The image of Emma Bovary, created by Flober, amazes the reader with its psychological truth and enormous power of generalization. Anguish, tearing the heart of a provincial petty bourgeois, becomes the symbol of a modern writer bourgeois reality, which he perceived not as a world of banality “colors of mold”.
Provincial life never pampered Emma Rowe bright events and meetings with interesting people. The spiritual world of the heroine of the novel was formed under the influence of the stories of old virgins,” Boulevard romantics “and the ladies ‘magazine”Wedding gift”. In the magazine she liked the “reports on premieres, races and parties.” Probably here Emma had learned and their understanding of “exquisite manners”, which she had naively mistaken for “the subtlety of the soul” and, therefore, preferred manners before everything else.
“As a child she read the Field and Virginia and then for a long time dreamed of the bamboo cabin, of the Negro Domingo, the dog is Fidel, but most of all about the tender friendship with a sweet little brother, who broke for her the red fruit with huge, taller than the bell tower, trees or fled to her on the sand barefoot, with a bird’s nest in his hands.” Already in childhood, surrounded by “peaceful nature”, Emma lived in a kind of invented her wild imagination, an illusory world that was more real than the surrounding reality. It attracted all unusual: if trees, by all means that “above a bell tower”, “if the sea, that by all means rough if the grass that by all means among ruins”.
At the age of thirteen his father took her into town and gave it to the monastery. Here she received the appropriate education: “Going to confession, she purposely came up with various minor sins to stand on her knees in half a day longer… Often repeated in sermons images fiance, husband, heavenly lover and eternal marriage especially moved by it.”
The most interesting to talk to the boarders of the convent was a seamstress — an old maid, belonging to an ancient noble family that was ruined during the revolution. That is why it enjoyed the patronage of the Archbishop, ironically notes Flaubert. This “dandelion of God” in women’s likeness and attached Emma and her friends to the reading of novels. But what was that reading? The writer describes in detail the content of these novels, devoting almost half a page of his book, with the permission to say “reading”: “there was everything about love, there were only lovers, lovers, persecuted ladies falling without feelings in secluded gazebos… vows, sobs, tears and kisses”. The reader becomes quite clear, on what base the fiction formed the “aesthetic tastes” and moral concepts fifteen-year-old Emma, who “for six months breathing this dust…”.
Nature rather sentimental than artistic, grew up in the province and received a provincial education and upbringing”, Emma early felt some vague dissatisfaction and felt unreasonable longing, however, neither one nor the other to realize and explain it was not able. Even after marriage, she was trying to understand, “what do the words really mean: “bliss”, “passion”, “ecstasy”.
Emma Rowe, even marrying Charles Bovary, “imagined”, that likes. Flaubert, desiring to emphasize the blindness of the heroine, its amazing “ability” to wishful thinking, the description of the two most “important” for Emma events — wedding and prom in the castle of the Marquis d Angerville, who played in the beginning of her life’s journey such a fateful role, especially contrasted these developments parallel descriptions. The wedding of Charles and Emma Bovary is striking in its everyday life. Rather, Charles is still excited, and Emma, on the contrary, as if missing his own wedding.
At least, the author pays much more attention to the image of guests and the table with dishes than to the feelings of his characters. But the description of the dishes during dinner in the castle of the Marquis d Angerville Flaubert, too, takes a significant place in his novel. Why? The thing is that in this way the author very accurately conveys the psychological state of his heroine: at his own wedding and at the ball in the castle. At the wedding for Emma, everything is ordinary,” invented ” Charles does not count: he “invented” before the wedding, and at the wedding he is such an “ordinary”, although sincerely loves his bride.
In a castle same for Emma “increasingly romantic”, even dishes. At first she was so stunned, I can’t feel anything and wakes up only when enters the dining room, but there she began to feel something: “Emma, entering the dining room, I immediately felt as it envelops the heat blew a mixed smell of flowers, fine linen, hot and truffles…”Felt in the dining room of the castle and felt nothing at her wedding table. So gently Flaubert exposes the vulgarity of the “romanticism” of her character, the essence of which is associated by the reader with “a mixed smell of flowers, fine linen, hot and truffles”. Truly “Boulevard romanticism”.
Flaubert is a master of subtext. He not tells, and shows. With the help of carefully selected words, due to accurately guessed intonation and conscious silence, he achieves the perfect aesthetic match of the portrayed unethical world of bourgeois vulgarity and the psychological state of his characters. Flaubert is doing everything to let the reader forget about the author and independently grasped the character of Emma Bovary, her inner state, through self-expression of the heroine (her actions, feelings, detachment, mood, psychological state) in the context of the carefully drawn details of everyday life.
A striking example of the” objective manner ” of the writer’s narrative is the episode of the dinner after the return of Charles and Emma Bovary from the ball. Each word in the description of a scene of a dinner bears a certain loading, each phrase gives rise to the thought which is literally not expressed, and hidden in a subtext. After exploring the castle, her husband’s home seems to be the Emma Bovary of the poor and causes a feeling of barely concealed hatred and to the house and to her husband. All that previously was perceived Emma as a matter of course, now causes the spiteful irritation: maid who was late with lunch, the lunch (onion soup and veal with sorrel) and, finally, Charles, with pleasure uminari his usual lunch and dared after lunch to smoke a cigarette of the same and is “adored” Emma case, and the inability of Charles to smoke (funny he stuck out his lip and spit every minute for each puff).
That there is only one, contemptuously abandoned Emma phrase when Charles began to smoke: “your head will spin”. In this phrase everything: quiet contempt and hatred of the husband who does not like the inhabitants Babesarchive castle and the owner of the case and the outrage that her husband was only able to finish someone else’s cigarette from someone else’s cigarette case, and awe in front of the cigarette case as before the character of another, is not available, but this coveted life. Therefore, Emma, taking advantage of the first convenient moment, grabs the cigarette case and puts it deeper into the closet, as the most expensive relic, to which her dork-husband is not worthy even to touch.
Flaubert carefully “mounts” this scene, because it reflects an important and crucial moment in the life of Emma Bovary: “a Trip to Wobeser has split her life — the storm in one night breaks sometimes in the rock a deep chasm”. Sarcasm of the writer is not directly expressed, but hidden in the text, for example, in comparison with the heart of Emma C… shoes, “the soles of which were yellowed with the slippery waxed floor”. “With her heart happened the same as with shoes — says the writer— from contact with luxury on it there is something indelible.”
This “something lasting” occurs at the time of dinner on arrival home. It was at this point that Emma Bovary finally and irrevocably rejects her familiar world and plunges into the world with all her being invented, illusory, which from this moment until the end of her failed life will be associated in her mind with the “green silk cigarette case, on which, as on the door of the carriage, adorned the coat of arms”; with the lady sitting on the pouffe, in front of which “kneeling three Cavaliers”; with “Viscount” and Frank touches during the lap.
The passionate impulses of Emma Bovary could be considered natural, and then they would be attractive if she was really an opposing beginning, opposing the world of “mold color”. However, it is not so much opposed to this world as it is only its most striking manifestation. This something is the innovation and genius of the realism of Flaubert: he not only opposes her character vulgar reality, but rather identifies it with her. All the natural, “natural”, which is initially present in Emma Bovary, is suppressed by imitation and unnatural” vulgar ” romanticism, which she, for lack of anything else, absorbs water like a sponge.
Emma Bovary’s favorites-whether it’s a” flat as a street panel “Charles, or a provincial don Juan Rodolfo, or Leon doing everything the way” as they do in Paris “— are all on one face, all — ordinary mediocrity, the provincial color of the world’s”mold.” But the choices Emma Bovary is characterized by that which they were elected, in accordance with their notions of the ideal. In this sense, Emma Bovary is quite consistent. Remember her idea of the ideal that emerged at the ball in the castle: lady sitting on a stool, in front of which “kneel three one”. It has all three: Charles, Leon and Rodolphe. A dream come true. That’s just the thing: of the three, only Charles can imagine kneeling in front of Emma. He really loves her. No, he also falls on his knees before her, but then jumps up as soon as he feels that “lady” can demand from him a certain bribe. He understands that to pay for everything. Well, he’s ready, but not with money.