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"The Magic Couch" is a short story by Guy de Maupassant that explores the themes of escapism and the complexities of human desire. The narrative follows an ordinary man who, through a magical couch, experiences vivid and fantastical dreams that transport him away from the mundane realities of his life. As he becomes increasingly enamored with these dreamlike adventures, he grapples with the tension between his fantasies and his waking existence. Maupassant's masterful storytelling highlights the allure of imagination while also cautioning against losing touch with reality.


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Submitted by davidb on February 03, 2025


								
He smiled before replying, then said in a low tone with a complacent air: “Mon Dieu, monsieur, we put to death in a cleanly and gentle—I do not venture to say agreeable manner those persons who desire to die.” I did not feel very shocked, for it really seemed to me natural and right. What particularly surprised me was that on this planet, with its low, utilitarian, humanitarian ideals, selfish and coercive of all true freedom, any one should venture on a similar enterprise, worthy of an emancipated humanity. “How did you get the idea?” I asked. “Monsieur,” he replied, “the number of suicides increased so enormously during the five years succeeding the world exposition of 1889 that some measures were urgently needed. People killed themselves in the streets, at fetes, in restaurants, at the theater, in railway carriages, at the receptions held by the President of the Republic, everywhere. It was not only a horrid sight for those who love life, as I do, but also a bad example for children. Hence it became necessary to centralize suicides.” “What caused this suicidal epidemic?” “I do not know. The fact is, I believe, the world is growing old. People begin to see things clearly and they are getting disgruntled. It is the same to-day with destiny as with the government, we have found out what it is; people find that they are swindled in every direction, and they just get out of it all. When one discovers that Providence lies, cheats, robs, deceives human beings just as a plain Deputy deceives his constituents, one gets angry, and as one cannot nominate a fresh Providence every three months as we do with our privileged representatives, one just gets out of the whole thing, which is decidedly bad.” “Really!” “Oh, as for me, I am not complaining.” “Will you inform me how you carry on this establishment?” “With pleasure. You may become a member when you please. It is a club.” “A club!” “Yes, monsieur, founded by the most eminent men in the country, by men of the highest intellect and brightest intelligence. And,” he added, laughing heartily, “I swear to you that every one gets a great deal of enjoyment out of it.” “In this place?” “Yes, in this place.” “You surprise me.” “Mon Dieu, they enjoy themselves because they have not that fear of death which is the great killjoy in all our earthly pleasures.” “But why should they be members of this club if they do not kill themselves?” “One may be a member of the club without being obliged for that reason to commit suicide.” “But then?” “I will explain. In view of the enormous increase in suicides, and of the hideous spectacle they presented, a purely benevolent society was formed for the protection of those in despair, which placed at their disposal the facilities for a peaceful, painless, if not unforeseen death.” “Who can have authorized such an institution?” “General Boulanger during his brief tenure of power. He could never refuse anything. However, that was the only good thing he did. Hence, a society was formed of clear-sighted, disillusioned skeptics who desired to erect in the heart of Paris a kind of temple dedicated to the contempt for death. This place was formerly a dreaded spot that no one ventured to approach. Then its founders, who met together here, gave a grand inaugural entertainment with Mmes. Sarah Bernhardt, Judic, Theo, Granier, and twenty others, and Mme. de Reske, Coquelin, Mounet-Sully, Paulus, etc., present, followed by concerts, the comedies of Dumas, of Meilhac, Halevy and Sardon. We had only one thing to mar it, one drama by Becque which seemed sad, but which subsequently had a great success at the Comedie-Francaise. In fact all Paris came. The enterprise was launched.” “In the midst of the festivities! What a funereal joke!” “Not at all. Death need not be sad, it should be a matter of indifference. We made death cheerful, crowned it with flowers, covered it with perfume, made it easy. One learns to aid others through example; one can see that it is nothing.” “I can well understand that they should come to the entertainments; but did they come to... Death?” “Not at first; they were afraid.” “And later?” “They came.” “Many of them?” “In crowds. We have had more than forty in a day. One finds hardly any more drowned bodies in the Seine.” “Who was the first?” “A club member.” “As a sacrifice to the cause?” “I don’t think so. A man who was sick of everything, a ‘down and out’ who had lost heavily at baccarat for three months.” “Indeed?” “The second was an Englishman, an eccentric. We then advertised in the papers, we gave an account of our methods, we invented some attractive instances. But the great impetus was given by poor people.” “How do you go to work?” “Would you like to see? I can explain at the same time.” “Yes, indeed.” He took his hat, opened the door, allowed me to precede him, and we entered a card room, where men sat playing as they, play in all gambling places. They were chatting cheerfully, eagerly. I have seldom seen such a jolly, lively, mirthful club. As I seemed surprised, the secretary said: “Oh, the establishment has an unheard of prestige. All the smart people all over the world belong to it so as to appear as though they held death in scorn. Then, once they get here, they feel obliged to be cheerful that they may not appear to be afraid. So they joke and laugh and talk flippantly, they are witty and they become so. At present it is certainly the most frequented and the most entertaining place in Paris. The women are even thinking of building an annex for themselves.” “And, in spite of all this, you have many suicides in the house?” “As I said, about forty or fifty a day. Society people are rare, but poor devils abound. The middle class has also a large contingent. “And how... do they do?” “They are asphyxiated... very slowly.” “In what manner?” “A gas of our own invention. We have the patent. On the other side of the building are the public entrances—three little doors opening on small streets. When a man or a woman present themselves they are interrogated. Then they are offered assistance, aid, protection. If a client accepts, inquiries are made; and sometimes we have saved their lives.” “Where do you get your money?” “We have a great deal. There are a large number of shareholders. Besides it is fashionable to contribute to the establishment. The names of the donors are published in Figaro. Then the suicide of every rich man costs a thousand francs. And they look as if they were lying in state. It costs the poor nothing.” “How can you tell who is poor?” “Oh, oh, monsieur, we can guess! And, besides, they must bring a certificate of indigency from the commissary of police of their district. If you knew how distressing it is to see them come in! I visited their part of our building once only, and I will never go again. The place itself is almost as good as this part, almost as luxurious and comfortable; but they themselves... they themselves!!! If you could see them arriving, the old men in rags coming to die; persons who have been dying of misery for months, picking up their food at the edges of the curbstone like dogs in the street; women in rags, emaciated, sick, paralyzed, incapable of making a living, who say to us after they have told us their story: ‘You see that things cannot go on like that, as I cannot work any longer or earn anything.’ I saw one woman of eighty-seven who had lost all her children and grandchildren, and who for the last six weeks had been sleeping out of doors. It made me ill to hear of it. Then we have so many different cases, without counting those who say nothing, but simply ask: ‘Where is it?’ These are admitted at once and it is all over in a minute.”
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Guy de Maupassant

Guy de Maupassant (1850-1893) was a renowned French writer known for his short stories, novels, and plays. A master of realism, he vividly captured the complexities of human nature and social life in late 19th-century France. Maupassant's works often explore themes of love, fate, and the darker aspects of life, characterized by sharp wit and keen psychological insight. His most famous stories include "Boule de Suif," "The Necklace," and "Bel-Ami." His literary style has influenced countless writers and remains celebrated for its elegance and depth. Maupassant's personal struggles, including an eventual battle with mental illness, add a poignant layer to his legacy. more…

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