Bovary Quotes

You can examine the whole 19th century from the point of view of who would have maxed out their credit cards. Emma Bovary would have maxed hers out. No question. Mr. Scrooge would not have. He would have snipped his up. ~ Margaret Atwood

On a Parisienne's Bookshelf
THERE ARE MANY BOOKS ON A PARISIENNE'S BOOKSHELF:

The books you so often claim you've read that you actually believe you have.
The books you read in school from which you remember only the main character's name.
The art books your parents give you each Christmas so you can get some "culture".
The art books that you bought yourself and which you really love.
The books that you've been promising yourself you'll read next summer … for the past ten years.
The books you bought only because you liked the title.
The books that you think makes you cool.
The books you read over and over again, and that evolve along with your life.
The books that remind you of someone you loved.
The books you keep for your children, just in case you ever have any.
The books whose first ten pages you've read so many times you know them by heart.
The books you own simply because you must and, taken together, form intangible proof that you are well read.
AND THEN THERE ARE THE BOOKS YOU HAVE READ, LOVED, AND WHICH ARE A PART OF YOUR IDENTITY:

The Stranger, Albert Camus
The Elementary Particles, Michel Houellebecq
Belle du Seigneur, Albert Cohen
Bonjour Tristesse, Françoise Sagan
Madame Bovary, Gustave Flaubert
L'Écume des jours, Boris Vian
Lolita, Vladimir Nabokov
Les Fleurs du Mal, Charles Baudelaire
Journey to the End of the Night, Louis-Ferdinand C ~ Caroline De Maigret

The choice of the point(s) of view from which the story is told is arguably the most important single decision that the novelist has to make, for it fundamentally affects the way readers will respond, emotionally and morally, to the fictional characters and their actions. The story of an adultery, for instance - any adultery - will affect us differently according to whether it is presented primarily from the point of view of the unfaithful person, or the injured spouse, or the lover - or as observed by some fourth party. Madame Bovary narrated mainly from the point of view of Charles Bovary would be a very different book from the one we know. ~ David Lodge

Madame Bovary is timeless. It is not just about the female condition in France in the 1840s. It's not a simple cautionary tale. Emma is more than a character; she gives us an insight into human nature. With Emma, we are diving into the complexities of Flaubert's psyche. ~ Sophie Barthes

Dostoevsky was writing about losers. The main character of The Iliad, Hector, is a loser. It's very boring to talk about winners. The real literature always talks about losers. Madame Bovary is a loser. Julien Sorel is a loser. I am doing only the same job. Losers are more fascinating. Winners are stupid … because usually they win by chance ~ Umberto Eco

I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader's mind. No matter how many times we reopen 'King Lear,' never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert's father's timely tear. Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them. ~ Vladimir Nabokov

Madame Bovary is one my favorite novels. Emma Bovary will always be an enigma, but as the years pass, I feel that I understand her better. She has a violent nostalgia, almost an infantile nostalgia, to be understood by the men surrounding her. I like her relentless fight for independence, her rebellion against the mediocre, and her quest for the sublime, even if she burns her wigs in the process. I like that Flaubert never judges her morally for her self-destructiveness, for her desperate attempt to satisfy her wildest desires and appetites. ~ Sophie Barthes

Lots of talk lately about the GREAT AMERICAN NOVEL that seems to be exclusively masculine. And how many of the characters in the GENIUS BOOKS are likable? Is Holden Caulfield likable? Is Meursault in The Stranger? Is Henry Miller? Is any character in any of these system novels particularly likable? Aren't they usually loathsome but human, etc., loathsome and neurotic and obsessed? In my memory, all the characters in Jonathan Franzen are total douchebags (I know, I know, I'm not supposed to use that, feminine imagery, whatever, but it is SO satisfying to say and think). How about female characters in the genius books? Was Madame Bovary likable? Was Anna Karenina? Is Daisy Buchanan likable? Is Daisy Miller? Is it the specific way in which supposed readers HATE unlikable female characters (who are too depressed, too crazy, too vain, too self-involved, too bored, too boring), that mirrors the specific way in which people HATE unlikable girls and women for the same qualities? We do not allow, really, the notion of the antiheroine, as penned by women, because we confuse the autobiographical, and we pass judgment on the female author for her terrible self-involved and indulgent life. We do not hate Scott Fitzgerald in "The Crack-Up" or Georges Bataille in Guilty for being drunken and totally wading in their own pathos, but Jean Rhys is too much of a victim. ~ Kate Zambreno

Not to me," I said.
Kafka wrote his first story in one night. Stendhal wrote The
Charterhouse of Parma in forty-nine days. Melville wrote Moby-
Dick in sixteen months. Flaubert spent five years on Madame
Bovary. Musil worked for eighteen years on The Man Without
Qualities and died before he could finish. Do we care about any
of that now? ~ Paul Auster

In this sense, we can render the false meaning of catharsis which occurs in pornography with a different meaning than the catharsis we associate with Aristotle's definition of tragedy. For in the tragedy, we weep, grieve and feel pity. We are brought to feeling, we experience both meaning and sensation at the same time, tremble in our bodies and our souls. Thus we weep over the death of Iphigenia, of Tristan and Iseult, of Madame Bovary. In experiencing these feelings, we have tapped a part of ourselves which had perhaps been quiet for some time. Which indeed, in this stillness, we were not certain was even there. Or had even forgotten. And thus, when we weep at this tragic playing out before our eyes of a drama which touches our hearts, a part of ourselves we had left in shadow comes back to us and is named and is lived. But pornographic catharsis moves from altogether different needs. For, we know, one does not weep over the death of Justine. One does not feel at all. Rather, one experiences only sensation and mastery. If there is a vulnerable part of oneself that would weep, this vulnerability is projected onto the body of a woman who is punished, and is destroyed there. And so we cease, in this projection, to recognize this vulnerability as a part of ourselves. Rather than reclaim a feeling, or own a part of ourselves once more, we disown ourselves. What pornography calls "catharsis" leads to denial and not to knowledge. ~ Susan Griffin

The smooth folds of her dress concealed a tumultuous heart, and her modest lips told nothing of her torment. She was in love. ~ Gustave Flaubert

All the sentences in Madame Bovary could be examined with wonder, but there is one in particular that always stops me in admiration. Flaubert has just shown us Emma at the piano with Charles watching her. He says, "She struck the notes with aplomb and ran from top to bottom of the keyboard without a break. Thus shaken up, the old instrument, whose strings buzzed, could be heard at the other end of the village when the window was open, and often the bailiff's clerk, passing along the highroad, bareheaded and in list slippers, stopped to listen, his sheet of paper in his hand."

The more you look at a sentence like that, the more you can learn from it. At one end of it, we are with Emma and this very solid instrument "whose strings buzzed," and at the other end of it we are across the village with this very concrete clerk in his list slippers. With regard to what happens to Emma in the rest of the novel, we may think that it makes no difference that the instrument has buzzing strings or that the clerk wears list slippers and has a piece of paper in his hand, but Flaubert had to create a believable village to put Emma in. It's always necessary to remember that the fiction writer is much less immediately concerned with grand ideas and bristling emotions than he is with putting list slippers on clerks. ~ Flannery O'Connor

Proust, who did not greatly admire Flaubert, except perhaps in his narrow sense as a stylist - or perhaps only did not care very much for his work - nevertheless owed him a great deal, without realizing how much. From Flaubert he obtained the art of expressing his characters indirectly, through a monologue interieur. This method of characterization is one of Flaubert's greatest contributions to the art of fiction and, as we have seen in Madame Bovary, it is very different from the direct method of characterization practised by Balzac and Stendhal. ~ Enid Starkie

Doesn't it seem to you," asked Madame Bovary, "that the mind moves more freely in the presence of that boundless expanse, that the sight of it elevates the soul and gives rise to thoughts of the infinite and the ideal? ~ Gustave Flaubert

In Madame Bovary Flaubert never allows anything to go on too long; he can suggest years of boredom in a paragraph, capture the essence of a character in a single conversational exchange, or show us the gulf between his soulful heroine and her dull-witted husband in a sentence (and one that, moreover, presages all Emma's later experience of men). ( ... ) This is one of the summits of prose art, and not to know such a masterpiece is to live a diminished life. ~ Michael Dirda

An interviewer asked me what book I thought best represented the modern American woman. All I could think of to answer was: Madame Bovary. ~ Joseph McCarthy

As for the piano, the faster her fingers flew over it, the more he marveled. She struck the keys with aplomb and ran from one end of the keyboard to the other without a stop. ~ Gustave Flaubert

Dad once noted (somewhat morbidly, I thought at the time) that American institutions would be infinitely more successful in facilitating the pursuit of knowledge if they held classes at night, rather than in the daytime, from 8:00 PM to 4:00 or 5:00 in the morning. As I ran through the darkness, I understood what he meant. Frank red brick, sunny classrooms, symmetrical quads and courts--it was a setting that mislead kids to believe that Knowledge, that Life itself, was bright, clear, and freshly mowed. Dad said a student would be infinitely better off going out into the world if he/she studied the periodic table of elements, Madame Bovary (Flaubert, 1857), the sexual reproduction of a sunflower for example, with deformed shadows congregating on the classroom walls, the silhouettes of fingers and pencils leaking onto the floor, gastric howls from unseen radiators, and a teacher's face not flat and faded, not delicately pasteled by a golden late afternoon, but serpentine, gargoyled, Cyclopsed by the inky dark and feeble light from a candle. He/she would understand "everything and nothing," Dad said, if there was nothing discernible in the windows but a lamppost mobbed by blaze-crazy moths and darkness, reticent and nonchalant, as darkness always was. ~ Marisha Pessl

She loved the sea only for its storms, and greenery only when it was scattered among ruins. ~ Gustave Flaubert

I must confess that in all the times I read Madame Bovary, I never noticed the heroine's rainbow eyes. Should I have? Would you? Was I perhaps too busy noticing things that Dr Starkie was missing (though what they might have been I can't for the moment think)? Put it another way: is there a perfect reader somewhere, a total reader? Does Dr Starkie's reading of Madame Bovary contain all the responses which I have when I read the book, and then add a whole lot more, so that my reading is in a way pointless? Well, I hope not. My reading might be pointless in terms of the history of literary criticism; but it's not pointless in terms of pleasure. I can't prove that lay readers enjoy books more than professional critics; but I can tell you one advantage we have over them. We can forget. Dr Starkie and her kind are cursed with memory: the books they teach and write about can never fade from their brains. They become family. Perhaps this is why some critics develop a faintly patronising tone towards their subjects. They act as if Flaubert, or Milton, or Wordsworth were some tedious old aunt in a rocking chair, who smelt of stale powder, was only interested in the past, and hadn't said anything new for years. Of course, it's her house, and everybody's living in it rent free; but even so, surely it is, well, you know…time?
Whereas the common but passionate reader is allowed to forget; he can go away, be unfaithful with other writers, come back and be entranced again. Domesticity ~ Julian Barnes

As Baudelaire said it so beautifully, Emma Bovary is an androgynous character. She cannot be reduced to a gender or a sociological type. She represents something bigger than herself. That was the genius of Flaubert: the ability to combine the general and the particular. ~ Sophie Barthes

There, at the top of the table, alone amongst all these women, stooped over his ample plateful, with his napkin tied around his neck like a child, an old man sat eating, drips of gravy drbibbling gravy from him lips. His eyes were bloodshot and he had a little pigtail tied up with a black ribbon. This was the Marquis' father-in-law ... he had led a ... Read more tumultuous life of debauchery and duelling, of wagers made and women abducted, had squandered his fortune and terrified his whole family ... Emma's eyes kept coming back to this old man with the sagging lips, as though to something wonderfully majestic. He had lived at court and slept in the bed of a queen! ~ Gustave Flaubert

We must not touch our idols; the gilt sticks to our fingers. ~ Gustave Flaubert

In fiction, imaginary people become realer to us than any named celebrity glimpsed in a series of rumored events, whose causes and subtler ramifications must remain in the dark. An invented figure like Anna Karenina or Emma Bovary emerges fully into the light of understanding, which brings with it identification, sympathy and pity. ~ John Updike

Madame Bovary and a flying carpet, they are both untrue in the same way. Somebody made them up. ~ Salman Rushdie

One must not give way altogether, and, because others have died, want to die too. You must pull yourself together, Monsieur Bovary. It will pass away. ~ Anonymous

She loved the sea for its storms alone, cared for vegetation only when it grew here and there among ruins. She had to extract a kind of personal advantage from things and she rejected as useless everything that promised no immediate gratification - for her temperament was more sentimental than artistic, and what she was looking for was emotions, not scenery. ~ Gustave Flaubert

I first read 'Madame Bovary' in my teens or early twenties. ~ Lydia Davis

In Madame Bovary, Félicité the maid is always scuttling away from some new abuse at the hands of her self-involved mistress. She seeks sweetness as consolation: "since Madame always left the key in the sideboard, Félicité took a small supply of sugar every night and ate it when she was all alone in her bed, after she had said her prayers." How could sugar still be necessary after prayer? It offers salve to the physical body, immediate comfort, something the flesh can trust while the spirit is being patient. Think of the sadness of two women living in the same house, both hungry for stolen increments of different pleasures - text and lust and sugar - both keeping these pleasures secret because they are ashamed to admit their hungers. ~ Leslie Jamison

I do not admire Flaubert, yet when I am told that by his own admission all he hoped to accomplish in in Salammbo was to 'give the impression of the color yellow' and in Madame Bovary 'to do something that would have the color of those mouldy cornices that harbor wood lice' and that he cared for nothing else, such generally extra-literary preoccupations leave me anything but indifferent. ~ Andre Breton

When the ship suddenly pitched more steeply, the bookworm lost his grip. He came skipping over the toilet seats - his ass made a slapping sound - until he collided with my father at the opposite end of the row of toilets. "Sorry - I just had to keep reading!" he said. Then the ship rolled in the other direction, and the soldier sallied forth, skipping over the seats again. When he'd slid all the way to the last toilet, he either lost control of the book or he let it go, gripping the toilet seat with both hands. The book floated away in the seawater. "What were you reading?" the code-boy called. "Madame Bovary!" the soldier shouted in the storm. "I can tell you what happens," the sergeant said. "Please don't!" the bookworm answered. "I want to read it for myself! ~ John Irving

Unicorns, dragons, witches may be creatures conjured up in dreams, but on the page their needs, joys, anguishes, and redemptions should be just as true as those of Madame Bovary or Martin Chuzzlewit. ~ Alberto Manguel

Madame Bovary is myself. ~ Gustave Flaubert

In reading, one should notice and fondle details. There is nothing wrong about the moonshine of generalization when it comes after the sunny trifles of the book have been lovingly collected. If one begins with a readymade generalization, one begins at the wrong end and travels away from the book before one has started to understand it. Nothing is more boring or more unfair to the author than starting to read, say, Madame Bovary, with the preconceived notion that it is a denunciation of the bourgeoisie. We should always remember that the work of art is invariably the creation of a new world, so that the first thing we should do is to study that new world as closely as possible, approaching it as something brand new, having no obvious connection with the worlds we already know. When this new world has been closely studied, then and only then let us examine its links with other worlds, other branches of knowledge. ~ Vladimir Nabokov