rue to human nature, while at the same time his mental eye,
when fixed upon the most ordinary phases of human conduct, could see
some new motive or aspect of things hitherto unnoticed by the careless
crowd.

It has been said by casual critics that Maupassant lacked one quality
indispensable to the production of truly artistic work, viz: an
absolutely normal, that is, moral, point of view. The answer to this
criticism is obvious. No dissector of the gamut of human passion and
folly in all its tones could present aught that could be called new, if
ungifted with a viewpoint totally out of the ordinary plane. Cold and
merciless in the use of this point de vue De Maupassant undoubtedly is,
especially in such vivid depictions of love, both physical and
maternal, as we find in "L'histoire d'une fille de ferme" and "La femme
de Paul." But then the surgeon's scalpel never hesitates at giving
pain, and pain is often the road to health and ease. Some of
Maupassant's short stories are sermons more forcible than any moral
dissertation could ever be.

Of De Maupassant's sustained efforts "Une Vie" may bear the palm. This
romance has the distinction of having changed Tolstoi from an adverse
critic into a warm admirer of the author. To quote the Russian moralist
upon the book:

"'Une Vie' is a romance of the best type, and in my judgment the
greatest that has been produced by any French writer since Victor Hugo
penned 'Les Miserables.' Passing over the force and directness of the
narrative, I am struck by the intensity, the grace, and the insight
with which the writer treats the new aspects of human nature which he
finds in the life he describes."

And as if gracefully to recall a former adverse criticism, Tolstoi adds:

"I find in the book, in almost equal strength, the three cardinal
qualities essential to great work, viz: moral purpose, perfect style,
and absolute sincerity.... Maupassant is a man whose vision has
penetrated the silent depths of human life, and from that
vantage-ground interprets the struggle of humanity."

"Bel-Ami" appeared almost two years after "Une Vie," that is to say,
about 1885. Discussed and criticised as it has been, it is in reality a
satire, an indignant outburst against the corruption of society which
in the story enables an ex-soldier, devoid of conscience, honor, even
of the commonest regard for others, to gain wealth and rank. The
purport of the story is clear to those who recognize the ideas