Tombstones

"Tombstones" is a collection of short stories by Guy de Maupassant, a master of the short narrative form. In this anthology, Maupassant explores themes of mortality, the passage of time, and the complexities of human relationships through his signature realistic and often darkly ironic lens. The tales often reflect on the inevitability of death and the social issues of the time, using vivid imagery and poignant characterizations to evoke a deep emotional resonance. With his keen observations and incisive prose, Maupassant invites readers to ponder the deeper meanings behind life and death, making "Tombstones" a reflective and thought-provoking read.

• Short story

								
The five friends had finished dinner, five men of the world, mature, rich, three married, the two others bachelors. They met like this every month in memory of their youth, and after dinner they chatted until two o'clock in the morning. Having remained intimate friends, and enjoying each other's society, they probably considered these the pleasantest evenings of their lives. They talked on every subject, especially of what interested and amused Parisians. Their conversation was, as in the majority of salons elsewhere, a verbal rehash of what they had read in the morning papers.

One of the most lively of them was Joseph de Bardon, a celibate living the Parisian life in its fullest and most whimsical manner. He was not a debauche nor depraved, but a singular, happy fellow, still young, for he was scarcely forty. A man of the world in its widest and best sense, gifted with a brilliant, but not profound, mind, with much varied knowledge, but no true erudition, ready comprehension without true understanding, he drew from his observations, his adventures, from everything he saw, met with and found, anecdotes at once comical and philosophical, and made humorous remarks that gave him a great reputation for cleverness in society.

He was the after dinner speaker and had his own story each time, upon which they counted, and he talked without having to be coaxed.

As he sat smoking, his elbows on the table, a petit verre half full beside his plate, half torpid in an atmosphere of tobacco blended with steaming coffee, he seemed to be perfectly at home. He said between two whiffs:

“A curious thing happened to me some time ago.”

“Tell it to us,” they all exclaimed at once.

“With pleasure. You know that I wander about Paris a great deal, like book collectors who ransack book stalls. I just look at the sights, at the people, at all that is passing by and all that is going on.

“Toward the middle of September—it was beautiful weather—I went out one afternoon, not knowing where I was going. One always has a vague wish to call on some pretty woman or other. One chooses among them in one's mental picture gallery, compares them in one's mind, weighs the interest with which they inspire you, their comparative charms and finally decides according to the influence of the day. But when the sun is very bright and the air warm, it takes away from you all desire to make calls.

“The sun was bright, the air warm. I lighted a cigar and sauntered aimlessly along the outer boulevard. Then, as I strolled on, it occurred to me to walk as far as Montmartre and go into the cemetery.

“I am very fond of cemeteries. They rest me and give me a feeling of sadness; I need it. And, besides, I have good friends in there, those that one no longer goes to call on, and I go there from time to time.

“It is in this cemetery of Montmartre that is buried a romance of my life, a sweetheart who made a great impression on me, a very emotional, charming little woman whose memory, although it causes me great sorrow, also fills me with regrets—regrets of all kinds. And I go to dream beside her grave. She has finished with life.

“And then I like cemeteries because they are immense cities filled to overflowing with inhabitants. Think how many dead people there are in this small space, think of all the generations of Parisians who are housed there forever, veritable troglodytes enclosed in their little vaults, in their little graves covered with a stone or marked by a cross, while living beings take up so much room and make so much noise —imbeciles that they are!

“Then, again, in cemeteries there are monuments almost as interesting as in museums. The tomb of Cavaignac reminded me, I must confess without making any comparison, of the chef d'oeuvre of Jean Goujon: the recumbent statue of Louis de Breze in the subterranean chapel of the Cathedral of Rouen. All modern and realistic art has originated there, messieurs. This dead man, Louis de Breze, is more real, more terrible, more like inanimate flesh still convulsed with the death agony than all the tortured corpses that are distorted to-day in funeral monuments.

“But in Montmartre one can yet admire Baudin's monument, which has a degree of grandeur; that of Gautier, of Murger, on which I saw the other day a simple, paltry wreath of immortelles, yellow immortelles, brought thither by whom? Possibly by the last grisette, very old and now janitress in the neighborhood. It is a pretty little statue by Millet, but ruined by dirt and neglect. Sing of youth, O Murger!

“Well, there I was in Montmartre Cemetery, and was all at once filled with sadness, a sadness that is not all pain, a kind of sadness that makes you think when you are in good health, 'This place is not amusing, but my time has not come yet.'

“The feeling of autumn, of the warm moisture which is redolent of the death of the leaves, and the weakened, weary, anaemic sun increased, while rendering it poetical, the sensation of solitude and of finality that hovered over this spot which savors of human mortality.

“I walked along slowly amid these streets of tombs, where the neighbors do not visit each other, do not sleep together and do not read the newspapers. And I began to read the epitaphs. That is the most amusing thing in the world. Never did Labiche or Meilhac make me laugh as I have laughed at the comical inscriptions on tombstones. Oh, how much superior to the books of Paul de Kock for getting rid of the spleen are these marble slabs and these crosses where the relatives of the deceased have unburdened their sorrow, their desires for the happiness of the vanished ones and their hope of rejoining them—humbugs!

“But I love above all in this cemetery the deserted portion, solitary, full of great yews and cypresses, the older portion, belonging to those dead long since, and which will soon be taken into use again; the growing trees nourished by the human corpses cut down in order to bury in rows beneath little slabs of marble those who have died more recently.

“When I had sauntered about long enough to refresh my mind I felt that I would soon have had enough of it and that I must place the faithful homage of my remembrance on my little friend's last resting place. I felt a tightening of the heart as I reached her grave. Poor dear, she was so dainty, so loving and so white and fresh—and now—if one should open the grave—

“Leaning over the iron grating, I told her of my sorrow in a low tone, which she doubtless did not hear, and was moving away when I saw a woman in black, in deep mourning, kneeling on the next grave. Her crape veil was turned back, uncovering a pretty fair head, the hair in Madonna bands looking like rays of dawn beneath her sombre headdress. I stayed.

“Surely she must be in profound grief. She had covered her face with her hands and, standing there in meditation, rigid as a statue, given up to her grief, telling the sad rosary of her remembrances within the shadow of her concealed and closed eyes, she herself seemed like a dead person mourning another who was dead. All at once a little motion of her back, like a flutter of wind through a willow, led me to suppose that she was going to cry. She wept softly at first, then louder, with quick motions of her neck and shoulders. Suddenly she uncovered her eyes. They were full of tears and charming, the eyes of a bewildered woman, with which she glanced about her as if awaking from a nightmare. She looked at me, seemed abashed and hid her face completely in her hands. Then she sobbed convulsively, and her head slowly bent down toward the marble. She leaned her forehead on it, and her veil spreading around her, covered the white corners of the beloved tomb, like a fresh token of mourning. I heard her sigh, then she sank down with her cheek on the marble slab and remained motionless, unconscious.

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