Maupassant died in 1893. In the previous year, he, mumbled in utter distress, attempted suicide, after which he was suddenly obsessed with a strange illumination of his mind. In one of his last letters, the writer says, "It's the approaching death and I'm crazy." Maupassant died young, forty-three. After the glamorous success of his "Looney Ball" story, as we have already mentioned, Maupassant devotes himself entirely to the writer's craft. For ten years he has created a few poems and plays, more than three hundred stories and novels, six novels, at least two hundred chronicles / stories of actual events that have introduced fictitious characters and many travel books ...
With his creativity, Maupassant tells us that most social dramas are caused by dark powers hidden in man, dark powers unconscious of his will - unconscious tendencies, uncontrolled impulses and unpredictable instincts. And since Maupassant is an earthly man, he does not admit that salvation will come "from above", from some other world. For him the sky is empty and does not bring any hope. The intensified attraction to the fantastic could be explained by the frequent attacks on his congenital mental illness. Deepening the crises of disinterest and anxiety in Guy, which are largely determined by the rapid losing strength, eaten by the developing syphilis, body, deepens. In some of Maupassant 's later tales the horror of loneliness and closed spaces is revealed. The dripping water begins to cause ominous premonitions (perhaps in the depths of the body). Perhaps some obsessions / obsessive thoughts in Maupassant are due to his early interest to the mental disorder, and his mind seems to be tired of understanding the outer, visible world, and he, as a creator, prefers in his later stories of strange visions / fantasies. "The writer abandons his habitual raw realistic imaging method in his new style of writing the motifs penetrate The prediction of death, which has settled in the gloomy and deaf world of Maupassant , began to manifest itself in his works in the last years of his life.
Maupassant admits to acquiring knowledge of life by the two great thinkers of the nineteenth century - Arthur Schopenhauer and Herbert Spencer. He defines the first as "the greatest devastator of the dream that passed on the earth": "Schopenhauer - he shares - marks humanity with the seal of his contempt and disappointment." The extremely sensitive teenager perceived as a dramatic collapse the harsh definition of love for Shopenhauer: "Love, this animal's function of the beast, this trap of nature, has become the woman's arms for unbelievable dominion." In the English philosopher Spencer, the French writer appreciates, above all, his intuitive insight that the human acquired knowledge of the essence of the world around him is always relatively exhaustive, inevitably incomplete. Indeed, in his "First Principles," Spencer puts forward the discouraging assumption: "If we look at science as a sphere that is gradually expanding, we can say that it increases with the increase of the points of contact with the unknown that surrounds it. In the biographical novel by French writer Armand Lanu for Maupassant, it is claimed that there are many striking similarities between him and Flaubert - mental, physical, and impressive similarities in their characters, ideology and aesthetic beliefs. They are subject to the same Norman resistance that has arisen on a common heritage basis, the same weakness to the maternal tenderness of domestic servants, the same infinite love for art. They come together because of their nihilism and anti-clericalism, their hatred for their stupidity and contempt for the bishops, and their distance from the pragmatism of the bourgeois .