How chilling was this first interview to young enthusiasts who had listened to Zola unfolding in lyric formula audacious methods, or to the soothing words of Daudet, who scattered with prodigality striking, thrilling ideas, picturesque outlines and brilliant synopses. Maupassant's remarks, in têtes-à-têtes, as in general conversation, were usually current commonplaces and on ordinary time-worn topics. Convinced of the superfluousness of words, perhaps he confounded them all in the same category, placing the same estimate on a thought nobly expressed as on a sally of coarse wit. One would have thought so, to see the indifference with which he treated alike the chatter of the most decided mediocrities and the conversation of the noblest minds of the day. Not an avowal, not a confidence, that shed light on his life work. Parsimonious of all he observed, he never related a typical anecdote, or offered a suggestive remark. Praise, even, did not move him, and if by chance he became animated it was to tell some practical joke, some atelier hoaxes, as if he had given himself up to the pleasure of hoaxing and mystifying people. He appeared besides to look upon art as a pastime, literature as an occupation useless at best, while he willingly relegated love to the performance of a function, and suspected the motives of the most meritorious actions. Some say that this was the inborn basis of his personal psychology. I do not believe it. That he may have had a low estimate of humanity, that he may have mistrusted its disinterestedness, contested the quality of its virtue, is possible, even certain. But that he was not personally superior to his heroes I am unwilling to admit. And if I see in his attitude, as in his language, an evidence of his inveterate pessimism, I see in it also a method of protecting his secret thoughts from the curiosity of the vulgar. Perhaps he overshot the mark. By dint of hearing morality, art and literature depreciated, and seeing him preoccupied with boating, and listening to his own accounts of love affairs which he did not always carry on in the highest class, many ended by seeing in him one of those terrible Normans who, all through his novels and stories, carouse and commit social crimes with such commanding assurance and such calm unmorality. He was undoubtedly a Norman, and, according to those who knew him best, many of his traits of character show that atavism is not always an idle word.... To identify Maupassant with his characters is a gross error, but is not without precedent. We always like to trace the author in the hero of a romance, and to seek the actor beneath the disguise. No doubt, as Taine has said, "the works of an intelligence have not the intelligence alone for father and mother, but the whole personality of the man helps to produce them...."