The artistic problems of the novel are closely related to the image of the main character – Emma Bovary, who embodies the classic romantic conflict, which consists in the pursuit of ideal and rejection of base reality. On the one hand, it was unpleasant for him to write about the vulgar life of the average bourgeois, on the other, he tried to do it as best as possible in order to show the reader all the ins and outs of the provincial bourgeois life. Work on the novel was not easy for Flaubert. In “Madame Bovary”, like in no other work of the French classic, his unique artistic manner was manifested, consisting in laconicism, clarity of expression of thought and the utmost accuracy of the word. All this time, Flaubert carefully worked on the text of the novel, originally having a thousand pages and truncated to four hundred. At the same time, Flaubert always emphasized that his novel is far from a documentary retelling of real history and the times even said that Madame Bovary does not have a prototype, and if there is, then he is the writer himself.įive years have passed from the moment the concept was born and until the publication of the work. His second wife, Delphine Couturier, languishing from bourgeois boredom, spending all her money on expensive outfits and lovers and committing suicide, formed the basis of the artistic image of Emma Rouault / Bovary. Eugene Delamard – a mediocre doctor from a remote French province, married in the beginning to a widow, and then to a young girl – became the prototype of Charles Bovary. The novel “Madame Bovary” was based on the real story of the Delamar family, told to Flaubert by a friend – the poet and playwright Louis Buile.
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