The Beauty of the Mundane in Gustave Flaubert’s Madame Bovary

The short story“The Necklace” by Gui de Maupassant follows Madame Loisel and her husband who are living in the middle-class during the rise of the middle class in Paris, France.There are many different examples of irony throughout the short story, demonstrating Maupassant's talent at commenting on the society in which he was immersed in. The theme of “The Necklace” is revealed through the character Madame Loisel, irony, and symbolism.

In the first paragraph, Madame Lantin is characterized as quiet and gentle young girl, belonging to a poor and respectable family. The line “The young girl seemed to be the very ideal of that pure good woman to whom every young man dreams of entrusting his future” (Maupassant 67) establishes the personality and traits of Madame Lantin for the readers. Until the death of Madame Lantin in the story, her character is portrayed in a positive light, as the narrator describes her caring and naïve nature. Towards the end of the story, When Mr. Lantin finds out that the Jewelries are much more valuable than his expectations, the image of Madame Lantin takes a dramatic turn, and the reference of reality is made when the narrator says “A horrible suspicion swept across his mind . . . She? . . . But then all those other pieces of jewelry must have been presents also! . . . Then it seemed to him that the ground was heaving under his feet; that a tree, right in front of him, was falling toward him” (Maupassant 70). This shows that Mr. Lantin have conclusively realized the truth about Madame Lantin, whom he was deeply in love with, and admired for all this time. He realizes that just like Jewelry, He failed to apprehend the truth about her, hence realizing that Things are not always what they seem to be. Another theme presented in the story is Situational Irony, as the outcome that the readers expected was distinct from the outcome. As Mr. Lantin finds

Realist writers choose to reveal the blemishes and authenticity of everyday life, by avoiding the idealism commonly found in romantic literature. Gustave Flaubert’s “A simple heart” is not a story which contains any substantial climatic event. Instead it entails the entire life of Félicité in only five sections and arguably embodies a realistic biography, although fiction. There is flatness in the style of writing, but although it is simple, Flaubert’s short story reflects the complex tribulations of real life with the unfortunate events Félicité encounters. Sympathy therefore, is intended to arise from the readers as the impersonal and honest narrator reveals the height of Félicité’s misfortune. In this particular extract her social environment, the way she is treated and the communication between Flaubert’s characters, undoubtedly adopts the art of realism.

Flaubert depicts Emma as having subtle masculine characteristics emphasizing her masculinity not only mentally but physically as well. In some cases, Flaubert uses irony to characterize Emma’s masculine features. “Yet her hand was not beautiful, perhaps not white enough, and a little hard at the knuckles; besides, it was too long, with no soft inflections in the outlines” (Flaubert 28) the narrator describes Emma as lacking the soft subtle femininity that high-class women have. The contrast of her beauty lessens her femininity in this case making her appear more tusk and masculine. Emma’s femininity gets challenged on the pivotal day of the Victorian women’s life. When the narrator describes her on her wedding day, “Emma's dress, too long, trailed a little on the ground; from time to time she stopped to pull it up, and then delicately, with her gloved hands, she picked off the coarse grass and the thistledown” (Flaubert 18-19). On her wedding day, Emma’s description walking down the aisle diffidently wearing a dirty unfitted dress metaphorically portrays Emma

Human emotions remain as one of the world’s biggest secrets. Like sleep, we know what happens to our body when we experience these emotions whether it be a release of hormones or a certain area on the body becomes more sensitive. But we don’t know why we have them, experience them, or what purpose they serve. All we know is everyone’s emotions behave differently. Different types of arts can elicit completely different emotional response from people. Some art may have the ability to appeal to dangerous emotions in certain people. Whether it be the corruption of a once faithful and beautiful young girl, plagued by the desire for romanticism and lofty ideas, or a handsome young nobleman who is obsessed with living life to fullest. Both are fueled by the emotion that a certain type of art elicits in them, leaving them in a never ending chase that ruins there life’s. In the Novels Madame Bovary and The Picture of Dorian Grey the protagonists in these stories perfectly exemplifies the danger of arts emotional appeal by showing the corruption and eventual downfall of two once young and beautiful souls by exposing them to art that pleases dangerous emotions such as desire, pleasure, entitlement and disappointment.

One can also only speculate that how Madame Lantin’s insatiable craving for jewels, that her husband cannot afford, is motivated by the socioeconomic condition of the world in which she moves. When Maupassant explains that Madame Lantin is extremely reluctant at first to go out in the evenings without her husband to escort her, he gives the reader one of the only clues about her possible feelings as she makes the transformation from a dutiful and virtuous wife into a woman who is extravagantly showered with expensive gems by other men. (Constantakis 1)

In Gustave Flaubert’s short story “A Simple Heart” Flaubert tells of the life of Felicite, a poor woman who does not seem to have any luck at all. Felicite is the kind of character that makes the reader pity her while at the same time finding her to be incredibly strange. Flaubert uses human emotions in a story that is incredibly simple in both word and tale to tell the reader of a woman who does not live a particularly exciting or happy life. Through this short story, Flaubert has given the reader a character that is simple but loving, strange yet human, and easily attached to things. Through his use of realism and a firm grasp on human emotions Flaubert has crafted a tale that is unlike any other.

The historical context of the time that Flaubert lived in is a likely reason for his use of the bourgeoisie materialistic ideas. In the time period that Gustave Flaubert worked on Madame Bovary, the bourgeoisie were considered to be a very large class. The bourgeoisie being a middle class of people such as manufacturers and

In Madame Bovary, Gustave Flaubert shapes Emma, the protagonist, into a woman who deceives herself, through romantic novels, into believing her life is better than it actually is. Emma—like most things in her life—romanticized what marriage would do for her. At the start of her marriage to Charles, she believed marriage would be the means at which she transitioned from a farm girl to a wealthy woman. She believed that marriage would bring her all she had longed for. However, her marriage to Charles is opposite to that. Thus, she is constantly searching for something or someone to satisfy her. She spends majority of the novel aspiring to be a part of the upper

Madame Bovary is a novel by author Gustave Flaubert in which one woman’s provincial bourgeois life becomes an expansive commentary on class, gender, and social roles in nineteenth-century France. Emma Bovary is the novel’s eponymous antiheroine who uses deviant behavior and willful acts of indiscretion to reject a lifestyle imposed upon her by an oppressive patriarchal society. Madame Bovary’s struggle to circumvent and overthrow social roles reflects both a cultural and an existential critique of gender and class boundaries, and her unwillingness to tolerate the banalities of domestic life in a predetermined caste culminates in several distinct means of defiance. Emma Bovary exploits traditional cultural values such as marriage,

    Often in literature, a character is found that is quite memorable. Never was this more true than in Flaubert's Madame Bovary. To some, Emma Bovary's action at the end of the novel was drastic and unnecessary; others believed her death to be the end of the natural progression of the story. However, Emma's decision to commit suicide was relatively simple, yet came as a last resort. She had exhausted all the other options she felt were available, and in the end made her plan based on finances, lost love, and the sheer boredom of her life.

(Flaubert 78), she begins her little quest to find the right man through a binge

In the 18th century, European society put an emphasis on social standing; each social class was expected to act differently, thus affecting the way one would get treated and the amount of opportunities available to them. In Flaubert’s Madame Bovary, food imagery and the way each character acts towards food reveals the distinctions between the various social classes and, more importantly, the mediocrity of the French bourgeoisie. However, Flaubert chooses not to focus on all of the social classes, but solely on the characteristics and mannerisms surrounding the middle and the high classes. Revolving the novel around middle-classed characters who represent the middle class, Flaubert criticizes the bourgeoisie through their desire to escape

This image and atmosphere of mundane imperfection is a far cry from what Emma expects after reading the romantic novels she smuggled in at the convent. From those foppish texts she gathers the impression that ladies such as she should be “lolling on carriages” or “dreaming on sofas,” or perhaps embracing some dashing “young man in a short cloak” (Flaubert 32). Yet such is not the reality in which she lives.

Gustave Flaubert (1821-1880) was a French writer best remembered for his debut novel madam Bovary. Flaubert, as a author, was notoriously a compulsive, avoiding such techniques as cliché and finding “le mot juste” (“the right word”).