead, his portrayals often lean towards caricatures, highlighting the negative traits of women.
In most of his works, Maupassant portrays women through the lens of his era, viewing them as naive creatures This perception leads to the idea that women are the reason men lose their rationality, becoming solely focused on love Consequently, many of Maupassant's stories, such as "Adieu," "Ce cochon Morin," and "L’inutile beauté," critique the fleeting nature of beauty.
Maupassant's perspective on women's beauty is poignantly expressed in his short story "Adieu," where he reflects, "And women, my dear, how I pity them, the poor beings Their happiness, power, and life all hinge on their beauty, which lasts just ten years." This notion is further illustrated in "Ce cochon Morin," where a man succumbs to the allure of a charming young girl, leading to a scandalous encounter on a train that ultimately ridicules him in the eyes of his wife and society The narratives highlight the transient nature of beauty and its profound impact on women's lives.
En outre, le risque de la beauté des femmes c’est qu’elles sont souvent violées dans leur jeunesse et même leur enfance (Madame Baptiste, La petite Roque)
The story "La petite Roque" follows a twelve-year-old girl named Roque, who seeks relief from the scorching heat by swimming in a nearby river During her swim, she catches the attention of Renardet, a forty-year-old man grappling with the frustration of his widowhood He perceives her as a mix of innocence and premature maturity, which fuels his troubling fantasies This encounter sets the stage for a narrative that explores complex themes of desire and vulnerability.
30 se transformer en objet de désir immédiat : la petite ‘‘Vénus paysanne’’ est vite violée, et dans l’affolement, tuée
In the story "Madame Baptiste," the protagonist, Madame Baptiste, carries the burden of her traumatic past, as her nickname stems from the name of the servant who sexually assaulted her during her childhood This horrific experience leads to a life filled with shame and isolation, as depicted in the narrative: "The little girl grows up, marked by infamy, isolated, without friends, barely touched by adults who would fear staining their lips by brushing against her forehead." Ultimately, the weight of this humiliation becomes unbearable, driving her to take her own life.
In various stories, women are often charmed and subsequently abandoned by men, a theme explored in numerous narratives such as "A Father," "The Story of a Farm Girl," "A Son," "A True Story," and "Simon’s Dad."
C´est le cas dans Un père ó une fille jeune et belle est abandonnée par son amant, quand elle lui annonce qu´elle était enceinte
The story of "A Farm Girl's Tale" explores the harrowing experiences of violated and abandoned servants, highlighting the emotional turmoil they endure Rose, the protagonist, faces the challenges of raising an illegitimate child after her partner, a stable boy, abandons her during her pregnancy This narrative delves into the themes of betrayal, stress, and resilience in the face of societal pressures.
The story "A True Story" portrays the tragic fate of a young girl named Rose, who is seduced by her employer and becomes pregnant Her life takes a turn for the worse when her parents sell her to Mr Varnetot in exchange for a horse Subsequently, Mr Varnetot gives her to a worthless man, feeling ashamed of having a child with a servant.
Guy de Maupassant aime décrire un autre défaut des jeunes campagnardes : c´est l´ignorance On trouve cela dans certaines nouvelles comme : Les sabots, L’aveu, La mère aux monstres…
In the story "Les sabots," Adélạde, a maid, is unknowingly six months pregnant When her father asks her, "Aren't you getting fat?" she stares blankly at her belly, repeating, "No, I don't think so I didn't know it happened like that, to have children!" This moment highlights her innocence and lack of awareness about her condition.
In "L'aveu," the story follows a simple-minded peasant woman who offers her services to the stagecoach driver to save money When she confesses her pregnancy to her mother, her mother advises her to hide her condition and continue saving for as long as possible.
In "La mère aux monstres," a diligent and frugal girl working on a farm unexpectedly finds herself pregnant, unaware of the father's identity Fearing the loss of her job, she attempts to conceal her pregnancy and maintain her ordinary life Her ignorance leads her to tightly bind her abdomen with a makeshift corset made of wooden planks and ropes, resulting in a horrific transformation of the unborn child The pressure distorts the fetus, causing its skull to elongate and its limbs to twist grotesquely, resembling the legs of a spider.
Among the short stories of Guy de Maupassant, many explore the theme of romantic relationships involving women These relationships are depicted not only between lovers but also in the dynamic between mothers and their children.
On peut facilement trouver le sentiment miracle et inséparable entre la mère et l’enfant dans les nouvelles : Une vendetta, L’abandonné, La mère sauvage, L’enfant…
"Une vendetta" tells the poignant story of a grieving mother in Bonifacio who loses her only son, Antoine, to a fatal knife attack during a dispute Instead of mourning, she vows vengeance, promising her son, "I will have my vendetta." The murderer escapes to Sardinia, where he seeks refuge among Corsican bandits With no family to seek retribution on her behalf, the elderly mother, accompanied only by her dog, Sémillante, becomes consumed by thoughts of revenge For months, she trains her dog to kill the murderer, demonstrating unwavering love and dedication to her son despite her age and infirmity.
The grief and hatred of a mother, whose child was killed by Prussian soldiers, transforms her from a gentle and kind person into a cunning and fierce avenger In the story "La mère sauvage," she takes a drastic step by burning four Germans in her home while they sleep, seeking vengeance for her son's death during the war.
La relation qu’on trouve beaucoup dans les nouvelles de Guy de Maupassant est l’amour entre l’homme et femme : Clochette, La confession, Le masque, Le legs,