Then he went into the department of Public Instruction, where bureaucratic servility is less intolerable.  The daily duties are certainly scarcely more onerous and he had as chiefs, or colleagues, Xavier Charmes and Leon Dierx, Henry Roujon and Rene Billotte, but his office looked out on a beautiful melancholy garden with immense plane trees around which black circles of crows gathered in winter.

Maupassant made two divisions of his spare hours, one for boating, and the other for literature.  Every evening in spring, every free day, he ran down to the river whose mysterious current veiled in fog or sparkling in the sun called to him and bewitched him.  In the islands in the Seine between Chatou and Port-Marly, on the banks of Sartrouville and Triel he was long noted among the population of boatmen, who have now vanished, for his unwearying biceps, his cynical gaiety of good-fellowship, his unfailing practical jokes, his broad witticisms.  Sometimes he would row with frantic speed, free and joyous, through the glowing sunlight on the stream; sometimes, he would wander along the coast, questioning the sailors, chatting with the ravageurs, or junk gatherers, or stretched at full length amid the irises and tansy he would lie for hours watching the frail insects that play on the surface of the stream, water spiders, or white butterflies, dragon flies, chasing each other amid the willow leaves, or frogs asleep on the lily-pads.

The rest of his life was taken up by his work.  Without ever becoming despondent, silent and persistent, he accumulated manuscripts, poetry, criticisms, plays, romances and novels.  Every week he docilely submitted his work to the great Flaubert, the childhood friend of his mother and his uncle Alfred Le Poittevin.  The master had consented to assist the young man, to reveal to him the secrets that make chefs-d’oeuvre immortal.  It was he who compelled him to make copious research and to use direct observation and who inculcated in him a horror of vulgarity and a contempt for facility.

Maupassant himself tells us of those severe initiations in the Rue Murillo, or in the tent at Croisset; he has recalled the implacable didactics of his old master, his tender brutality, the paternal advice of his generous and candid heart.  For seven years Flaubert slashed, pulverized, the awkward attempts of his pupil whose success remained uncertain.

Suddenly, in a flight of spontaneous perfection, he wrote Boule de Suif.  His master’s joy was great and overwhelming.  He died two months later.

Until the end Maupassant remained illuminated by the reflection of the good, vanished giant, by that touching reflection that comes from the dead to those souls they have so profoundly stirred.  The worship of Flaubert was a religion from which nothing could distract him, neither work, nor glory, nor slow moving waves, nor balmy nights.

At the end of his short life, while his mind was still clear:  he wrote to a friend:  “I am always thinking of my poor Flaubert, and I say to myself that I should like to die if I were sure that anyone would think of me in the same manner.”