A little addition to the previous information)))))

    As Guy de Maupassant is the representative of the movement of Naturalism and Realism, here some information about them. 

     Naturalism was a literary movement taking place from the 1880s to 1940s that used detailed realism to suggest that social conditions, heredity, and environment had inescapable force in shaping human character. It was depicted as a literary movement that seeks to replicate a believable everyday reality, as opposed to such movements as Romanticism or Surrealism, in which subjects may receive highly symbolic, idealistic, or even supernatural treatment. Naturalism is the outgrowth of literary realism, a prominent literary movement in mid-19th-century France and elsewhere. Naturalistic writers were influenced by Charles Darwin’s theory of evolution. They believed that one's heredity and social environment largely determine one's character. Whereas realism seeks only to describe subjects as they really are, naturalism also attempts to determine "scientifically" the underlying forces (e.g., the environment or heredity) influencing the actions of its subjects. Naturalistic works often include uncouth or sordid subject matter; for example, Emile Zola’s works had frankness about sexuality along with a pervasive pessimism. Naturalistic works exposed the dark harshness of life, including poverty, racism, violence, prejudice, disease, corruption, prostitution, and filth. As a result, naturalistic writers were frequently criticized for focusing too much on human vice and misery. 

Defining characteristics 

     There are defining characteristics of literary naturalism. One of these is pessimism. Very often, one or more characters will continue to repeat one line or phrase that tends to have a pessimistic connotation, sometimes emphasizing the inevitability of death. 

   For example Bernard Bonnejean quotes this passage of Huysmans where the symbolism of death is visible, such an allegory, in a portrait of an old woman:

[...] une vieille bique de cinquante ans, une longue efflanquée qui bêlait à la lune, campée sur ses maigres tibias [...] crevant les draps de ses os en pointe.

[...] an old hag of fifty years, lonely and outstretched, bleating at the moon, poised on her skinny shins [...] smashing the skin of her bones to a point (transl. Joiner).

     Another characteristic of literary naturalism is detachment from the story. The author often tries to maintain a tone that will be experienced as "objective". Also, an author will sometimes achieve detachment by creating nameless characters (though, strictly speaking, this is more common among modernists such as Ernest Hemingway). This puts the focus on the plot and what happens to the character, rather than the characters themselves.

   Another characteristic of naturalism is determinism, the opposite of free will, essentially. For determinism, the idea that individual characters have a direct influence on the course of their lives is supplanted by a focus on nature or fate. Often, a naturalist author will lead the reader to believe a character's fate has been predetermined, usually by environmental factors, and that he/she can do nothing about it.

      Another common characteristic is a surprising twist at the end of the story. Equally, there tends to be in naturalist novels and stories a strong sense that nature is indifferent to human struggle. These are, however, only a few of the defining characteristics of naturalism.

      Naturalism is an extension of realism, and may be better understood by study of the basic precepts of that literary movement. The term naturalism itself may have been used in this sense for the first time by Émile Zola. It is believed that he sought a new idea to convince the reading public of something new and more modern in his fiction. He argued that his innovation in fiction-writing was the creation of characters and plots based on the scientific method.

    Realism in the arts may be generally defined as the attempt to represent subject matter truthfully without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements.

      In its most specific sense, Realism was an artistic movement that began in France in the 1850s, after the 1848 Revolution. Realists rejected Romanticism, which had dominated French literature and art since the late 18th century. Realism revolted against the exotic subject matter and exaggerated emotionalism and drama of the Romantic Movement. Instead it sought to portray real and typical contemporary people and situations with truth and accuracy, and not avoiding unpleasant or sordid aspects of life. Realist works depicted people of all classes in situations that arise in ordinary life, and often reflected the changes wrought by the Industrial and Commercial Revolutions. The popularity of such 'realistic' works grew with the introduction of photography — a new visual source that created a desire for people to produce representations which look “objectively real.”

       More generally, realist works of art are those that, in revealing a truth, may emphasize the ugly or sordid, such as works of social realism, regionalism, or Kitchen sink realism. The movement even managed to impact on opera, where it is called Verismo, with contemporary working-class heroines such as Carmen, who works in a cigarette factory, and Mimi in La boheme.

Literature

   Broadly defined as "the faithful representation of reality", Realism as a movement in literature was based on "objective reality", and focused on showing everyday, quotidian activities and life, primarily among the middle or lower class society, without romantic idealization or dramatization. It may be regarded as the general attempt to depict subjects as they are considered to exist in third person objective reality, without embellishment or interpretation and "in accordance with secular, empirical rules." As such, the approach inherently implies a belief that such reality is ontologically independent of man's conceptual schemes, linguistic practices and beliefs, and thus can be known (or knowable) to the artist, who can in turn represent this 'reality' faithfully. As Ian Watt states, modern realism "begins from the position that truth can be discovered by the individual through the senses" and as such "it has its origins in Descartes and Locke, and received its first full formulation by Thomas Reid in the middle of the eighteenth century."

    While the preceding Romantic era was also a reaction against the values of the Industrial Revolution, realism was in its turn a reaction to romanticism, and for this reason it is also commonly derogatorily referred as "traditional" "bourgeois realism". Some writers of Victorian literature produced works of realism. The rigidities, conventions, and other limitations of "bourgeois realism," prompted in their turn the revolt later labeled as modernism; starting around 1900, the driving motive of modernist literature was the criticism of the 19th-century bourgeois social order and world view, which was countered with an antirationalist, antirealist and antibourgeois program.