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Madame Bovary
How is this book unique?
Madame Bovary (1856) is the French writer Gustave Flaubert's debut novel. The story focuses on a doctor's wife, Emma Bovary, who has adulterous affairs and lives beyond her means in order to escape the banalities and emptiness of provincial life. Though the basic plot is rather simple, even archetypal, the novel's true art lies in its details and hidden patterns. Flaubert was a notorious perfectionist and claimed always to be searching for le mot juste ("the precise word"). When the novel was first serialized in La Revue de Paris between 1 October 1856 and 15 December 1856, public prosecutors attacked the novel for obscenity. The resulting trial in January 1857 made the story notorious. After Flaubert's acquittal on 7 February 1857, Madame Bovary became a bestseller in April 1857 when it was published as a single volume. The novel is now considered Flaubert's masterpiece, as well as a seminal work of literary realism and one of the most influential novels. British critic James Wood writes in How Fiction Works: "Flaubert established for good or ill, what most readers think of as modern realist narration and his influence is almost too familiar to be visible".
- Sales Rank: #1774984 in eBooks
- Published on: 2016-01-17
- Released on: 2016-01-17
- Format: Kindle eBook
Review
National Bestseller
Winner of the French-American Foundation Translation Prize
One of New York magazine’s Ten Best Books of the Year
A Providence Journal Best Book of the Year
One of National Public Radio’s Favorite Books of the Year
“Lydia Davis’s Madame Bovary translation=perfect. She somehow pulls off a respectful translation with the readability of a contemporary novel.” —@lenadunham
"[Flaubert's] masterwork has been given the English translation it deserves." —Kathryn Harrison, The New York Times Book Review
"Invigorating . . . [Davis] has a finer ear for the natural cadences of English, in narrative and dialogue, than any of her predecessors." —Jonathan Raban, The New York Review of Books
"Dazzling . . . translated to perfect pitch . . . [Davis has] left us the richer with this translation. . . . I'd certainly say it is necessary to have hers." —Jacki Lyden, NPR.org, Favorite Books of the Year
"One of the most important books of the year . . . Flaubert's strict, elegant, rhythmic sentences come alive in Davis's English." —James Wood, The New Yorker's Book Bench
"I liked having a chance to find more nuances in Madame Bovary in the new Lydia Davis translation and read it blissfully as though floating, as Flaubert puts it in a different context, 'in a river of milk.'" —Paul Theroux, The Guardian (London), Books of the Year
"Madame Bovary reads like it was written yesterday. . . . Emma, with her visions of a grander life and resplendent passions, is me . . . and you, too, no doubt. . . . If you haven't happened to read Madame Bovary until now, I suggest you curl up with this edition . . . and allow yourself to get lost in another time and place that yet bears a curious resemblance to our own." —Daphne Merkin, Elle
"Davis is the best fiction writer ever to translate the novel. . . . [Her] work shares the Flaubertian virtues of compression, irony and an extreme sense of control." —Julian Barnes, London Review of Books
"A brilliant new translation." —Lee Siegel, The New York Observer
"I'm grateful to Davis for luring me back to Madame Bovary and for giving us a version which strikes me as elegant and alive." —Maureen Corrigan, NPR's Fresh Air
"Flaubert's obsessive masterpiece finally gets the obsessive translation it deserves." —New York magazine
Language Notes
Text: English (translation)
Original Language: French
From the Publisher
This exquisite novel tells the story of one of the most compelling heroines in modern literature--Emma Bovary. Unhappily married to a devoted, clumsy provincial doctor, Emma revolts against the ordinariness of her life by pursuing voluptuous dreams of ecstasy and love. But her sensuous and sentimental desires lead her only to suffering corruption and downfall. A brilliant psychological portrait, Madame Bovary searingly depicts the human mind in search of transcendence. Who is Madame Bovary? Flaubert's answer to this question was superb: "Madame Bovary, c'est moi." Acclaimed as a masterpiece upon its publication in 1857, the work catapulted Flaubert to the ranks of the world's greatest novelists. This volume, with its fine translation by Lowell Bair, a perceptive introduction by Leo Bersani, and a complete supplement of essays and critical comments, is the indispensable Madame Bovary.
Most helpful customer reviews
170 of 178 people found the following review helpful.
For my money, the preferred translation of Flaubert's novel
By Lawrance Bernabo
When I was teaching World Literature we began class each year reading Gustave Flaubert's "Madame Bovary." Unfortunately, this is the one novel that most needs to be read in its original language since Flaubert constructed each sentence of his book with the precision of a poet. As an example of the inherent problems of translation I would prepare a handout with four different versions of the opening paragraphs of "Madame Bovary." Each year my students would come to the same conclusion that I had already reached in selecting which version of the book they were to read: Lowell Bair's translation is the best of the lot. It is eminently readable, flowing much better than most of its competitors. Consequently, if you are reading "Madame Bovary" for pleasure or class, this is the translation you want to track down.
Flaubert's controversial novel is the first of the great "fallen women" novels that were written during the Realism period ("Anna Karenina" and "The Awakening" being two other classic examples). It is hard to appreciate that this was one of the first novels to offer an unadorned, unromantic portrayal of everyday life and people. For some people it is difficult to enjoy a novel in which they find the "heroine" to be such an unsympathetic figure; certainly the events in Emma Bovary's life have been done to death in soap operas. Still, along with Scarlett O'Hara, you have to consider Emma Bovary one of the archetypal female characters created in the last 200 years of literature. "Madame Bovary" is one of the greatest and most important novels, right up there with "Don Quixote" and "Ulysses." I just wish I was able to read in it French.
90 of 97 people found the following review helpful.
In Love With Love and Doomed From the Start
By A Customer
In this masterpiece of French literature, Gustave Flaubert tells the tale of Emma Bovary, née Roualt, an incurably romantic woman who finds herself trapped in an unsatisfactory marriage in a prosaic bourgeois French village, Yonville-l'Abbaye.
Her attempts to escape the tedium of her life through a series of adulterous affairs are thwarted by the reality that the men she chooses to love are shallow and self-centered and thus are unable to love anyone but themselves.
In love with a love that can never be and dreadfully overstretched financially, Emma finds herself caught in a downward spiral that can only end in tragedy.
Part of the difficulty, and the pleasure, of reading Madame Bovary comes from the fact the Flaubert refuses to embed his narrative with a moral matrix; he refuses, at least explicitly, to tell the reader, what, if any, moral lesson he should draw from the text.
It is this lack of moral viewpoint that made Madame Bovary shocking to Flaubert's contemporaries, so much so that Flaubert found himself taken to court for the novel's offenses to public and religious decency. Although today's readers will find no such apparent scandals in the book, they will still be challenged to make sense of both Emma and her story.
It is quite common to see Emma Bovary as silly, extravagant and much too romantically inclined. An avid consumer of romantic literature (a habit into which the heroine was indoctrinated in her convent school upbringing), Emma has made the morbid mistake of buying into the notion of romantic love in its fullest sense, and the mortal mistake of believing she can reach its fulfillment in her own life.
As such, Emma Bovary becomes a tragic figure of almost mythic proportion. Far from being foolish and self-indulgent, Emma is the victim of her own fecund imagination. A lesser woman would have been satisfied in the constrained world Emma inhabits, a world of sewing and teas and parties. But Emma is possessed of both splendid passions and tremendous energy; an artist and a rebel in her challenge to the priorities and ideals of her age.
Madame Bovary is an unusual novel in the sense that it has given its name to its own psychological condition: bovarysme, the condition in which we delude ourselves as to who and what we really are and as to life's potential to fulfill.
In this sense, Madame Bovary becomes the story of one woman's faulty perception of reality. In an early version of the novel, Flaubert included a scene at the ball at La Vaubyessard in which Emma is seen looking out at the landscape surrounding the house through colored panes of glass, a scene clearly meant as a representation of Emma's projection onto the world of an illusory and faulty model of reality.
Emma cannot, or will not, see the world as it is, since she is constantly imposing onto it, and herself, the criteria of romantic literature. Flaubert has thus written a supremely romantic novel about the dangers of reading supremely romantic novels!
Romantics, Flaubert seems to be saying, have no reasonable hope of ever seeing their fondest dreams come to fruition.
This is, indeed, a recurrent pattern in the novel: Emma dreams of one thing but gets something else entirely. Marriage, motherhood, and ultimately, adultery, all fall short of Emma's expectations and she appears to be a woman doomed to one disappointment after another.
Although Emma believes her marriage will fulfill her romantic expectations, Charles certainly fails to live up to Emma's hopes, and even Rodolphe, with his expensive riding boots, gloves and substantial income is eventually considered coarse and vulgar by Emma. Léon, the very essence of the young, romantic artist, leaves Emma when he is made premier clerc, and Emma finds she much come to the realization that even adultery contains "toutes les platitudes du mariage."
The foregoing certainly begs the question: are Emma's expectations too high or is life fundamentally deficient?
The society portrayed in Madame Bovary is one stratified in terms of class, and this is a book about the bourgeoisie, a portrait of class in the process of finding and defining itself and its role in society.
The novel is filled with scenes of buying and selling and even personal relationships fall under the sway of financial considerations.
What is particularly notable about Emma is her extravagance: she spares no thought for expense and consumes far beyond her means. Rejecting good economic management, thrift and hard work, Emma dedicates herself to style extraordinaire and lavishes expensive presents on her "man of the moment."
The world described in Madame Bovary is an extremely enclosed and restricted one and images of entrapment are abundant throughout the book. Emma's first marital home is described as "trop étroite;" her marriage to Charles is likened to "l'ardillon pointu de cette courroie complexe qui la bouclait de tous les côtes."
These restrictive images clearly demonstrate how confining Emma finds her world. Trapped in the dusty and damp home with its "éternel jardin," the highly imaginative Emma sees no escape.
It is interesting to note that when Emma does attempt to escape the confines of femininity, society and marriage through adultery, many of the scenes take place al fresco. (The first act of adultery with Rodolphe takes place in a forest and her later relationship with Léon contains a scene on a river.)
Later scenes, however, reveal the degradation inherent in Emma's acts and she finds herself confined to bedrooms that are sorely reminiscent of the restrictions of her married life. The fiacre ride with Léon in Rouen, in particular, is anticipatory of entrapment. For Emma, adultery eventually becomes as much of a prison as is marriage and family life.
Another recurrent image is that of the window. This can be interpreted as Emma's desire for escape or as a reaffirmation of her entrapment and powerlessness. The window opens onto a space of which poor Emma can only sit and dream; it serves as a frame for both her dissatisfaction and her fantasies.
In order to enjoy Madame Bovary to the fullest extent, it must be read in the original French. This is an absolute for Flaubert was an author who made full use of the potential offered by his native tongue. Although many translations are superb, nothing can match the original French in its poetic prose and lush descriptions.
Many interpretations of this wonderful and timeless novel are possible and all, no doubt, hold some validity. Therein lies the book's genius. Of one thing, though, we have no doubt: luscious Emma Bovary was, indeed, a victim. Whether of herself or of a repressive society matters little.
29 of 31 people found the following review helpful.
The Apogee of the French Novel . . . At Least Until Proust
By A Customer
Let's begin with Nabokov's "Lectures on Literature," where he introduces "Madame Bovary" as follows: "The book is concerned with adultery and contains situations and allusions that shocked the prudish philistine government of Napoleon III. Indeed, the novel was actually tried in a court of justice for obscenity. Just imagine that. As if the work of an artist could ever be obscene." Written over a five-year period, "Madame Bovary" was published serially in a magazine in 1856 where, despite editorial attempts to purge it of offensive material, it was cited for "offenses against morality and religion." Fortunately, Flaubert won his case and "Madame Bovary" remains to this day one of the masterpieces of French and world literature. Indeed, in Nabokov's view, the novel's influence is notable: "Without Flaubert, there would have been no Marcel Proust in France, no James Joyce in Ireland. Chekhov in Russia would not have been quite Chekhov."
The story of Emma Bovary is well known and uncomplicated. Set in the provincial towns of Tostes and Yonville (it is subtitled "Patterns of Provincial Life"), with adulterous interludes in Rouen, "Madame Bovary" narrates the life of Charles Bovary and Emma Rouault. Charles, an "officier de sante"--a licensed medical practitioner without a medical degree--meets Emma while tending to her injured father. Charles is married at that time to the first Madame Bovary, also called Madame Dubuc, a widow and thin, ugly woman who dominates the mild-mannered Charles from the very beginning. "It was his wife [Madame Dubuc] who ruled: in front of company he had to say certain things and not others, he had to eat fish on Friday, dress the way she wanted, obey her when she ordered him to dun nonpaying patients. She opened his mail, watched his every move, and listened through the thinness of the wall when there were women in his office."
When Madame Dubuc dies a few short years after their marriage, it appears that Charles is fortunate, for he is not only freed from the shrewish oppression of his wife, but enabled to court and marry the beautiful Emma. It is the eight-year marriage of Charles and Emma that embodies the tale of "Madame Bovary," a tale marked by Emma's ennui, her dissatisfaction with the unsatisfied yearnings of bourgeois marriage in a small provincial town, her steadily growing sensual insatiability, her adulteries with a series of men. It is this marriage, too, that gives us one of literature's great cuckolds, Charles Bovary.
"Madame Bovary" has often been described as a realistic novel and, insofar as it tells a seemingly ordinary tale of sensual longing and adultery while, at the same, time depicting characters and sensibilities typical of bourgeois, philistine rural France during the reign of Louis Phillipe, it is grimly realistic. It is also, however, a deeply psychological novel, one in which Flaubert brilliantly probes the feelings, the sensations, the romantic longings and dreamscapes of Emma Bovary. Above all, "Madame Bovary" is the apogee of the French novel prior to Proust's Parnassian achievement, a novel whose poetic language and artistic rendering transcend mere narrative and elevate Flaubert's work to that of high literary art, a novel for the ages. Read it in the original French if you can; if not, then read it in Frances Steegmuller's outstanding English translation.
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