Pierre and Jean · Chapter
Of "The Novel" explained
Maupassant defends his novel 'Pierre and Jean' against critics who question its classification as a novel, arguing that there are no fixed rules for what constitutes a novel.
What happens
Maupassant defends his novel 'Pierre and Jean' against critics who question its classification as a novel, arguing that there are no fixed rules for what constitutes a novel. He discusses the role of the critic, the importance of originality, and the need for writers to observe and describe with precision. He credits Louis Bouilhet and Gustave Flaubert for their guidance, emphasizing Flaubert's principle that talent is long patience and that every subject has an unexplored side. He contrasts the idealist and realist schools, asserting that both are valid as long as the artist is true to their own vision.
Themes in this chapter
The Nature of Truth
Maupassant discusses the realist/naturalist claim to show 'the truth, the whole truth, and nothing but the truth' in literature, and contrasts it with idealist approaches.
Psychological Analysis
The essay is a meta-critique of the psychological analysis Maupassant undertook in 'Pierre and Jean', and he defends the novel's focus on inner states.
Characters to notice
- Pierre Roland
Referenced as the protagonist of the novel 'Pierre and Jean', which Maupassant defends in this essay.
- Jean Roland
Referenced as the other brother in the novel 'Pierre and Jean', central to the story Maupassant discusses.
Key passages
“Talent is long patience.”
Achieving artistic skill requires sustained effort and perseverance over time.
Maupassant attributes this principle to Gustave Flaubert, emphasizing the need for diligent work.
“There is an unexplored side to everything, because we are wont never to use our eyes but with the memory of what others before us have thought of the things we see.”
Every object or scene has aspects that have not been noticed before, because we tend to see things through the lens of previous descriptions rather than fresh observation.
This reflects Flaubert's advice on achieving originality through careful, unbiased observation.
“The novelist who, on the other hand, proposes to give us an accurate picture of life, must carefully eschew any concatenation of events which might seem exceptional.”
A realist novelist should avoid plotting that relies on unlikely coincidences or extraordinary events, aiming instead for a faithful representation of ordinary life.
Maupassant distinguishes between the idealist novelist who crafts exceptional plots and the realist who seeks verisimilitude.