Study Guide to Madame Bovary and Three Tales by Gustave Flaubert

Intelligent Education

• Publisher: Influence Publishers
• Year: 2020
• ISBN:
  9781645421795
• Edition: 1
• Topic: Manuali di studio
• Subtopic: Guide di studio

A comprehensive study guide offering in-depth explanation, essay, and test prep for selected works by Gustave Flaubert, the prime influencer of French realist literature. As a leading exponent of literary realism, Flaubert’s work illustrates elaborate devotion to style and aesthetics. Moreover, he emphasizes the psychology of his characters and their role in the logical development of his works, which marked the beginning of a new age in French literature. This Bright Notes Study Guide explores the context and history of Flaubert’s classic work, helping students to thoroughly explore the reasons they have stood the literary test of time. Each Bright Notes Study Guide contains: - Introductions to the Author and the Work
- Character Summaries
- Plot Guides
- Section and Chapter Overviews
- Test Essay and Study Q&As The Bright Notes Study Guide series offers an in-depth tour of more than 275 classic works of literature, exploring characters, critical commentary, historical background, plots, and themes. This set of study guides encourages readers to dig deeper in their understanding by including essay questions and answers as well as topics for further research.

INTRODUCTION TO GUSTAVE FLAUBERT

NOTE TO THE READER

Madame Bovary may not be an easy book to like. If the student reading the novel for the first time finds it somehow cold or unsympathetic, puzzling or “monotonous,” he will be in respectable company. Such has been the initial reaction of many intelligent readers, even though virtually all critics agree the book is a masterpiece of modern literature. The difficulties in reading the book in English cannot be attributed to a loss of “style” in translation. For, although style is the least translatable element of writing, and although the ultimate distinction of Madame Bovary is precisely its beauty of style, the above objections have frequently been raised against the French original.

In any discussion of the book, the possibility of such negative reactions had better be faced at once. They should be acknowledged even by those whose initial reaction is quite positive, those who are stirred to wonder and enthusiasm by Flaubert’s supreme artistry and passion. The novel is a complicated and deeply ambiguous work, and the proper aim of its study is not so much to expel the reader’s “mixed feelings,” as to help him understand them. Hopefully, he will discover that Madame Bovary is one of those rare books whose fascination and value is in arousing the most inextricably mixed and poignantly contradictory emotions.

FLAUBERT’S LIFE: CHILDHOOD AND YOUTH

Gustave Flaubert was born on the twelfth of December 1821, in the Rouen hospital which his father administered. The Flauberts were a respected family in the city, though of relatively humble origins, and it was only through the talent and hard work of Dr. Flaubert that the family had achieved their solid middle-class position. Though too busy to give much time to his children, he was revered by them. Dr. Lariviere of Madame Bovary, the book’s one truly admirable character, is obviously modeled on him.

During his early boyhood, Gustave’s constant companion was his sister, Caroline. The family lived in an apartment adjoining the hospital, and frequently the two children climbed up to the window of the dissecting-room to stare at the peeled and dismembered cadavers. These experiences helped form an enduring fascination for the horrible, as reflected by the episodes of the clubfoot and Emma’s death in Madame Bovary, and they contributed to Flaubert’s recurrent revulsion against the physical side of life. The boy became an omnivorous reader of the standard French classics and the popular romantic fiction of the day. He organized a company of friends to perform plays of his own composition on his father’s billiard table. These childhood works were filled with murders and corpses, moonlight and apparitions. He was adept at imitations, and one impersonation of an epileptic beggar (like the blind tramp of Madame Bovary) was so gruesomely vivid it had to be forbidden.

It was not personal experience alone that shaped his imagination. Gustave grew up during the height of the French Romantic movement. The stirring days of the French Revolution and the Napoleonic Empire were now over, replaced by a colorless and repressive Bourbon monarchy, by the sordid money-hunger and drab commercialism of the middle-class, the bourgeoisie. A generation longing for vanished (and exaggerated) glory, whose imaginations had fed on Scott and Byron, Rousseau, Hugo, Dumas, and George Sand, turned to whatever was most remote from ordinary life, most extravagant and wild-even, if all else failed to relieve the boredom, suicide, the ultimate romantic gesture. Such was the fate, in fact, of two of Flaubert’s Rouen schoolmates.

At school, Gustave soon discovered that while many of the boys seemed superficially like him, most were what he came to call “false romantics,” mere followers of a fashion, who like Leon of Madame Bovary would soon lapse into complacent bourgeois. One close friend remained, the melancholy and sceptical Alfred Le Poittevin, who encouraged him to write his first lyrical and autobiographical works, Memoirs of a Madman (1838) and November (1843). Curiously, both works dealt with infatuations or affairs with married women: adultery was always fascinating to Flaubert.

In 1841, in obedience to his father’s wishes, Flaubert enrolled as a law student in Paris. It was not a career he would have chosen himself, he whose motto was “Hatred of the bourgeoisie is the beginning of virtue.” He found law school intolerably dull, and began writing a third book, The Sentimental Education, dealing with the growing up and gradual estrangement of two friends, one a true romantic, one a false. As a consequence of such extra-curricular activities, he failed his examinations. He resolved to try again, but in January 1844 an event occurred which changed his life. Flaubert was driving down a dark country road with his older brothers Achille, when they heard the sound of a wagon coming around a bend. Suddenly, as the separate lights of a nearby farmhouse, the approaching wagon, and Flaubert’s own carriage, merged, he felt an uncanny sensation. A “golden incandescence” seemed to flare up within him in response to the outer light and grew brighter and brighter, bearing a dazzling and delightful tide of images, of “thousands” of memories and dreams from his past life. He passed out, to awake hours later exhausted and depressed. In the following weeks he had several similar attacks, which have been diagnosed only as an “atypical” form of epilepsy, and his frightened family decided-to his immense relief-that Gustave would be unable to continue law school. Thus, at the age of twenty-three Flaubert “retired” to the family villa at Croisset, a town on the Seine near Rouen, where he was to spend most of the remainder of his life.

LIFE AT CROISSET

It would be misleading, however, to think of Flaubert as a recluse to whom nothing ever happened. Even at Croisset there were tragedies: the death of his sister Caroline, his father, and his beloved Alfred Le Poittevin within the next four years. Even at Croisset there were friends: the young writer Maxime du Camp, the poet Louis Bouilhet, and later such correspondents as George Sand, Turgenev, and Maupassant. When his health improved, he spent a summer touring in Brittany and two years in the Near East with Maxime. In addition, whenever he could tear himself away from his work and his adored and anxious mother, there were brief excursions to Paris. During one of these trips in 1846 he began the only major love affair of his life.

Louise Colet was thirteen years older than Flaubert, separated from her husband, and mother of a little girl by Victor Cousin, the statesman and philosopher. She was a romantic poetess, of mediocre talent, though twice winner of the French Academy’s poetry prize. The affair was intense and intermittent, dragged out by letters and reconciliations for almost ten years. The difficulty lay first in Flaubert’s obstinate refusal to leave Croisset, his work and his mother, and settle in Paris: occasional passionate weekends were enough for him. Later, he grew disenchanted with Louise’s character, her possessiveness, jealousy, violence, affectation, bad taste. She is thought to have partly inspired his portrait of Emma Bovary-even presenting him on one occasion a cigar-holder bearing the name motto, Amor nel cor, that is found on the signet ring Emma gives Rodolphe.

HIS EARLY WORK

But Flaubert’s real life was his work, to which he gave a priestlike devotion, spending days to hammer out a perfect sentence, untempted by fashion or ambition for fame. Only once did a book come “easily” to him, his fourth work, The Temptation of Saint Anthony, an account of the devil’s temptation of the third-century Christian hermit, filled with exotic imagery and esoteric lore. This was, in a way, Flaubert’s favorite book, a kind of extravagant self-portrait of the “hermit” of Croisset, but when he read it to Maxine du Camp and Louis Bouilhet in 1849, his two friends criticized it mercilessly. It was, Bouilhet said, verbose, formless, imitative, and overly romantic. Flaubert should write, he said, a realistic story of everyday bourgeois life, something like Balzac.

BACKGROUND OF MADAME BOVARY

Some two years later, after Flaubert had returned from his tour of the Near East, Bouilhet reverted to their earlier conversation. He began telling Flaubert about a certain Delamare, a former student of Dr. Flaubert’s and health officer in a town near Rouen, who after the death of his first wife, a widow older than himself, had married the young daughter of a nearby farmer. Charming, convent-educated, young Madame Delamare soon grew to loathe her husband and country life, took lovers, sank into debt, and finally poisoned herself. Her husband, who had been blind to his wife’s infidelities, was unable to live without her and killed himself too, leaving their little girl to his mother’s care. This, said Bouilhet, is the story Flaubert should write, if he could discipline his style, and curb the romanticism which even he recognized as a “disease. . . .”

And so, after initial objections to the narrowness and vulgarity of the theme, Flaubert subdued himself to his masterpiece. Day after day he sat down in his study at Croisset for seven or more hours of the “sweet torment” of composition, searching for the “mot juste” (the one and only “right word”), crushing metaphors “like vermin,” polishing his sentences and paragraphs. So deeply was he involved in his work that after writing the passages about Emma’s suicide, he had the “taste of arsenic” in his mouth and actually vomited his dinner. When not writing he was reading medical books and journals or verifying scenes by visits to Rouen and the neighboring countryside. In April 1856, after almost five years work, Madame Bovary was finished.

THE BOOK’S EFFECT

The book first appeared, considerably expurgated, in installments in Maxime du Camp’s Revue de Paris, and caused an immediate sensation. Its originality and beauty were recognized by discerning critics, while the realism and satire of its depiction of provincial life and of Emma’s infidelities aroused wide-spread indignation Norman pharmacists, believing that Flaubert had used them as the model for Homais, thought of calling him out for a duel, and “the ladies” were scandalized by his slander of French female virtue. Finally, inspired by this furor and certain political motives, the government of Louis Napoleon prosecuted Flaubert for the “outrage of public morals and religion.” But the trial, a milestone in the history of freedom of expression, ended with the Court voting for complete acquittal.

LATER WORKS

After Madame Bovary, giving vent to his long repressed exoticism, Flaubert turned to ancient Carthage in Salammbo (1862), a lush “prose opera” dealing with a revolt of mercenaries during the boyhood of Hannibal. Seven years later he published a final version of Sentimental Education, and in 1872 a third version of The Temptation of Saint Anthony. The first had grown from a study of true and false romanticism to a panoramic portrait of French society between 1840 and 1851, while the Temptation had been radically revised and cut. In 1874, after the unsuccessful production of his one play, The Candidate, Flaubert began his last novel, Bouvard and Pecuchet, a satirical account of two retired clerks who set about, in a succession of enthusiasms, to master the whole of 19th century knowledge. This work was to culminate in a project which had interested Flaubert from his youth, a Dictionary of Accepted Ideas, a compilation of all the most banal and half-baked notions of the time. The Three Tales was published in 1877, at the end of a vacation Flaubert had allowed himself from the anguish and monotony of his labors on Bouvard and Pecuchet. The latter book was never completed and was published posthumously in 1881.

FLAUBERT’S LATER LIFE

Flaubert’s life, after Madame Bovary, was not marked by any momentous change, though perhaps superficially more varied than in earlier years. The novel had put him at the head of the French realists, widened his acquaintanceship and correspondence, and he now gave more time to the Paris literary world. Though his later years were darkened by the death of his mother and Louis Bouilhet, his own poor health, the financial difficulties of his beloved niece, Caroline, and gloomier forebodings of the destiny of art and civilization, in private life he remained a warm-hearted and companionable man. With all his literary misanthropy, he had a talent for friendship and a largeness of soul which is reflected not only in the way he received Bouilhet’s criticism of The Temptation of Saint Anthony but in his later service as friend and teacher of Guy de Maupassant. It was the latter who thus melodramatically described Flaubert’s death on May 8, 1880: “Finally one day he fell, stricken, against the foot of his work-table, killed by Her, by Literature; killed as are all great passionate souls by the passion that fires them.” A fitting and somewhat ironic description for the death of the creator of Emma Bovary.

MADAME BOVARY IN LITERATURE

Any consideration of Madame Bovary should begin with some indication of its general place in literature. The book has had the greatest influence not only on French, but European, Russian and American novels of the modern era. Henry James, Zola, Conrad, Proust, Joyce, Virginia Woolf - to name only a few - are all indebted to Flaubert, and it may be said that wherever the novel has been conceived as “Art” - as distinct from mere entertainment, document, or self-display - Madame Bovary has been at least an indirect inspiration.

THE BOOK’S INNOVATIONS

Three kinds of innovating influence may be singled out: Madame Bovary raised the stature of the novel, modified novel technique, and helped give a new direction to romanticism.

First, Flaubert’s work established the novel as a major art form, an objective showing-forth of life through the medium of highly-wrought, “architecturally” ordered language, uncircumscribed by the author’s personal viewpoint or the rule of strict, straightforward narrative development. Before him, the novel’s reality had been diminished by continual intrusions of the author’s comments and analyses, its freedom restricted by the need to follow a chronological progression of events, its literary stature limited by the fact that no one had tried to give it formal and stylistic perfection rivaling poetry. By changing these conditions, Flaubert raised the novel to the major literary form of our era.

The most famous of Flaubert’s technical innovations have been suggested above: the doctrine of le mot juste or “the right word” (with its corollary of the all-importance of the right prose rhythm) and the doctrine of the novel’s “impersonality” or the writer’s “impassivity.” Flaubert said that the writer should be like God in his work, “everywhere present, but nowhere visible.” Other innovations, however, are equally important. First of all, there is his reliance on the “symbolic” method of construction, rather than straightforward narration. True, there is a fairly regular chronological progression in Madame Bovary, but the novel really hangs together through a series of symbols or symbolic episodes. Consider, for instance, the role played by the theme of “travel” in Emma’s life: her dreams of exotic journeys matched against her trips on the “Hirondelle” (the Yonville coach), her horseback ride with Rodolphe, her cab ride with Leon. In addition, the straight-line chronological development is undercut by three other characteristic devices: the revery, the repetition, and the “double action.” Continually, we find Emma returning in flashbacks or reveries to memories of the convent or her father’s farm; over and over, as in her periodic spells of religious enthusiasm, we find her reverting to an earlier mood or character; again and again, as in the first conversation of Leon and Emma, the country fair scene, the amputation of the clubfoot’s leg, we find two opposed actions being carried on simultaneously. Through these devices, and the use of...