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Charles' mother is a kind of reverse image of Emma -- she believes that all fantasy is wrong, but even though Flaubert cannot sympathize with her ideas entirely, there is truth to the idea that Emma needs some sort of work and occupation. Emma is kept like an ornament, and as she is bored, she has time to fantasize and feel frustrated with the pointlessness and limits of her life -- which is why she exclaims: "what does it all matter?" Madame Bovary senior's advice for Emma to work also could be rather proto-feministic, rather than just anti-romantic, and unlike Emma's spending, Flaubert does not present this part of her advice as ironically as Emma's spending and lounging around in fake 'Oriental' clothing.
Flaubert, even though he often presents Charles humorously, also shows sympathy for him in this passage. Charles is a doctor and believes that physically treating people's illnesses can help them. But Emma's 'vapors' are clearly psychosomatic, because she is unhappy and bored, and she even tries to bring illness upon herself, drinking huge amounts of alcohol on a dare that also prefigures her later self-induced...
The idea of self-induced misery and poison run through Emma's life, but while the source of Emma's misery is mostly internal, the result of her character, Emma and Charles look to external solutions for her internal problems.
And this is where Charles' mother is wrong, and where Flaubert does present Madame Bovary, senior in an ironic way, like all of the characters in the passage -- Emma has a religion, in fact, had one at the convent when she thought of becoming a nun. Now Emma's religion is romance and fantasy, and her desire to have a lover. Emma's solution is not religion, but too much of a religion of false idols.
Works Cited
Flaubert, Gustave. Madame Bovary. Complete e-text available March 30, 2009 at http://www.gutenberg.org/files/2413/2413-h/2413-h.htm
Works Cited
Flaubert, Gustave. Madame Bovary. Complete e-text available March 30, 2009 at http://www.gutenberg.org/files/2413/2413-h/2413-h.htm
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
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
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
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