The Public vs. M. Gustave Flaubert - Various

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for sale of the furniture of Monsieur Bovary, who knew nothing of all this. Reduced to the most cruel extremities, Madame Bovary asked money from everybody, but got none. Léon had nothing, and recoiled frightened at the idea of a crime that was suggested to him for procuring funds. Having gone through every degree of humiliation, Madame Bovary turned to Rodolphe; she was not successful; Rodolphe did not have 3000 francs. There remained to her but one course: to beg her husband's pardon? No. To explain the matter to him? No, for this husband would be generous enough to pardon her, and that was a humiliation which she could not accept: she must poison herself.

      We come now to grievous scenes. The husband is there beside his wife's icy body. He has her night robe brought, orders her wrapped in it and her remains placed in a triple coffin.

      One day he opens a secretary and there finds Rodolphe's picture, his letters and Léon's. Do you think his love is then shattered? No, no! on the contrary, he is excited and extols this woman whom others have possessed, as proved by these souvenirs of voluptuousness which she had left to him; and from that moment he neglects his office, his family, lets go to the winds the last vestige of his patrimony, and is found dead one day in the arbor in his garden, holding in his hand a long lock of black hair. This is the romance. I have related it to you, suppressing no scene in it. It is called Madame Bovary. You could with justice give it another title and call it. Story of the Adulteries of a Provincial Woman.

      Gentlemen, the first part of my task is fulfilled. I have related, I shall now cite, and after the citations come the indictments which are brought upon two counts: offense against public morals and offense against religious morals. The offense against public morals lies in the lascivious pictures which I have brought before your eyes; the offense against religious morals consists in mingling voluptuous images with sacred things. I now come to the citations. I will be brief, for you will read the entire romance. I shall limit myself to citing four scenes, or rather four tableaux. The first will be that of the fall with Rodolphe; the second, the religious reaction between the two adulteries; the third, the fall with Léon, which is the second adultery, and finally the fourth, the death of Madame Bovary.

      Before raising the curtain on these four pictures, permit me to inquire what colour, what stroke of the brush M. Flaubert employs—for this romance is a picture, and it is necessary to know to what school he belongs—what colour he uses and what sort of portrait he makes of his heroine.

      The general colour of the author, allow me to tell you, is a lascivious colour, before, during, and after the falls! When she is a child ten or twelve years of age, she is at the Ursuline convent. At this age, when the young girl is not formed, when the woman cannot feel those emotions which reveal to her a new world, she goes to confession:

      "When she went to confession, she invented little sins in order that she might stay there longer, kneeling in the shadow, her hands joined, her face against the grating beneath the whispering of the priest. The comparisons of betrothed, husband, celestial lover, and eternal marriage, that recur in sermons, stirred within her soul depths of unexpected sweetness."

      Is it natural for a little girl to invent small sins, since we know that for a child the smallest sins are confessed with the greatest difficulty? And again, at this age, when a little girl is not formed, does it not make what I have called a lascivious picture to show her inventing little sins in the shadow, under the whisperings of the priest, recalling comparisons she has heard about the affianced, the celestial lover and eternal marriage which gave her a shiver of voluptuousness?

      Would you see Madame Bovary in her lesser acts, in a free state, without a lover and without sin? I pass over those words, "the next day," and that bride who left nothing to be discovered which could be divined or found out, as the phrase in itself is more than equivocal; but we shall see how it was with the husband:

      The husband of the next day, "whom one would have taken for an old maid," the bridegroom of this bride who "left nothing to be discovered that could be divined," arose and went out, "his heart full of the felicities of the night, with mind tranquil and flesh content," going about "ruminating upon his happiness like one who is still enjoying after dinner the taste of the truffles he is digesting."

      It now remains, gentlemen, to determine upon the literary stamp of M. Flaubert and upon the strokes of his brush. Now, at the Castle Vaubyessard do you know what most attracted this young woman, what struck her most forcibly? It is always the same thing—the Duke of Laverdiere, as a lover—"as they say, of Marie-Antoinette, between the Messrs. de Coigny and de Lauzun." "Emma's eyes turned upon him of their own accord, as upon something extraordinary and august; he had lived at Court and slept in the bed of queens!" Can it be said that this is only an historic parenthesis? Sad and useless parenthesis! History can authorise suspicions, but has not the right to establish them as fact. History has spoken of the necklace in all romances; history has spoken of a thousand things; but these are only suspicions and, I repeat, I know not by what authority these suspicions should be established as facts. And, since Marie-Antoinette died with the dignity of a sovereign and the calmness of a Christian, her life-blood should efface faults of which there are the strongest suspicions. M. Flaubert was in need of a striking example in the painting of his heroine, but Heaven knows why he has taken this one to express, all at once, the perverse instincts and the ambition of Madame Bovary!

      Madame Bovary dances very well, and here she is waltzing:

      "They began slowly, then went more rapidly. They turned; all around them was turning—the lamps, the furniture, the wainscoting, the floor, like a disc on a pivot. On passing near the doors the bottom of Emma's dress caught against his trousers. Their legs commingled; he looked down at her; she raised her eyes to his. A torpor seized her; she stopped. They started again, and with a more rapid movement; the Viscount, dragging her along, disappeared with her to the end of the gallery, where, panting, she almost fell, and for a moment rested her head upon his breast. And then, still turning, but more slowly, he guided her back to her seat. She leant back against the wall and covered her eyes with her hands."

      I know well that the waltz is more or less like this, but that makes it no more moral!

      Take Madame Bovary in her most simple acts, and we have always the same stroke of the brush, on every page. Even Justin, the neighbouring chemist's boy, undergoes some astonishment when he is initiated into the secrets of this woman's toilette. He carries his voluptuous admiration as far as the kitchen.

      "With his elbows on the long board on which she was ironing, he greedily watched all these women's clothes spread out about him, the dimity petticoats, the fichus, the collars, and the drawers with running-strings, wide at the hips and growing narrower below.

      "What is that for?" asked the young fellow, passing his hand over the crinoline or the hooks and eyes.

      "'Why, haven't you ever seen anything?' Félicité answered laughing. 'As if your mistress, Madame Homais, didn't wear the same.'"

      The husband also asks, in the presence of this fresh-smelling woman, whether the odour comes from the skin or from the chemise.

      "Every evening he found a blazing fire, his dinner ready, easy-chairs, and a well-dressed woman, charming with an odour of freshness, though no one could say whence the perfume came, or if it were not her skin that made odourous her chemise."

      Enough of quotations in detail! You know now the physiognomy of Madame Bovary in repose, when she is inciting no one, when she does not sin, when she is still completely innocent, and when, on her return from a rendezvous, she is by the side of her husband, whom she detests; you know now the general colour of the picture, the general physiognomy of Madame Bovary. The author has taken the greatest care, employed all the prestige of his style in painting the portrait of this woman. Has he tried to show her on the side of intelligence? Never. From the side of the heart? Not at all. On the part of mind? No. From the side of physical beauty? Not even that. Oh! I know very well that the portrait of Madame Bovary after the adultery is most brilliant; but the picture is above all lascivious, the post is voluptuous, the beauty a beauty of provocation.

      I come now to the four important quotations; I shall make but four; I hold to my outline: I have said that the first would be the love for Rodolphe, the second the religious reaction, the third the love for Léon, the fourth her death.

      Here is the first.

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