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Maupassant Quotes

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Maupassant Quotes

“Thus, Symbolism and Decadence are not a separate new school which arose in France and spread throughout all of Europe: they represent the end and culmination of a certain other school whose links were very extensive and whose roots go back to the beginning of the modern age. Symbolism, easily deduced from Maupassant, can also be deduced from Zola, Flaubert, and Balzac, from Ultra-realism as the antithesis of the previous Ultra-idealism Romanticism and "renascent" Classicism. It is precisely this element of ultra - the result of ultra manifested in life itself, in its mores, ideas, proclivities, and aspirations - that has wormed into literature and remained there ever since, expressing itself, finally, in such a hideous phenomenon as Decadence and Symbolism. The ultra without its referent, exaggeration without the exaggerated object, preciosity of form conjoined with total disappearance of content, and "poetry" devoid of rhyme, meter, and sense - that is what constitutes Decadence.”

RealismSymbolismDecadenceBalzacZolaDecadentsSymbolistMaupassantFlaubert
Author:Vasily Rozanov
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“A thought expressed is a falsehood." In poetry what is not said and yet gleams through the beauty of the symbol, works more powerfully on the heart than that which is expressed in words. Symbolism makes the very style, the very artistic substance of poetry inspired, transparent, illuminated throughout like the delicate walls of an alabaster amphora in which a flame is ignited. Characters can also serve as symbols. Sancho Panza and Faust, Don Quixote and Hamlet, Don Juan and Falstaff, according to the words of Goethe, are "schwankende Gestalten." Apparitions which haunt mankind, sometimes repeatedly from age to age, accompany mankind from generation to generation. It is impossible to communicate in any words whatsoever the idea of such symbolic characters, for words only define and restrict thought, but symbols express the unrestricted aspect of truth. Moreover we cannot be satisfied with a vulgar, photographic exactness of experimental photoqraphv. We demand and have premonition of, according to the allusions of Flaubert, Maupassant, Turgenev, Ibsen, new and as yet undisclosed worlds of impressionability. This thirst for the unexperienced, in pursuit of elusive nuances, of the dark and unconscious in our sensibility, is the characteristic feature of the coming ideal poetry. Earlier Baudelaire and Edgar Allan Poe said that the beautiful must somewhat amaze, must seem unexpected and extraordinary. French critics more or less successfully named this feature - impressionism. Such are the three major elements of the new art: a mystical content, symbols, and the expansion of artistic impressionability. No positivistic conclusions, no utilitarian computation, but only a creative faith in something infinite and immortal can ignite the soul of man, create heroes, martyrs and prophets... People have need of faith, they need inspiration, they crave a holy madness in their heroes and martyrs. ("On The Reasons For The Decline And On The New Tendencies In Contemporary Literature")”

DecadenceDon JuanHamletImpressionismFaustBaudelaireGoetheIbsenDon QuixoteEdgar Allan PoeFalstaffDecadentsSymbolistMaupassantTurgenevFlaubertSancho Panza
Book:Silver Age of Russian Culture
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“We observe in this torrent of incoherence a lack of regularity in the subject himself; the "I" has fallen to pieces after struggling for three centuries against the great objective institutions and dissolving them with its subjectivism and rejecting in them any law that was sacred and binding on itself. There is no reason to think that Decadence - obviously an historical phenomenon of great inevitability and significance — has confined itself to poetry; we should expect in the more or less distant future the Decadence of philosophy and finally the Decadence of morality, politics, and forms of communal life. To a certain extent Nietzsche can already be considered the Decadent of human thought — at least to the extent that Maupassant, in certain "final touches" of his art, can be considered the Decadent of human emotion. Like Maupassant, Nietzsche ended in madness; and in Nietzsche, just as in Maupassant, the cult of the "I" loses all restraining limits: the world, history, and the human being with his toils and legitimate demands have disappeared equally from the works of both; both were "mystic males" to a considerable degree, only one of them preferred to "flutter " above "quivering orchids," whereas the other liked to sit inside a cave or upon a mountaintop and proclaim a new religion to mankind in his capacity as the reborn "Zarathustra." The religion of the "superman," he explained. But all of them, including Maupassant, were already "supermen" in that they had absolutely no need of mankind and mankind had absolutely no need of them. On this new type of nisus formativus of human culture, so to speak, we should expect to see great oddities, great hideousness, and perhaps great calamities and dangers. ("On Symbolists And Decadents")”

DecadenceNietzscheSubjectivismDecadentsSymbolistMaupassantSymbolists
Book:Silver Age of Russian Culture
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“By Jove, it's great! Walk along the streets on some spring morning. The little women, daintily tripping along, seem to blossom out like flowers. What a delightful, charming sight! The dainty perfume of violet is everywhere. The city is gay, and everybody notices the women. By Jove, how tempting they are in their light, thin dresses, which occasionally give one a glimpse of the delicate pink flesh beneath! "One saunters along, head up, mind alert, and eyes open. I tell you it's great! You see her in the distance, while still a block away; you already know that she is going to please you at closer quarters. You can recognize her by the flower on her hat, the toss of her head, or her gait. She approaches, and you say to yourself: 'Look out, here she is!' You come closer to her and you devour her with your eyes. "Is it a young girl running errands for some store, a young woman returning from church, or hastening to see her lover? What do you care? Her well-rounded bosom shows through the thin waist. Oh, if you could only take her in your arms and fondle and kiss her! Her glance may be timid or bold, her hair light or dark. What difference does it make? She brushes against you, and a cold shiver runs down your spine. Ah, how you wish for her all day! How many of these dear creatures have I met this way, and how wildly in love I would have been had I known them more intimately. "Have you ever noticed that the ones we would love the most distractedly are those whom we never meet to know? Curious, isn't it? From time to time we barely catch a glimpse of some woman, the mere sight of whom thrills our senses. But it goes no further. When I think of all the adorable creatures that I have elbowed in the streets of Paris, I fairly rave. Who are they! Where are they? Where can I find them again? There is a proverb which says that happiness often passes our way; I am sure that I have often passed alongside the one who could have caught me like a linnet in the snare of her fresh beauty.”

Short StoryUnknownMaupassantNouvellesContes
Book:Selected Short Stories
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“Now listen carefully: Marriage, to me, is not a chain but an association. I must be free, entirely unfettered, in all my actions--my coming and my going; I can tolerate neither control, jealousy, nor criticism as to my conduct. I pledge my word, however, never to compromise the name of the man I marry, nor to render him ridiculous in the eyes of the world. But that man must promise to look upon me as an equal, an ally, and not as an inferior, or as an obedient, submissive wife. My ideas, I know, are not like those of other people, but I shall never change them.”

MaupassantBel Ami
Author:Guy de Maupassant
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“‎...minun mielestäni nykyinen teatteri vain pelkkää rutiinia, ennakkoluuloa. Kun esirippu nousee ja nuo suuret kyvyt, pyhän taiteen papit ja papittaret, esittävät kolmiseinäisessä huoneessa iltavalaistuksessa miten ihmiset syövät, juovat, rakastavat, kävelevät, miten kantavat pukuaan, kun he halpahintaisista kuvaelmista ja korulauseista koettavat onkia esiin moraalia — pientä, helppotajuista, kotioloissa tarvittavaa moraalia, kun minulle tuhansien eri muunnosten muodossa tarjotaan aina vain yhtä ja samaa, yhtä ja samaa, yhtä ja samaa — niin minä juoksen pakoon, juoksen pakoon kuin Maupassant Eiffel-tornia, joka pusersi hänen aivojaan lattaudellaan.”

EiffelMaupassantGavrilovitšKonstantinKostjaLokkiTreplev
Book:Neljä Näytelmää
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“He did not know how to make her understand that he would be happy, most happy, to become her husband in his turn. He certainly could not tell her that, now, at this moment, in this place, in the presence of this corpse; nevertheless he could, he believed, find one of those ambiguous, acceptable, complicated statements whose words have hidden significance, and which can, by their calculated reservations, express everything you intend.”

MaupassantBel Ami
Book:Bel-Ami
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