The author of "Une Vie" and the writer of "Clara Jozul" resemble each other, besides, in a singular and analogous circumstance. Both achieved renown at the first blow, and by a masterpiece which they were able to equal but never surpass. Both were misanthropes early in life, and practised to the end the ancient advice that the disciple of Beyle carried upon his seal: [Greek: memneso apistein]--"Remember to distrust." And, at the same time, both had delicate, tender hearts under this affectation of cynicism, both were excellent sons, irreproachable friends, indulgent masters, and both were idolized by their inferiors. Both were worldly, yet still loved a wanderer's life; both joined to a constant taste for luxury an irresistible desire for solitude. Both belonged to the extreme left of the literature of their epoch, but kept themselves from excess and used with a judgment marvelously sure the sounder principles of their school. They knew how to remain lucid and classic, in taste as much as in form--Merimee through all the audacity of a fancy most exotic, and Maupassant in the realism of the most varied and exact observation. At a little distance they appear to be two patterns, identical in certain traits, of the same family of minds, and Tourgenief, who knew and loved the one and the other, never failed to class them as brethren. They are separated, however, by profound differences, which perhaps belong less to their nature than to that of the masters from whom they received their impulses: Stendhal, so alert, so mobile, after a youth passed in war and a ripe age spent in vagabond journeys, rich in experiences, immediate and personal; Flaubert so poor in direct impressions, so paralyzed by his health, by his family, by his theories even, and so rich in reflections, for the most part solitary. Among the theories of the anatomist of "Madame Bovary," there are two which appear without ceasing in his Correspondence, under one form or another, and these are the ones which are most strongly evident in the art of De Maupassant. We now see the consequences which were inevitable by reason of them, endowed as Maupassant was with a double power of feeling life bitterly, and at the same time with so much of animal force. The first theory bears upon the choice of personages and the story of the romance, the second upon the character of the style. The son of a physician, and brought up in the rigors of scientific method, Flaubert believed this method to be efficacious in art as in science. For instance, in the writing of a romance, he seemed to be as scientific as in the development of a history of customs, in which the essential is absolute exactness and local color. He therefore naturally wished to make the most scrupulous and detailed observation of the environment.