"Mrs. Borkov", artistic analysis of the novel of Gustava Flaubert. Charles Bovari from the novel "Mrs. Bovari"

Flaubert called his first novel by the name of the heroine - Emma Bovarie. And it is natural, since the basis of the work is a description of the short and sad life of a young woman. But male images in the novel occupy an equally important place. After all, they are the men who surrounded Emma led to her tragic fate. Heroes of Roman - Men different generations. First we see Emma's parents and Charles Bovarie. Charles's father - Returning Feldsher Rota, was forced to leave the service, to marry and do agriculturein which I did not understand anything. "I got married, he lived two or three years old - a good dinner, I got up late, I smoked porcelain tubes, every night I visited theaters and often looked at the cafe." When Charles was born, Mr. Bovarie, as opposed to the desire of his wife and the desire of the child, tried to develop his son with a harsh Spartan education, without giving much mental development. Not "in teaching happiness," who is agile, he will always come to people, "he loved to speak. But soon the fate of the Son completely ceased to interest him, as well as economic affairs. He carelessly lived his life without any interest in him, without a business, without love.

Emma's father, Father Ruo, too, without much regret broke up with his daughter, when the groom appeared, Charles Bovarie. Emma, \u200b\u200baccording to him, still did not understand anything in the farm, to which he himself did not have a smallest tendency. Just like the Father Charles, the father of Emma "did not make any particular hassle, did not regret money for his needs - food, warmth and sleep was in his first place." Relations with the family of her daughter were limited to the fact that once a year he sent them turkey.

Emma's husband Charles Bovarie is largely similar to representatives of the older generation. He is also engaged in what he does not love and does not know. Charles is conscientious of challenges, seeking not harm to his patients. Although one of them had to cut off his leg on the stupidity and irresponsibility of Charles. Of male images In the Roman Charles is distinguished by the fact that he loves Emma. But his love did not give Emma. "He did not taught anything, he knew nothing, did not want anything." He was completely satisfied with his life with Emma. And Emma, \u200b\u200bhaving married, "I could not convince myself that this quiet float was the happiness about which she dreamed." The search for real happiness, beautiful life pushed Emma to other men. But the handsome Rhodolph is looking for only satisfaction and adventure. And for Leon Emma - the way of self-affirmation. As soon as Emma needed help, her beloved immediately refused her. Those for whom she destroyed her family, ruined a man, turned out to be no better than others. And Emma was on the edge of the abyss. Foreign assistance to this was the Leret Merchant. He has accumulated an outstanding capital for its fraud, using the position of Emma. Lera thought well his actions and calmly, step by step, ruined Emma and Charles.
Ome Pharmacist - one of the most negative heroes In the novel. Stupid, pompous, ambitious, he uses all the vulgarity and the gray of the town of Ionville. It was at the pharmacy Omme Emma who found arsenic and here decided to impose on his hands.

And none of those surrounding her men could neither understand Emma or help her.

Even such a clean and young soul, like Zhustin, is involved in the death of Emma - it is he illuminates her way to death: he holds a candle when Emma is looking for poison. At the end of the novel, another character appears near the bed - the Larivier surgeon, the master of his business, sensitive and heartfelt. He is the only of the characters, in whom there is greatness, mind, professionalism. He could no longer help Emma and quickly left Ionville. And what should he do here? He is a man of another life, which Emma has never seen, did not know. She only did not feel that somewhere there is another, bright, beautiful life. But the men who surrounded her did not know how to live differently.

Men in the novel of Flaubert are the heroes on which the new bourgeois procedure is holding a hate writer when "vulgarity and scoomium brazenly celebrate their triumph everywhere." Emma was single heroine In the novel, which in this world is unbearably boring and lonely. And it highlights it in a gray, self-satisfying and uninteresting crowd of men.

French realism XIX century It takes two stages in its development. The first stage is the formation and approval of realism as a leading direction in the literature (the end of the 20s - 40s) - represented by the creativity of Beranta, Merim, Standal, Balzac. Second...

Roman Gustava Flaubert "Mrs. Borkov" is the first work that has repeatedly reflected the world and principles of a mature writer. We are revealed by the morals of the bourgeois society, the paintings of the lives of provincial French cities appear. From the toast IO Yonville we ...

In one of the letters, Gustave Flaubert wrote: "For me," Borya "was a book in which I set myself a certain task. Everything that I love is missing there, "in another case, he formulated his task as follows:" Transfer vulgarity exactly and at the same time simply "....

Last, unfinished romance Flaubert, "Baywave and Beiyusha" is devoted to the problem that the writer put in the "Summary of St. Anthony." This is the problem of the imperfection of the human mind. "Bowwar and Beiyusha" is devoted to a dilettantism in science and the tragic consequences ...

Kuban State University

Test

By history foreign literature 19 member.

"Romanticism in the United States. General characteristics."

Krasnodar 2007.

3.Rantism in the USA. General characteristics.

4. Literature list.

Introduction

French Realism of the 19th century is in its development two stages. The first stage is the formation and approval of realism as a leading direction in the literature (the end of the 20s - 40s) - represented by the creativity of Beranta, Merim, Standal, Balzac.

The second (50-70s) is associated with the name of Flaubert - the heir to the realism of the Standale-Balzakov type and the predecessor of the "naturalistic realism" of the School of School. The first work, which reflected the world and aesthetic principles of mature Flaubert - "Mrs. Bovari" (1856), to which the writer gave five years of intense, painful labor. Gustave Flaubert is the best keeper of traditions critical realism second halves XIX. century V. french literatureIn his work, the complete absence of any illusions about life is traced, intolerable attitude to all attempts to paint the romantic cover to the cruel truth of reality.
Creativity Flaubert reaches its vertices in the 50s and 1960s. It was the time of the second empire, all the vitality of which and exposed Flaubert in his the best works: "Lexicon", "Madame Bovari", "Education of Selfings."

Writer throughout the work main role I took the study of the human soul. Creating images of his heroes, he sought to extract poetry from ordinary characters, at the same time neither step, not retreating from the truth of life. With great art, heavily experiencing every scene, Flaubert climbed his heroes, and arguing tragedy to the limit and exposing both sides of the phenomenon in a kind of unity, in the unity of tragic and low.

Its main desire to repel the world in all its completeness, to make think about his essence - not only external, but also hidden, invalid. Immersing in the spiritual world of his heroes, the author often found confusion and tragic contradictions there. One of bright examples Such a tragic contradiction is the image of the heroine of Roman Flaubert "Mrs. Bovari".

French researchers believe that "Roman followed reality in its smallest manifestations."

Naturally, the very significant changes underwent the main character. Flaubert said: I will invent a heroine, a woman who meets more often. In the novel, we see Emma - a dreamy provincial that surrounds a completely real environment. Flaubert not in vain gave his novel by the subtitle " provincial morals". Forcing his heroine to live in a meshchansky environment, Flaubert moved attention to the actual life basis, which, with necessity, gives rise to the heroine of illusion, hopes and desires and leads it to a catastrophe. Instead of "experimentation" over artificially isolated from life, human consciousness, he wrote a book performed extraordinary power Penetration into the public psychology of their time.

Flaubert depicted a middle hero, that we meet at every step in a daily existence. He was looking for the plot of ordinary and tragic at the same time: after all, only in such a novel, he can show his era, as its particular feature was vulgarity. Show the specifics of modernity - it means to show her vulgarity, therefore, typical modern Roman Must be a tragedy of vulgarity.

Flaubert, as a realist writer, reveals in the Emma of Bovarie, the heroine of the vulgar aduilter, the personality of the tragic, trying to rebel against her hateful reality, and in the end the absorbed of her.

Emma Bovarie turned out to be the type and symbol of modernity. This creature is a vulgar, uneducated, not able to reason, not attractive anything except appearance. But it laid qualities that make it interesting and typical - the rejection of reality, the thirst for what no, the desire and inevitably associated suffering. The heroine of Flaubert was not accustomed to understanding his feelings, she obeys the attractions, without exposing their criticism of consciousness, she does not know what was creating. Flaubert had to deal with all this himself, without the help of a heroine, to understand the fact that she herself could not understand, penetrate the subconscious. He wanted to penetrate the logic of passions, which is not similar to the logic of thought. Therefore, Flaubert refuses drama. Drama is an exception, and it must portray the rule. The psychologically deeply designed image of Emma Bovarie reveals in different plans: She is Charles's wife, mother's mother, Rodolf's lover, client Lera ...

He had just left the monastery boarding house and came to the Father's farm, Emma keeps the ideal of life, full of high feelings and passion in the guesthouse. The village will soon lose all attractiveness for her, and she is "disappointed" in it just as disillusioned in monastic life. When Charles appeared on her horizon, she accepted "anxiety caused by the new position, or maybe the excitement caused by the presence of this person" for a wonderful passion. Immediately after marriage, this illusion disappeared. Previously it seemed to her that she was in love; But the happiness that was supposed to come, did not come, and she decided that he was mistaken. What exactly is called in the life of "bliss", "passion" and "intoxication" - the words that in the books seemed to her so beautiful?

Emma wanted to find something significant in his husband, any approaching book ideal. She pushed him sentimental words and sang melancholic romances in the garden, under the lunar light, but after that she felt calm, as before, and Charles was neither more in love or more excited. The cripple operation convinced Emma in the notice of her husband. With lovers there is almost the same. "My husband: loves his wife approximately the same love as the lover," the Flaubert wrote, - these are two vulgar creatures in the same environment that, however, need to be done. " Something similar, he said, it was in the first part, that is, both lover repeated her husband.

At the same time, all this "love poetry" turns into the most ordinary adulter. Emma is forced to lie to her husband, invent many tricks and small deceptions, involve in the sphere of their deceptions of others. She must tremble before each neighbor. From love for luxury and sentimentality, she makes gifts to her lovers. In minutes of spiritual excitement, she is able to recharge all the well-known poems of Mussse or Laman. Baby child, she indulged in "pathetic outpoures, which everywhere, except Ionville, would resemble a gate from" Cathedral Parisian Mother of God." Passionate love is expressed in the most beaten phrases borrowed from some skipped novel.

Flaubert printed a poem, with an extraordinary brightness expressing the "problem" in the novel.

Firstly, to merge in a single harmonic whole lyric and satirical beginning, and, secondly, to build a proportional and correctly dissected story, subjugate the static elements of its continuous dynamics of action.

The image of Emma, \u200b\u200bbeing an alloy of opposite qualities, was at the same time the artistic result of the aesthetic thought of Flaubert, his principled philosophical monism and a huge mass of observations collected over the years of labor. "True Life", which Flaubert was looking for, received his mutual expression in this image. As evolved the image of the main character from physiology to psychology, the environment, the public background, on which the action took place was developed. Emma's psychology cannot be understood without circumstances, explaining it. The more difficult and humane heroine, the deeper and the richer of her connection with the medium. They are not bare. The heroine and medium constitute the unity, complete, however, sharp and tragic contradictions. The closer Emma to the environment, the sharper she is opposed to it. Now Flaubert cannot think his story without a thorough, detailed and wide description of Ionville with all its disgusting patterns. Ionwil enters the life of Emma organically and directly, although not all characters take the same participation in the development of events.

Flaubert seems to break the curtain, and for the vulgar and disgustingly funny mesh, even more terrible reality is revealed. This world is not only ridiculous and contracted, he is monsted in his cruelty. Provincial lycari, landowners, merchants and priests are accomplisers of a grand crime, covered by words about prosperity and freedom, and the worst of their peaceful, similar to the mold becomes worse. The picture of the Company is completed here. It is represented in all his abnumbs and in all its disgust. The raw thoughts of Emma Bovari and the submissive calm of Charles are different sides of this bourgeois reality, this life is death.

The scarce of action, the absence of any dramatic effects and sharp tones, monotony of paintings, differing only with shades, - all this was the idea. Flaubert wrote in complete contradiction with the "French taste" and did not want to go on any concessions. Give a narrative more external interest would mean to destroy all artistic system novel.

In the years of work on the novel, Flaubert wrote his "lexicon of capital truths" - Identice over generally accepted bourgeois ideas. "I want," he wrote about the idea of \u200b\u200bthis evil book, "so that the one who read her, was afraid of the mouth to open out of fear to pronounce some phrase that is here."

The story of Emma Bovari gives the writer the opportunity to trace the dependence of its nature from the environment, as well as to explore the environment itself, which in the novel has no less important in the novel, as it is inextricably linked with the fate of the heroine. Flaubert put in front of him the task of opening all the vices of society and upbringing. Therefore, the disclosure of the character of Emma, \u200b\u200bhe begins with the description of the monastic upbringing she received. Unnatural isolation from real life has developed a mystical tomotor and romantic melancholy in a healthy nature. Her thrust for reality was expressed in reading books in which "only it was that love, lovers, mistresses, pursued ladies falling without feelings in secluded arbors ..." All these books, naturally, were very far from reality, but the heroine did not notice and did not understand it. And how could she realize this, if he did not know at all, and did not see real Mira.
Similar reading, in combination with a common fake upbringing in a closed space, and determined that even the death of the mother girl perceived in an inverted, unnatural form: "Emma in the depths of the soul was very pleased that he was immediately rising before the exquisite ideal of the impudent existence, which forever It remains an incomprehensible ideal for mediocre hearts. " Thus, the external expression gradually became more important for heroine, and this is, by conviction of the author, the basis of vulgarity. Its further life turned into a desire to reach the external form: "In his desires, Emma mixed sensual luxury jokes with heart joys, the sophistication of the manner with the subtlety of the soul."
In an effort to love, which I dreamed about, she marries Charles. But Emma does not find happiness in his marriage, does not see in real life all of what he read about in books, understands that Charles cannot give her all the external luxury, without which she did not think of herself happy lifeAnd therefore he has a deep disappointment. It is the desire for love pushing her to Rudolf, in which she now sees her love ideal. Emma is rejoicing that she has a lover, not knowing the difference between the concepts of love and have a lover. From the very beginning, her lover looks at her as a temporary toy, and from the first date he already thinks about how to get rid of it. Emma again does not find the love that dreamed of all his life.

"Utopia" Emma Bovarie and her collapse is hardly needed. Famous phrase Flaubert: "Madame Bovarie is me" - able to stop an amateur to beat literary heroes. At the same time, the "Kichevoy Consciousness" of the Heroin of the Roman - a problem for critics, still needing resolution. Perhaps, the whole thing in the "disbelief" of Emma Bovari, which prevents harmony with "Cash Being", maybe the problem in "male nature", which resists long, exhausting passions, which also wrote the researchers of the novel. Obviously one thing: the wrong and wasteful wife of the Ionville doctor, prone to the beautiful possession of the dreamer about unnecessary belonging to the most "exciting" and "crushing heart" literary heroines.
The image of Emma Bovie entered world culture As one of the most accurate and exhaustive statements about the problem of women and society. The features of Emma Bovarie can be found in many passionate and fallen heroines of the next time, among which Anna Karenina and even Chekhov jagged.

Similar information.

Masterpieces of world literature include a huge number of works. Among them - and Roman Gustava Flaubert, published in 1856, "Mrs. Bovari". The book was not shielded more than once, but no movie can convey all the thoughts, ideas and feelings that the author invested in his brainchild.

"Mrs. Bovarie." Summary of the novel

The narrative begins with the description young years Charles Bovarie - one of the main characters of the work. He was clumsy and had bad performance in many subjects. However, at the end of College, Charles was able to learn to the doctor. He received a place in Tooste - a small town, in which at the insistence of the mother found his wife (by the way, much older than Him) and related to the Uzami marriage.

One day, Charlem was able to go to the neighboring village to inspect the farmer, there he first saw Emma Ruo. It was young attractive girlwho was full opposite His wife. And although the fracture of the old ruo was not dangerous at all, Charles continued to come to the farm - as if to cope with the patient's health, but in fact then to admire Emma.

And once the wife of Charles dies. Having grown the month, he decides to ask her hands from Emma. The girl who reread hundreds of love romance for his life and dreamed of a light feeling, of course, agreed. However, having married, Emma realized that in family life she was not destined to experience what the authors of her favorite books were written about that, passion.

Soon the young family moves to Ionville. At that time, Ms. Bovarie was waiting for a child. In Ionville, the girl met with different peopleBut they all seemed terribly boring her. However, among them was the one, at the form of which her heart began to tremble: Leon Dupiui is a handsome young man with blond hair, the same romantic as Emma.

Soon in the family of Bovarie, the girl was born, which was called Berth. However, the mother absolutely does not care about the child, and most of the time the baby spends with the feeder, while Emma is constantly in Leon's society. Their relationship was Platonic: touch, romantic conversations and meaningful pauses. However, it did not end: Soon Leon left Ionville, going to Paris. Mrs. Study suffered terribly.

But quite soon, their city visited Rodolph Bled - Static and confident man. On Emma, \u200b\u200bhe drew attention instantly and, not as an example, Charlery and Leon, possessing a huge charm and the ability to conquer the hearts of women, fascinated her. This time everything was different: quite soon they became lovers. Mrs. Bovarie even firmly decided to escape with his beloved. However, her dreams were not destined to come true: Rodolph was worthwhile freedom, and Emma he had already begun to count the burnt, so I didn't find anything better than leaving Ionville, leaving her only a farewell note.

This time, a woman from the experiences began to inflamm the brain, lasting a month and a half. Arriving, Emma behaved as if nothing was: became an exemplary mother and hostess. But one day, during the visit of the Opera, she again met Leon. The feelings broke out with a new force, and now Ms. Bovarov did not want to restrain them. They began to arrange meetings in the Ruan Hotel once a week.

So Emma and continued to deceive her husband and silent money, until it was found that their family is close to bankruptcy, and except their debts they have nothing. Therefore, having decided to commit suicide, the woman dies in terrible torment, swallowing arsenic.

So finished his novel Gustave Flaubert. Mrs. Bovarie died, but what did it become with the chall? Soon, not having passed the grief to him, left life and he. Berta remained orphan.

2.1.2 The image of Emma Bovarie in the novel

So, Emma Bovarie - the heroine of Roman G. Flaubert, whose prototype was a real woman - Dolphin Demar, the wife of Lekary from the city of Ri. Flaubert, who knew the history of the family of Demar first-hand, reproduced in Emma not only real man, but also reflected the clash of an extraordinary personality with the vulgarity of provincial life.

Emma Bovarie at the beginning of the novel is a classic romantic heroine looking for in the life of the "authenticity" of being and seeking to implement "heart rights" in the world of real social structures. Young girl, a farmer's daughter, brought up in the monastery board, then the wife of a provincial hell, Emma since his youth itself and to sad maturity lives illusory ideas about the possibility of incarnation of a romantic dream.

About Emma will not say that this is an ordinary farm daughter. It has something that is characteristic of any woman, any person: We are all those who are ridiculous and ridiculous dreams, in which we see ourselves rich, beautiful, lucky, appear heroes and heroines of romantic adventures; And yet, for the most part, we are quite pruded, cowardly and lazy, to allow dreams to seriously influence our behavior. Emma is unusual at least what is trying to embody his fantasies, it is unusual and its rare beauty.

From time to time, she takes attempts to find the desired ideal in real existence, so alien to the beauties that appeared on the pages of Walter Scott, Lamartin and other romantic authors. The image of the imaginary world, the literary and religious ghosts of which are so mounted by the young lady Ruo (all these "lovers, mistresses, heart alarms, dumping forests, nightingale singing in groves, heroes, brave as lions, meek as lands, "" The sounds of the harp on the lakes, swan songs, voice of an eternal "), ironically understand about the author as a knowingly" unitulent ", not only having a relationship real lifeBut, more importantly, distracting the soul from the knowledge of genuine beauty. That is why, in one row with first-class romantic writers, the name of the relaxed and frankly far-fetched Lamartin was delivered.

On the other hand, the reality is given in the novel in a very unattractive form, in any case, such is the social reality of the province, where the drama of the heroine unfolds. If you believe the author, repeatedly commented on his creation, in front of readers - the story about the hopeless "prose of life" and about the helpless, vulgar attempt to be freed from her pressure, opposing the last "costume" love intrigue and an infined ideal. "They believe that I am in love with the real, and meanwhile I hate it; I only got from hatred for realism for this novel, "Flaubert writes, explaining his idea to" recreate grey colour The moldy existence of the wetting "and the history of women, whose" feelings and poeticity of fake. " The reason for the suicide of Mrs. Bovari is not only disappointment in a romantic ideal, but also very ordinary debts, the inability to repay them and the threat of exposure before her husband. The image of the heroine is flowing from the romantic to realistic, showing how the thirst for the elevated and the spiritual is gradually replaced by fake fakes and external attributes.

And yet, its image is one of the few female characters in world literature capable of causing very controversial opinions: Bajler wrote about the inaccuable height of the soul of Emma Bovarie and admired her "closeness to the ideal of humanity"; Our compatriot B.G. Reisons finds in it "Faustic anxiety" and even sees "ways leading from Prometheus and Cain to Emme Bovari." Attempts to read the image, without ignoring the contradictory properties of the heroine, led to the recognition of the "perverted consciousness" and the "alive, suffering" soul, "open and our mockery and our compassion at the same time" (A.V. Calelsky). The heiress of the "Funny Jummunits" and Mr. Jourden, created by the Moliere, the heroine of Flaubert laughter does not cause. Her portraits that are so many in the book are very curious. You can talk about the game with the angles of perception, which the author is taking, then drawing beautiful woman Under the view of the admiring and robing chall, then describing languid poses, her eyes and toilet as they see Rodolf, then revealing her reflection in the eyes of Young Leon. But in the memory of the reader, the image of a heroine is captured, capable of causing not so much admiration, as is the perplexation of this pretentious wife of provincialhekari: black hair, rings falling below the knees, white leather on a purple background, pale, like a canvas, face with huge eyes, lowered corners of the lips. The noble monumentality of the appearance of Emma serves its characteristic not less than the description of its "falls", a list of its mistakes and debts. Madame Barova, according to the confession of an ingenious Charles, who fell victim in rock, may seem ancient heroine, a miraculously revived in the French province, to completely learn the scale of the acts that the new society lives. The "disproportion" of the heroine of the world, in which she was born and decided to oppose the "laws of the heart" of the power of the "world without gods", embodied primarily in the appearance of Flauber heroine, is one of the motives accompanying the image throughout its development. This motive performs a kind of "fundamental" function, preventing the history of Madame as a vulgar everyday episode, whose heroine is worthy of squeamish regret or, as a last resort, cautious sympathy. The "antique complex" of Emma's image, which enlisters its rebar against society (antigone), the forbidden irrational passions leading to mental decay (Fedra) and suicide, of course, cannot unconditionally align and justify Madame Bovarie, as can't fully explain. The undoubted "wines" is in deep inorganicism, arrogant contempt for the incredible appearance of the "World Secrets", which is in touching and, despite the modest guise, very spiritual love of Charles, in the daughter's almost unnoticed birth. Her wines and trouble in a deeply inherent man usually try more than once "formulated" than striving to urnate spilled in the world harmony with his own spiritual effort. So, Emma is enchanted watching "In the faded tones, written paintings on which we see palm trees and immediately nearby - ate, right - tiger, left - lion, away by Tatar minaret, foreground - Ruins ancient Rome... in the frame of the virgin, thoroughly sweened forest. " This image of the violent harmony, enslaving the consciousness of the heroine, is truly what is now called "Kich", with the aggressive and innocent conviction inherent in this phenomenon, that beauty is always "ready to use" that all symbols and signs hide the available and easily absorbed reality.

"Utopia" of the heroine and her collapse is unlikely to need debaches. At the same time, the "Kichevoy Consciousness" of the Heroin of the Roman - a problem for critics, still needing resolution. Perhaps the whole thing in her "disbelief", which prevents harmony with "Cash Being", maybe the problem in "male nature", which resists long, exhausting passions, which also wrote researchers of the novel. Obviously one thing: the incorrect and wasteful wife of the Ionville doctor, prone to the beautiful possess of the dreamer about the unnecessary belonging to the most "exciting" and "crushing heart" with literary heroines.

Interpretation of the image of the heroine of the novel Flaubert, as mentioned above, is diverse. But, in our opinion, the explanation of the "pussy" consciousness of Emma most fully gave V. Nabokov. Stripping from reasoning about the romanticity of the image (under the "romantic" he understands "the mind-distinguished warehouse, which indulges in the contemplation of picture fantasies, borrowed, mainly from the literature"), he believes that a romantic personality can be deep or chalk, respectively, the quality of his soul. Emma Bovarov Nellup, sensitive, is well educated, but "the soul is small: charm, beauty, sensitivity does not save it from the fateful collaboration of the mesh. Despite exotic dreams, it is a provincial bourgeoishade to the bone's brain, faithful ideas or violating template conventions in one way or another in the template method, of which an adulter is a template method over the template to raise; And, despite the passion for luxury, she once or two discovers the fact that Flaubert calls peasant stiffness, - a rustic naughty. "

Emma was dreaming about sensual, exciting lover from the world of Gondola and tropical alleys. Instead, she got a stupid into her husband; His "conversations ... were flat, like a street panel ... He did not know how to swim nor fencing, nor shoot from a gun ... Gusts acquired regularity: he hugged it at certain hours. It was like a habit among other habits, something like a dessert, which you know in advance, sitting behind a monotonous dinner. " Often, remaining one day, "Emma repeated:" My God! Why I got married! ". The desire to step into the world of "romance dreams" makes her marry Charles, who first becomes her lover, and then, after the death of the first wife, and her husband. The same aspiration gives birth to Leon's feelings, pushes in the arms of Rhodolph, then draws a look at her husband, etc.

Her extraordinary bodily charm and strange grace are irresistibly attracted and fascinated by three men: her husband and two of her consecutive lovers, two bastards - Rodolph, for which her dreamy children's tenderness is a pleasant contrast to whores, the usual company; And Leon, a vain insignificance, who is flattering in mistresses a real lady.

But the story of Emma's love, more precisely, a series of her love, is not limited to these three men. We list all Emma Love - Platonic and Other:

1. It may have been in love with a music teacher passing with a violin in a case of one of the retrospective scenes in love.

2. Only coming out married Charles (to whom she did not feel love from the very beginning), she starts a gentle friendship, formally - purely Platonic, with Leon Dupiui, a notary clerk.

3. The first "novel" with the Rodolf Bled, the local landowner.

4. In the middle of this novel, since Rodolph turns out to be much rougher romantic idealon which she isgering, Emma is trying to detect this ideal in his own husband; She tries to see the great physician in him and enter a short period of tenderness to him and timid attempts to be proud of them.

5. When the poor fellow Charles stop the operation on a curved foot of the poor groom, she returns to the Rodolf with a strengthened passion.

6. When Rodolph destroys her the last romantic dream of escape to Italy, a dream country, after a serious illness, she finds the subject of romantic worship in God.

7. For many minutes she dreams of Opera singer Lagardi.

8. Roman with sluggish, cowardly Leon, whom she meets again, turns out to be grotesque and pathetic exercise of all its romantic dreams.

9. Before death, she opens his human and divine side in Charlos - his impeccable love for her, all that she never had.

10. Crucifixion from ivory, which she kisses a few minutes to death - it can be said that this love ends with something like her former tragic disappointments, because the whole hopelessness of her life takes the top when, dying, she hears a terrible song ugly tramp.

Exhausted by the dream of the love of Emma "The poverty of homemade life pushed ... to the dreams of luxury, married tenderness - to the thirst for treason." Remembering the monastery board, "she felt lonely, weak, like a fluff, picked by swirl; She challengedly headed into the church, ready for any pious feat, only he swallowed her soul, just only life was dissolved in it. "

It must be said that Emma still reaches the highest degree of "happiness" with Leon: her sentimental lake dreams, her children's dreams under the pitamines, everything is performed - there is both water, boat, and lover, and a boatman. But the unreality of this happiness is emphasized by a small detail: a silk tape is in the boat. The boatman speaks of some merchant - Adolf, Dodolf, - who recently rode a boat with buddies and ladies. Emma shudders. And gradually her life seems to be a dilapidated scenery, it begins to crumble and fall apart. Emma persuades somehow to sign a shaky lie about music lessons in Ruang; And also ready to collapse a venera Leray, she supports new bills for a while. A rampant masquerade in Ruang Emma is not a joy - she understands what unclean society she sank. Once, returning from the city, she receives a notice that all her property will be sold out if at twenty four hours not to pay the debt, which is now 8000 francs. It begins last journeyFrom one person to another in search of money. All characters converge in tragic climax. Running from one to another, she is looking for help and compassion for all those who have taken direct participation in her fate. But it turns out that her romantic dreams covered the duty: "She went crazy, she became scary, and she forced themselves to wake up - the truth, not to the end: she could not remember the reason for her terrible state - money. She suffered only from love, she felt like her whole soul goes into this memory, "so dying feels in agony that life follows from him through a bleeding wound ...

Then in some heroic impulse, almost joyfully, run down from the hill, passed a cow pasture, a path, the road, the market - and found himself before the pharmacy. "

Where are the origins of this tragedy leading to fall and death?

Emma's childhood is retrospective (only in 6 chapter) is described by the language of banal romantic culture, the language of the books read by it and what she has learned from there. Emma is a passionate reader of love, more or less exotic novels, romantic poetry. Some of the writers known to it are first-class - for example, Walter Scott or Victor Hugo; Others are not quite - Bernarden de Saint-Pierre or Lamartin. But the point was, I considered V. Nabokov that she was a bad reader: "She reads emotionally, superficial teenage, imagining itself, then the other heroine. Flaubert comes very thinly. In several paragraphs, he lists all expensive Emmina heart romantic cliché; But the sophisticated selection of popular images and their rhythmic location of the phrase bends create a harmonic and artistic impression. "

Later her dreams, who collided with reality, give rise to melancholy: "Sitting on Earth, Emma repeated, quietly gried the grass with an umbrella:

- Oh my God! Why I got married!

She asked himself a question, could she at any other circumstance could meet another person; She tried to imagine what would be these imperceptible events, this completely different life, this unknown husband. In fact, not all the same as Charles! He might be handsome, smart, sophisticated, attractive - and, probably, there were those people for whom girlfriends in the monastery. Something they now do? All, of course, in the city, in a street noise, in the Gule of theaters, in the brilliance of the ballroom, - everyone lives the life from which the heart jershits and flourish feelings. And she? Its existence is cold, as a attic, leaving the window to the north, and boredom, silent spider, weave your network in the shade in the corners of her heart. "

Puppy's loss when moving from a toast to Ionville symbolizes the end of gentle-romantic, elegic dreams in toxte and the beginning of a more passionate period in the fatal Ionville.

But even before Ionville, the romantic dream of Paris arises from the Silk Portsigar, which she picked up on an empty rural road, returning from Vob'sezar. Paris's vision is one of the series of emma dreams passing through the whole book. One such (quickly discarded) is a dream - that Charles will glorify the name of the Bovie, which she wears: "Why didn't she get into her husband at least silent worker, - one of those people who are at night in books and sixty years, When rheumatism begins, they get a cross in a loaf of a poorly stitched trick? .. She would like her name, the name of Bovari, to be glorified so that it was exhibited in bookstores, he repeated in the newspapers, was known to all France. But Charles had no ambition. "

The topic of dreams naturally intertwined with the theme of deception. She hides from Charles a cigarette, over which dreams; And from the very beginning, deceiving a hoax. At first - so that he takes it from the toast: her feigned disease is the reason for their move to Ionville, for the sake of supposedly better climate: "Is it really a pathetic existence to last forever? Is it never getting rid of him? After all, it is no worse than all those women who live happily. In Vob'sezar, she saw not one duchess, who also had a freight, and manners vulgarly than her. And Emma cursed God for injustice; She pressed his head against the wall and cried; She languished at noisy and brilliant Life, on the night masquerads, by daring joy and unknown selflessness, which should have burned in them.

She turned pale, she had heartbeat. " It is in Ionville that fate overtakes her. The fate of her wedding bouquet is a kind of omen or emblem of how few years later Emma herself will discern. Finding a wedding bouquet of the first wife, Emma asked himself, which would be with her own.

The topic of dreams again arises when Emma decides, no matter how romantic name is to call daughter. "At first she went through all the names with Italian endings, like Clara, Louise, Amanda, Atala; She also liked Galsinda, and even more - Isolde or Leokady. " As a result, the girl gets the name that Emma heard in the castle and which is now associated with this tempting dream.

Romantic considerations when choosing a name make up a sharp contrast with the situation in which Emmina daughter falls, given, in an amazing custom of that time, the cormal. Together with Leon Emma goes to visit her. "They found out the house of the cormilitsa for the old Oshshnik. The lach was low, covered with brown tiles; Under the attic hearing window hung a bunch of bow. The knitting of twigs stretched along the entire thorns, and in the yard grew a latobe, a little lavender and fragrant peas on stamens. Dirty water spreaded on the grass, some kind of rags were lying around, stockings, a red sieve sweater; In the hedge, a large sheet of coarse canvas was stretched. A woman came out on a knock of wicket, holding a breast child on his hand. With the other hand she led a pitiful, puncture karapus with a golden leaning - the son of the Ruan Shapshnik: Parents, too busy trade, sent it to the village. "

Emminic emotion differences: soapmant of longing, passion, despair, love, disappointments - are completed by voluntary, painful and very messy death. The image of the heroine, its exceptional appearance, which allocates Emma among other characters, has one flaw. And it is this flaw that also points to the inferiority of the romantic image drawn by the imagination on the basis of the portrait - the dry angularity of its chill white hands.

It is this detail that forces V. Nabokova to conclude: "She is lying, she is a lizard by nature: from the very beginning, even addressed to all, she deceives Charles. She lives among the bureaucrats and the mesh itself. Her spiritual vulgarity is not so obvious as OME. Probably, it would be too cruel to say that the template pseudoprogressist ideas of OEM corresponds to the template pseudoprogressist ideas of OEM; But it is impossible to get rid of the feeling that Emma and OEM not only echo the phonetically, but something similar, and this is something - inherent in both of the vulgar cruelty. " In Emma, \u200b\u200bthe Vulgar and Meshchanskoe is covered with the charm, charm, beauty, an urth's intention, passion for idealization, glimpses of tenderness and sensitivity and the fact that its short bird life ends with a real tragedy.

So, having highlighting Emma Bovarie from that wretched, the poor surroundings in which she is constantly being, - first on the farm at the father, then in the house of her husband in Tooste and Ionville, the author even seems to sympathize with her: after all, Emma is not like the rest. The extraordination of Emma is that it cannot reconcile with the vulgarity of the medium, whose misery with such a convincing force showed Flaubert. Emma Toscomit, the reasons for which no one can understand (remarkable in this respect the scene with the priest of the Burnizen). This is a real romantic longing, so characteristic of the works of French writers of the first half of the century. It serves for heroine excuses in the eyes of her creator.

But the tragedy of Emma Bovarie is that, Bunuya against the world of the townships, it is at the same time an integral part of it, his span, merges with him. The tastes of Emma, \u200b\u200bideas about life and ideals are generated by the same vulgar bourgeois medium. With the scrupulousness of the naturalist, applying its objective narrative method, Flaubert fixes the smallest detailsthat determine inner world Emma, \u200b\u200btraces all the stages of her upbringing of feelings.

The famous researcher of Creativity Flaubert A. Tibode noted that Emma lives in captivity "Double Illusion" - time and place. She believes that the time that she has to live will certainly be better than thatthat lived. She strives for that and can only love what is outside of her world: she marries Charles only because he wants to leave the father's farm; Going out for him, she dreams about what is outside of her family life, so unable to love not only her husband, but also daughter.

For a poorly educated wife of a provincial hell, the spiritual needs of which are formed by monastic education and reading (among the authors who are read by Emma, \u200b\u200bLaartin and Shatubrean are named, and it is very symptomatic), there are two inaccessible ideal - externally beautiful life and elevated all-consuming love. With a merciless irony, sometimes painted with sadness, shows Flaubert Emma's attempts to decorate and "reflect" their life, her search for unearthly love. Dreams of heroine O. magic countries And fabulous princes are perceived as a parody of epigionan romantic novels. But it is important that the search for such love is turned around by the same category and vulgarity: both beloved Emma have nothing to do with what they appear in her imagination. However, their idealization is the only possible way to somehow justify himself, although she vaguely understands that it is not so many of these men, very far from ideal imagesarising in her exalted imagination how much a sense of love cultivated by it is because for her love is the only possible way of existence.

In this tragic contradictionability of Emma's character, in its passionate antiburnurism, inevitably taking into the form that neither there is a bourgeois, - the face of Flaubert on the world affects the full of limitless skepticism. At the same time, the analysis of the spiritual world and consciousness modern man Insiscimulating in the novel with social analysis, and mechanism modern society He was investigated by the author with great accuracy and depth relating to him with Balzac. Completely in the spirit of the creator " Human comedy"Flaubert shows how love in the bourgeois society is inseparable from material problems: Emma's passion leads her to waste, and the waste - to death. Even Emma's death, like her whole life, "plays" in the novel twice: first a romantic gust, then an unsightly reality. Having received a farewell letter from Rodolpha, Emma decides to end with him, but then refuses to conceived. A real death sentence turns out to be an emma letter of the Roshchik Levik. Rodolph pushed Emma on the path leading to the death, Lere ruined her. The dream of unearthly love is inextricably linked in the imagination of Emma with a burden to luxury, so in her life "sublime" gusts so easily get along with bills and debt receipts, pulling off accounts and assigning the pitiful fees of Charles. In this sense, Emma is the flesh from the flesh of the society, which is disgusting to her.

In the image of Emma, \u200b\u200bthe Bovarie exposes and the degenerated romantic literature and degraded to the bourgeois level is a romantic hero. At the same time, the proximity of the author to his heroine determines the compassion, which breaks through, despite all the notorious objectivity of Flaubert. Subsequently, the term "Borisads", denoting illusory, distorted representation of a person about himself and its place in the world, was distributed in French literary critic. This term suffers from known abstract; Undoubtedly, Flaubert connects his heroine and with a specific environment, and with a clearly indicated historical moment. At the same time, there is no doubt that the tragedy of Emma goes beyond specific plot and acquires broad universal importance.

The image of Emma Bovari entered world culture as one of the most accurate and exhaustive statements about the problem of women and society. Her features can be found in many passionate and fallen heroines of the next time, among which Anna Karenina and even Chekhov's joggy.

In the form of Emma there is a wide philosophical thought included in the content of the image. The reader is striking the truth of details, reaching the illusion, beating like a whip blows, everyday life, which captures the spirit. But this commonitude, which has become aesthetic category here, expresses something more. It is not only Emma disasters shown as private case Whose private tragedy. Behind the tragedy of adultery and vulgarity grows the tragedy of love and longing, for which a woman in the world of monstrous mesh is doomed. Emma is not only a commitment wife. Her destiny is the fate of every person who is dissatisfied with this society that dreams of beauty and choking in lies and disgust.

"Mrs. Borkov" (1856) is the first work, which reflected the world and aesthetic principles of mature Flaubert. Above this work, the writer worked for 5 years.

The subtitle "Provincial Morals" makes you remember the "scenes of provincial life" Balzak. A French outback appears in front of the reader: Tosset towns (where the action begins) and Ionville, where it is completed. Bakhtin M.M., Speaking about the concept of "chronotope", he gives such a characteristic of the novel: "In Madame Bovari, the" provincial town "serves as a place of action. Provincial Meshchansky Town with its stale life is an extremely common place for the accuracy of the romance events in the X1x century (and to Flaubert, and after it). (...) Such a town is a place of cyclic romance. There are no events here, and there are only repeating "life." Time is deprived of a progressive historical stroke here, it moves through narrow circles: the circle of the day, the circle of week, month, the number of life. From day to day, the same household actions are repeated, the same topics of conversations, the same words, etc. People in this time eat, drink, sleep, have wives, mistresses (smashed), smallly intrigue, sit in their shops or offices, play cards, gossip. This is everyday life cyclic domestic time. (...) Signs of this time are simple, rudely material, firmly rushed with household locals: with houses and rooms of the city, sleepy streets, dust and flies, clubs, billiards, and so on. and so on. The time here is misunderstood and therefore it seems almost stopped. There are no "meetings", nor "separation. It is a thick, sticky, creeping time in space. "

Both town as two drops of water are similar to each other. Drawing a toast, the author notes: "Every day, one and the same hour, the teacher opened his shutters in a black silk cap, and came a rural guard in the blouse and saber. In the morning and in the evening, three in a row crossed postal horses street - they walked on a water. From time to time, the bell tumbled on the door of the zucchini, and the copper basins were crossed into windy weather, replacing the sign and hairdresser. " In Ionville, the most remarkable places are: Tavern "Green Lion", where ordinary people are going every day, the church, where civil servants are regularly accomplished or prepares local competitions to the first communion of Cure Burnisien, more immersed in worldly things than in the conquests of spiritual, pharmacy, where fills urban "ideologue" OEM. "More in Ionville look no matter what. On his only street, length of no more than a flight bullet, there are several shopping institutions, then the road makes turn, and the street breaks down. " Such is the background on which the action takes place is the world of "mold color." "In the" Mrs. Bovarie "it was important for me only one thing - to convey the gray color, the color of the mold, in which the Mokricians are located," according to the evidence of the gangurov, Flaubert said.

Mrs. Borkov's action is dedicated from the period of the July monarchy (1830-1840), but unlike the Balzak, which created the "scene of provincial life", Flaubert perceives this time from the standpoint of later historical experience. Over time, the "human comedy" life has grunted significantly, tucking, wounded. There is not a single large nature in the novel (not excluding both heroine), not a single significant event.

The lifestyle of the bourgeois man, his spiritual poverty was so sobbed by Flaub, that he was difficult to write about it. He repeatedly complained to friends: "I swear: last time In life, I'm bubbling with bourgeois. It is better to depict crocodiles, it is much simpler! ". "How my" Story "is tired of me! .. In life I did not write any more difficult than what I am writing now - a vulgar dialogue!" "No, no longer lure me to write about Bourgeois. The enlightened environment causes my nausea. The most vulgar things painfully writing because of their vulgarity. "

With such a life-looking writer, a banal family story, the main lines of which are taken from the newspaper chronicle, acquires a new color and new interpretation under the pen.

The "bourgeois plot" of the Flauber novel is based on a banal collision. A young woman is eager and does not find true love, she fails to marry and will soon be disappointed in her chosen one. The wife is deceiving a doctor's husband first with one lover, then with the second, gradually getting "in the paws" of the Roshchik, who in a hurry to be betrayed on someone else's ease. Husband loves her very much, but nothing notes: not a very clever person, he turns out to be trusting to blindness. Gradually, all this leads to a dramatic junction. A woman, ruined by the Roshovshchik, is looking for their lovers and financial support. They refuse to her, and then, frightened a public scandal and not daring to admit to her husband, a woman cums a suicide, having poached arsenic. After her death, the husband was absorbed by grief practically ceases to take patients, all in the house comes in decline. Soon, not surviving shocks, the husband dies. Little daughter, remaining without parents and livelihood, have to do to work for a spinning factory.

An ordinary plot seemingly not having anything grand and elevated, it is necessary to reveal the essence of the modern era, which seemed to him flat, obsessed with material interests and low passions, and the principle of "objectivity" and the highest level of truthfulness gave the tragedy novels Sound and philosophical depth.

The life of heroes is largely predetermined by the circumstances in which they live. Despite the fact that the work is called "Mrs. Borkov," we can say that there are several heroes in it, whose fate is interested in the author.

On the pages of the novel in front of the reader appears provincial France with its own gears and customs. Each of the heroes (Roshovander Lera, beautiful and cold Rodolph, silly, but practical Leon, etc.) - a certain social type, whose character contributes certain features into the overall picture of modern life.

Working on the "Mrs. Story", Flaubert seeks to create a narrative structure of a new type, in which the course of events should be as close as possible to real life. The writer refuses the deliberate allocation of a scene, from the arrangement of semantic accents. The main story of the novel is the fate of Emma, \u200b\u200bthe Bovari - the biography of another hero is placed, her husband of Charles, against the background of which the tragedy of his wife unfolds. Starting and completing the story with a story about Charlos, Flaubert seeks to avoid a spectacular melodramatic ending.

The image of Charles Bovaries plays in the work by no means an auxiliary role, he is interested in the Atristy and in itself and as part of the environment in which there is a major heroine. The author reports the parents of Charles and their (first of all - the mother) influence on the Son, about the years of his studies, about the beginning of medical practice, about the first marriage. Charles - ordinary mediocrity, a man in general is not bad, but completely "loony", the generation of that world in which it is formed and lives. Charles does not rise above the general level: the son of the retired rotary paramedic and daughter of the owner of a hat store, he hardly "scared" his diploma. In essence, Charles Dobryak and Robotyaga, but he depressingly limitedly, his thoughts "flat as a panel", and ultimateness and ignorance manifest themselves in a malfunctive history with the "Operation of the curved foot".

Emma - a more complex man. Her story is the story of the wrong wife - finds in the work unexpected at first glance, ideological and philosophical depth.

A letter was preserved in which the author talks about the heroine of his novel, as of nature "to a certain degree spoiled, with perverted ideas about poetry and perverted feelings." "Perversion" Emma is the result of romantic education. Its founded in the period of monastic training when she was addicted to the reading of the novels at the time. "There was only that love, lovers, mistresses, pursued ladies falling without feelings in secluded arbors, dark forests, heartless confusion, oaths, sobs, tears and kisses, shovels during the lunar light, nightingaws in groves, cavaliers, brave, Like lions, and meek, like lambs, virtuous over measures. " These novels who are sharply paroding Flaubert, and raised Emma's feelings by defining her aspirations and addictions. Romantic stamps found for her the status of criteria of true love and beauty.

The action of the work that has a chronic plot develops quite slowly. His static is emphasized by the composition: the plot is moving as if by closed circles, returning Emma three times to the same starting point: the appearance of the ideal is disappointing in it. In other words, all the life of Emma is a chain of "hobbies" and disappointments, attempts to try on the image " romantic heroine"And the crash of illusions.

First, the girl surrounds the death of a mother in a romantic halo. The nun even creates the feeling that the girl can replenish their ranks. But gradually the "romantic feeling" is out of herself and the heroine quietly finishes studies with the idea that true feelings will need to be sought in something else.

Returning to the house of the Father and plunged into the satellite of the solar being, Emma strives to escape from her. In the consciousness of the heroine there is an idea that it is possible to break out only the power of love. Therefore, it is so easy. She accepts Charles's offer to become his wife. The collapse of the next romantic ideal begins literally from the first days of marriage. "Before sunset to breathe on the shore of the bay by the aroma of lemon trees, and in the evening it would be to sit on the terrace of villas together, hand in hand, look at the stars and dream about the future! .. How would she like to learn about the balcony railing in some The Swiss house or to cover his sadness in the Scottish cottage, where it would be only her husband in a black velvet trunk with long faldami, in soft boots, in a triangular hat and lace cuffs! " - Such a future family life is Emma. With dreams, it is necessary to part, reality (rural wedding, honeymoon) turn out to be much easier and rougher. Charles - a pathetic provincial leakage, dressed in what fell ("in the village and so comes out"), deprived of the secular manner and does not know how to express his feelings (his speech "was flat as a panel, in which the Renaire was drawn to other people's thoughts in their everyday clothes") - No degree corresponds to the discharge mentally painted by Emma. All attempts to make Charles and their home "ideal" do not lead to anything. Disappointed ideally, Emma does not see that positive, which is in her husband -real man, is not able to appreciate his love, dedication and devotion.

Emma's mental state makes her husband think about moving, so they fall into Ionville, where the first romantic story unfolds - Platonic relations with Leon, in which heroine saw a silently in love of a romantic young man. Leon Dupyui is a young man who serves as an assistant at the notary, Mr. Golomene, "I missed you very much." "In those days, when classes ended in him early, he did not know where he was to give. Injury arrived on time and the entire lunch, from the first to the last dish he came down with an eye on the eye with Bina. " Heroes brings them closer to literature, nature, music and the desire to transfer it to romantic ideals.

From romantic love heroine briefly distracts the birth of her daughter, but here it is waiting for disappointment: she wanted her son. In addition, she failed to buy a child such "outfits", as she wanted: "She lacked money either on a cradle in the form of a boat in a pink silk canopy, neither for lace caps, and with his annoyance, without choosing Without consulting, I ordered all the children's dowry camp. " "... Her love for the child at the very beginning was this, probably suffered." Having giving a child to Kormilice, Emma is practically not engaged in Berth.

Leon leaves for Paris and then in the life of Emma, \u200b\u200bRodolph appears - Provincial Don Juan, deftly embraced in the Togu of the bayronic hero, stuck in all the attributes that corresponded to the taste of his mistress, who did not notice the vulgarity of his chosen one. Meanwhile, which seems to Emme, and what is happening in fact, there is a difference that she persistently notices. She does not notice that her great love turns into a vulgar adulter.

Flaubert builds his narration so that the reader himself appreciates the meaning of any episode. One of the strongest places in the novel - the scene of the agricultural exhibition. The silly-sprayed speech of the arrival of the speaker, the flow of livestock, fake sounds of an amateur orchestra, ads on the awards for farmers "for manure fertilizer", "for the Baranov-Merinosov" and the love confessions of the Rodolph merge into some "mocking symphony", sounded over the romantic Emma's enthusiasm. The writer does not comment on the situation, but everything becomes clear by itself.

Emma is again full of hope, his romantic ideals are implemented. Rodolph comes to her in the garden, they are found at night between Karetnik and stables, in a fligeel, where Charles took patients. "... Emma became too sentimental. With it, it was certainly necessary to exchange miniatures, cut off the strands of the hair, and now she still demanded that he gave her a ring, real wedding ring, as a sign of love to the coffin. She delivered pleasure to talk about the evening tie, about the "voices of nature", then she started talking about her and his mother. Rodolf lost her twenty years ago. It did not prevent Emma Syusyku with him about this, for sure Rodolph was an orphan boy. Sometimes she even crushed, looking at the moon: - I am convinced that they both bless our love "Depracted Rodolf" her pure love It was invented: unusual for him, she stalled his pride and wake his sensuality. His common bossy makes his mind despised Emma's enthusiasm, but in the depths of the soul, this enthusiascence seemed to him charming precisely because he treated him. Unsured in the love of Emma, \u200b\u200bhe stopped to be shy, his appeal with it has changed inconspicuous. "

Ultimately, Emma is going to bring the situation to a logical romantic completion - escape abroad. But her beloved is not at all necessary. He talks in detail with her all the details of the upcoming escape with her, but in fact it only thinks that the fact that the Hero does not show what is happening at the Hero of the House, and what Emma cannot see: how the romantic message is created, allegedly polished Rhoderf tears.

After a long disease caused by the strongest nervous breakdown associated with the departure of Rhodolph, the heroine is recovering. Along with health, her dreams come back to her. The last of the illusions is connected with Leon, which previously appeared to her romantic in love. Having met in Ruang after three years of separation with the "Ionville Wayer" (I had time to gain everyday life in Paris and to break up with Guests of youth) Emma is again involved in a criminal connection. And again, having passed through the first gusts of passion, to quickly get it with her. The heroine is convinced with the spiritual death of his next lover.

In Aduylter, Emma discovers the same vulgar cohabitation as in legal marriage. As if summing up your life, she reflects: "She has no happiness and never before. Where does she have a feeling of non-payment of life. Why instantly elapsed then. What did she try to rely on? "

What is connected with the collapse of all Hope Emma? The author is enough to judge his heroine. Emma is a particle of the environment that oppresses it, and herself is infected with it. Saving from the surrounding vulgarity, Emma itself is inevitably penetrated by it. Selfish and vulgarity penetrate her soul, her sentimental impulses are combined with egoism and worn towards her husband and daughter, the desire of happiness is poured into the thirst for luxury and chase for pleasure. Trying to find true feelings from Rodolph and Leon, she does not see that the perverted and vulgar "romantic ideal" is embodied in them. Vulgarity penetrates the holy of the holy of this woman - in love, where there are not high gusts, but thirst for carnal pleasures become the defining start. Lie becomes the norm of Emma's life. "It has become a need for her, mania, pleasure, and if she claimed that yesterday she went on the right side, it means, in fact, on the left, and not right."

Once in the Lovovinger paw, the heroine in despair is ready to go to any lowest possibleness, just to get money: ruins her husband, trying to push the lover's crime, flies in a rich old man, even trying to seduce her who threw her once. Money - the weapon of her corruption, they are the direct cause of her death. In this regard, Flaubert shows itself a faithful student of Balzak.

Flaubert emphasizes that the world where Emma lives, monotonna and is usless not only life, but also death. The severity of the author's sentence is particularly clearly visible in the brutal picture of the death and funeral of Mrs. Bovarie. Unlike romantic heroines, Emma dies not from the broken heart and longing, but from arsenic. After making sure the futility of his attempts to get money for paying with a real estate, who threatens the description of the property, Emma goes to the OME pharmacy, where he steals the poison in which he sees the only salvation from poverty and shame. Her painful death from the poison is described in emphasized by the reduced colors: the obscene song that sings under the window of the blind beggar, under the sounds of which goes away from the life of the heroine (this very song as a sign of her secretly vacuum intensively accompanied Emma's travels to Rouen to her lover), The deceased "atheist" of OEM and the priest of the bournsone, a tedious and prosaic procedure of funeral at the coffin. Flaubert had every reason to say: "I quite cruelly cost my heroine." At the same time, he did not change his humanity, but merciless truthfulness. The end of Mrs. Bovarie is her moral defeat and natural retribution.

The humanism of the writer should be noted: the ordinary, almost comedy Charles grows to an end to a significant tragic figure, so His grief and love tower. Next to him, the soulless rhodolf rhodolph looks like, unable to understand the depth of suffering a her husband deceived by him.

At the same time, the image of Emma Bovarie is depicted by Flaubert by no means definitely. Condeming the Heroine, the author simultaneously shows it as a tragic personality trying to rebel against the vulgar world, in which you have to live, and, in the end, destroyed them.

In the 50s, when the novel was created, the female topic was widely discussed with legal, social, philosophical, artistic points of view. But in the tasks of Flaubert, there was no controversy with existing views on the female problem. He seeks to imagine the reader the complexity of the inner world of any, even a very minor person, to prove that happiness is impossible as in this era, so maybe never at all.

The image of the heroine is internally controversial, ambiguous and copyright towards it. Immersed in a quagmire of the philistine existence, Emma to strive to escape from it by all means. Will be caused by the power of love - the only feeling that (in the opinion of the heroine) is able to raise it over the scattered world. The dissatisfaction with the philistine existence in the world of cozy-arranged meshchean raises Emma over a bog of bourgeois vulgarity. Obviously, it was this feature that Emma has allowed Flaux to say: "Madame Bovarie is me!"

The psychological portrait of Emma has a universal summary meaning for Flauber. Emma is passionately looking for an ideal that does not exist. Loneliness, dissatisfaction with life, incomprehensible longing - all these universal phenomena that make the novel by the writer by philosophical affecting the most basics of being and at the same time sharply modern.

Drawing Emma's environment, the author creates a number of impressive images. The image of an OMER pharmacist is particularly distinguished, in which everything concentrates against which with such despair, but Emma is unsuccessfully. Even before the creation of the novel, "Mrs. Bovarie" Flaubert began to compile a "lexicon of capital truths" - a peculiar set of thoughts - stereotypes, stamped phrases and template judgments. So they say those who consider themselves educated without being such. So explicit OEM, which is drawn by Flaubert not just like a bourgeois-man in the street. He is the vulgarity itself, filling the world, self-satisfied, triumphant, militant. In words, he claims to be heard by the Free -hold, Volnodim, Liberal, demonstrates political fonders. At the same time, he monitors the authorities, in the local press reports all the "significant events" ("there was no such incident that the dog was crushed in the district, or the Riga burned down, or broke the woman - and OEM would not immediately report on the public, constantly Inspiring love for progress and hatred to Popam "). Without satisfying this, the "knight of progress" "engaged in the deepest issues": a social problem, the spread of morality in the poor, fish farming, iron trades and other things.

In the final chapter of the novel, drawing a deeply suffering Charles, the author depicts an OEM next to him, acting as an embodiment of triumphant vulgarity. "There is no one around Charles left, and the stronger he was attached to his girl. Her appearance inspired him, however, anxious: she caded her cheeks performed red spots.

And on the contrary, the blooming, the cheerful family of the pharmacist, who was lucky in everything. Napoleon helped him in the laboratory, Atalya embroidered Him Fesca, Irma cut out a mug from paper to cover banks with jam, Franklin responded without a knock on multiplication table. The pharmacist was a happiest father, a lucky person. " In the final, the works are revealed by an excessive "civil activity" of OEM and the essence of his "political principle": an ardent oppositionist is long "moved" to the side of power. "... he looked over the authorities. During the elections, he secretly provided important services to the prefect. In a word, he walked out, he crushed himself. He even filed a petition for the highest name, in which he begged to "draw attention to his merit", called the sovereign "Our Good King" and compared him with Heinrich IV. "

The work of "Mrs. Bovari" the author does not accidentally finish the reference to OME. For a writer, he is a "symbol of time", the type of man who can only succeed in the "Molds color world". "After the death of Bovarie, three doctors have changed in Ionville - Mr. OEM scored them. His patients have darkness. The authorities look at him through their fingers, public opinion covers it.

He recently received the Order of the Honorary Legion. "

The pessimistic end of the novel acquires a distinct socially accusatory color. All heroes are dying, who have at least some traits of humanity, but the OEE triumples.

How typically the image of an OEM can be judged by reader reactions. "All the pharmacists in the lower Seine, having learned themselves in OEM, they wanted to come to me and nase slap," wrote Flaubert.

The truthfulness of the novel as a whole testifies the trial, started against Flaubert the government, which was frightened by merciless truth. The author was charged with "applying a serious damage to public morality and good nravam." Along with him, a publisher and a typograph for the publication of the "immoral work" were attracted to the court. Trial He began on January 1, 1857 and lasted until February 7. Flaubert with "accomplices" was acquitted largely due to the efforts of the Senar lawyer, who later was devoted to the book. In dedication, Flaubert admits that "a brilliant defensive speech has indicated to me the very meaning of what I applied to her earlier." At the beginning of 1857, the work was published by a separate publication.