WAS IT A DREAM?

- By Guy de Maupassant
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French writer (1850–1893) In this article, the surname is Maupassant, not de Maupassant. Guy de MaupassantPhotograph by NadarBornHenri René Albert Guy de Maupassant(1850-08-05)5 August 1850Tourville-sur-Arques, Normandy, FranceDied6 July 1893(1893-07-06) (aged 42)Passy, Paris, FranceResting placeMontparnasse Cemetery, ParisPen nameGuy de Valmont, Joseph PrunierOccupationNovelist, short story writer, poet, comedianGenreNaturalism, RealismSignature Henri René Albert Guy de Maupassant (UK: /ˈmoʊpæsɒ̃/,[1][2] US: /ˈmoʊpəsɒnt, ˌmoʊpəˈsɒ̃/;[2][3][4][5] French: [ɡi d(ə) mopasɑ̃]; 5 August 1850 – 6 July 1893) was a 19th-century French author, celebrated as a master of the short story, as well as a representative of the naturalist school, depicting human lives, destinies and social forces in disillusioned and often pessimistic terms. Maupassant was a protégé of Gustave Flaubert and his stories are characterized by economy of style and efficient, seemingly effortless dénouements. Many are set during the Franco-Prussian War of the 1870s, describing the futility of war and the innocent civilians who, caught up in events beyond their control, are permanently changed by their experiences. He wrote 300 short stories, six novels, three travel books, and one volume of verse. His first published story, "Boule de Suif" ("The Dumpling", 1880), is often considered his most famous work. Biography[edit] Guy de Maupassant aged 7 Guy de Maupassant and his mother, Laure His father, Gustave de Maupassant, by Hippolyte Bellangé Château de Miromesnil, Normandy Grave at Montparnasse, Paris Henri-René-Albert-Guy de Maupassant was born on 5 August 1850 at the late 16th-century Château de Miromesnil (near Dieppe in the Seine-Inférieure (now Seine-Maritime) Department, France), the elder son of Gustave de Maupassant (1821–99) and Laure Le Poittevin,[6] whose family hailed from the prosperous bourgeoisie. His mother urged her husband when they married in 1846 to obtain the right to use the particule or form "de Maupassant" instead of "Maupassant" as his family name, in order to indicate noble birth.[7] Gustave’s great-great-grandfather, Jean-Baptiste de Maupassant (1699–1774), conseiller-secrétaire to King Louis XV, had been ennobled by Emperor Francis I in 1752, and although his family were considered petite noblesse they had not yet received official recognition by the Kingdom of France. He then obtained from the Tribunal Civil of Rouen by royal decree dated 9 July 1846 the right to style himself "de Maupassant" instead of "Maupassant", being formally assumed as the family name before the birth of his children.[8] When Maupassant was 11 and his brother Hervé was five, his mother, an independent-minded woman, risked social disgrace to obtain a legal separation from her husband, who was violent towards her. After the separation, Laure Le Poittevin kept custody of her two sons. In the absence of the Maupassant's father, his mother became the most influential figure in the young boy's life.[9] She was an exceptionally well-read woman and was very fond of classical literature, particularly Shakespeare. Until the age of thirteen, Guy lived happily with his mother, at Étretat in Normandy. At the Villa des Verguies, between the sea and the luxuriant countryside, he grew very fond of fishing and of outdoor activities. When Guy reached the age of thirteen, his mother placed her two sons as day boarders in a private school, the Institution Leroy-Petit, in Rouen—the Institution Robineau of Maupassant's story La Question du Latin—for classical studies.[10] From his early education, he retained a marked hostility to religion, and to judge from verses composed around this time, he deplored the ecclesiastical atmosphere, its ritual and discipline.[11] Finding the place unbearable, he finally got himself expelled in his penultimate year.[12] In 1867, while he was in junior high school, Maupassant met Gustave Flaubert at Croisset on the insistence of his mother.[13] Next year, in autumn, he was sent to the Lycée Pierre-Corneille in Rouen[14] where he proved a good scholar, indulging in poetry and taking a prominent part in theatricals. In October 1868, at the age of 18, he saved the famous poet Algernon Swinburne from drowning off the coast of Étretat.[15] The Franco-Prussian War broke out soon after his graduation from college in 1870 and Maupassant volunteered to serve in the French Army without attending military academy as aspirant. In 1871, he left Normandy and moved to Paris, where he spent ten years as a clerk in the Navy Department. During this time his only recreation and relaxation was boating on the Seine on Sundays and holidays. Gustave Flaubert took him under his protection and acted as a kind of literary guardian to him, guiding his debut in journalism and literature. At Flaubert's home he met Émile Zola (1840–1902) and the Russian novelist Ivan Turgenev (1818–1883), as well as many of the proponents of the realist and naturalist schools. He wrote and himself played (1875) in a comedy - "À la feuille de rose, maison turque" - with Flaubert's blessing. In 1878, he was transferred to the Ministry of Public Instruction and became a contributing editor to several leading newspapers such as Le Figaro, Gil Blas, Le Gaulois and l'Écho de Paris. He devoted his spare time to writing novels and short stories. Maupassant's study, illustrated by Gustave Fraipont In 1880 he published what is considered his first masterpiece, "Boule de Suif", which met with instant and tremendous success. Flaubert characterized it as "a masterpiece that will endure". This, Maupassant's first piece of short fiction set during the Franco-Prussian War of 1870–71, was followed by short stories such as "Deux Amis", "Mother Savage", and "Mademoiselle Fifi". "The fear that haunted his restless brain day and night was already visible in his eyes, I for one considered him then as a doomed man. I knew that the subtle poison of his own Boule de Suif had already begun its work of destruction in this magnificent brain. Did he know it himself? I often thought he did. The MS. of his Sur L'Eau was lying on the table between us, he had just read me a few chapters, the best thing he had ever written I thought. He was still producing with feverish haste one masterpiece after another, slashing his excited brain with champagne, ether and drugs of all sorts. Women after women in endless succession hastened the destruction, women recruited from all quarters... actresses, ballet-dancers, midinettes, grisettes, common prostitutes-- 'le taureau triste' his friends used to call him. [16] Maupassant in the 1880s The decade from 1880 to 1891 was the most fertile period of Maupassant's life. Made famous by his first short story, he worked methodically and produced two or sometimes four volumes annually. His talent and practical business sense made him wealthy. In 1881 he published his first volume of short stories under the title of La Maison Tellier; it reached its twelfth edition within two years. In 1883 he finished his first novel, Une Vie (translated into English as A Woman's Life), 25,000 copies of which were sold in less than a year. "Bed 29", published in 1884, is a social and political satirical collection[17] of some of his best short stories, including the titular story which is shocking and scandalous, even by modern standards.[18] His editor, Victor Havard, commissioned him to write more stories, and Maupassant continued to produce them efficiently and frequently. His second novel, Bel-Ami, which came out in 1885, had thirty-seven printings in four months. Then, he wrote what many consider his greatest novel, Pierre et Jean (1888). With a natural aversion to society, he loved retirement, solitude, and meditation. He traveled extensively in Algeria, Italy, England, Brittany, Sicily, and the Auvergne, and from each voyage brought back a new volume. He cruised on his private yacht Bel-Ami, named after his novel. This life did not prevent him from making friends among the literary celebrities of his day: Alexandre Dumas, fils had a paternal affection for him; at Aix-les-Bains he met Hippolyte Taine (1828–1893) and became devoted to the philosopher-historian. Flaubert continued to act as his literary godfather. His friendship with the Goncourts was of short duration; his frank and practical nature reacted against the ambiance of gossip, scandal, duplicity, and invidious criticism that the two brothers had created around them in the guise of an 18th-century style salon. Maupassant was one of a fair number of 19th-century Parisians (including Charles Gounod, Alexandre Dumas, fils, and Charles Garnier) who did not care for the Eiffel Tower[19] (erected 1887/89). He often ate lunch in the restaurant at its base, not out of preference for the food but because only there could he avoid seeing its otherwise unavoidable profile.[20] He and forty-six other Parisian literary and artistic notables attached their names to an elaborately irate letter of protest against the tower's construction, written to the Minister of Public Works, and published on 14 February 1887.[21] Declining appointment to the Légion d'honneur and election to the Académie française,[22] Maupassant also wrote under several pseudonyms, including "Joseph Prunier", "Guy de Valmont", and "Maufrigneuse" (which he used from 1881 to 1885). In his later years he developed a constant desire for solitude, an obsession for self-preservation, and a fear of death and paranoia of persecution caused by the syphilis he had contracted in his youth. It has been suggested that his brother, Hervé, also suffered from syphilis and that the disease may have been congenital.[23] On 2 January 1892, Maupassant tried to take his own life by cutting his throat; he was committed to the private asylum of Esprit Blanche at Passy, in Paris, where he died on 6 July 1893 from syphilis. Engraving of Maupassant, by Marcellin Desboutin. Maupassant penned his own epitaph: "I have coveted everything and taken pleasure in nothing." He is buried in Section 26 of the Montparnasse Cemetery, Paris. Significance[edit] Maupassant is considered a father of the modern short story. Literary theorist Kornelije Kvas wrote that along "with Chekhov, Maupassant is the greatest master of the short story in world literature. He is not a naturalist like Zola; to him, physiological processes do not constitute the basis of human actions, although the influence of the environment is manifested in his prose. In many respects, Maupassant's naturalism is Schopenhauerian anthropological pessimism, as he is often harsh and merciless when it comes to depicting human nature. He owes most to Flaubert, from whom he learned to use a concise and measured style and to establish a distance towards the object of narration."[24] He delighted in clever plotting, and served as a model for Somerset Maugham and O. Henry in this respect. One of his famous short stories, "The Necklace", was imitated with a twist by Maugham ("Mr Know-All", "A String of Beads"). Henry James's "Paste" adapts another story of his with a similar title, "The Jewels". Taking his cue from Balzac, Maupassant wrote comfortably in both the high-realist and fantastic modes; stories and novels such as "L'Héritage" and Bel-Ami aim to recreate Third Republic France in a realistic way, whereas many of the short stories (notably "Le Horla" and "Qui sait?") describe apparently supernatural phenomena. The supernatural in Maupassant, however, is often implicitly a symptom of the protagonists' troubled minds; Maupassant was fascinated by the burgeoning discipline of psychiatry, and attended the public lectures of Jean-Martin Charcot between 1885 and 1886.[25] Legacy[edit] Guy de Maupassant early in his career; by Alphonse Liébert. Leo Tolstoy used Maupassant as the subject for one of his essays on art: The Works of Guy de Maupassant. His stories are second only to Shakespeare in their inspiration of movie adaptations with films ranging from Stagecoach, Oyuki the Virgin and Masculine Feminine.[26] Friedrich Nietzsche's autobiography mentions him in the following text: "I cannot at all conceive in which century of history one could haul together such inquisitive and at the same time delicate psychologists as one can in contemporary Paris: I can name as a sample – for their number is by no means small, ... or to pick out one of the stronger race, a genuine Latin to whom I am particularly attached, Guy de Maupassant." William Saroyan wrote a short story about Maupassant in his 1971 book, Letters from 74 rue Taitbout or Don't Go But If You Must Say Hello To Everybody. Isaac Babel wrote a short story about him, "Guy de Maupassant." It appears in The Collected Stories of Isaac Babel and in the story anthology You’ve Got To Read This: Contemporary American Writers Introduce Stories that Held Them in Awe. Gene Roddenberry, in an early draft for The Questor Tapes, wrote a scene in which the android Questor employs Maupassant's theory that, "the human female will open her mind to a man to whom she has opened other channels of communications."[27] In the script Questor copulates with a woman to obtain information that she is reluctant to impart. Due to complaints from NBC executives, this scene was never filmed.[28] Michel Drach directed and co-wrote a 1982 French biographical film: Guy de Maupassant. Claude Brasseur stars as the titular character. Several of Maupassant's short stories, including "La Peur" and "The Necklace", were adapted as episodes of the 1986 Indian anthology television series Katha Sagar. Bibliography[edit] See also: Guy de Maupassant bibliography and List of short stories by Guy de Maupassant References[edit] ^ "Maupassant, Guy de". Lexico UK English Dictionary. Oxford University Press. Archived from the original on 16 July 2021. ^ a b "Maupassant, Guy de". Longman Dictionary of Contemporary English. Longman. Retrieved 21 August 2019. ^ "Maupassant". Random House Webster's Unabridged Dictionary. ^ "Maupassant". Collins English Dictionary. HarperCollins. Retrieved 21 August 2019. ^ "Maupassant". Merriam-Webster.com Dictionary. Retrieved 21 August 2019. ^ www.data.bnf.fr ^ Alain-Claude Gicquel, Maupassant, tel un météore, Le Castor Astral, 1993, p. 12 ^ Gicquel, Alain-Claude (1993). Maupassant, tel un météore: biographie. Collection "Les inattendus", number 218 (in French). Le Castor Astral. p. 12, 32. ISBN 9782859202187. Retrieved 7 October 2022. ^ "Guy de Maupassant Biography". enotes. Retrieved 9 December 2014. ^ Maupassant, Choix de Contes, Cambridge, p. viii, 1945 ^ de Maupassant, Guy (1984). Le Horla et autres contes d'angoisse (in French) (2006 ed.). Paris: Flammarion. p. 233. ISBN 978-2-0807-1300-1. ^ "Biographie de Guy de Maupassant". @lalettre.com. Retrieved 9 December 2014. ^ "Maupassant's Apprenticeship with Flaubert". 26 March 2024. ^ "Lycée Pierre Corneille de Rouen - History". Lgcorneille-lyc.spip.ac-rouen.fr. 19 April 1944. Retrieved 13 March 2018. ^ Clyde K. Hyder, Algernon Swinburne: The Critical Heritage, 1995, p. 185. ^ Munthe, Axel (1962). The story of San Michele. John Murray. p. 201. ^ www.letemps.ch ^ www.librarything.com ^ "The Tower of Babel - Criticism of Eiffel Tower". Archived from the original on 13 October 2013. ^ Barthes, Roland. The Eiffel Tower and Other Mythologies. Tr. Howard, Richard. Berkeley: University of California Press. ISBN 978-0-520-20982-4. Page 1. ^ Loyrette, Henri (1985). Gustave Eiffel. Rizzoli. p. 174. ISBN 9780847806317. Retrieved 7 October 2022. 'We, writers, painters, sculptors, architects and passionate devotees of the hitherto untouched beauty of Paris, protest with all our strength, with all our indignation in the name of slighted French taste, against the erection [...] of this useless and monstrous Eiffel Tower [...] To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years [...] we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal.' ^ www.editions-allia.com ^ "Remembering Maupassant | Arts and Entertainment | BBC World Service". Bbc.co.uk. 9 August 2000. Retrieved 13 March 2018. ^ Kvas, Kornelije (2019). The Boundaries of Realism in World Literature. Lanham, Boulder, New York, London: Lexington Books. p. 131. ISBN 978-1-7936-0910-6. ^ Pierre Bayard, Maupassant, juste avant Freud (Paris: Minuit, 1998) ^ Richard Brody (26 October 2015). "The Writer Who Sparks the Finest Movie Adaptations". The New Yorker. Retrieved 31 October 2015. ^ www.lumoslearning.com ^ [Quoted from the track "The Questor Affair" from the album Inside Star Trek.] Further reading[edit] Abamine, E. P. "German-French Sexual Encounters of the Franco-Prussian War Period in the Fiction of Guy de Maupassant." CLA Journal 32.3 (1989): 323–334. online Bonnefis, Philippe. Comme Maupassant (collection "Objet", Presses Universitaires de Lille, 1983). Dugan, John Raymond. Illusion and reality: a study of descriptive techniques in the works of Guy de Maupassant (Walter de Gruyter, 2014). Fagley, Robert. Bachelors, Bastards, and Nomadic Masculinity: Illegitimacy in Guy de Maupassant and André Gide (Cambridge Scholars Publishing, 2014) online (PDF). Harris, Trevor A. Le V. Maupassant in the Hall of Mirrors: Ironies of Repetition in the Work of Guy de Maupassant (Springer, 1990). Lanoux, Armand. Maupassant le Bel-Ami (Fayard, 1967). Morand, Paul. Vie de Guy de Maupassant (Flammarion, 1942). Reda, Jacques. Album Maupassant (Bibliothèque de la Pléiade, Gallimard, 1987). Rougle, Charles. "Art and the Artist in Babel's" Guy de Maupassant"." The Russian Review 48.2 (1989): 171–180. online Sattar, Atia. "Certain Madness: Guy de Maupassant and Hypnotism". Configurations 19.2 (2011): 213–241. regarding both versions of his horror story "The Horla" (1886/87). online Schmidt, Albert-Marie. Maupassant par lui-même (Le Seuil, 1962). Stivale, Charles J. The art of rupture: narrative desire and duplicity in the tales of Guy de Maupassant (University of Michigan Press, 1994). Vial, André. Maupassant et l'art du roman (Nizet, 1954). External links[edit] Wikiquote has quotations related to Guy de Maupassant. Wikimedia Commons has media related to Guy de Maupassant. Wikisource has original works by or about:Guy de Maupassant Wikisource has the text of the 1911 Encyclopædia Britannica article "Maupassant, Henri René Albert Guy de". Works by Guy de Maupassant in eBook form at Standard Ebooks Works by Guy de Maupassant at Project Gutenberg Works by or about Guy de Maupassant at Internet Archive Guy de Maupassant timeline and stories at AsNotedIn.com Complete list of stories by Guy de Maupassant at Prospero's Isle.com Works by Guy de Maupassant at LibriVox (public domain audiobooks) Université McGill: le roman selon les romanciers Archived 4 August 2021 at the Wayback Machine Recensement et analyse des écrits non romanesques de Guy de Maupassant Works by Guy de Maupassant at Online Literature (HTML) Works by Guy de Maupassant in Ebooks (in French) Works by Guy de Maupassant (text, concordances and frequency list) Maupassantiana, a French scholar's website on Maupassant and his works Petri Liukkonen. "Guy de Maupassant". Books and Writers. Oeuvres de Maupassant, à Athena (in French) Guy de Maupassant's The Jewels audiobook with video at YouTube Guy de Maupassant's The Jewels audiobook at Libsyn The Pearl Necklace 一串珍珠 (Li Zeyuan, dir., 1926) - Chinese silent film adaptation of "The Necklace," with English subtitles vteGuy de MaupassantBibliographyNovels Une Vie Bel-Ami Sur l'eau (1886) Pierre et Jean Le Rosier de Madame Husson Story collections Les Soirées de Médan La Maison Tellier (1881) Mademoiselle Fifi (1882) Contes de la bécasse (1883) Clair de lune (1883) Miss Harriet (1884) Les Sœurs Rondoli (1884) Yvette (1884) Contes du jour et de la nuit (1885) Monsieur Parent (1885) Toine (1886) La Petite Roque (1886) Le Horla (1887) Le Rosier de madame Husson (1888) La Main gauche (1889) L'Inutile Beauté (1890) Le Père Milon (1900) Le Colporteur (1900) Misti (1912) Short stories "À vendre" "Le Baptême" "La Bête à Maît' Belhomme" "Boule de Suif" "La Confidence" "Deux Amis" "Un fou" "The Horla" "Imprudence" "L'Inconnue" "Mademoiselle Fifi" "La Maison Tellier" "Mother Savage" "The Necklace" "La Peur" "The Piece of String" "Pierrot" "Suicides" "Tribunaux Rustiques" "Useless Beauty" "A Vendetta" Related The Affairs of Maupassant (1935 film) Katha Sagar (1986 series) vteGuy de Maupassant's Bel-Ami (1885)Film Bel Ami (1939) The Private Affairs of Bel Ami (1947) Bel Ami (1955) Bel Ami (2012) Television Bel Ami (1971) Bel Ami (1983) vteGuy de Maupassant's "Boule de Suif" (1880)Films The Woman Disputed (1918 silent) Boule de Suif (1934 Soviet) Mademoiselle Fifi (1944) The Escape (1944) Boule de Suif (1945 French) OtherThe Greater Good, or the Passion of Boule de Suif (2006 opera) Portal: Biography Authority control databases International FAST ISNI VIAF WorldCat National Norway Chile Spain France BnF data Argentina Catalonia Germany Italy Israel Finland Belgium United States Sweden Latvia Japan Czech Republic Australia Greece Korea Croatia Netherlands Poland Portugal 2 Vatican Academics CiNii Artists KulturNav MusicBrainz People Deutsche Biographie Trove Other RISM SNAC IdRef
"I had loved her madly!
"Why does one love? Why does one love? How queer, it is to see only one being in the world, to have only one thought in one's mind, only one desire in the heart, and only one name on the lips - a name which comes up continually, rising, like the water in a spring, from the depths of the soul to the lips, a name which one repeats over and over again, which one whispers ceaselessly, everywhere, like a prayer.
"I am going to tell you our story, for love only has one, which is always the same. I met her and loved her; that is all. And for a whole year I have lived on her tenderness, on her caresses, in her arms, in her dresses, on her words, so completely wrapped up, bound, and absorbed in everything which came from her, that I no longer cared whether it was day or night, or whether I was dead or alive, on this old earth of ours.
"And then she died. How? I do not know; I no longer know anything. But one evening she came home wet, for it was raining heavily, and the next day she coughed, and she coughed for about a week, and took to her bed. What happened I do not remember now, but doctors came, wrote, and went away. Medicines were brought, and some women made her drink them. Her hands were hot, her forehead was burning, and her eyes bright and sad. When I spoke to her, she answered me, but I do not remember what we said. I have forgotten everything, everything, everything! She died, and I very well remember her slight, feeble sigh. The nurse said: 'Ah!' and I understood, I understood!
"I knew nothing more, nothing. I saw a priest, who said: 'Your mistress?' and it seemed to me as if he were insulting her. As she was dead, nobody had the right to say that any longer, and I turned him out. Another came who was very kind and tender, and I shed tears when he spoke to me about her. "They consulted me about the funeral, but I do not remember anything that they said, though I recollected the coffin, and the sound of the hammer when they nailed her down in it. Oh! God, God! "She was buried! Buried! She! In that hole! Some people came - female friends. I made my escape and ran away. I ran, and then walked through the streets, went home, and the next day started on a journey. * * * * * * * "Yesterday I returned to Paris, and when I saw my room again - our room, our bed, our furniture, everything that remains of the life of a human being after death - I was seized by such a violent attack of fresh grief that I felt like opening the window and throwing myself out into the street. I could not remain any longer among these things, between these walls which had enclosed and sheltered her, which retained a thousand atoms of her, of her skin and of her breath, in their imperceptible crevices. I took up my hat to make my escape, and just as I reached the door, I passed the large glass in the hall, which she had put there so that she might look at herself every day from head to foot as she went out, to see if her toilette6 looked well, and was correct and pretty, from her little boots to her bonnet.
"I stopped short in front of that looking-glass in which she had so often been reflected - so often, so often, that it must have retained her reflection. I was standing there, trembling, with my eyes fixed on the glass - on that flat, profound, empty glass - which had contained her entirely, and had possessed her as much as I, as my passionate looks had. I felt as if I loved that glass. I touched it; it was cold. Oh! The recollection! Sorrowful mirror, burning mirror, horrible mirror, to make men suffer such torments! Happy is the man whose heart forgets everything that it has contained, everything that has passed before it, everything that has looked at itself in it, or has been reflected in its affection, in its love! How I suffer!
"I went out without knowing it, without wishing it, and toward the cemetery. I found her simple grave, a white marble cross, with these few words:
"'She loved, was loved, and died.'
"She is there, below, decayed! How horrible! I sobbed with my forehead on the ground, and I stopped there for a long time, a long time. Then I saw that it was getting dark, and a strange, mad wish, the wish of a despairing lover, seized me. I wished to pass the night, the last night, in weeping on her grave. But I should be seen and driven out. How was I to manage? I was cunning, and got up and began to roam about in that city of the dead. I walked and walked. How small this city is, in comparison with the other, the city in which we live. And yet, how much more numerous the dead are than the living. We want high houses, wide streets, and much room for the four generations who see the daylight at the same time, drink water from the spring, and wine from the vines, and eat bread from the plains.
"And for all the generations of the dead, for all that ladder of humanity that has descended down to us, there is scarcely anything, scarcely anything! The earth takes them back, and oblivion effaces8 them. Adieu!
"At the end of the cemetery, I suddenly perceived that I was in its oldest part, where those who had been dead a long time are mingling with the soil, where the crosses themselves are decayed, where possibly newcomers will be put to-morrow. It is full of untended roses, of strong and dark cypress-trees, a sad and beautiful garden, nourished on human flesh.
"I was alone, perfectly alone. So I crouched in a green tree and hid myself there completely amid the thick and somber branches. I waited, clinging to the stem, like a shipwrecked man does to a plank.
"When it was quite dark, I left my refuge and began to walk softly, slowly, inaudibly, through that ground full of dead people. I wandered about for a long time, but could not find her tomb again. I went on with extended arms, knocking against the tombs with my hands, my feet, my knees, my chest, even with my head, without being able to find her. I groped about like a blind man finding his way, I felt the stones, the crosses, the iron railings, the metal wreaths, and the wreaths of faded flowers! I read the names with my fingers, by passing them over the letters. What a night! What a night! I could not find her again!
"There was no moon. What a night! I was frightened, horribly frightened in these narrow paths, between two rows of graves. Graves! Graves! Graves! Nothing but graves! On my right, on my left, in front of me, around me, everywhere there were graves! I sat down on one of them, for I could not walk any longer, my knees were so weak. I could hear my heart beat! And I heard something else as well. What? A confused, nameless noise. Was the noise in my head, in the impenetrable night, or beneath the mysterious earth, the earth sown11 with human corpses? I looked all around me, but I cannot say how long I remained there; I was paralyzed with terror, cold with fright, ready to shout out, ready to die.
"Suddenly, it seemed to me that the slab of marble on which I was sitting, was moving. Certainly it was moving, as if it were being raised. With a bound, I sprang on to the neighboring tomb, and I saw, yes, I distinctly saw the stone which I had just quitted rise upright. Then the dead person appeared, a naked skeleton, pushing the stone back with its bent back. I saw it quite clearly, although the night was so dark. On the cross I could read:
"'Here lies Jacques Olivant, who died at the age of fifty-one. He loved his family, was kind and honorable, and died in the grace of the Lord.'
"The dead man also read what was inscribed on his tombstone; then he picked up a stone off the path, a little, pointed stone and began to scrape the letters carefully. He slowly effaced them, and with the hollows of his eyes he looked at the places where they had been engraved. Then with the tip of the bone that had been his forefinger, he wrote in luminous letters, like those lines which boys trace on walls with the tip of a Lucifer match:
"'Here reposes Jacques Olivant, who died at the age of fifty-one. He hastened his father's death by his unkindness, as he wished to inherit his fortune, he tortured his wife, tormented his children, deceived his neighbors, robbed everyone he could, and died wretched.'
"When he had finished writing, the dead man stood motionless, looking at his work. On turning round I saw that all the graves were open, that all the dead bodies had emerged from them, and that all had effaced the lies inscribed on the gravestones by their relations, substituting the truth instead. And I saw that all had been the tormentors of their neighbors-malicious,1 dishonest, hypocrites, liars, rogues, calumniators, envious; that they had stolen, deceived, performed every disgraceful, every abominable1 action, these good fathers, these faithful wives, these devoted sons, these chaste daughters, these honest tradesmen, these men and women who were called irreproachable They were all writing at the same time, on the threshold of their eternal abode, the truth, the terrible and the holy truth of which everybody was ignorant, or pretended to be ignorant, while they were alive.
"I thought that SHE also must have written something on her tombstone, and now running without any fear among the half-open coffins, among the corpses and skeletons, I went toward her, sure that I should find her immediately. I recognized her at once, without seeing her face, which was covered by the winding-sheet, and on the marble cross, where shortly before I had read:
"'She loved, was loved, and died.'
I now saw:
"'Having gone out in the rain one day, in order to deceive her lover, she caught cold and died.'
* * * * * * * "It appears that they found me at daybreak, lying on the grave unconscious."

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Rating: B Words in the Passage: 1060 Unique Words: 625 Sentences: 109
Noun: 345 Conjunction: 176 Adverb: 124 Interjection: 6
Adjective: 141 Pronoun: 277 Verb: 328 Preposition: 192
Letter Count: 7,477 Sentiment: Positive / Positive / Positive Tone: Conversational Difficult Words: 318
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