French Paper XI Modern Prescribed Authors: Flaubert
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Summary Flaubert Notes Written by a First Class Oxford Student
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French Paper XI Modern Prescribed Authors: Flaubert
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University Of Oxford
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French Paper XI Modern Prescribed Authors: Flaubert
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Flaubert Notes
Key themes to plan:
1) Desire
2) Plot/narrative
3) Realism/reality
4) Language
5) Bêtise
6) Past/history
7) Irony
8) Materialism
9) Romanticism
10) Saintliness/saints
11) Repetition
12) Impersonality
13) Style
14) Religious and spiritual nature
15) Unity of Trois Contes
Plot summaries
A Simple Heart:
- 1: Irony at start - Félicité was envy of all the ‘good ladies’ who clearly want to exploit people
like her. She remains loyal to her mistress who is not the easiest person to get on with - told
from perspective of rich ladies and contrasts with fact Félicité works hard for little money
(Aubain’s supposed lack of money is a lot more than Félicité gets). p. 3 Her carefulness not to
waste anything. p. 4 She is clockwork. p. 5
- 2: Discrepancy between apparent reluctance to hire her and installing her in the house within a
quarter of an hour. p. 7 Marquis de Grémanville wasted money. p. 8 Atlas has stereotyped
pictures - given to children to give them pleasure. Only time anyone taught her how to read a
book yet discussing pictures - disjuncture. p. 9 Contrast in reactions to the bull between
Félicité and Virginie. p. 10 Clear decides to return home not just because of cough and weather
through use of ‘so’. p. 14
- 3: Contrast between Madame Aubaine’s reaction to Victor’s death and to Virginie’s death. p. 21
and 25. Only little incidents allow them to distinguish time. Gremanville paralysed. p. 26 Saint-
like reverence of Félicité for mistress. p. 27
- 4: People surprised parrot doesn’t answer to name of Polly - call him blockhead. Creates link
between blockhead parrot and Félicité. p. 29 Senseless words but they come from the heart. p.
31 Non-reaction to wound by coachman. p. 33 Trivial incidents of days gone by. p. 34 Equates
parrot and Holy Spirit. p. 35 Madame Aubain appears to die for little reason. p. 36 Can’t see
parrot is not suitable for altar especially as worm-eaten. p. 38
- 5: Félicité dies.
The Legend of Saint Julian Hospitator:
- 1. Idyllic opening with castle. p. 41 Festivities surrounding birth of son. p. 42 Hermit says son
will be a saint. Gypsy tells father that son will be great. p. 43 Con icting signs of what people
think he will be. Julian kills mouse. p. 45 Kills bird and learns to hunt. p. 46 Goriness. p. 48
Unnecessarily slays wood grouse. p. 49 Thirst for slaughter. p. 50 Unable to understand how
created such carnage. p. 51 Stag gives warning to Julian - will kill mother and father. p. 51
Fears weapons as almost kills father with sword. Weak. p. 52 Kills mother with javelin and ees
castle. p. 53
- 2. Becomes a mercenary. p. 53 Becomes famous. Frees the oppressed. p. 54 Refuses reward
and takes Emperor’s wife - lived chaste life up until that point. p. 55 Dressed in purple -
emperor. p. 56 Wife entertains him. Refuses to hunt. Wants to see parents. Wistful. p. 56
Parents arrive. p. 57 Prophecy seems correct. p. 58 Julian hunting. p. 59 Fails at hunting. pp.
59-60 Animals pursue him. pp. 60-1 Thirst for slaughter returns - cannot kills animals so willing
to kill men. p. 61 Mother and father killed. p. 62 Leaves wife. p. 63
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,- 3. Never returns. Beggar. People reject him. p. 64 Lonely. p. 65 Does not rebel against God.
Hates himself. p. 65 Sees his father in his own re ection. Helps others by building a causeway.
p. 66 Tormented by image of parents. p. 67 Leper asks for everything including his whole body.
pp. 68-9 He ascends to heaven. This is the story as will nd it in stained glass window in
church near to where Flaubert lives. p. 70
Herodias:
- 1. Herod Antipas fears will never see Machaerus again. p. 71 King of the Arabs preparing to
attack. p. 72 Face like a mummy. p. 73 Herodias’ self-sacri ce. No love now between her and
Tetrarch. p. 75 Herodias’ glorious aspirations. p. 77 Family history. pp. 77-8 Must protect
Jokanaan as is one of Almighty’s son’s. p. 79
- 2. Jokanaan discovered. p. 87
- 3. Pharisees don’t believe in Jesus’ miracles. p. 95
Madame Bovary:
- Part 1 Chapter 1: Charles in class. pp. 3-5 Charles’ upbringing and university life. pp. 6-11
Charles goes to Tostes and marries rst Madame Bovary. pp. 11-12
- Part 1 Chapter 2: Charles summoned to Les Bertaux to x broken leg. pp. 12-15 Then
socialises with Rouault and Old Madame Bovary gets angry and dies. pp. 15-19
- Part 1 Chapter 3: Rouault hears about Charles’ loss and consoles him; Charles spends more
time with Emma and they become engaged. pp. 19-24
- Part 1 Chapter 4: Wedding. pp. 25-30
- Part 1 Chapter 5: Their house, married life, and Emma not sure she is in love. pp. 30-3
- Part 1 Chapter 6: Emma’s life reading books and in convent. pp. 33-7
- Part 1 Chapter 7: She’s not really that happy in married life. Invited to ball. pp. 38-43
- Part 1 Chapter 8: The ball. Emma sends Nastasie away. pp. 43-52
- Part 1 Chapter 9: Life after ball. Emma grows very unhappy. Move to Yonville. She is preganant.
pp. 53-63
- Part 2 Chapter 1: Description of Yonville. pp. 65-73
- Part 2 Chapter 2: The Bovaries arrive and meet everyone. pp. 74-80
- Part 2 Chapter 3: Leon excited about Madame Bovary. Homais friendly. Patients not coming to
Charles. Emma wants a son. She gives birth to a girl. Naming, christening and looking after girl.
pp. 80-90
- Part 2 Chapter 4: Emma and Leon bond. pp. 90-3
- Part 2 Chapter 5: Emma concludes Leon loves her and she loves him. Grows increasingly
unhappy. pp. 94-102
- Part 2 Chapter 6: She goes to see the curé. She injures Berthe. Leon leaves for Paris. pp.
102-14
- Part 2 Chapter 7: Emma upset after Leon leaves. Rodolphe arrives to see doctor. pp. 114-22
- Part 2 Chapter 8: Agricultural show. pp. 122-43
- Part 2 Chapter 9: Rodolphe goes away for a while then comes back to Emma. He talks sweetly
to her. Rodolphe suggests he goes horse riding with Emma. She is excited about loving
Rodolphe. Lots more adventures together and she falls for him more and more. pp. 143-53
- Part 2 Chapter 10: She runs into Binet shooting a duck. She spends more time with Rodolphe
—he actually quite likes her. She gets letter from father. She is unhappy. pp. 153-61
- Part 2 Chapter 11: Club-foot operation. pp. 161-73
- Part 2 Chapter 12: Emma spends even more time with Rodolphe. She wants to run away with
him. Lheureux swindles her. Rodolphe’s concerned about his relationship with Emma. pp.
173-86
- Part 2 Chapter 13: Rodolphe writes break-up letter with Emma. She goes delirious. pp. 186-95
- Part 2 Chapter 14: Lheureux pesters Charles. Homais suggests taking Emma to the opera. pp.
195-205
- Part 2 Chapter 15: Opera. Bump into Leon. pp. 205-13
- Part 3 Chapter 1: Leon as student in Paris. He and Emma catch up. Carriage incident. pp.
215-29
- Part 3 Chapter 2: She returns to Yonville. Jam-making. Charles’ father dies. Lheureux. pp.
229-38
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,- Part 3 Chapter 3: Emma goes to Rouen to see Leon, supposedly just about power of attorney.
pp. 238-40
- Part 3 Chapter 4: Emma orders loads of stu from Lheureux. She gets permission to go to
Rouen once a week to see Leon. pp. 240-3
- Part 3 Chapter 5: Talks about Emma and Leon’s weekly meetings. Piano teacher incident.
Lheureux. pp. 243-59
- Part 3 Chapter 6: Leon and Homais. Trouble in paradise for Emma and Leon. Lheureux again—
serious trouble this time. Baili s’ order. pp. 259-75
- Part 3 Chapter 7: Baili s arrive and make inventory. She goes to Rouen for help. She asks Leon
for help—he refuses. Sale of her stu . She goes to Maître Guillaumin—tries to sleep with her.
pp. 275-8
- Part 3 Chapter 8: Goes to Rodolphe. Goes to get pharmacy key from Justin. Emma dies
painfully. pp. 288-305
- Part 3 Chapter 9: Charles’ grief. Père Rouault arrives and is unhappy. pp. 305-13
- Part 3 Chapter 10: Père Rouault’s arrival and grief. Funeral. pp. 313-18
- Part 3 Chapter 11: Everyone calls in Emma’s debts; battle between Homais and blind man;
Charles dies and Bethe goes to aunt and works in a cotton-mill. pp. 319-27
Correspondance:
- Bad health in 1875. p. 13
- Two personal matters get bandied around in the press: broken leg and getting a sinecure. p. 16
- ‘Tout œuvre d’art doit avoir un point, un sommet, faire la pyramide, ou bien la lumière doit
frapper sur un point de la boule.’ p. 17
- Remains anchored to Normandy (where his mother’s family is from). Madame Bovary, Un cœur
simple and Bouvard et Pécuchet are all set there. p. 35
- Attachment to memory of sister Caroline who died aged 21 in 1846 and quasi paternal concern
for his niece Caroline. pp. 35-6
- Letter 1: joy in unstructured life; if takes active part in world will be as a thinker and will tell
horrible truth; trouble writing; mentions going to live in two Norman villages when dies.
- Letter 2: Bored at school; life empty; claims given up on writing.
- Letter 3: railway making Paris so accessible; nicknamed his sister ‘rat’.
- Letter 4: talks about meeting hero Victor Hugo.
- Gustave gets epileptic t, leading him to give up law and seek refuge in art: only way to not be
unhappy is to ’s’enfermer dans l’Art et de compter pour rien tout le reste’ (letter 8). Comes
across painting by Breughel of temptations of Saint Anthony, whose heroic and necessary
retreat subsequently becomes model/image of himself that he frequently refers to.
- Letter 7: illness; admiration for Nero; ‘J’aime par-dessus tout la phrase nerveuse, substantielle,
claire, au muscle saillant, à la peau bistrée; j’aime les phrases mâles et non les phrases
femelles comme celles de Lamartine font souvent…’ pp. 55-6 Discusses which authors he
reads.
- Letter 8: ‘Mon désir est trop universel, trop permanent et trop intense pour que j’aie des désirs.’
- Letter 9: ‘à force de m’y trouver mal [dans ma solitude], j’arrive à m’y trouver bien’. Future has
horizons that are more restricted but deeper as a consequence.
- Letter 10: ‘le bonheur, pour les gens de notre race, est dans l’idée, et pas ailleurs’. Live like a
bear - break with the outside world. Bêtise mentioned at end of letter.
- Liaison with Louise Colet in context of loads of deaths amongst Flaubert’s family and friends
(father in January 1846, sister in March 1846, friend Albert Le Poittevin in April 1848). Letter 11:
Catherine buried ‘dans sa robe de noces’ pre gures Madame Bovary being buried ‘dans sa
robe de noces’. Correspondance with Colet can be seen as either tracing their love story or as
confronting two di erent aesthetics and opposing two temperaments (letters 14 and 16).
Against Colet’s sentimental aesthetic that Flaubert elaborates his work ethic, mysterious quest
for style and his method of impersonality. Flaubert’s desire to mark his own liberty and the
relationship doesn’t survive (letter 20). pp. 69-70
- Letter 11: general unhappiness following Catherine’s death.
- Letter 12: ’Je crois que le dogme d’une vie future a été inventé par la peur de la mort ou l’envie
de lui rattraper quelque chose.’ Pointlessness of niece’s baptism ceremony. p. 75 Desire to live
in Italy. Aspires to the in nite and the purity of the idea.
- Letter 14: Christian love for Louise and hatred of himself; idea alone is eternal and necessary;
‘je n’ai pu résister à la tentation de me faire estimer par toi.’ p. 83
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, - Letter 16: writes for himself as unable of attaining glory. Neither bête nor spirituel.
- Letter 17: fears what attracts; ‘il faut mettre son cœur dans l’art’.
- Letter 20: Louise feels Du Camp is meddling in their relationship. Past between them whose
consequences will subsist.
- Letter 21: burial of brother.
- Dreams of the Orient (mentioned in letter 8) become more concrete. Goes on mission there with
Du Camp that lasts 18 months. Friends Du Camp and Bouilhet read and dislike La Tentation de
saint Antoine. Inspiring trip to Orient: ‘roman amand’ (letter 26) is like rst outline of Madame
Bovary; passionate night at Kuchuk-Hanem at Esneh (latter 24) pre gures chapter 11 of
Salammbô; ‘Dictionnaire’ (letter 26) linked to Bouvard. Death of Balzac (letter 26) leaves empty
place in French novel that Flaubert can ll. ‘Un Flaubert nouveau mûrit sous le ciel d’Orient :
Madame Bovary en sera l’acte de naissance.’ pp. 109-10
- Letter 24: didn’t fuck women as would have spoilt image.
- Once Madame Bovary begun, Flaubert begins to feel less free as novel obsesses him.
Renewed correspondance with Louis Colet after breakup. She wants style advice, he wants to
make sort of journal of how writing is going. Letter 35: wants to avoid ‘hâter une phrase qui
n’est pas mûre’ but Du Camp wants him to publish things more quickly, leading to tension. pp.
141-2
- Letter 27: remarks on work of Louis Bouilhet. Describes trip to Italy and says very chaste.
- Letter 28: ‘J’entrevois maintenant des di cultés de style qui m’épouvantent.’ p. 148
- Letter 30: disapproves of Louise’s idea of removing section on Jules to make coherent whole;
L’Éducation Sentimentale: ‘Il y a en moi, littérairement parlant, deux bonshommes distincts : un
qui est épris de gueulades, de lyrisme, de grands vols d'aigles, de toutes les sonorités de la
phrase et des sommets de l'idée ; un autre qui fouille et creuse le vrai tant qu'il peut, qui aime à
accuser le petit fait aussi puissamment que le grand, qui voudrait vous faire sentir presque
matériellement les choses qu’il reproduit ; celui-là aime à rire et se plaît dans les animalités de
l’homme.’ Pre gures preface to Bovary, ES was e ort to fuse both these sides to him and
failed. ‘C’est toujours par l’absence qu’un livre est faible’. Written ve pages in four days.
- Letter 31: still working on Saint Antoine - may be pearls but lacking thread. Talks about
returning to den.
- Leter 32: wants SA to have a single movement and re ection.
- Letter 33: asks why we want to shout down the past.
- Letter 35: claims judgement is ‘provincial, c’est-à-dire borné’.
- Letter 36: ‘La passion ne fait pas les vers. - Et plus vous serez personnel, plus vous servez
faible. J’ai toujours péché par là, moi ; c’est que je me suis toujours mis dans tout ce que j’ai
fait. - À la place de saint Antoine, par exemple, c’est moi qui y suis.’
- Letter 38: on Bovary: ‘sujet, personnage, e et, etc., tout est hors de moi.’
- Letter 42: ‘l’Art est borné, si l’idée ne l’est pas’.
- Letter 46: On Hugo and bête and idées reçues. p. 225 ‘pourquoi accepter la vie quand on est
crée par Dieu pour la juger, c’est-à-dire pour la peindre?’
- Letter 50: spirits close together if he and Louise are far apart.
- Letter 51: ‘la poésie est une chose aussi précise que la géométrie’.
- Letter 52: ‘À quoi bon s’encombrer de tant de souvenirs ? Le passé nous mange trop. Nous ne
sommes jamais au Présent qui seul est important dans la vie.’
- Letter 53: idea again of ‘les perles composent le collier, mais c’est le l que fait le collier’.
- Letter 55: blames Jesuits for taking nature out of art. p. 267
- Letter 57: tragic and grotesque ‘ne sont que le même masque qui recouvre le même néant, et la
Fantaisie rit au milieu, comme une rangée de dents blanches, au-dessus du bavolet noir’.
- Letter 60: Ronsard recommending poets familiarise themselves with technical vocabulary
related to things like goldsmiths and blacksmiths to get nice metaphors; sentences need to be
like leaves in forest in that di erent in their ressemblance.
- Letter 61: ‘Ce qui fait l’excellence d’une œuvre, c’est sa conception, son intensité.’ Importance
of unity of thought.
- Letter 64: suppressed certain passages in Bovary to give it ‘plus de mouvement.’ Expressed
desire to be printed. Signi cantly pruned St Antoine.
- Letter 68: good quote on him hating realism and idealism too. Discusses Bovary. Everything he
likes isn’t in it.
- 1857: proceedings opened against Bovary for ‘outrage à la morale publique et religieuse et aux
bonnes mœurs’.
- Letter 69: ‘Je suis tellement ahuri, harcelé, fatigué, que je dois souvent dire des bêtises’.
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