poignant, emotional narrative. With La Vie errante (1890), a volume of travels, Maupassant’s career practically closed. Musotte, a theatrical piece written in collaboration with M. Jacques Normand, was published in 1891. By this time inherited nervous maladies, aggravated by excessive physical exercises and by the imprudent use of drugs, had undermined his constitution. He began to take an interest in religious problems, and for a while made the Imitation his handbook; but his misanthropy deepened, and he suffered from curious delusions as to his wealth and rank. A victim of general paralysis, of which La Folie des grandeurs was one of the symptoms, he drank the waters at Aix-les-Bains during the summer of 1891, and retired to Cannes, where he purposed passing the winter. The singularities of conduct which had been observed at Aix-les-Bains grew more and more marked. Maupassant’s reason slowly gave way. On the 6th of January 1892 he attempted suicide, and was removed to Paris, where he died in the most painful circumstances on the 6th of July 1893. He is buried in the cemetery of Montparnasse. The opening chapters of two projected novels, L’Angélus and L’Ame étrangère, were found among his papers; these, with La Paix du ménage, a comedy in two acts, and two collections of tales, Le Père Milon (1898) and Le Colporteur (1899), have been published posthumously. A correspondence, called Amitié amoureuse (1897), and dedicated to his mother, is probably unauthentic. Among the prefaces which he wrote for the works of others, only one—an introduction to a French prose version of Mr Swinburne’s Poems and Ballads—is likely to interest English readers.
Maupassant began as a follower of Flaubert and of M. Zola, but, whatever the masters may have called themselves, they both remained essentially romantiques. The pupil is the last of the “naturalists”: he even destroyed naturalism, since he did all that can be done in that direction. He had no psychology, no theories of art, no moral or strong social prejudices, no disturbing imagination, no wealth of perplexing ideas. It is no paradox to say that his marked limitations made him the incomparable artist that he was. Undisturbed by any external influence, his marvellous vision enabled him to become a supreme observer, and, given his literary sense, the rest was simple. He prided himself in having no invention; he described nothing that he had not seen. The peasants whom he had known as a boy figure in a score of tales; what he saw in Government offices is set down in L’Héritage; from Algiers he gathers the material for Maroca; he drinks the waters and builds up Mont-Oriol; he enters journalism, constructs Bel-ami, and, for the sake of precision, makes his brother, Hervé de Maupassant, sit for the infamous hero’s portrait; he sees fashionable society, and, though it wearied him intensely, he transcribes its life in Fort comme la mort and Notre cœur. Fundamentally he finds all men alike. In every grade he finds the same ferocious, cunning, animal instincts at work: it is not a gay world, but he knows no other; he is possessed by the dread of growing old, of ceasing to enjoy; the horror of death haunts him like a spectre. It is an extremely simple outlook. Maupassant does not prefer good to bad, one man to another; he never pauses to argue about the meaning of life, a senseless thing which has the one advantage of yielding materials for art; his one aim is to discover the hidden aspect of visible things, to relate what he has observed, to give an objective rendering of it, and he has seen so intensely and so serenely that he is the most exact transcriber in literature. And as the substance is, so is the form: his style is exceedingly simple and exceedingly strong; he uses no rare or superfluous word, and is content to use the humblest word if only it conveys the exact picture of the thing seen. In ten years he produced some thirty volumes. With the exception of Pierre et Jean, his novels, excellent as they are, scarcely represent him at his best, and of over two hundred contes a proportion must be rejected. But enough will remain to vindicate his claim to a permanent place in literature as an unmatched observer and the most perfect master of the short story.
See also F. Brunetière, Le Roman naturaliste (1883); T. Lemaître, Les Contemporains (vols. i. v. vi.); R. Doumic, Ecrivains d’aujourd’hui (1894); an introduction by Henry James to The Odd Number ... (1891); a critical preface by the earl of Crewe to Pierre and Jean (1902); A. Symons, Studies in Prose and Verse (1904). There are many references to Maupassant in the Journal des Goncourt, and some correspondence with Marie Bashkirtseff was printed with Further Memoirs of that lady in 1901. (J. F.-K.)
MAUPEOU, RENÉ NICOLAS CHARLES AUGUSTIN (1714–1792), chancellor of France, was born on the 25th of February 1714, being the eldest son of René Charles de Maupeou (1688–1775), who was president of the parlement of Paris from 1743 to 1757. He married in 1744 a rich heiress, Anne de Roncherolles, a cousin of Madame d’Épinay. Entering public life, he was his father’s right hand in the conflicts between the parlement and Christophe de Beaumont, archbishop of Paris, who was supported by the court. Between 1763 and 1768, dates which cover the revision of the case of Jean Calas and the trial of the comte de Lally, Maupeou was himself president of the parlement. In 1768, through the protection of Choiseul, whose fall two years later was in large measure his work, he became chancellor in succession to his father, who had held the office for a few days only. He determined to support the royal authority against the parlement, which in league with the provincial magistratures was seeking to arrogate to itself the functions of the states-general. He allied himself with the duc d’Aiguillon and Madame du Barry, and secured for a creature of his own, the Abbé Terrai, the office of comptroller-general. The struggle came over the trial of the case of the duc d’Aiguillon, ex-governor of Brittany, and of La Chalotais, procureur-général of the province, who had been imprisoned by the governor for accusations against his administration. When the parlement showed signs of hostility against Aiguillon, Maupeou read letters patent from Louis XV. annulling the proceedings. Louis replied to remonstrances from the parlement by a lit de justice, in which he demanded the surrender of the minutes of procedure. On the 27th of November 1770 appeared the Édit de règlement et de discipline, which was promulgated by the chancellor, forbidding the union of the various branches of the parlement and correspondence with the provincial magistratures. It also made a strike on the part of the parlement punishable by confiscation of goods, and forbade further obstruction to the registration of royal decrees after the royal reply had been given to a first remonstrance. This edict the magistrates refused to register, and it was registered in a lit de justice held at Versailles on the 7th of December, whereupon the parlement suspended its functions. After five summonses to return to their duties, the magistrates were surprised individually on the night of the 19th of January 1771 by musketeers, who required them to sign yes or no to a further request to return. Thirty-eight magistrates gave an affirmative answer, but on the exile of their former colleagues by lettres de cachet they retracted, and were also exiled. Maupeou installed the council of state to administer justice pending the establishment of six superior courts in the provinces, and of a new parlement in Paris. The cour des aides was next suppressed.
Voltaire praised this revolution, applauding the suppression of the old hereditary magistrature, but in general Maupeou’s policy was regarded as the triumph of tyranny. The remonstrances of the princes, of the nobles, and of the minor courts, were met by exile and suppression, but by the end of 1771 the new system was established, and the Bar, which had offered a passive resistance, recommenced to plead. But the death of Louis XV. in May 1774 ruined the chancellor. The restoration of the parlements was followed by a renewal of the quarrels between the new king and the magistrature. Maupeou and Terrai were replaced by Malesherbes and Turgot. Maupeou lived in retreat until his death at Thuit on the 29th of July 1792, having lived to see the overthrow of the ancien régime. His work, in so far as it was directed towards the separation of the judicial and political functions and to the reform of the abuses attaching to a hereditary magistrature, was subsequently endorsed by the Revolution; but no justification of his violent methods or defence of his intriguing and avaricious character is possible. He aimed at securing absolute power for Louis XV., but his action was in reality a serious blow to the monarchy.
