Vacation took the rhetorician back to the north of Normandy. Now it was shooting at Saint Julien l'Hospitalier, across fields, bogs, and through the woods. From that time on he sealed his pact with the earth, and those "deep and delicate roots" which attached him to his native soil began to grow. It was of Normandy, broad, fresh and virile, that he would presently demand his inspiration, fervent and eager as a boy's love; it was in her that he would take refuge when, weary of life, he would implore a truce, or when he simply wished to work and revive his energies in old-time joys. It was at this time that was born in him that voluptuous love of the sea, which in later days could alone withdraw him from the world, calm him, console him.
In 1870 he lived in the country, then he came to Paris to live; for, the family fortunes having dwindled, he had to look for a position. For several years he was a clerk in the Ministry of Marine, where he turned over musty papers, in the uninteresting company of the clerks of the admiralty.
Then he went into the department of Public Instruction, where bureaucratic servility is less intolerable. The daily duties are certainly scarcely more onerous and he had as chiefs, or colleagues, Xavier Charmes and Leon Dierx, Henry Roujon and Rene Billotte, but his office looked out on a beautiful melancholy garden with immense plane trees around which black circles of crows gathered in winter.
Maupassant made two divisions of his spare hours, one for boating, and the other for literature. Every evening in spring, every free day, he ran down to the river whose mysterious current veiled in fog or sparkling in the sun called to him and bewitched him. In the islands in the Seine between Chatou and Port-Marly, on the banks of Sartrouville and Triel he was long noted among the population of boatmen, who have now vanished, for his unwearying biceps, his cynical gaiety of good-fellowship, his unfailing practical jokes, his broad witticisms. Sometimes he would row with frantic speed, free and joyous, through the glowing sunlight on the stream; sometimes, he would wander along the coast, questioning the sailors, chatting with the ravageurs, or junk gatherers, or stretched at full length amid the irises and tansy he would lie for hours watching the frail insects that play on the surface of the stream, water spiders, or white butterflies, dragon flies, chasing each other amid the willow leaves, or frogs asleep on the lily-pads.
The rest of his life was taken up by his work. Without ever becoming despondent, silent and persistent, he accumulated manuscripts, poetry, criticisms, plays, romances and novels. Every week he docilely submitted his work to the great Flaubert, the childhood friend of his mother and his uncle Alfred Le Poittevin. The master had consented to assist the young man, to reveal to him the secrets that make chefs-d'oeuvre immortal. It was he who compelled him to make copious research and to use direct observation and who inculcated in him a horror of vulgarity and a contempt for facility.
Maupassant himself tells us of those severe initiations in the Rue Murillo, or in the tent at Croisset; he has recalled the implacable didactics of his old master, his tender brutality, the paternal advice of his generous and candid heart. For seven years Flaubert slashed, pulverized, the awkward attempts of his pupil whose success remained uncertain.
Suddenly, in a flight of spontaneous perfection, he wrote Boule de Suif. His master's joy was great and overwhelming. He died two months later.
Until the end Maupassant remained illuminated by the reflection of the good, vanished giant, by that touching reflection that comes from the dead to those souls they have so profoundly stirred. The worship of Flaubert was a religion from which nothing could distract him, neither work, nor glory, nor slow moving waves, nor balmy nights.
At the end of his short life, while his mind was still clear: he wrote to a friend: "I am always thinking of my poor Flaubert, and I say to myself that I should like to die if I were sure that anyone would think of me in the same manner."
During these long years of his novitiate Maupassant had entered the social literary circles. He would remain silent, preoccupied; and if anyone, astonished at his silence, asked him about his plans he answered simply: "I am learning my trade." However, under the pseudonym of Guy de Valmont, he had sent some articles to the newspapers, and, later, with the approval and by the advice of Flaubert, he published, in the "Republique des Lettres," poems signed by his name.
These poems, overflowing with sensuality, where the hymn to the Earth describes the transports of physical possession, where the impatience of love expresses itself in loud melancholy appeals like the calls of animals in the spring nights, are valuable chiefly inasmuch as they reveal the creature of instinct, the fawn escaped from his native forests, that Maupassant was in his early youth. But they add nothing to his glory. They are the "rhymes of a prose writer" as Jules Lemaitre said. To mould the expression of his thought according to the strictest laws, and to "narrow it down" to some extent, such was his aim. Following the example of one of his comrades of Medan, being readily carried away by precision of style and the rhythm of sentences, by the imperious rule of the ballad, of the pantoum or the chant royal, Maupassant also desired to write in metrical lines. However, he never liked this collection that he often regretted having published. His encounters with prosody had left him with that monotonous weariness that the horseman and the fencer feel after a period in the riding school, or a bout with the foils.
Such, in very broad lines, is the story of Maupassant's literary apprenticeship.
The day following the publication of "Boule de Suif," his reputation began to grow rapidly. The quality of his story was unrivalled, but at the same time it must be acknowledged that there were some who, for the sake of discussion, desired to place a young reputation in opposition to the triumphant brutality of Zola.
From this time on, Maupassant, at the solicitation of the entire press, set to work and wrote story after story. His talent, free from all influences, his individuality, are not disputed for a moment. With a quick step, steady and alert, he advanced to fame, a fame of which he himself was not aware, but which was so universal, that no contemporary author during his life ever experienced the same. The "meteor" sent out its light and its rays were prolonged without limit, in article after article, volume on volume.
He was now rich and famous . . . . He is esteemed all the more as they believe him to be rich and happy. But they do not know that this young fellow with the sunburnt face, thick neck and salient muscles whom they invariably compare to a young bull at liberty, and whose love affairs they whisper, is ill, very ill. At the very moment that success came to him, the malady that never afterwards left him came also, and, seated motionless at his side, gazed at him with its threatening countenance. He suffered from terrible headaches, followed by nights of insomnia. He had nervous attacks, which he soothed with narcotics and anesthetics, which he used freely. His sight, which had troubled him at intervals, became affected, and a celebrated oculist spoke of abnormality, asymetry of the pupils. The famous young man trembled in secret and was haunted by all kinds of terrors.
The reader is charmed at the saneness of this revived art and yet, here and there, he is surprised to discover, amid descriptions of nature that are full of humanity, disquieting flights towards the supernatural, distressing conjurations, veiled at first, of the most commonplace, the most vertiginous shuddering fits of fear, as old as the world and as eternal as the unknown. But, instead of being alarmed, he thinks that the author must be gifted with infallible intuition to follow out thus the taints in his characters, even through their most dangerous mazes. The reader does not know that these hallucinations which he describes so minutely were experienced by Maupassant himself; he does not know that the fear is in himself, the anguish of fear "which is not caused by the presence of danger, or of inevitable death, but by certain abnormal conditions, by certain mysterious influences in presence of vague dangers," the "fear of fear, the dread of that horrible sensation of incomprehensible terror."
How can one explain these physical sufferings and this morbid distress that were known for some time to his intimates alone? Alas! the explanation is only too simple. All his life, consciously or unconsciously, Maupassant fought this malady, hidden as yet, which was latent in him.
As his malady began to take a more definite form, he