I leave the legendary side, which is always in evidence in the case of a celebrated man,--that gossip, for example, which avers that Maupassant was a high liver and a worldling. The very number of his volumes is a protest to the contrary. One could not write so large a number of pages in so small a number of years without the virtue of industry, a virtue incompatible with habits of dissipation. This does not mean that the writer of these great romances had no love for pleasure and had not tasted the world, but that for him these were secondary things. The psychology of his work ought, then, to find an interpretation other than that afforded by wholly false or exaggerated anecdotes. I wish to indicate here how this work, illumined by the three or four positive data which I have given, appears to me to demand it. And first, what does that anxiety to conceal his personality prove, carried as it was to such an extreme degree? The answer rises spontaneously in the minds of those who have studied closely the history of literature. The absolute silence about himself, preserved by one whose position among us was that of a Tourgenief, or of a Mérimée, and of a Molière or a Shakespeare among the classic great, reveals, to a person of instinct, a nervous sensibility of extreme depth. There are many chances for an artist of his kind, however timid, or for one who has some grief, to show the depth of his emotion. To take up again only two of the names just cited, this was the case with the author of "Terres Vierges," and with the writer of "Colomba." A somewhat minute analysis of the novels and romances of Maupassant would suffice to demonstrate, even if we did not know the nature of the incidents which prompted them, that he also suffered from an excess of nervous emotionalism. Nine times out of ten, what is the subject of these stories to which freedom of style gives the appearance of health? A tragic episode. I cite, at random, "Mademoiselle Fifi," "La Petite Roque," "Inutile Beauté," "Le Masque," "Le Horla," "L'Épreuve," "Le Champ d'Oliviers," among the novels, and among the romances, "Une Vie," "Pierre et Jean," "Fort comme la Mort," "Notre Cœur." His imagination aims to represent the human being as imprisoned in a situation at once insupportable and inevitable. The spell of this grief and trouble exerts such a power upon the writer that he ends stories commenced in pleasantry with some sinister drama. Let me instance "Saint-Antonin," "A Midnight Revel," "The Little Cask," and "Old Amable." You close the book at the end of these vigorous sketches, and feel how surely they point to constant suffering on the part of him who executed them.