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Books : Literature & Fiction : Authors, A-Z : ( M ) : Maupassant, Guy de
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Why did his heart palpitate so wildly at the slightest sound? He began to reason philosophically on the possibility of being afraid. No, certainly he was not, since he was ready to fight. Still he felt so deeply moved that he wondered if one could be afraid in spite of oneself. What would happen if that state of things should exist? If he should tremble or lose his presence of mind?
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Jeanne, fille unique très choyée du baron et de la baronne Le Perthuis des Vauds, avait tout pour être heureuse. Son mariage avec Julien de Lamare, rustre et avare, se révélera une catastrophe. Sa vie sera une suite d'épreuves et de désillusions.
Ce roman, le premier de Guy de Maupassant, est une peinture remarquable des moeurs provinciales de la Normandie du xixe siècle : hobereaux, domestiques, paysans y sont décrits avec beaucoup de réalisme.
Préface de Henri Mitterand,
Commentaires et notes d'Alain Buisine
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This Elibron Classics book is a reprint of a 1908 edition by Louis Conard, Paris.
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With a new Introduction by Cedric Watts, Research Professor of English, University of Sussex. Guy de Maupassant was a master of the short story. This collection displays his lively diversity, with tales that vary in theme and tone, ranging from tragedy and satire to comedy and farce. In a lucidly direct style, he provides unflinching realism and sceptical irony. He depicts the deceptions, hypocrisies and vanities at different levels of society. Prostitution is frankly described, while the harshness of war is deftly exposed. His tales have been televised and have influenced films, operas and rock music. Unillusioned but humane, Maupassant remains our contemporary.
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Traditional Chinese edition of Boule de Suif by Guy de Maupassant.
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Monsieur de Maupassant has never before been so clever.' Henry JamesHenry James's admiration for 'this masterly little novel' has been echoed throughout the twentieth century by readers of Pierre et Jean. It marked a turning-point in the development of French fiction, situated as it is between traditional social realism and the psychological novel. It is recognized as a classic study of filial jealousy, triggered by one of the two brothers of its title finding himself the sole inheritor of the fortune of his mother's former lover.Pierre et Jean is set in Le Havre in the 1880s and is notable for its evocation of the Normandy coastline captured by the Impressionists. But Maupassant's achievement is to have woven from this simple plot in a maritime context a brilliantly crafted exploration of the complexities at the heart of family life.
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This Book Is In French.
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The complete short stories of Guy de Maupassant by M. Walter Dunn (entered at Stationers' Hall, London) Copyright 1903, Walter J. Black Co., 171 Madison Avenue, New York City.
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Selected from the works of American, British, and French writers, 21 rare and seldom-anthologized stories include "A Bottomless Grave" by Ambrose Bierce, "The Ship that Saw a Ghost" by Frank Norris, Guy de Maupassant's "The Tomb," Richard Marsh's "The Haunted Chair," and other hard-to-find gems of the genre.
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A selection of short stories by Guy de Maupassant which includes "Boule de Suif", "The Minuet", "Madame Husson's May King", "A Vendetta", "A Deal", "The Model", "The Olive Grove", "Rose", "At Sea", "The Capture of Walter Schaffs" and "The Piece of String".
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253pages. 11,3cm x 17,8cm x 1,1cm. Poche. Boule de Suif, le conte de mon disciple dont j'ai lu ce matin les épreuves, est un chef-d'?uvre, je maintiens le mot, un chef-d'?uvre de composition, de comique d'observation. Paul Morand n'est pas moins enthousiaste que Flaubert: une grande nouveauté, une parfaite réussite , souligne-t-il, tout en comparant la nouvelle à l'Olympia de Manet. Issue, seule de son espèce, d'une sorte de concours littéraire lancé lors d'une des soirées de Médan, Boule de Suif fait figure non de manifeste, mais d'accomplissement. Le bonheur d'un titre, la virtuosité d'un conteur qui joue sur tous les registres -y compris le comique -servis par une plume souple et ferme à la fois, employée à peindre la cupidité aussi bien que l'amour, les préjugés ou le bonheur n'y sont pas étrangers. Mais quelle recette mystérieuse et efficace est ici à l'?uvre ? Qui oubliera, héroïne déchue de La parure, cette Mathilde Loisel dont la sensualité brûle le papier ? Maupassant à son meilleur saisit dans leurs côtés cruels les réalités de la vie , non sans dégager de cet amalgame soigneux de bourgeois avides et d'humiliés perdus une poésie âcre et forte.
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After devoting their energies and income for ten years to replacing a borrowed diamond necklace which they have lost, a woman and her husband learn the irony of their efforts.
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Uno de los méritos principales de este excelente libro de cuentos es que nos encamina hacia un encuentro amoroso y solidario con diferentes tipos de mujeres que nos regalan aquello que sólo la literatura hace posible: traspasar los límites de nuestra propia vida para penetrar en una ajena, la de cualquiera de ellas, perdiendo por instantes la rigidez a la que nos reduce nuestra cotidianidad, irremediablemente pequeña y limitada. No depende de nuestra voluntad controlar el fenómeno de identificación que nos posee: toda mujer reconoce en la otra, aunque sea con temor, una probabilidad de sí misma.
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Our woe is upon us.
This chilling tale of one man’s descent into madness was published shortly before the author was institutionalized for insanity, and so The Horla has inevitably been seen as informed by Guy de Maupassant’s mental illness. While such speculation is murky, it is clear that de Maupassant—hailed alongside Chekhov as father of the short story—was at the peak of his powers in this innovative precursor of first-person psychological fiction. Indeed, he worked for years on The Horla’s themes and form, first drafting it as “Letter from a Madman,” then telling it from a doctor’s point of view, before finally releasing the terrified protagonist to speak for himself in its devastating final version. In a brilliant new translation, all three versions appear here as a single volume for the first time.
The Art of The Novella Series
Too short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. In the Art Of The Novella series, Melville House celebrates this renegade art form and its practitioners with titles that are, in many instances, presented in book form for the first time.
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First published in 1888, Sur l'Eau is arranged like a journal and constitutes an intimate foray into Maupassant's thoughts: I wrote this journal of day-dreams for myself alone, or rather I took advantage of my solitude afloat to halt the wandering ideas that cross our minds like birds."" There are few great books about sailing on pleasure boats, but this is definitely one of them. This edition also contains three previously unpublished translations of articles by Maupassant and includes a selection of Rioui's elegant, delicate drawings.
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A vague jealousy, one of those dormant jealousies which grow up between brothers or sisters and slowly ripen till they burst, on the occasion of a marriage perhaps, or of some good fortune happening to one of them, kept them on the alert in a sort of brotherly and non-aggressive animosity. They were fond of each other, it is true, but they watched each other. Pierre, five years old when Jean was born, had looked with the eyes of a little petted animal at that other little animal which had suddenly come to lie in his father's and mother's arms and to be loved and fondled by them. Jean, from his birth, had always been a pattern of sweetness, gentleness, and good temper, and Pierre had by degrees begun to chafe at ever-lastingly hearing the praises of this great lad, whose sweetness in his eyes was indolence, whose gentleness was stupidity, and whose kindliness was blindness. His parents, whose dream for their sons was some respectable and undistinguished calling, blamed him for so often changing his mind, for his fits of enthusiasm, his abortive beginnings, and all his ineffectual impulses towards generous ideas and the liberal professions. Since he had grown to manhood they no longer said in so many words: "Look at Jean and follow his example," but every time he heard them say "Jean did this -- Jean does that," he understood their meaning and the hint the words conveyed.
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'every heart imagines itself the first to thrill to a myriad sensations which once stirred the hearts of the earliest creatures and which will again stir the hearts of the last men and women to walk the earth' What is a life? How shall a storyteller conceive a life? What if art means pattern and life has none? How, then, can any story be true to life? These are some of the questions which inform the first of Maupassant's six novels, A Life (Une Vie) (1883) in which he sought to parody and expose the folly of romantic illusion. An unflinching presentation of a woman's life of failure and disappointments, where fulfilment and happiness might have been expected, A Life recounts Jeanne de Lamare's gradual lapse into a state of disillusion. With its intricate network of parallels and oppositions, A Life reflects the influence of Flaubert in its attention to form and its coherent structure. It also expresses Maupassant's characteristic naturalistic vision in which the satire of bourgeois manners, the representation of the aristocracy in pathological decline, the undermining of human individuality and ideals, and the study of deterioration and disintegration, all play a role. But above all Maupassant brings to his first novel the short story writer's genius for a focused tension between stasis and change, and A Life is one of his most compelling portraits of dispossession and powerlessness.
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For days and days, nights and nights, I had dreamed of that first kiss which was to consecrate our engagement, and I knew not on what spot I should put my lips. Not on her forehead, that was accustomed to family caresses, nor on her light hair, which mercenary hands had dressed, nor on her eyes, whose curling lashes looked like little wings, because that would have made me think of the farewell caress which closes the eyelids of some dead woman whom one has adored, nor her lovely mouth, which I will not, which I must not, possess until that divine moment when Elaine will at last belong to me altogether and for always, but on that delicious little dimple which comes in one of her cheeks when she is happy, when she smiles, and which excited me as much as her voice did with languorous softness, on that evening when our flirtation began, at the Souverettes...
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