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While on another walk later in the book, "all the sensations of her first tenderness came back to her, and her poor aching heart opened out amorously" (Madame Bovary Part III Chapter 8). If a first person narrator had said, "all the sensations of my first tenderness cam back to me, and my poor heart…," there would appear to be some sense of self-control and self-reflection; the actions taken would be described by the person taking them, and commentary such as referring to a heart as "poor" would not be a label attached by someone else, but rather a reflection of one's own thinking. This is not the case here, however, but instead a narrator with more information than a true stake in any outcomes or actions describes characters and behaviors...
Because Emma Bovary is the focus of the novel, the effects of this narrative style are more prominent and extreme in her case than in the case of other characters.
Though Emma Bovary is in many ways the cause of her own downfall, it is also quite clear from the plot of the novel that she is largely at the mercy of the men in her life. In this way, the narrative style and the objectification it creates serves to enhance the plot and themes of Madame Bovary overall. By imbuing Emma Bovary with a wide range of powerful emotions and attendant actions yet removing the sense of her control over these things, she becomes even more of an object.
Madame Bovary The male who conquers and protects his territory, the representative a whole social class: the bourgeoisie, the predator and the opportunist, this is how the pharmacist of Yonville, Homais, one of the most despicable characters in Flaubert's novel, Mme Bovary, can be described in short. As the best suited character for a battle between classes, Homais triumphs over everything. With Homais, Flaubert succeeded to create the essence of what his
In service to this "religion," she is expected to offer her entire self. Ultimately, although unintentionally, she quite literally gives her life in this servitude. In The Awakening, religion also plays an important role in the female self-concept. Adele for example specifically refers to the Bible when attempting to convince Edna of the merits of self-sacrifice for husband and children. However, it is also true that Adele has no concept
Denied marriage, the only other societal option is suicide. Society is the agent of her demise, not Lilly: "her life is not unpleasant until a chain of events destroys her with the thoroughness and indifference of a meat grinder." Goetz, Thomas H. "Flaubert, Gustave." World Book Online Reference Center. 2006. [1 Oct 2006] http://www.aolsvc.worldbook.aol.com/wb/Article?id=ar200180. Biographical overview, provides insight into Flaubert's role as a uniquely realistic writer, thus stressing Emma's economic and moral
"(Flaubert, 235) Her spleen seems to spring from an almost metaphysic lassitude with life. Emma is never satisfied, and for her, as Flaubert puts it, no pleasure was good enough, there was always something missing. If Emma cannot kiss her lovers without wishing for a greater delight, it is obvious that she cannot cling to anything real, but only to the ideal dreams. She desperately tries to find a responsible for
The whole of the sequence leads one to believe that Charles is so daft that he would put his own life, not only his reputation on the line if Emma believed that it should be so. Charles from this point forward in the work becomes a piteous example of a spineless fool, and Emma likes him even less for it and therefore becomes even more distant. When Emma begins her
There is a feminine side to his masculinity, that is, and this passage shows that Emma has an equal share in this dichotomy. Hours after she is back at home, after Charles has left her alone in the house to attend to something, Emma shuts herself in her room to contemplate her experience and her joy. It is here that the realization of her own feminine power, and the active