chá lǐ · bāo fǎ lì shì gè jūn yī de 'ér zǐ。 tā tiān zī bù gāo， dàn hěn qín miǎn、 lǎo shí， wéi rén nuò ruò wú néng。 fù qīn duì jiào yù bù zhòng shì。 tā zài shí 'èr suì shì yóu mǔ qīn wèitā zhēng dé liǎo shàng xué de quán lì， hòu lái dāng liǎo yī shēng。 zhè shí tā de fù mǔ yòu wéi tā zhǎo liǎo gè měi nián yòu yī qiān 'èr bǎi fǎ láng shōu rù de guǎ fù héng héng dù bǐ kè fū rén zuò qī zǐ， tā yǐ sì shí wǔ suì liǎo， yòu lǎo yòu chǒu， “ chái yī yàng gān， xiàng chūn jì fā yá yī yàng yī liǎn gē dá ”。 dàn tā yīn wéi yòu qián， bìng bù quē shǎo yìng xuǎn de fū xù。 tā hé chá lǐ jié hūn hòu， biàn chéng liǎo guǎn shù tā de zhù rén： chá lǐ bì xū shùn cóng tā de xīn sī chuān yī fú， zhào tā de fēn fù bī pò qiàn kuǎn de bìng rén； tā chāi yuè tā de xìn jiàn， gé zhe bǎn bì tōu tīng tā gěi fù nǚ kàn bìng。
yī tiān， chá lǐ yī shēng jiē dào yī fēng jǐn jí de xìn jiàn， yào tā dào bài 'ěr dǒu gěi yī gè fù yù nóng mín lú 'ōu xiān shēng zhì bìng， tā de yī tiáo tuǐ shuāi duàn liǎo。 lú 'ōu shì gè wǔ shí suì zuǒ yòu de 'ǎi pàng zǐ， tā de tài tài 'èr nián qián yǐ qù shì liǎo。 jiā lǐ yóu tā de dú shēng nǚ 'ài mǎ liào lǐ。 zhè shì gè jù yòu làng màn qì zhì de nǚ hái zǐ， miàn jiá shì méi guī sè de， tóu fā hēi yóu yóu de， zài nǎo hòu wǎn chéng yī gè dà jì， yǎn jīng hěn měi lì， yóu yú jié máo de yuán gù， zōng yán sè fǎng fó shì hēi yán sè， tā“ cháo nǐ wàng lái， háo wú gù lǜ， yòu yī zhǒng tiān zhēn wú xié dǎn dà de shén qíng”。 tā gěi chá lǐ liú xià liǎo shēn kè de yìn xiàng。 chá lǐ gěi lú 'ōu zhěn zhì guò hòu， dāyìng tā sān tiān hòu zài qù bài fǎng， dàn dào dì 'èr tiān tā jiù qù liǎo。 cǐ hòu， tā yī xīng qī qù liǎng cì。 xiān hòu huā liǎo sì shí liù tiān de shí jiān， zhì hǎo liǎo lú 'ōu de tuǐ。
chá lǐ qī zǐ tóng zhàng fū cháng shàng bài 'ěr dǒu qù。 miǎn bù liǎo yào dǎ tīng bìng rén de dǐ xì。 dāng tā zhī dào lú 'ōu xiǎo jiě céng shòu guò jiào yù， dǒng dé tiào wǔ、 dì lǐ、 sù miáo、 cì xiù hé dàn qín shí， cù jìn dà fā。 tā yào zhàng fū bǎ shǒu fàng zài mí sǎ shū shàng， xiàng tā fā shì， jīn hòu zài yě bù qù bài 'ěr dǒu liǎo。 chá lǐ wéi mìng shì tīng， zhào yàng zuò liǎo。 dàn bù jiǔ fā shēng liǎo yī jiàn yì wài de shì， tā qī zǐ de cái chǎn bǎo guǎn rén dài zhe tā de xiàn jīn táo páo liǎo。 chá lǐ de fù mǔ fā xiàn xí fù yī nián bìng méi yòu yī qiān 'èr bǎi fǎ láng de shōu rù（ tā zài dìng hūn de shí hòu sǎ liǎo huǎng）， yú shì páo lái hé tā chǎo nào。 tā zài yī qì zhī xià， tù xuè sǐ liǎo。
lú 'ōu lǎo diē gěi chá lǐ sòng zhěn fèi lái， dāng tā zhī dào chá lǐ de bù xìng hòu， biàn jìn lì 'ān wèi tā， shuō zì jǐ yě céng jīng lì guò sàng 'ǒu de tòng kǔ。 tā yāo qǐng chá lǐ dào bài 'ěr dǒu qù sǎnsǎn xīn。 chá lǐ qù liǎo， bìng qiě 'ài shàng liǎo 'ài mǎ。 tā xiàng lú 'ōu lǎo diē tí qīn。 lú 'ōu gǎn dào chá lǐ bù shì lǐ xiǎng de nǚ xù， bù guò rén jiā shuō tā pǐn xíng duān zhèng， shěng chī jiǎn yòng， zì rán yě bù huì tài jì jiào péi jià， biàn dāyìng liǎo。 kāi chūn hòu， chá lǐ hé 'ài mǎ 'àn dāng dì de fēng sú jǔ xíng liǎo hūn lǐ。
ài mǎ shí sān suì jìn liǎo xiū dào yuàn fù shè de jì sù nǚ xiào niàn shū。 tā zài nà lǐ shòu zhe guì zú shì de jiào yù。 tā 'ài jiào táng de huā huì、 zōng jiào de yīnyuè， bìng zài làng màn zhù yì xiǎo shuō de xūn táo xià chéngzhǎng。 bǐ yé de xiǎo shuō《 bǎo 'ěr yǔ wéi 'ěr jí nī》 shì tā zuì xǐ 'ài de tú shū zhī yī。 tā mèng xiǎng guò xiǎo zhú fáng zǐ de shēng huó， yóu qí shì yòu wèi hǎo xīn de xiǎo gē gē， qíng yì chán mián， pá shàng bǐ zhōng lóu hái yào gāo de dà shù qù zhāi hóng guǒ zǐ， huò zhě chì zhe jiǎo zài shā tān shàng páo， gěi nǐ bào lái yī gè niǎo cháo； tā yòu“ zhōng xīn zūn jìng nà xiē chū míng huò zhě bù xìng de fù nǚ”， chén jìn zài luó màn dì kè de miǎn xiǎng zhōng。 yī wèi zài dà gé mìng qián chū shēn yú guì zú shì jiā de lǎo gū niàn， měi yuè dào xiū dào yuàn zuò yī xīng qī nǚ gōng， tā xiàng nǚ shēng men jiǎng làng màn gù shì， ér qiě yī dài lǐ zǒng yòu yī běn chuán qí xiǎo shuō。 hòu lái， ài mǎ de mǔ qīn sǐ liǎo， fù qīn bǎ tā jiē huí jiā qù。
ài mǎ jié hūn liǎo， tā zhōng yú dé dào liǎo nà zhǒng bù kě sī yì de 'ài qíng。 zài zhè yǐ qián， ài qíng fǎng fó shì yī zhǐ méi guī sè yǔ máo de jù niǎo， kě wàng 'ér bù kě jí， zài shī de càn làn de tiān táng lǐ 'áo xiáng。 hūn hòu， tā què fā jué chá lǐ shì gè píng fán 'ér yòu yōng sú de rén。 tā“ tán tù xiàng rén hángdào yī yàng píng bǎn， jiàn jiě yōng sú， rú tóng lái wǎng xíng rén yī bān yī zhù xún cháng， jī bù qǐ qíng xù， yě jī bù qǐ xiào huò zhě mèng xiǎng”。 chá lǐ bù huì yóu yǒng、 bù huì bǐ jiàn， bù huì fàng qiāng。 yòu yī cì 'ài mǎ yòng chuán qí xiǎo shuō zhōng yī gè qí mǎ de shù yǔ wèn tā， tā jìng chēng mù bù zhī suǒ duì。 tā huǐ hèn zì jǐ wèishénme yào jié hūn！ yòu shí， tā wèile mí bǔ gǎn qíng shàng de kōng xū， tā xiàng chá lǐ yín sòng tā jì dé qǐ lái de qíng shī， yī miàn yín， yī miàn tàn xī。 kě shì yín guò zhī hòu， tā fā xiàn zì jǐ rú tóng yín chàng qián yī yàng píng jìng， ér chá lǐ yě méi yòu yīn cǐ 'ér gǎn dòng， zhèng rú huǒ dāo qiāo shí zǐ， tā zhè yàng qiāo guò zhī hòu， bù jiàn mào chū yī kē huǒ xīng lái。
bù jiǔ， chá lǐ yī hǎo liǎo yī wèi shēng míng xiǎn hè de hóu jué de kǒu chuāng。 hóu jué wéi dá xiè chá lǐ， tā yāo qǐng chá lǐ fū fù dào tā de tián zhuāng wò bì sà 'ěr qù zuò kè。 chá lǐ fū fù zuò zhe mǎ chē qù liǎo。 nà shì gè yòu zhe yì dà lì fēng gé de zhuāng yuán， fáng zǐ hěn dà， hái yòu měi lì de huā yuán。 ài mǎ duì hóu jué jiā háo huá de qì pài， gāo yǎ de kè rén， zhū guāng bǎo qì de wǔ huì chǎng miàn， yī yī gǎn dào rù mí。 yī wèi fēng liú xiāo sǎ de zǐ jué lái yāo tā tiào wǔ， gěi tā liú xià liǎo jí shēn de yìn xiàng。 zài huí jiā de lù shàng， tā shí dé liǎo zǐ jué de yī gè xuějiā xiá， yòu gòu qǐ liǎo tā duì wǔ bàn de huái niàn。 huí dào jiā， tā xiàng nǚ pú rén fā pí qì。 tā bǎ xuějiā xiá cáng qǐ lái， měi dāng chá lǐ bù zài jiā shí， tā bǎ tā qǔ chū lái， kāi liǎo yòu kāi， kàn liǎo yòu kàn， shèn zhì hái wén liǎo chèn lǐ de wèi dào： yī zhǒng zá yòu měi nǚ yīng hé yān cǎo de wèi dào。 tā“ xī wàng sǐ， yòu xī wàng zhù dào bā lí”。
wò bì sà 'ěr zhī xíng， zài 'ài mǎ de shēng huó shàng， záo liǎo yī gè dòng yǎn， rú tóng shān shàng nà xiē dà lièfèng， yī zhèn kuáng fēng bào yǔ， yī yè gōng fū， jiù chéng liǎo zhè bān múyàng。 tā wú kě nài hé， zhǐ dé xiǎng kāi xiē。 bù guò tā cān jiā wǔ huì de piào liàng yī zhù、 duàn xié， tā dū qián chéng dì fàng rù wǔ dǒu guì。“ tā de xīn yě xiàng tā men yī yàng， hé cái fù yòu guò jiē chù zhī hòu， tiān liǎo yī xiē mó cèng bù diào de dōng xī”。 ài mǎ cí tuì liǎo nǚ yōng rén， bù yuàn yì zài dào tè zhù xià qù liǎo。 tā duì zhàng fū lǎo shì kàn bù shùn yǎn。 tā biàn dé lǎnsǎn，“ guāi lì hé rèn xìng”。
chá lǐ pà yǐn qǐ 'ài mǎ shēng bìng。 tā men cóng dào tè bān dào yǒng zhèn jū zhù。 zhè shì gè tōng dà lù de cūn zhèn， yòu yī gè gǔ lǎo de jiào táng hé yī tiáo zǐ tánshè chéng nà yàng cháng de jiē。 jiē shàng yòu jīn shī kè diàn hé yǐn rén zhù mùdì hǎo mài xiān shēng de yào fáng。 hǎo mài shì gè yào jì shī， dài yī dǐng jīn zhuì xiǎo róng mào， chuān yī shuāng lǜ pí tuō xié， tā nà yáng yáng zì dé de liǎn shàng yòu jǐ kē xì má zǐ， shén qì jiù xiàng guà zài tā tóu shàng de liǔ tiáo lóng lǐ de jīn chì què nà yàng。 tā jīng cháng 'ài zì wǒ chuī shī， biāo bǎng zì jǐ shì gè wú shén lùn zhě， tā méi yòu yī shēng zhí zhào， dàn sī zìjǐ nóng mín kàn bìng。 ài mǎ dào yǒng zhèn nà tiān， yóu hǎo mài hé yī gè zài lǜ shī nà lǐ zuò liàn xí shēng de lài 'áng péi zhe chī wǎn fàn。
lài 'áng · dū pǔ yì shì gè yòu zhe jīn huáng tóu fā de qīng nián， jīn shī fàn diàn bāo fàn chī de fáng kè。 ài mǎ hé tā chū cì jiàn miàn biàn hěn tán dé lái。 tā men yòu xiāng tóng de zhì qù， ér qiě dū 'àihào lǚ xíng hé yīnyuè。 cǐ hòu， tā men biàn jīng cháng zài yī dào tán tiān， yì lùn làng màn zhù yì de xiǎo shuō hé shí xíng de xì jù， bìng qiě“ bù duàn dì jiāo huàn shū jí hègē qū”。 bāo fǎ lì xiān shēng nán dé dù jì， bìng bù yǐn yǐ wéi guài。
ài mǎ shēng liǎo yī gè nǚ hái， qǐ míng wéi bái 'ěr tè。 jiāo gěi mù jiàng de nǚ rén wèi yǎng。 lài 'áng yòu shí péi tā yī dào qù kàn nǚ 'ér。 tā men rì yì jiē jìn qǐ lái， ài mǎ shēng rì shí， lài 'áng sòng liǎo yī fèn hòu lǐ， ài mǎ yě sòng gěi tā yī zhāng tǎn zǐ。
shí zhuāng shāng rén lè lè， shì gè jiǎo xiá de zuò shēng yì de néng shǒu， xū pàng de liǎn shàng bù liú hú xū， fǎng fó mǒ liǎo yī dào xī bó de gān cǎo zhī； yī shuāng zéi liàng de xiǎo hēi yǎn jīng， chèn shàng bái tóu fā， yuè fā xiǎn dé líng huó。 tā féng rén xié jiān chǎn xiào， yāo yī zhí hā zhe， zī shì yòu xiàng jū gōng， yòu xiàng yāo qǐng。 tā kàn chū 'ài mǎ shì gè 'ài zhuāng shì de“ fēng yǎ de fù nǚ”， biàn zì dòng shàng mén dōu lǎn shēng yì， bìng shē zhàng gěi tā， mǎn zú tā gè zhǒng xū róng de 'àihào。
ài mǎ 'ài shàng liǎo lài 'áng。 tā wèile bǎi tuō zhè yī xīn sī， zhuǎn 'ér guān xīn jiā wù， bǎ xiǎo bái 'ěr tè yě jiē huí jiā lái， bìng 'àn shí shàng jiào táng。 tā shòu liǎo， miàn sè cāng bái， xiàng dà lǐ shí yī yàng bīng liáng。 yòu yī cì， tā shèn zhì xiǎng bǎ xīn zhōng de mì mì zài chàn huǐ shí xiàng jiào shì tù lù， dàn tā kàn dào jiào shì bù 'ěr ní xián sú bù kě nài， cái méi yòu zhè yàng zuò。 tā yóu yú xīn qíng fán zào， bǎ nǚ 'ér tuī diē liǎo， pèng pò liǎo tā de liǎn。 lài 'áng yě xiàn rù 'ài qíng de luó wǎng。 tā wèile bǎi tuō zhè yī kǔ mèn， biàn shàng bā lí niàn wán fǎ kē de kè chéng。 lín bié shí， tā hé 'ài mǎ yǐ yǐ xī bié。 tā mendōu gǎn dào wú xiàn de chóu chàng。
ài mǎ yīn fán nǎo shēng qǐ bìng lái。 duì lài 'áng de huí yì chéng liǎo tā chóu mèn de zhōng xīn。 jí shǐ lǚ kè zài 'é guó dà cǎo yuán xuě dì shàng rán qǐ de huǒ duī， yě bǐ bù shàng lài 'áng zài tā huí yì zhōng nà me míng liàng。 yī cì， xú shè tè de dì zhù luó dào 'ěr fú · bù lǎng jiē lái zhǎo bāo fǎ lì yī shēng tì qí mǎ fū fàng xuè。 zhè shì gè fēng yuè chǎng zhōng de lǎo shǒu。 yuē mò sān shí sì suì guāng jǐng， xìng qíng cū yě， sī wù míng mǐn。 tā yòu liǎng chù zhuāng tián， xīn jìn yòu mǎi xià yī gè zhuāng yuán， měi nián yòu yī wàn wǔ qiān fǎ láng yǐ shàng de shōu rù。 tā jiàn 'ài mǎ shēng dé biāo zhì， chū jiàn miàn biàn dǎ xià gòu yǐn tā de huài zhù yì。
luó dào 'ěr fú lì yòng zài yǒng zhèn jǔ bàn zhōu nóng yè zhǎn lǎn huì de jī huì jiē jìn 'ài mǎ， wéi tā dāng xiàng dǎo， xiàng tā qīng tù zhōng qū， tā bǎ zì jǐ zhuāng bàn chéng yī gè méi yòu péng yǒu、 méi rén guān xīn， yù mèn dào jí diǎn de kě lián chóng。 tā shuō zhǐ yào néng dé dào yī gè zhēn xīn xiāng dài tā de rén， tā jiāng kè fú yī qiē kùn nán， qù dá dào mùdì。 tā men yī tóng tán dào nèi dì de yōng sú， shēng huó de zhì mèn， lǐ xiǎng de huǐ miè ……
zhǎn lǎn huì jiē mù diǎn lǐ kāi shǐ liǎo， zhōu xíng zhèng wěi yuán liào wàn zuò zhe sì lún dà mǎ chē shān shān lái chí。 zhè shì gè tū 'é tóu， hòu yǎn pí， liǎn sè huī bái de rén。 tā xiàng qún zhòng fā bù yǎn shuō， duì“ měi lì zǔ guó de xiàn zhuàng” jìn xíng liǎo yī fān gē gōng sòng dé。 tā shuō mù qián fǎ guó“ chù chù shāng yè fán shèng， yì shù fā dá， chù chù xīng xiū xīn de dào lù， jí tǐ guó jiā tiān liǎo xǔ duō xīn de dòng mài， gòu chéng xīn de lián xì； wǒ men wěi dà de gōng yè zhōng xīn yòu huó yuè qǐ lái； zōng jiào jiā qiáng gǒng gù， fǎ guāng pǔ zhào， wǒ men de mǎ tóu duī mǎn huò wù……” ??， qún zhòng hái xiàng tā tù shé tóu。 huì hòu， jǔ xíng liǎo fā jiǎng yí shì。 zhèng fǔ bǎ yī méi zhí 'èr shí wǔ fǎ láng de yín zhì jiǎng zhāng bān fā gěi yī gè“ zài yī jiā tián zhuāng fú wù liǎo wǔ shí sì nián” de lǎo fù。 nà lǎo fù yī liǎn zhòu wén， gān shòu pí bèi bù kān。 dāng tā lǐng dào jiǎng zhāng hòu shuō：“ wǒ ná zhè sòng gěi wǒ men de jiào táng táng cháng， gěi wǒ zuò mí sǎ。” zuì hòu， yòu jǔ xíng liǎo fàng yàn huǒ。 ài mǎ hé luó dào 'ěr fú dōubù guān xīn zhǎn lǎn huì yī mù mù huá jī jù de jìn xíng。 tā men zhǐ shì jiè cǐ jī huì shuō huà 'ér， tán tiān， zhí dào chū zhěn de chá lǐ huí lái wéi zhǐ。
zhǎn lǎn huì hòu， ài mǎ yǐ wàng bù liǎo luó dào 'ěr fú liǎo。 ér luó dào 'ěr fú què yòu yì guò liǎo liù xīng qī cái qù kàn tā。 tā yǐ guān xīn 'ài mǎ de jiàn kāng wéi yóu， bǎ zì jǐ de mǎ jiè gěi tā qí。 tā men yī tóng dào yě wài sàn xīn。 ài mǎ jīng bù qǐ luó dào 'ěr fú de yòu huò， zuò liǎo tā de qíng fù。 tā men mán zhe bāo fǎ lì yī shēng cháng zài yī qǐ yōu huì。 zhè shí， ài mǎ gǎn qíng fā zhǎn dào kuáng rè de chéng dù， tā yào qiú luó dào 'ěr fú bǎ tā dài zǒu， hé tā yī tóng chū bēn。 tā hé chá lǐ de mǔ qīn yě chǎo fān liǎo。
rán 'ér， luó dào 'ěr fú wán quán shì gè kǒu shì xīn fēi de wěi jūn zǐ。 tā bào zhe wán nòng nǚ xìng、 féng chǎng zuò xì de chǒu 'è sī xiǎng， qī piàn liǎo 'ài mǎ de gǎn qíng。 tā dāyìng hé tā yī tóng chū táo， kě shì chū táo nà tiān， tā tuō rén sòng gěi 'ài mǎ yī fēng xìn。 xìn zhōng shuō， táo zǒu duì tā men liǎng réndōu bù hé shì， ài mǎ zhōng yòu yī tiān huì hòu huǐ de。 tā bù yuàn chéng wéi tā hòu huǐ de yuán yīn； zài shuō rén shì lěng kù， táo dào nà 'ér dōubù miǎn shòu dào wǔ rǔ。 yīn cǐ， tā yào hé tā de 'ài qíng yǒng bié liǎo。 ài mǎ qì dé fā hūn， tā de xīn tiào dé xiàng dà gàng zǐ zhuàng chéng mén yī yàng。 bàng wǎn， tā kàn dào luó dào 'ěr fú zuò zhe mǎ chē jí shǐ guò yǒng zhèn， qù lú 'áng zhǎo tā de qíng fù -- yī gè nǚ xì zǐ qù liǎo。 ài mǎ dāng jí yūndǎo。 cǐ hòu， tā shēng liǎo yīcháng dà bìng。 bìng hǎo hòu， tā xiǎng tòng gǎi qián fēi， chóngxīn shēng huó。 kě shì， zhè shí yòu fā shēng liǎo lìng yī chǎng shì。
yào jì shī hǎo mài yāo qǐng bāo fǎ lì fū fù dào lú 'áng qù kàn xì。 zài jù chǎng lǐ， ài mǎ yù jiàn liǎo guò qù céng wéi zhī dòng qíng de liàn xí shēng lài 'áng。 xiàn zài， tā zài lú 'áng de yī jiā shì wù suǒ shí xí。 yú shì， tā men mái cáng zài xīn dǐ duō nián de 'ài qíng zhǒng zǐ yòu méng yá liǎo。 tā men wèi kàn wán xì， biàn páo dào mǎ tóu tán tiān。 zhè shí， lài 'áng yǐ bù shì chū chū máo lú de hòu shēng， ér shì yī gè yòu zhe chōng fēn shè huì jīng yàn de rén liǎo。 tā yī jiàn miàn biàn xiǎng zhàn yòu 'ài mǎ， bìng xiàng tā sù shuō lí bié hòu de tòng kǔ。 dāng 'ài mǎ tán dào zì jǐ hài liǎo yīcháng dà bìng， chàdiǎn sǐ diào shí， lài 'áng zhuāng chū shí fēn bēi shāng de yàng zǐ。 tā shuō， tā yě“ xiàn mù fén mù de níng jìng”， shí cháng xiǎng dào sǐ， shèn zhì yòu yī tiān， tā hái lì liǎo gè yí zhǔ， fēn fù bié rén zài tā sǐ hòu， yào yòng 'ài mǎ sòng gěi tā de nà tiáo piào liàng de tǎn zǐ guǒ zhe mái tā。 tā jí lì sǒng yǒng 'ài mǎ zài liú yī tiān， qù kàn wán zhè chǎng xì。 bāo fǎ lì yī shēng yīn yī liáo shì wù xiān gǎn huí yǒng zhèn qù liǎo。 ài mǎ liú xià lái。 yú shì tā hé lài 'áng biàn yī tóng qù cān guān lú 'áng dà jiào táng， zuò zhe mǎ chē zài shì nèi dōu fēng。 zhè yàng， ài mǎ hé lài 'áng pīn dā shàng liǎo。
ài mǎ huí dào yǒng zhèn hòu， jiè kǒu dào lú 'áng qù xué gāng qín， shí jì shàng， tā shì qù hé lài 'áng yōu huì。 ài mǎ zài yī cì bǎ zì jǐ de quán bù rè qíng qīng zhù zài lài 'áng shēn shàng， chén nì zài zì qíng de xiǎng lè zhī zhōng。 wèile bù huā xiāo， tā bēizhe zhàng fū xiàng shāng rén lè lè jiè zhài。
rán 'ér， lài 'áng hé luó dào 'ěr fú yī yàng qī piàn liǎo 'ài mǎ de gǎn qíng。 tā jiàn jiàn dì duì 'ài mǎ gǎn dào yàn nì liǎo。 yóu qí shì dāng tā shōu dào mǔ qīn de lái xìn hé dū bāo kǎ jí lǜ shī de jiě quàn shí， jué dìng hé 'ài mǎ duàn jué lái wǎng。 yīn wéi zhè zhǒng 'ài mèi de guān xì， jiāng yào yǐng xiǎng tā de qián chéng。 bù jiǔ， tā jiù yào shēng wéi dì yī liàn xí shēng liǎo。 yú shì， tā kāi shǐ huí bì tā。
zhèng zài zhè shí， ài mǎ jiē dào fǎ yuàn de yī zhāng chuán piào。 shāng rén lè lè yào bī tā hái zhài， fǎ yuàn xiàn dìng 'ài mǎ zài 'èr shí sì xiǎo shí nèi， bǎ quán bù bā qiān fǎ láng de jiè kuǎn hái qīng， fǒu zé yǐ jiā chǎn dǐ yā。 ài mǎ wú nài qù xiàng lè lè qiú qíng， yào tā zài kuān xiàn jǐ tiān， dàn tā fān liǎn bù rèn rén， bù kěn biàn tōng。 ài mǎ qù xiàng lài 'áng qiú yuán， lài 'áng piàn tā jiè bù dào qián， duǒ kāi liǎo。 tā qù xiàng lǜ shī jū yóu màn jiè qián， kě shì zhè lǎo guǐ què chéng tā méi jí zhī jì xiǎng zhàn yòu tā。 tā qì fèn dì zǒu liǎo。 zuì hòu， tā xiǎng dào xú shè tè qù zhǎo luó dào 'ěr fú bāng zhù。 luó dào 'ěr fú jìng gōng rán shuō tā méi yòu qián。 ài mǎ shòu jìn líng rǔ， xīn qíng wàn fēn chén zhòng。 dāng tā cóng luó dào 'ěr fú jiā chū lái shí， gǎn dào qiáng zài yáo huàng， tiān huā bǎn wǎng xià yā tā。 tā zǒu jìn yī tiáo yōu cháng de lín yìn dào shàng， bàn zài suí fēng sàn kāi de kū yè duī shàng…… huí dào jiā， ài mǎ tūn chī liǎo pī shuāng。 tā xiǎng zhè yàng yī lái“ yī qiē qī zhà， bēi bǐ hé zhé mó tā de wú shù yù wàng， dū hé tā bù xiāng gān liǎo”。 bāo fǎ lì yī shēng guì zài tā de chuáng biān， tā bǎ shǒu fàng zài tā de tóu fā lǐ miàn， zhè zhǒng tián mì de gǎn jué， yuè fā shǐ yī shēng gǎn dào nán guò。 ài mǎ yě gǎn dào duì bù qǐ zì jǐ de zhàng fū。 tā duì tā shuō：“ nǐ shì hǎo rén。” zuì hòu， tā kàn liǎo hái zǐ yī yǎn， tòng kǔ dì lí kāi liǎo zhè gè shì jiè。
wèile cháng qīng zhài wù， bāo fǎ lì yī shēng bǎ quán bù jiā chǎn dū dāng guāng mài jìn liǎo。 tā zài fān chōu tì shí， fā xiàn liǎo qī zǐ hé lài 'áng de lái wǎng qíng shū yǐ jí luó dào 'ěr fú de huà xiàng。 tā shāng xīn jí liǎo， hǎo cháng shí jiān dū bì mén bù chū。 yī cì， tā zài shì chǎng shàng yù jiàn liǎo luó dào 'ěr fú， dàn tā yuán liàng liǎo zì jǐ de qíng dí， rèn wéi“ cuò de shì mìng”。 tā zài chéng shòu liǎo zhǒng zhǒng dǎ jī zhī hòu， yě sǐ liǎo。 ài mǎ yí xià de nǚ 'ér jì yǎng zài yí mǔ jiā lǐ， hòu lái jìn liǎo shā chǎng。
bāo fǎ lì yī shēng sǐ hòu， xiān hòu yòu sān gè yī shēng dào yǒng zhèn kāi yè， dàn dū jīng bù qǐ hǎo mài pīn mìng de pái jǐ， méi yòu yī gè zhàn dé zhù jiǎo。 yú shì zhè wèi fēi fǎ kāi yè de yào jì shī dà zǒu hóng yùn， bìng huò dé liǎo zhèng fǔ bān fā gěi tā de shí zì xūn zhāng。
The novel was attacked for obscenity by public prosecutors when it was first serialized in La Revue de Paris between October 1, 1856 and December 15, 1856, resulting in a trial in January 1857 that made the story notorious. After the acquittal on February 7, 1857, it became a bestseller when it was published as a book in April 1857, and now stands virtually unchallenged not only as a seminal work of Realism, but as one of the most influential novels ever written.
A 2007 poll of contemporary authors, published in a book entitled The Top Ten, cited Madame Bovary as one of the two greatest novels ever written, second only to Leo Tolstoy's Anna Karenina.
Plot summary
Madame Bovary takes place in provincial northern France, near the town of Rouen in Normandy. The story begins and ends with Charles Bovary, a stolid, kindhearted man without much ability or ambition. As the novel opens, Charles is a shy, oddly-dressed teenager arriving at a new school amidst the ridicule of his new classmates. Later, Charles struggles his way to a second-rate medical degree and becomes an officier de santé in the Public Health Service. His mother chooses a wife for him, an unpleasant but supposedly rich widow, and Charles sets out to build a practice in the village of Tostes (now Tôtes).
One day, Charles visits a local farm to set the owner's broken leg, and meets his client's daughter, Emma Rouault. Emma is a beautiful, daintily-dressed young woman who has received a "good education" in a convent and who has a latent but powerful yearning for luxury and romance imbibed from the popular novels she has read. Charles is immediately attracted to her, and begins checking on his patient far more often than necessary until his wife's jealousy puts a stop to the visits. When his wife dies, Charles waits a decent interval, then begins courting Emma in earnest. Her father gives his consent, and Emma and Charles are married.
At this point, the novel begins to focus on Emma. Charles means well, but is boring and clumsy, and after he and Emma attend a ball given by the Marquis d'Andervilliers, Emma grows disillusioned with married life and becomes dull and listless. Charles consequently decides that his wife needs a change of scenery, and moves from the village of Tostes into a larger, but equally stultifying market town, Yonville (traditionally based on the town of Ry). Here, Emma gives birth to a daughter, Berthe; however, motherhood, too, proves to be a disappointment to Emma. She then becomes infatuated with one of the first intelligent young men she meets in Yonville, a young law student, Léon Dupuis, who seems to share her appreciation for "the finer things in life", and who returns her admiration. Out of fear and shame, however, Emma hides her love for Léon and her contempt for Charles, and plays the role of the devoted wife and mother, all the while consoling herself with thoughts and self-congratulations of her own virtue. Finally, in despair of ever gaining Emma's affection, Léon departs to study in Paris.
One day, a rich and rakish landowner, Rodolphe Boulanger, brings a servant to the doctor's office to be bled. He casts his eye over Emma and decides she is ripe for seduction. To this end, he invites Emma to go riding with him for the sake of her health; solicitous only for Emma's health, Charles embraces the plan, suspecting nothing. A three-year affair follows. Swept away by romantic fantasy, Emma risks compromising herself with indiscreet letters and visits to her lover, and finally insists on making a plan to run away with him. Rodolphe, however, has no intention of carrying Emma off, and ends the relationship on the eve of the great elopement with an apologetic, self-excusing letter delivered at the bottom of a basket of apricots. The shock is so great that Emma falls deathly ill, and briefly turns to religion.
When Emma is nearly fully recovered, she and Charles attend the opera, on Charles' insistence, in nearby Rouen. The opera reawakens Emma's passions, and she re-encounters Léon who, now educated and working in Rouen, is also attending the opera. They begin an affair. While Charles believes that she is taking piano lessons, Emma travels to the city each week to meet Léon, always in the same room of the same hotel, which the two come to view as their "home." The love affair is, at first, ecstatic; then, by degrees, Léon grows bored with Emma's emotional excesses, and Emma grows ambivalent about Léon, who becoming himself more like the mistress in the relationship, compares poorly, at least implicitly, to the rakish and domineering Rodolphe. Meanwhile, Emma, given over to vanity, purchases increasing amounts of luxury items on credit from the crafty merchant, Lheureux, who arranges for her to obtain power of attorney over Charles’ estate, and crushing levels of debts mount quickly.
When Lheureux calls in Bovary's debt, Emma pleads for money from several people, including Léon and Rodolphe, only to be turned down. In despair, she swallows arsenic and dies an agonizing death; even the romance of suicide fails her. Charles, heartbroken, abandons himself to grief, preserves Emma's room as if it is a shrine, and in an attempt to keep her memory alive, adopts several of her attitudes and tastes. In his last months, he stops working and lives off the sale of his possessions. When he accidentally comes across Rodolphe's love letters one day, he still tries to understand and forgive. Soon after, he becomes reclusive; what has not already been sold of his possessions is seized to pay off Lheureux, and he dies, leaving his young daughter Berthe to live with distant relatives and eventually sent to work at a cotton mill.
Chapter-by-chapter
Part One
1. Charles Bovary's childhood, student days
2. First marriage, Charles meets Rouault and his daughter Emma; Charles's first wife dies
3. Charles proposes to Emma
4. The wedding
5. The new household at Tostes
6. An account of Emma's childhood and secret fantasy world
7. Emma becomes bored; invitation to a ball by the Marquis d'Andervilliers
8. The ball at the château La Vaubyessard
9. Emma follows fashions; her boredom concerns Charles, and they decide to move; they find out she is pregnant
Part Two
1. Description of Yonville-l'Abbaye: Homais, Lestiboudois, Binet, Bournisien, Lheureux
2. Emma meets Léon Dupuis, the lawyer's clerk
3. Emma gives birth to Berthe, visits her at the nurse's house with Léon
4. A card game; Emma's friendship with Léon grows
5. Trip to see flax mill; Lheureux's pitch; Emma is resigned to her life
6. Emma visits the priest Bournisien; Berthe is injured; Léon leaves for Paris
7. Charles's mother bans novels; the blood-letting of Rodolphe's farmhand; Rodolphe meets Emma
8. The comice agricole (agricultural show); Rodolphe woos Emma
9. Six weeks later Rodolphe returns and they go out riding; he seduces her and the affair begins
10. Emma crosses paths with Binet; Rodolphe gets nervous; a letter from her father makes Emma repent
11. Operation on Hippolyte's clubfoot; M. Canivet has to amputate; Emma returns to Rodolphe
12. Emma's extravagant presents; quarrel with mother-in-law; plans to elope
13. Rodolphe runs away; Emma falls gravely ill
14. Charles is beset by bills; Emma turns to religion; Homais and Bournisien argue
15. Emma meets Léon at performance of Lucie de Lammermoor
Part Three
1. Emma and Léon converse; tour of Rouen Cathedral; cab-ride synecdoche
2. Emma goes to Homais; the arsenic; Bovary senior's death; Lheureux's bill
3. She visits Léon in Rouen
4. She resumes "piano lessons" on Thursdays
5. Visits to Léon; the singing tramp; Emma starts to fiddle the accounts
6. Emma becomes noticeably anxious; debts spiral out of control
7. Emma begs for money from several people
8. Rodolphe cannot help; she swallows arsenic; her death
9. Emma lies in state
10. The funeral
11. Charles finds letter; his death
Characters
Emma Bovary
Emma is the novel's protagonist and is the main source of the novel's title (although Charles's mother and his former wife are also referred to as Madame Bovary). She has a highly romanticized view of the world and craves beauty, wealth, passion and high society. It is the disparity between these romantic ideals and the realities of her country life that drive most of the novel, most notably leading her into two extramarital love affairs as well as causing her to accrue an insurmountable amount of debt that eventually leads to her suicide.
Emma is quite intelligent, but she never has a chance to develop her mind. As an adult, Emma's capacity for imagination is far greater than her capacity for analysis. She is observant about surface details, such as how people are dressed, but she never looks below the surface. As a result, she is easily taken in by people who are pretending to be something more than they really are (which most people in the book do for one reason or another). Emma not only believes in the false fronts other people present to her, but she despises the very few people (Charles's mother, Madame Homais, and Monsieur Binet) who are exactly as they appear to be.
Convinced that the grass is always greener on the other side of the fence, Emma does not realize that extreme joy, even for the wealthy and powerful, comes rarely. Not only country or bourgeois life is dull. For instance, Emma is surprised to see that aristocrats do not serve fancy food and drink at their everyday breakfasts: she'd prefer to believe that for the nobility, life is really an excitement-filled drama. Later, she fails to see that Rodolphe's wealth hasn't made him happy, despite obvious evidence of this fact.
Since Emma lives chiefly in her own fantasy world, other people's opinions or perceptions of her aren't important except to the extent that they serve some aspect of whatever drama she's trying to act out. At the ball, she's convinced that her aristocratic hosts have fully accepted her as one of their own, so much so that she expects an invitation the following year. In reality, the hosts condescended to invite Charles and Emma to the ball as reward for a favor, intending for it to be a once-in-a-lifetime treat. Indeed, Emma makes several missteps that would be embarrassing to anyone steeped in upper-class culture of the period. She waltzes so badly that she tangles her dress up with her dance partner, and she uses the gaffe as an excuse to rest her head on his chest. She is one of the few people left at the party when the hosts finally go to bed. She does not attempt to establish new social contacts at the party, nor does she write a thank-you note afterwards. She does not attempt to return the cigar-case she and Charles find later, which might have been a reasonable pretext to resume correspondence with their host. So she is far from a gracious guest, and she fails to do the things that could, under the right circumstances, lead to real social connections in high places.
Emma seldom makes an effort to cultivate friendships with other people, unless doing so serves the image she has of herself. She wants desperately to be an aristocrat, particularly after the d'Andervilliers ball, but although she's very good at aping the superficial behaviors (such as clothing and figures of speech), she lacks the manners and savoir-faire to actually operate in their culture. No matter what social group she decides she belongs to (aristocrats, the people of Yonville, people with "noble souls", adulteresses, religious martyrs, dramatic heroines, etc.), every time her role requires interaction with someone who actually is in that group Emma messes up. She doesn't go out of her way to ingratiate herself with new people, because she genuinely doesn't care what they think of her. The same indifference causes her to be rejected by most people in Tostes and Yonville, and to be very careless of her reputation once she starts having extramarital affairs. Binet, Homais, Charles's mother, and Lheureux all catch her in compromising situations, and she truly doesn't care. At some level, she wants not only the excitement of taking the risk, but possibly the drama that would result from being caught.
Emma seeks out the extremes in life, both positive and negative. That she seeks out positive experiences is obvious, because unless she's experiencing the peak of ecstasy, she's convinced she's miserable. She also re-writes her own history and memory, telling herself that she has "never" been happy every time it appears to her that, by indulging some whim, she can achieve the emotional experiences to which she feels entitled. Her appetite for stimulation grows to the point where she becomes jaded enough not to appreciate the small pleasures in life, simply because they are small pleasures. The more she experiences, the less she is satisfied with more normal activities. Consider, for example, her taste in literature. She starts out with romances and bourgeois women's magazines targeted to her real social and economic position. From there she graduates to high-fashion women's magazines that advocate conspicuous consumption. The next step is overwrought romantic poetry, followed by tragic opera, and culminating in the violent pornography which she reads between assignations with Léon. As Vladimir Nabokov observes, Emma "reads books emotionally, in a shallow juvenile manner, putting herself in this or that female character's place."
Emma feels entitled to seek out increasing pleasure and stimulation for herself. Her sense of entitlement grows over time, as does her belief that she has been somehow wronged by destiny or by the people around her. As a young girl, Emma was influenced by her improvident but pretentious father. She was also indulged as a teen and as a young adult, and nobody ever realized her expectations and attitudes about life were unreasonable or attempted to correct them. Emma's mother died too early, and her father let her be raised at a convent and educated like a young woman of independent means. Emma eventually comes to believe that all her wishes will come true, if she believes in them strongly enough and throws a big enough tantrum when she doesn't get her way. Although her father is aware of the problem, he never tries to address it and chooses to leave it to Charles instead.
Over the course of the book, Emma finds different ways to rationalize her feeling of entitlement at different times of her life. Before her marriage, she craves excitement because she is bored. In Tostes, particularly after the ball, she believes she was unjustly born into the wrong socioeconomic class and that everything would be better if only she were rich. Later, after being introduced to poetry, she believes she suffers because she has a noble soul. Ultimately she casts herself as a tragic heroine.
Emma's attraction to the negative extremes of the human experience is less obvious, but the signs are there. As a teenager, she's rewarded for an overblown, somewhat fake display of grief after her mother's death. Her father caters to her whims, as does Charles, who responds to Emma's ennui and psychosomatic illnesses by ignoring his patients and concentrating solely on his wife. Emma's fleeting but intense fascination with religion is much the same: people reward her pious conduct with extra attention and treat her as though she's superior, which reinforces her feelings of entitlement.
It is Emma's sense of superiority and entitlement that make her vulnerable to people who seek to use and manipulate her. Anyone who plays along with Emma's pretentiousness is assured of her good graces. Lheureux, the predatory money-lender who fleeces Emma and Charles, is obsequious to Emma in order to get her to spend more money on unnecessary purchases. He takes advantage of her sense of entitlement by treating her like a grand lady and by indicating that she deserves all the impractical luxuries he persuades her to buy. By giving Emma credit for business sense and experience she doesn't actually possess, Lheureux takes advantage of Emma's financial inexperience. He skims ridiculous sums off the top of every promissory note he has Emma sign, and bluffs her into believing that large commissions are somehow customary in business. Unwilling to admit her ignorance, Emma lets herself be conned instead.
Throughout her life, Emma selects dramatic, exaggerated depictions of human existence and adopts them as a romantic or personal ideal; moreover, she convinces herself that her ideal is somehow the norm, and that the reality she experiences is the exception to the rule. As a teenager, she seeks to emulate the romantic novels she read while at the convent. After the ball, she seeks to emulate the nobility and the wealthy and creates a new romantic ideal based on a man she met at the ball. After being introduced to poetry, she adopts a romantic martyr-like facade. After being exposed to the melodramatic opera "Lucia de Lammermoor", Emma adopts the insane fictional character Lucy Ashton as her role model and becomes convinced that the correct way to respond to adversity is to lose her mind and commit suicide, which she eventually does.
Each individual decision of Emma's seems plausible and reasonable in isolation, but her actions and decisions on the whole make her a very difficult character to like. She is too self-absorbed to consider the consequences of her actions as they affect other people. Her recklessness with money leads to financial ruin not just for herself but for her husband and child.
Charles Bovary
Emma's husband, Charles Bovary, is a very simple and common man. He is a country doctor by profession, but is, as in everything else, not very good at it. He is in fact not qualified enough to be termed a doctor, but is instead an officier de santé, or "health officer". When he is persuaded by Homais, the local pharmacist, to attempt a difficult operation on a patient's clubfoot, the effort is an enormous failure, and his patient's leg must be amputated by a better doctor.
Charles adores his wife and finds her faultless, despite obvious evidence to the contrary. He never suspects her affairs and gives her complete control over his finances, thereby securing his own ruin. Despite Charles's complete devotion to Emma, she despises him as he is the epitome of all that is dull and common. When Charles discovers Emma's deceptions after her death he is devastated and dies soon after, but not before frittering away the very last of the assets remaining after his bankruptcy by living the way he believed Emma would have wanted him to live.
Charles is presented from the start as a likeable and well-meaning fool who happens to have a good memory and a way with people. Although it annoys Emma that Charles doesn't deduce her attitude toward him based on her very subtle hints and cues, she would need a far more blunt approach to get her message across. Charles's lack of insight regarding Emma is not unique. He fails to realize that Homais is not his friend but his enemy and lets the pharmacist isolate him from the other people in town. He fails to realize that Rodolphe has designs on Emma. He trusts Léon implicitly even though he's aware Emma is emotionally attached to the young clerk. He fails to realize that Emma's expenditures have put the household in debt, and he doesn't realize that Lheureux is a financial predator. He also ignores potential allies in the town who might have pointed out what everybody else thought was obvious.
Charles is no genius, but at the time he meets Emma he's doing well financially. He's married, he's got a thriving practice that has grown in response to his popularity with his patients, and he's got a good reputation in the community. After he moves to a new town, he never regains his former position, and Emma is part of the reason why. He knows he is in financial trouble, but continues to enable Emma's spendthrift ways. He takes on more than his share of his responsibility for the success of the marriage, and he tries to cover for Emma's lapses. Meanwhile, he gives up control over the financial aspects of his practice, which allows Emma to start embezzling. In fact, he borrows from a moneylender and does not tell Emma.
During Emma's first mysterious collapse, which is in response to her realization that she's not getting a second ball invitation, Charles abandons his patients and acts as her full-time nurse even though her life is not obviously in danger. The more he hovers, the worse Emma's "health problem" becomes. He gives up a thriving practice and moves to an area where he knows nobody. He nurses her through two more collapses, and allows her to talk him into attempting an operation he is not qualified to perform.
Monsieur Homais
Monsieur Homais is the town pharmacist. In one incident, he convinces Charles to perform corrective surgery on a young stable boy, afflicted with a club foot. During this era, correcting or eliminating a disability was a daring option and he may have considered this an opportunity to garner personal attention and praise. The operation is a disaster, and the stable boy is left with his leg amputated at the thigh.
Despite having been convicted of practicing medicine without a license, he continues to give "consultations" in his pharmacy. This means that the presence of a licensed health officer in town is a threat to him. Not only are he and Charles in competition for patients, but if Charles were to report Homais for practicing medicine without a license, the courts would deal strictly with Homais given that it would be a second conviction. So, to keep the clueless Charles from turning him in to the authorities should Charles ever find out about the "consultations", Homais becomes Charles's best friend, at least on the surface. Meanwhile he undermines Charles at every opportunity. Convincing him to attempt the risky club foot operation may have been part of an ongoing strategy to discredit Charles so as to run him out of town. At the end of the book, after Charles's death, Homais uses similar strategies to get rid of subsequent doctors and is left in sole control of the medical profession in Yonville.
He is also vehemently anti-clerical and an atheist. He is the one who insists that Emma should go riding with Rodolphe, that Charles take her to see the opera in Rouen, and that she be allowed to take expensive music lessons in Rouen. No idiot, and with his ear to the ground for gossip, Homais appears to be completely unaware of Emma's adultery but subtly goes out of his way to make it easier for her. He also directly enables her ultimate act of self-destruction by detailing in her presence the means by which his supply of arsenic might be accessed.
Madame Homais
The wife of Monsieur Homais, Madame Homais is a simple woman whose life revolves around her husband and children, of which she has four. Caring for four children is no trivial task, especially without electricity, hot running water, or any form of public schooling beyond occasional classes offered by the parish priest. Furthermore, in addition to her own four children Madame Homais cares for Justin, a teenage relative who lives with the Homais family and who helps Monsieur Homais out in the pharmacy. She also takes care of a boarder: a young male student by the name of Léon Dupuis. With that many people in the household, Madame Homais can be excused for having a live-in maid to help with at least some of the cooking, cleaning, and mending. Even with the maid's help, Madame Homais works very hard. Since the pharmacy is quite successful, she could perhaps get away with having her own horse or dressing in the latest fashions, but she does not. Instead, she takes in a boarder to earn extra money.
Madame Homais serves chiefly as a foil for Emma. Whereas Madame Homais, or even Charles's infirm first wife, has a legitimate reason for wanting a maid, Emma is able-bodied aside from her drama-induced fainting fits and collapses. She simply chooses to do no housework, and to refrain from any of the activities bourgeois women generally did in order to earn money on the side. She does not sub-let an upstairs bedroom to a tenant the way Madame Homais rents to Léon, she leaves all the housekeeping to the maid, and does no work herself unless it suits whatever religious or social fantasy she has about herself at the time. Madame Homais does not dress fashionably or even well, whereas Emma is always dressed in the latest expensive fashions that are more lavish than what anyone else in Yonville seems able to afford. Madame Homais dotes on her children, while Emma ignores and despises her daughter unless she's acting out a maternal fantasy.
Emma despises Madame Homais for her simplicity, unless she's in the mood to pretend to idealize good mothers. Madame Homais, however, seems unaware that Emma dislikes her. Even when other people gossip about Emma, Madame Homais defends her. That naive loyalty is rewarded with nothing but contempt most of the time.
Léon Dupuis
First befriending Emma when she moves to Yonville, Léon seems a perfect match for her. He shares her romantic ideals as well as her disdain for common life. He worships Emma from afar before leaving to study law in Paris. A chance encounter brings the two together several years later and this time they begin an affair. Though the relationship is passionate at first, after a time the mystique wears off.
Financially, Léon cannot afford to carry on the affair, so Emma pays more and more of the bills. Eventually she assumes the whole financial burden. She also takes the lead in planning meetings and setting up communication, which is a reversal of the role she had with Rodolphe. Léon does not seem to find Emma's financial aggression disturbing or inappropriate, although when Emma asks him to pawn some spoons she'd received as a wedding gift from her father, Léon does become uncomfortable. He objects to the heavy spending, but does not press too hard when Emma overrules him. He's content to be the recipient of Emma's largesse, and to not think too much about where the money is coming from. He also does not feel particularly obligated to reciprocate later, when Emma asks him for help in her hour of financial need.
Over time, Léon becomes disenchanted with Emma, particularly after her attentions start to affect his work. The first time she arrives at his office, he's charmed and leaves work quickly. After a while, the interruptions have an effect on his work and his attitude to the other clerks. Eventually someone sends word to Léon's mother that her son is "ruining himself with a married woman", and Léon's mother and employer insist that he break off the affair. Léon does, briefly, but cannot stay away from Emma. His reluctance is tempered with relief because Emma's pursuit of him has become increasingly disturbing. When Emma's debts finally come due, she attempts to seduce Léon into stealing the money to cover her debts from his employer. At this point, he becomes genuinely afraid. He fobs her off with an excuse and disappears from her life.
Rodolphe Boulanger
Rodolphe is a wealthy local man who seduces Emma as one more addition to a long string of mistresses. Though occasionally charmed by Emma, Rodolphe feels little true emotion towards her. As Emma becomes more and more desperate, Rodolphe loses interest and worries about her lack of caution. He eventually ends their relationship, but not before going through a collection of letters and tokens from previous mistresses, all of whom ended up wanting either love or money.
Rodolphe's deteriorating feelings for Emma do not keep him from accepting the valuable gifts she showers on him throughout their relationship, even though he realizes at some level that she can't afford to be so generous. The gifts she gives him are of the same value and quality as she imagines an aristocrat such as the Vicount might receive from a similarly aristocratic mistress. Rodolphe's gifts to Emma are nowhere near as valuable even though he is by far the wealthier of the two. He does not feel particularly obligated by having accepted the gifts, even though they create a large part of Emma's debt to Lheureux.
When Emma asks Rodolphe for help at the peak of her financial crisis, after refusing the sex-for-money exchange offered by the wealthy Monsieur Guillaumin, she essentially attempts to initiate a sex-for-money exchange with Rodolphe. She pretends at first to have returned out of love, then when the timing feels right she asks him for money, using an obvious lie about why she needs a loan. She therefore comes across as among the most mercenary of Rodolphe's past mistresses. Rodolphe therefore sees no need to help her, though he could perhaps not afford to lend her enough money to keep her creditors at bay even if he desired to.
Monsieur L'heureux
A manipulative and sly merchant who continually convinces Emma to buy goods on credit and borrow money from him. L'heureux plays Emma masterfully and eventually leads her so far into debt as to cause her financial ruin and subsequent suicide.
L'heureux's reputation as an aggressive money lender is well known in Yonville. Had Emma or Charles had the wit to make inquiries about him or even to listen to the gossip, they would have realized that L'heureux had ruined at least one other person in town through his stratagems. Yet the only "friend" they trust, Homais, is fully aware of L'heureux's treachery but disinclined to warn Emma or Charles. So both Emma and Charles end up borrowing money from L'heureux without each other's knowledge.
Setting
The setting of Madame Bovary is crucial to the novel for several reasons. First, it is important as it applies to Flaubert's realist style and social commentary. Secondly, the setting is important in how it relates to the protagonist Emma.
It has been calculated that the novel begins in October 1827 and ends in August 1846 (Francis Steegmuller). This is around the era known as the “July Monarchy”, or the rule of King Louis-Philippe. This was a period in which there was a great up-surge in the power of the bourgeois middle class. Flaubert detested the bourgeoisie. Much of the time and effort, therefore, that he spends detailing the customs of the rural French people can be interpreted as social criticism.
Flaubert put much effort into making sure his depictions of common life were accurate. This was aided by the fact that he chose a subject that was very familiar to him. He chose to set the story in and around the city of Rouen in Normandy, the setting of his own birth and childhood. This care and detail that Flaubert gives to his setting is important in looking at the style of the novel. It is this faithfulness to the mundane elements of country life that has garnered the book its reputation as the beginning of the literary movement known as “literary realism”.
Flaubert also deliberately used his setting to contrast with his protagonist. Emma's romantic fantasies are strikingly foiled by the practicalities of the common life around her. Flaubert uses this juxtaposition to reflect on both subjects. Emma becomes more capricious and ludicrous in the harsh light of everyday reality. By the same token, however, the self-important banality of the local people is magnified in comparison to Emma, who, though impractical, still reflects an appreciation of beauty and greatness that seems entirely absent in the bourgeois class.
Style
The book, loosely based on the life story of a schoolfriend who had become a doctor, was written at the urging of friends, who were trying (unsuccessfully) to "cure" Flaubert of his deep-dyed Romanticism by assigning him the dreariest subject they could think of, and challenging him to make it interesting without allowing anything out-of-the-way to occur. Although Flaubert had little liking for the styles of Balzac or Zola, the novel is now seen as a prime example of Realism, a fact which contributed to the trial for obscenity (which was a politically-motivated attack by the government on the liberal newspaper in which it was being serialized, La Revue de Paris). Flaubert, as the author of the story, does not comment directly on the moral character of Emma Bovary and abstains from explicitly condemning her adultery. This decision caused some to accuse Flaubert of glorifying adultery and creating a scandal.
The Realist movement used verisimilitude through a focus on character development. Realism was a reaction against Romanticism. Emma may be said to be the embodiment of a romantic; in her mental and emotional process, she has no relation to the realities of her world. She inevitably becomes dissatisfied since her larger-than-life fantasies are impossible to realize. Flaubert declared that much of what is in the novel is in his own life by saying, "Madame Bovary, c'est moi" ("Madame Bovary is me").
Madame Bovary, on the whole, is a commentary on the entire self-satisfied, deluded, bourgeois culture of Flaubert's time period. His contempt for the bourgeoisie is expressed through his characters: Emma and Charles Bovary lost in romantic delusions; absurd and harmful scientific characters, a self-serving money lender, lovers seeking excitement finding only the banality of marriage in their adulterous affairs. All are seeking escape in empty church rituals, unrealistic romantic novels, or delusions of one sort or another.
Literary significance and reception
Long established as one of the greatest novels ever written, the book has often been described as a "perfect" work of fiction. Henry James writes: "Madame Bovary has a perfection that not only stamps it, but that makes it stand almost alone; it holds itself with such a supreme unapproachable assurance as both excites and defies judgment."
Adaptations
Madame Bovary has been made into several films, beginning with Jean Renoir's 1932 version. It has also been the subject of multiple television miniseries and made-for-TV movies. The most notable of these adaptations was the 1949 film produced by MGM. Directed by Vincente Minnelli, it starred Jennifer Jones in the title role, co-starring James Mason, Van Heflin, Louis Jourdan, and Gene Lockhart. It was adapted by Giles Cooper for the BBC in 1964, with the same script being used for a new production in 1975. A new BBC version adapted by Heidi Thomas was made in 2000, starring Frances O'Connor and Hugh Bonneville.
Claude Chabrol made his version starring Isabelle Huppert.
Madame Bovary has been adapted into a piece of musical theatre, entitled The Bovary Tale. Composer: Anne Freier. Librettist: Laura Steel. The first performance was at the Gatehouse Theatre in Highgate Village in September 2009.
David Lean's film Ryan's Daughter (1970) was a loose adaptation of the story, relocating it to Ireland during the time of the Easter Rebellion. The script had begun life as a straight adaptation of Bovary, but Lean convinced writer Robert Bolt to re-work it into another setting.
Indian director Ketan Mehta adapted the novel into a 1992 Hindi film Maya Memsaab.
Madame Blueberry is an 1998 film in the Veggietales animated series. It is a loose parody of Madame Bovary, in which Madame Blueberry, an anthropomorphic blueberry, gathers material possessions in a vain attempt to find happiness.
Academy Award nominated film Little Children features the novel as part of a book club discussion, and shares a few elements of the main idea.
Naomi Ragen loosely based her 2007 novel The Saturday Wife on Madame Bovary.
Posy Simmonds graphic novel Gemma Bovery reworked the story into a satirical tale of English expatriates in France.
Vale Abraão (1993) (Abraham's Vale) by Manoel de Oliveira is a close interpretation set in Portugal, even referencing and discussing Flaubert's novel several times.
"Madame Ovary" is the name of a character in DC Comics' The Adventures of the Outsiders #33-35. Madame Ovary's name was really Dr. Ovarin, and she was created by Mike W. Barr and Alan Davis.
yī tiān， chá lǐ yī shēng jiē dào yī fēng jǐn jí de xìn jiàn， yào tā dào bài 'ěr dǒu gěi yī gè fù yù nóng mín lú 'ōu xiān shēng zhì bìng， tā de yī tiáo tuǐ shuāi duàn liǎo。 lú 'ōu shì gè wǔ shí suì zuǒ yòu de 'ǎi pàng zǐ， tā de tài tài 'èr nián qián yǐ qù shì liǎo。 jiā lǐ yóu tā de dú shēng nǚ 'ài mǎ liào lǐ。 zhè shì gè jù yòu làng màn qì zhì de nǚ hái zǐ， miàn jiá shì méi guī sè de， tóu fā hēi yóu yóu de， zài nǎo hòu wǎn chéng yī gè dà jì， yǎn jīng hěn měi lì， yóu yú jié máo de yuán gù， zōng yán sè fǎng fó shì hēi yán sè， tā“ cháo nǐ wàng lái， háo wú gù lǜ， yòu yī zhǒng tiān zhēn wú xié dǎn dà de shén qíng”。 tā gěi chá lǐ liú xià liǎo shēn kè de yìn xiàng。 chá lǐ gěi lú 'ōu zhěn zhì guò hòu， dāyìng tā sān tiān hòu zài qù bài fǎng， dàn dào dì 'èr tiān tā jiù qù liǎo。 cǐ hòu， tā yī xīng qī qù liǎng cì。 xiān hòu huā liǎo sì shí liù tiān de shí jiān， zhì hǎo liǎo lú 'ōu de tuǐ。
chá lǐ qī zǐ tóng zhàng fū cháng shàng bài 'ěr dǒu qù。 miǎn bù liǎo yào dǎ tīng bìng rén de dǐ xì。 dāng tā zhī dào lú 'ōu xiǎo jiě céng shòu guò jiào yù， dǒng dé tiào wǔ、 dì lǐ、 sù miáo、 cì xiù hé dàn qín shí， cù jìn dà fā。 tā yào zhàng fū bǎ shǒu fàng zài mí sǎ shū shàng， xiàng tā fā shì， jīn hòu zài yě bù qù bài 'ěr dǒu liǎo。 chá lǐ wéi mìng shì tīng， zhào yàng zuò liǎo。 dàn bù jiǔ fā shēng liǎo yī jiàn yì wài de shì， tā qī zǐ de cái chǎn bǎo guǎn rén dài zhe tā de xiàn jīn táo páo liǎo。 chá lǐ de fù mǔ fā xiàn xí fù yī nián bìng méi yòu yī qiān 'èr bǎi fǎ láng de shōu rù（ tā zài dìng hūn de shí hòu sǎ liǎo huǎng）， yú shì páo lái hé tā chǎo nào。 tā zài yī qì zhī xià， tù xuè sǐ liǎo。
lú 'ōu lǎo diē gěi chá lǐ sòng zhěn fèi lái， dāng tā zhī dào chá lǐ de bù xìng hòu， biàn jìn lì 'ān wèi tā， shuō zì jǐ yě céng jīng lì guò sàng 'ǒu de tòng kǔ。 tā yāo qǐng chá lǐ dào bài 'ěr dǒu qù sǎnsǎn xīn。 chá lǐ qù liǎo， bìng qiě 'ài shàng liǎo 'ài mǎ。 tā xiàng lú 'ōu lǎo diē tí qīn。 lú 'ōu gǎn dào chá lǐ bù shì lǐ xiǎng de nǚ xù， bù guò rén jiā shuō tā pǐn xíng duān zhèng， shěng chī jiǎn yòng， zì rán yě bù huì tài jì jiào péi jià， biàn dāyìng liǎo。 kāi chūn hòu， chá lǐ hé 'ài mǎ 'àn dāng dì de fēng sú jǔ xíng liǎo hūn lǐ。
ài mǎ shí sān suì jìn liǎo xiū dào yuàn fù shè de jì sù nǚ xiào niàn shū。 tā zài nà lǐ shòu zhe guì zú shì de jiào yù。 tā 'ài jiào táng de huā huì、 zōng jiào de yīnyuè， bìng zài làng màn zhù yì xiǎo shuō de xūn táo xià chéngzhǎng。 bǐ yé de xiǎo shuō《 bǎo 'ěr yǔ wéi 'ěr jí nī》 shì tā zuì xǐ 'ài de tú shū zhī yī。 tā mèng xiǎng guò xiǎo zhú fáng zǐ de shēng huó， yóu qí shì yòu wèi hǎo xīn de xiǎo gē gē， qíng yì chán mián， pá shàng bǐ zhōng lóu hái yào gāo de dà shù qù zhāi hóng guǒ zǐ， huò zhě chì zhe jiǎo zài shā tān shàng páo， gěi nǐ bào lái yī gè niǎo cháo； tā yòu“ zhōng xīn zūn jìng nà xiē chū míng huò zhě bù xìng de fù nǚ”， chén jìn zài luó màn dì kè de miǎn xiǎng zhōng。 yī wèi zài dà gé mìng qián chū shēn yú guì zú shì jiā de lǎo gū niàn， měi yuè dào xiū dào yuàn zuò yī xīng qī nǚ gōng， tā xiàng nǚ shēng men jiǎng làng màn gù shì， ér qiě yī dài lǐ zǒng yòu yī běn chuán qí xiǎo shuō。 hòu lái， ài mǎ de mǔ qīn sǐ liǎo， fù qīn bǎ tā jiē huí jiā qù。
ài mǎ jié hūn liǎo， tā zhōng yú dé dào liǎo nà zhǒng bù kě sī yì de 'ài qíng。 zài zhè yǐ qián， ài qíng fǎng fó shì yī zhǐ méi guī sè yǔ máo de jù niǎo， kě wàng 'ér bù kě jí， zài shī de càn làn de tiān táng lǐ 'áo xiáng。 hūn hòu， tā què fā jué chá lǐ shì gè píng fán 'ér yòu yōng sú de rén。 tā“ tán tù xiàng rén hángdào yī yàng píng bǎn， jiàn jiě yōng sú， rú tóng lái wǎng xíng rén yī bān yī zhù xún cháng， jī bù qǐ qíng xù， yě jī bù qǐ xiào huò zhě mèng xiǎng”。 chá lǐ bù huì yóu yǒng、 bù huì bǐ jiàn， bù huì fàng qiāng。 yòu yī cì 'ài mǎ yòng chuán qí xiǎo shuō zhōng yī gè qí mǎ de shù yǔ wèn tā， tā jìng chēng mù bù zhī suǒ duì。 tā huǐ hèn zì jǐ wèishénme yào jié hūn！ yòu shí， tā wèile mí bǔ gǎn qíng shàng de kōng xū， tā xiàng chá lǐ yín sòng tā jì dé qǐ lái de qíng shī， yī miàn yín， yī miàn tàn xī。 kě shì yín guò zhī hòu， tā fā xiàn zì jǐ rú tóng yín chàng qián yī yàng píng jìng， ér chá lǐ yě méi yòu yīn cǐ 'ér gǎn dòng， zhèng rú huǒ dāo qiāo shí zǐ， tā zhè yàng qiāo guò zhī hòu， bù jiàn mào chū yī kē huǒ xīng lái。
bù jiǔ， chá lǐ yī hǎo liǎo yī wèi shēng míng xiǎn hè de hóu jué de kǒu chuāng。 hóu jué wéi dá xiè chá lǐ， tā yāo qǐng chá lǐ fū fù dào tā de tián zhuāng wò bì sà 'ěr qù zuò kè。 chá lǐ fū fù zuò zhe mǎ chē qù liǎo。 nà shì gè yòu zhe yì dà lì fēng gé de zhuāng yuán， fáng zǐ hěn dà， hái yòu měi lì de huā yuán。 ài mǎ duì hóu jué jiā háo huá de qì pài， gāo yǎ de kè rén， zhū guāng bǎo qì de wǔ huì chǎng miàn， yī yī gǎn dào rù mí。 yī wèi fēng liú xiāo sǎ de zǐ jué lái yāo tā tiào wǔ， gěi tā liú xià liǎo jí shēn de yìn xiàng。 zài huí jiā de lù shàng， tā shí dé liǎo zǐ jué de yī gè xuějiā xiá， yòu gòu qǐ liǎo tā duì wǔ bàn de huái niàn。 huí dào jiā， tā xiàng nǚ pú rén fā pí qì。 tā bǎ xuějiā xiá cáng qǐ lái， měi dāng chá lǐ bù zài jiā shí， tā bǎ tā qǔ chū lái， kāi liǎo yòu kāi， kàn liǎo yòu kàn， shèn zhì hái wén liǎo chèn lǐ de wèi dào： yī zhǒng zá yòu měi nǚ yīng hé yān cǎo de wèi dào。 tā“ xī wàng sǐ， yòu xī wàng zhù dào bā lí”。
wò bì sà 'ěr zhī xíng， zài 'ài mǎ de shēng huó shàng， záo liǎo yī gè dòng yǎn， rú tóng shān shàng nà xiē dà lièfèng， yī zhèn kuáng fēng bào yǔ， yī yè gōng fū， jiù chéng liǎo zhè bān múyàng。 tā wú kě nài hé， zhǐ dé xiǎng kāi xiē。 bù guò tā cān jiā wǔ huì de piào liàng yī zhù、 duàn xié， tā dū qián chéng dì fàng rù wǔ dǒu guì。“ tā de xīn yě xiàng tā men yī yàng， hé cái fù yòu guò jiē chù zhī hòu， tiān liǎo yī xiē mó cèng bù diào de dōng xī”。 ài mǎ cí tuì liǎo nǚ yōng rén， bù yuàn yì zài dào tè zhù xià qù liǎo。 tā duì zhàng fū lǎo shì kàn bù shùn yǎn。 tā biàn dé lǎnsǎn，“ guāi lì hé rèn xìng”。
chá lǐ pà yǐn qǐ 'ài mǎ shēng bìng。 tā men cóng dào tè bān dào yǒng zhèn jū zhù。 zhè shì gè tōng dà lù de cūn zhèn， yòu yī gè gǔ lǎo de jiào táng hé yī tiáo zǐ tánshè chéng nà yàng cháng de jiē。 jiē shàng yòu jīn shī kè diàn hé yǐn rén zhù mùdì hǎo mài xiān shēng de yào fáng。 hǎo mài shì gè yào jì shī， dài yī dǐng jīn zhuì xiǎo róng mào， chuān yī shuāng lǜ pí tuō xié， tā nà yáng yáng zì dé de liǎn shàng yòu jǐ kē xì má zǐ， shén qì jiù xiàng guà zài tā tóu shàng de liǔ tiáo lóng lǐ de jīn chì què nà yàng。 tā jīng cháng 'ài zì wǒ chuī shī， biāo bǎng zì jǐ shì gè wú shén lùn zhě， tā méi yòu yī shēng zhí zhào， dàn sī zìjǐ nóng mín kàn bìng。 ài mǎ dào yǒng zhèn nà tiān， yóu hǎo mài hé yī gè zài lǜ shī nà lǐ zuò liàn xí shēng de lài 'áng péi zhe chī wǎn fàn。
lài 'áng · dū pǔ yì shì gè yòu zhe jīn huáng tóu fā de qīng nián， jīn shī fàn diàn bāo fàn chī de fáng kè。 ài mǎ hé tā chū cì jiàn miàn biàn hěn tán dé lái。 tā men yòu xiāng tóng de zhì qù， ér qiě dū 'àihào lǚ xíng hé yīnyuè。 cǐ hòu， tā men biàn jīng cháng zài yī dào tán tiān， yì lùn làng màn zhù yì de xiǎo shuō hé shí xíng de xì jù， bìng qiě“ bù duàn dì jiāo huàn shū jí hègē qū”。 bāo fǎ lì xiān shēng nán dé dù jì， bìng bù yǐn yǐ wéi guài。
ài mǎ shēng liǎo yī gè nǚ hái， qǐ míng wéi bái 'ěr tè。 jiāo gěi mù jiàng de nǚ rén wèi yǎng。 lài 'áng yòu shí péi tā yī dào qù kàn nǚ 'ér。 tā men rì yì jiē jìn qǐ lái， ài mǎ shēng rì shí， lài 'áng sòng liǎo yī fèn hòu lǐ， ài mǎ yě sòng gěi tā yī zhāng tǎn zǐ。
shí zhuāng shāng rén lè lè， shì gè jiǎo xiá de zuò shēng yì de néng shǒu， xū pàng de liǎn shàng bù liú hú xū， fǎng fó mǒ liǎo yī dào xī bó de gān cǎo zhī； yī shuāng zéi liàng de xiǎo hēi yǎn jīng， chèn shàng bái tóu fā， yuè fā xiǎn dé líng huó。 tā féng rén xié jiān chǎn xiào， yāo yī zhí hā zhe， zī shì yòu xiàng jū gōng， yòu xiàng yāo qǐng。 tā kàn chū 'ài mǎ shì gè 'ài zhuāng shì de“ fēng yǎ de fù nǚ”， biàn zì dòng shàng mén dōu lǎn shēng yì， bìng shē zhàng gěi tā， mǎn zú tā gè zhǒng xū róng de 'àihào。
ài mǎ 'ài shàng liǎo lài 'áng。 tā wèile bǎi tuō zhè yī xīn sī， zhuǎn 'ér guān xīn jiā wù， bǎ xiǎo bái 'ěr tè yě jiē huí jiā lái， bìng 'àn shí shàng jiào táng。 tā shòu liǎo， miàn sè cāng bái， xiàng dà lǐ shí yī yàng bīng liáng。 yòu yī cì， tā shèn zhì xiǎng bǎ xīn zhōng de mì mì zài chàn huǐ shí xiàng jiào shì tù lù， dàn tā kàn dào jiào shì bù 'ěr ní xián sú bù kě nài， cái méi yòu zhè yàng zuò。 tā yóu yú xīn qíng fán zào， bǎ nǚ 'ér tuī diē liǎo， pèng pò liǎo tā de liǎn。 lài 'áng yě xiàn rù 'ài qíng de luó wǎng。 tā wèile bǎi tuō zhè yī kǔ mèn， biàn shàng bā lí niàn wán fǎ kē de kè chéng。 lín bié shí， tā hé 'ài mǎ yǐ yǐ xī bié。 tā mendōu gǎn dào wú xiàn de chóu chàng。
ài mǎ yīn fán nǎo shēng qǐ bìng lái。 duì lài 'áng de huí yì chéng liǎo tā chóu mèn de zhōng xīn。 jí shǐ lǚ kè zài 'é guó dà cǎo yuán xuě dì shàng rán qǐ de huǒ duī， yě bǐ bù shàng lài 'áng zài tā huí yì zhōng nà me míng liàng。 yī cì， xú shè tè de dì zhù luó dào 'ěr fú · bù lǎng jiē lái zhǎo bāo fǎ lì yī shēng tì qí mǎ fū fàng xuè。 zhè shì gè fēng yuè chǎng zhōng de lǎo shǒu。 yuē mò sān shí sì suì guāng jǐng， xìng qíng cū yě， sī wù míng mǐn。 tā yòu liǎng chù zhuāng tián， xīn jìn yòu mǎi xià yī gè zhuāng yuán， měi nián yòu yī wàn wǔ qiān fǎ láng yǐ shàng de shōu rù。 tā jiàn 'ài mǎ shēng dé biāo zhì， chū jiàn miàn biàn dǎ xià gòu yǐn tā de huài zhù yì。
luó dào 'ěr fú lì yòng zài yǒng zhèn jǔ bàn zhōu nóng yè zhǎn lǎn huì de jī huì jiē jìn 'ài mǎ， wéi tā dāng xiàng dǎo， xiàng tā qīng tù zhōng qū， tā bǎ zì jǐ zhuāng bàn chéng yī gè méi yòu péng yǒu、 méi rén guān xīn， yù mèn dào jí diǎn de kě lián chóng。 tā shuō zhǐ yào néng dé dào yī gè zhēn xīn xiāng dài tā de rén， tā jiāng kè fú yī qiē kùn nán， qù dá dào mùdì。 tā men yī tóng tán dào nèi dì de yōng sú， shēng huó de zhì mèn， lǐ xiǎng de huǐ miè ……
zhǎn lǎn huì jiē mù diǎn lǐ kāi shǐ liǎo， zhōu xíng zhèng wěi yuán liào wàn zuò zhe sì lún dà mǎ chē shān shān lái chí。 zhè shì gè tū 'é tóu， hòu yǎn pí， liǎn sè huī bái de rén。 tā xiàng qún zhòng fā bù yǎn shuō， duì“ měi lì zǔ guó de xiàn zhuàng” jìn xíng liǎo yī fān gē gōng sòng dé。 tā shuō mù qián fǎ guó“ chù chù shāng yè fán shèng， yì shù fā dá， chù chù xīng xiū xīn de dào lù， jí tǐ guó jiā tiān liǎo xǔ duō xīn de dòng mài， gòu chéng xīn de lián xì； wǒ men wěi dà de gōng yè zhōng xīn yòu huó yuè qǐ lái； zōng jiào jiā qiáng gǒng gù， fǎ guāng pǔ zhào， wǒ men de mǎ tóu duī mǎn huò wù……” ??， qún zhòng hái xiàng tā tù shé tóu。 huì hòu， jǔ xíng liǎo fā jiǎng yí shì。 zhèng fǔ bǎ yī méi zhí 'èr shí wǔ fǎ láng de yín zhì jiǎng zhāng bān fā gěi yī gè“ zài yī jiā tián zhuāng fú wù liǎo wǔ shí sì nián” de lǎo fù。 nà lǎo fù yī liǎn zhòu wén， gān shòu pí bèi bù kān。 dāng tā lǐng dào jiǎng zhāng hòu shuō：“ wǒ ná zhè sòng gěi wǒ men de jiào táng táng cháng， gěi wǒ zuò mí sǎ。” zuì hòu， yòu jǔ xíng liǎo fàng yàn huǒ。 ài mǎ hé luó dào 'ěr fú dōubù guān xīn zhǎn lǎn huì yī mù mù huá jī jù de jìn xíng。 tā men zhǐ shì jiè cǐ jī huì shuō huà 'ér， tán tiān， zhí dào chū zhěn de chá lǐ huí lái wéi zhǐ。
zhǎn lǎn huì hòu， ài mǎ yǐ wàng bù liǎo luó dào 'ěr fú liǎo。 ér luó dào 'ěr fú què yòu yì guò liǎo liù xīng qī cái qù kàn tā。 tā yǐ guān xīn 'ài mǎ de jiàn kāng wéi yóu， bǎ zì jǐ de mǎ jiè gěi tā qí。 tā men yī tóng dào yě wài sàn xīn。 ài mǎ jīng bù qǐ luó dào 'ěr fú de yòu huò， zuò liǎo tā de qíng fù。 tā men mán zhe bāo fǎ lì yī shēng cháng zài yī qǐ yōu huì。 zhè shí， ài mǎ gǎn qíng fā zhǎn dào kuáng rè de chéng dù， tā yào qiú luó dào 'ěr fú bǎ tā dài zǒu， hé tā yī tóng chū bēn。 tā hé chá lǐ de mǔ qīn yě chǎo fān liǎo。
rán 'ér， luó dào 'ěr fú wán quán shì gè kǒu shì xīn fēi de wěi jūn zǐ。 tā bào zhe wán nòng nǚ xìng、 féng chǎng zuò xì de chǒu 'è sī xiǎng， qī piàn liǎo 'ài mǎ de gǎn qíng。 tā dāyìng hé tā yī tóng chū táo， kě shì chū táo nà tiān， tā tuō rén sòng gěi 'ài mǎ yī fēng xìn。 xìn zhōng shuō， táo zǒu duì tā men liǎng réndōu bù hé shì， ài mǎ zhōng yòu yī tiān huì hòu huǐ de。 tā bù yuàn chéng wéi tā hòu huǐ de yuán yīn； zài shuō rén shì lěng kù， táo dào nà 'ér dōubù miǎn shòu dào wǔ rǔ。 yīn cǐ， tā yào hé tā de 'ài qíng yǒng bié liǎo。 ài mǎ qì dé fā hūn， tā de xīn tiào dé xiàng dà gàng zǐ zhuàng chéng mén yī yàng。 bàng wǎn， tā kàn dào luó dào 'ěr fú zuò zhe mǎ chē jí shǐ guò yǒng zhèn， qù lú 'áng zhǎo tā de qíng fù -- yī gè nǚ xì zǐ qù liǎo。 ài mǎ dāng jí yūndǎo。 cǐ hòu， tā shēng liǎo yīcháng dà bìng。 bìng hǎo hòu， tā xiǎng tòng gǎi qián fēi， chóngxīn shēng huó。 kě shì， zhè shí yòu fā shēng liǎo lìng yī chǎng shì。
yào jì shī hǎo mài yāo qǐng bāo fǎ lì fū fù dào lú 'áng qù kàn xì。 zài jù chǎng lǐ， ài mǎ yù jiàn liǎo guò qù céng wéi zhī dòng qíng de liàn xí shēng lài 'áng。 xiàn zài， tā zài lú 'áng de yī jiā shì wù suǒ shí xí。 yú shì， tā men mái cáng zài xīn dǐ duō nián de 'ài qíng zhǒng zǐ yòu méng yá liǎo。 tā men wèi kàn wán xì， biàn páo dào mǎ tóu tán tiān。 zhè shí， lài 'áng yǐ bù shì chū chū máo lú de hòu shēng， ér shì yī gè yòu zhe chōng fēn shè huì jīng yàn de rén liǎo。 tā yī jiàn miàn biàn xiǎng zhàn yòu 'ài mǎ， bìng xiàng tā sù shuō lí bié hòu de tòng kǔ。 dāng 'ài mǎ tán dào zì jǐ hài liǎo yīcháng dà bìng， chàdiǎn sǐ diào shí， lài 'áng zhuāng chū shí fēn bēi shāng de yàng zǐ。 tā shuō， tā yě“ xiàn mù fén mù de níng jìng”， shí cháng xiǎng dào sǐ， shèn zhì yòu yī tiān， tā hái lì liǎo gè yí zhǔ， fēn fù bié rén zài tā sǐ hòu， yào yòng 'ài mǎ sòng gěi tā de nà tiáo piào liàng de tǎn zǐ guǒ zhe mái tā。 tā jí lì sǒng yǒng 'ài mǎ zài liú yī tiān， qù kàn wán zhè chǎng xì。 bāo fǎ lì yī shēng yīn yī liáo shì wù xiān gǎn huí yǒng zhèn qù liǎo。 ài mǎ liú xià lái。 yú shì tā hé lài 'áng biàn yī tóng qù cān guān lú 'áng dà jiào táng， zuò zhe mǎ chē zài shì nèi dōu fēng。 zhè yàng， ài mǎ hé lài 'áng pīn dā shàng liǎo。
ài mǎ huí dào yǒng zhèn hòu， jiè kǒu dào lú 'áng qù xué gāng qín， shí jì shàng， tā shì qù hé lài 'áng yōu huì。 ài mǎ zài yī cì bǎ zì jǐ de quán bù rè qíng qīng zhù zài lài 'áng shēn shàng， chén nì zài zì qíng de xiǎng lè zhī zhōng。 wèile bù huā xiāo， tā bēizhe zhàng fū xiàng shāng rén lè lè jiè zhài。
rán 'ér， lài 'áng hé luó dào 'ěr fú yī yàng qī piàn liǎo 'ài mǎ de gǎn qíng。 tā jiàn jiàn dì duì 'ài mǎ gǎn dào yàn nì liǎo。 yóu qí shì dāng tā shōu dào mǔ qīn de lái xìn hé dū bāo kǎ jí lǜ shī de jiě quàn shí， jué dìng hé 'ài mǎ duàn jué lái wǎng。 yīn wéi zhè zhǒng 'ài mèi de guān xì， jiāng yào yǐng xiǎng tā de qián chéng。 bù jiǔ， tā jiù yào shēng wéi dì yī liàn xí shēng liǎo。 yú shì， tā kāi shǐ huí bì tā。
zhèng zài zhè shí， ài mǎ jiē dào fǎ yuàn de yī zhāng chuán piào。 shāng rén lè lè yào bī tā hái zhài， fǎ yuàn xiàn dìng 'ài mǎ zài 'èr shí sì xiǎo shí nèi， bǎ quán bù bā qiān fǎ láng de jiè kuǎn hái qīng， fǒu zé yǐ jiā chǎn dǐ yā。 ài mǎ wú nài qù xiàng lè lè qiú qíng， yào tā zài kuān xiàn jǐ tiān， dàn tā fān liǎn bù rèn rén， bù kěn biàn tōng。 ài mǎ qù xiàng lài 'áng qiú yuán， lài 'áng piàn tā jiè bù dào qián， duǒ kāi liǎo。 tā qù xiàng lǜ shī jū yóu màn jiè qián， kě shì zhè lǎo guǐ què chéng tā méi jí zhī jì xiǎng zhàn yòu tā。 tā qì fèn dì zǒu liǎo。 zuì hòu， tā xiǎng dào xú shè tè qù zhǎo luó dào 'ěr fú bāng zhù。 luó dào 'ěr fú jìng gōng rán shuō tā méi yòu qián。 ài mǎ shòu jìn líng rǔ， xīn qíng wàn fēn chén zhòng。 dāng tā cóng luó dào 'ěr fú jiā chū lái shí， gǎn dào qiáng zài yáo huàng， tiān huā bǎn wǎng xià yā tā。 tā zǒu jìn yī tiáo yōu cháng de lín yìn dào shàng， bàn zài suí fēng sàn kāi de kū yè duī shàng…… huí dào jiā， ài mǎ tūn chī liǎo pī shuāng。 tā xiǎng zhè yàng yī lái“ yī qiē qī zhà， bēi bǐ hé zhé mó tā de wú shù yù wàng， dū hé tā bù xiāng gān liǎo”。 bāo fǎ lì yī shēng guì zài tā de chuáng biān， tā bǎ shǒu fàng zài tā de tóu fā lǐ miàn， zhè zhǒng tián mì de gǎn jué， yuè fā shǐ yī shēng gǎn dào nán guò。 ài mǎ yě gǎn dào duì bù qǐ zì jǐ de zhàng fū。 tā duì tā shuō：“ nǐ shì hǎo rén。” zuì hòu， tā kàn liǎo hái zǐ yī yǎn， tòng kǔ dì lí kāi liǎo zhè gè shì jiè。
wèile cháng qīng zhài wù， bāo fǎ lì yī shēng bǎ quán bù jiā chǎn dū dāng guāng mài jìn liǎo。 tā zài fān chōu tì shí， fā xiàn liǎo qī zǐ hé lài 'áng de lái wǎng qíng shū yǐ jí luó dào 'ěr fú de huà xiàng。 tā shāng xīn jí liǎo， hǎo cháng shí jiān dū bì mén bù chū。 yī cì， tā zài shì chǎng shàng yù jiàn liǎo luó dào 'ěr fú， dàn tā yuán liàng liǎo zì jǐ de qíng dí， rèn wéi“ cuò de shì mìng”。 tā zài chéng shòu liǎo zhǒng zhǒng dǎ jī zhī hòu， yě sǐ liǎo。 ài mǎ yí xià de nǚ 'ér jì yǎng zài yí mǔ jiā lǐ， hòu lái jìn liǎo shā chǎng。
bāo fǎ lì yī shēng sǐ hòu， xiān hòu yòu sān gè yī shēng dào yǒng zhèn kāi yè， dàn dū jīng bù qǐ hǎo mài pīn mìng de pái jǐ， méi yòu yī gè zhàn dé zhù jiǎo。 yú shì zhè wèi fēi fǎ kāi yè de yào jì shī dà zǒu hóng yùn， bìng huò dé liǎo zhèng fǔ bān fā gěi tā de shí zì xūn zhāng。
The novel was attacked for obscenity by public prosecutors when it was first serialized in La Revue de Paris between October 1, 1856 and December 15, 1856, resulting in a trial in January 1857 that made the story notorious. After the acquittal on February 7, 1857, it became a bestseller when it was published as a book in April 1857, and now stands virtually unchallenged not only as a seminal work of Realism, but as one of the most influential novels ever written.
A 2007 poll of contemporary authors, published in a book entitled The Top Ten, cited Madame Bovary as one of the two greatest novels ever written, second only to Leo Tolstoy's Anna Karenina.
Plot summary
Madame Bovary takes place in provincial northern France, near the town of Rouen in Normandy. The story begins and ends with Charles Bovary, a stolid, kindhearted man without much ability or ambition. As the novel opens, Charles is a shy, oddly-dressed teenager arriving at a new school amidst the ridicule of his new classmates. Later, Charles struggles his way to a second-rate medical degree and becomes an officier de santé in the Public Health Service. His mother chooses a wife for him, an unpleasant but supposedly rich widow, and Charles sets out to build a practice in the village of Tostes (now Tôtes).
One day, Charles visits a local farm to set the owner's broken leg, and meets his client's daughter, Emma Rouault. Emma is a beautiful, daintily-dressed young woman who has received a "good education" in a convent and who has a latent but powerful yearning for luxury and romance imbibed from the popular novels she has read. Charles is immediately attracted to her, and begins checking on his patient far more often than necessary until his wife's jealousy puts a stop to the visits. When his wife dies, Charles waits a decent interval, then begins courting Emma in earnest. Her father gives his consent, and Emma and Charles are married.
At this point, the novel begins to focus on Emma. Charles means well, but is boring and clumsy, and after he and Emma attend a ball given by the Marquis d'Andervilliers, Emma grows disillusioned with married life and becomes dull and listless. Charles consequently decides that his wife needs a change of scenery, and moves from the village of Tostes into a larger, but equally stultifying market town, Yonville (traditionally based on the town of Ry). Here, Emma gives birth to a daughter, Berthe; however, motherhood, too, proves to be a disappointment to Emma. She then becomes infatuated with one of the first intelligent young men she meets in Yonville, a young law student, Léon Dupuis, who seems to share her appreciation for "the finer things in life", and who returns her admiration. Out of fear and shame, however, Emma hides her love for Léon and her contempt for Charles, and plays the role of the devoted wife and mother, all the while consoling herself with thoughts and self-congratulations of her own virtue. Finally, in despair of ever gaining Emma's affection, Léon departs to study in Paris.
One day, a rich and rakish landowner, Rodolphe Boulanger, brings a servant to the doctor's office to be bled. He casts his eye over Emma and decides she is ripe for seduction. To this end, he invites Emma to go riding with him for the sake of her health; solicitous only for Emma's health, Charles embraces the plan, suspecting nothing. A three-year affair follows. Swept away by romantic fantasy, Emma risks compromising herself with indiscreet letters and visits to her lover, and finally insists on making a plan to run away with him. Rodolphe, however, has no intention of carrying Emma off, and ends the relationship on the eve of the great elopement with an apologetic, self-excusing letter delivered at the bottom of a basket of apricots. The shock is so great that Emma falls deathly ill, and briefly turns to religion.
When Emma is nearly fully recovered, she and Charles attend the opera, on Charles' insistence, in nearby Rouen. The opera reawakens Emma's passions, and she re-encounters Léon who, now educated and working in Rouen, is also attending the opera. They begin an affair. While Charles believes that she is taking piano lessons, Emma travels to the city each week to meet Léon, always in the same room of the same hotel, which the two come to view as their "home." The love affair is, at first, ecstatic; then, by degrees, Léon grows bored with Emma's emotional excesses, and Emma grows ambivalent about Léon, who becoming himself more like the mistress in the relationship, compares poorly, at least implicitly, to the rakish and domineering Rodolphe. Meanwhile, Emma, given over to vanity, purchases increasing amounts of luxury items on credit from the crafty merchant, Lheureux, who arranges for her to obtain power of attorney over Charles’ estate, and crushing levels of debts mount quickly.
When Lheureux calls in Bovary's debt, Emma pleads for money from several people, including Léon and Rodolphe, only to be turned down. In despair, she swallows arsenic and dies an agonizing death; even the romance of suicide fails her. Charles, heartbroken, abandons himself to grief, preserves Emma's room as if it is a shrine, and in an attempt to keep her memory alive, adopts several of her attitudes and tastes. In his last months, he stops working and lives off the sale of his possessions. When he accidentally comes across Rodolphe's love letters one day, he still tries to understand and forgive. Soon after, he becomes reclusive; what has not already been sold of his possessions is seized to pay off Lheureux, and he dies, leaving his young daughter Berthe to live with distant relatives and eventually sent to work at a cotton mill.
Chapter-by-chapter
Part One
1. Charles Bovary's childhood, student days
2. First marriage, Charles meets Rouault and his daughter Emma; Charles's first wife dies
3. Charles proposes to Emma
4. The wedding
5. The new household at Tostes
6. An account of Emma's childhood and secret fantasy world
7. Emma becomes bored; invitation to a ball by the Marquis d'Andervilliers
8. The ball at the château La Vaubyessard
9. Emma follows fashions; her boredom concerns Charles, and they decide to move; they find out she is pregnant
Part Two
1. Description of Yonville-l'Abbaye: Homais, Lestiboudois, Binet, Bournisien, Lheureux
2. Emma meets Léon Dupuis, the lawyer's clerk
3. Emma gives birth to Berthe, visits her at the nurse's house with Léon
4. A card game; Emma's friendship with Léon grows
5. Trip to see flax mill; Lheureux's pitch; Emma is resigned to her life
6. Emma visits the priest Bournisien; Berthe is injured; Léon leaves for Paris
7. Charles's mother bans novels; the blood-letting of Rodolphe's farmhand; Rodolphe meets Emma
8. The comice agricole (agricultural show); Rodolphe woos Emma
9. Six weeks later Rodolphe returns and they go out riding; he seduces her and the affair begins
10. Emma crosses paths with Binet; Rodolphe gets nervous; a letter from her father makes Emma repent
11. Operation on Hippolyte's clubfoot; M. Canivet has to amputate; Emma returns to Rodolphe
12. Emma's extravagant presents; quarrel with mother-in-law; plans to elope
13. Rodolphe runs away; Emma falls gravely ill
14. Charles is beset by bills; Emma turns to religion; Homais and Bournisien argue
15. Emma meets Léon at performance of Lucie de Lammermoor
Part Three
1. Emma and Léon converse; tour of Rouen Cathedral; cab-ride synecdoche
2. Emma goes to Homais; the arsenic; Bovary senior's death; Lheureux's bill
3. She visits Léon in Rouen
4. She resumes "piano lessons" on Thursdays
5. Visits to Léon; the singing tramp; Emma starts to fiddle the accounts
6. Emma becomes noticeably anxious; debts spiral out of control
7. Emma begs for money from several people
8. Rodolphe cannot help; she swallows arsenic; her death
9. Emma lies in state
10. The funeral
11. Charles finds letter; his death
Characters
Emma Bovary
Emma is the novel's protagonist and is the main source of the novel's title (although Charles's mother and his former wife are also referred to as Madame Bovary). She has a highly romanticized view of the world and craves beauty, wealth, passion and high society. It is the disparity between these romantic ideals and the realities of her country life that drive most of the novel, most notably leading her into two extramarital love affairs as well as causing her to accrue an insurmountable amount of debt that eventually leads to her suicide.
Emma is quite intelligent, but she never has a chance to develop her mind. As an adult, Emma's capacity for imagination is far greater than her capacity for analysis. She is observant about surface details, such as how people are dressed, but she never looks below the surface. As a result, she is easily taken in by people who are pretending to be something more than they really are (which most people in the book do for one reason or another). Emma not only believes in the false fronts other people present to her, but she despises the very few people (Charles's mother, Madame Homais, and Monsieur Binet) who are exactly as they appear to be.
Convinced that the grass is always greener on the other side of the fence, Emma does not realize that extreme joy, even for the wealthy and powerful, comes rarely. Not only country or bourgeois life is dull. For instance, Emma is surprised to see that aristocrats do not serve fancy food and drink at their everyday breakfasts: she'd prefer to believe that for the nobility, life is really an excitement-filled drama. Later, she fails to see that Rodolphe's wealth hasn't made him happy, despite obvious evidence of this fact.
Since Emma lives chiefly in her own fantasy world, other people's opinions or perceptions of her aren't important except to the extent that they serve some aspect of whatever drama she's trying to act out. At the ball, she's convinced that her aristocratic hosts have fully accepted her as one of their own, so much so that she expects an invitation the following year. In reality, the hosts condescended to invite Charles and Emma to the ball as reward for a favor, intending for it to be a once-in-a-lifetime treat. Indeed, Emma makes several missteps that would be embarrassing to anyone steeped in upper-class culture of the period. She waltzes so badly that she tangles her dress up with her dance partner, and she uses the gaffe as an excuse to rest her head on his chest. She is one of the few people left at the party when the hosts finally go to bed. She does not attempt to establish new social contacts at the party, nor does she write a thank-you note afterwards. She does not attempt to return the cigar-case she and Charles find later, which might have been a reasonable pretext to resume correspondence with their host. So she is far from a gracious guest, and she fails to do the things that could, under the right circumstances, lead to real social connections in high places.
Emma seldom makes an effort to cultivate friendships with other people, unless doing so serves the image she has of herself. She wants desperately to be an aristocrat, particularly after the d'Andervilliers ball, but although she's very good at aping the superficial behaviors (such as clothing and figures of speech), she lacks the manners and savoir-faire to actually operate in their culture. No matter what social group she decides she belongs to (aristocrats, the people of Yonville, people with "noble souls", adulteresses, religious martyrs, dramatic heroines, etc.), every time her role requires interaction with someone who actually is in that group Emma messes up. She doesn't go out of her way to ingratiate herself with new people, because she genuinely doesn't care what they think of her. The same indifference causes her to be rejected by most people in Tostes and Yonville, and to be very careless of her reputation once she starts having extramarital affairs. Binet, Homais, Charles's mother, and Lheureux all catch her in compromising situations, and she truly doesn't care. At some level, she wants not only the excitement of taking the risk, but possibly the drama that would result from being caught.
Emma seeks out the extremes in life, both positive and negative. That she seeks out positive experiences is obvious, because unless she's experiencing the peak of ecstasy, she's convinced she's miserable. She also re-writes her own history and memory, telling herself that she has "never" been happy every time it appears to her that, by indulging some whim, she can achieve the emotional experiences to which she feels entitled. Her appetite for stimulation grows to the point where she becomes jaded enough not to appreciate the small pleasures in life, simply because they are small pleasures. The more she experiences, the less she is satisfied with more normal activities. Consider, for example, her taste in literature. She starts out with romances and bourgeois women's magazines targeted to her real social and economic position. From there she graduates to high-fashion women's magazines that advocate conspicuous consumption. The next step is overwrought romantic poetry, followed by tragic opera, and culminating in the violent pornography which she reads between assignations with Léon. As Vladimir Nabokov observes, Emma "reads books emotionally, in a shallow juvenile manner, putting herself in this or that female character's place."
Emma feels entitled to seek out increasing pleasure and stimulation for herself. Her sense of entitlement grows over time, as does her belief that she has been somehow wronged by destiny or by the people around her. As a young girl, Emma was influenced by her improvident but pretentious father. She was also indulged as a teen and as a young adult, and nobody ever realized her expectations and attitudes about life were unreasonable or attempted to correct them. Emma's mother died too early, and her father let her be raised at a convent and educated like a young woman of independent means. Emma eventually comes to believe that all her wishes will come true, if she believes in them strongly enough and throws a big enough tantrum when she doesn't get her way. Although her father is aware of the problem, he never tries to address it and chooses to leave it to Charles instead.
Over the course of the book, Emma finds different ways to rationalize her feeling of entitlement at different times of her life. Before her marriage, she craves excitement because she is bored. In Tostes, particularly after the ball, she believes she was unjustly born into the wrong socioeconomic class and that everything would be better if only she were rich. Later, after being introduced to poetry, she believes she suffers because she has a noble soul. Ultimately she casts herself as a tragic heroine.
Emma's attraction to the negative extremes of the human experience is less obvious, but the signs are there. As a teenager, she's rewarded for an overblown, somewhat fake display of grief after her mother's death. Her father caters to her whims, as does Charles, who responds to Emma's ennui and psychosomatic illnesses by ignoring his patients and concentrating solely on his wife. Emma's fleeting but intense fascination with religion is much the same: people reward her pious conduct with extra attention and treat her as though she's superior, which reinforces her feelings of entitlement.
It is Emma's sense of superiority and entitlement that make her vulnerable to people who seek to use and manipulate her. Anyone who plays along with Emma's pretentiousness is assured of her good graces. Lheureux, the predatory money-lender who fleeces Emma and Charles, is obsequious to Emma in order to get her to spend more money on unnecessary purchases. He takes advantage of her sense of entitlement by treating her like a grand lady and by indicating that she deserves all the impractical luxuries he persuades her to buy. By giving Emma credit for business sense and experience she doesn't actually possess, Lheureux takes advantage of Emma's financial inexperience. He skims ridiculous sums off the top of every promissory note he has Emma sign, and bluffs her into believing that large commissions are somehow customary in business. Unwilling to admit her ignorance, Emma lets herself be conned instead.
Throughout her life, Emma selects dramatic, exaggerated depictions of human existence and adopts them as a romantic or personal ideal; moreover, she convinces herself that her ideal is somehow the norm, and that the reality she experiences is the exception to the rule. As a teenager, she seeks to emulate the romantic novels she read while at the convent. After the ball, she seeks to emulate the nobility and the wealthy and creates a new romantic ideal based on a man she met at the ball. After being introduced to poetry, she adopts a romantic martyr-like facade. After being exposed to the melodramatic opera "Lucia de Lammermoor", Emma adopts the insane fictional character Lucy Ashton as her role model and becomes convinced that the correct way to respond to adversity is to lose her mind and commit suicide, which she eventually does.
Each individual decision of Emma's seems plausible and reasonable in isolation, but her actions and decisions on the whole make her a very difficult character to like. She is too self-absorbed to consider the consequences of her actions as they affect other people. Her recklessness with money leads to financial ruin not just for herself but for her husband and child.
Charles Bovary
Emma's husband, Charles Bovary, is a very simple and common man. He is a country doctor by profession, but is, as in everything else, not very good at it. He is in fact not qualified enough to be termed a doctor, but is instead an officier de santé, or "health officer". When he is persuaded by Homais, the local pharmacist, to attempt a difficult operation on a patient's clubfoot, the effort is an enormous failure, and his patient's leg must be amputated by a better doctor.
Charles adores his wife and finds her faultless, despite obvious evidence to the contrary. He never suspects her affairs and gives her complete control over his finances, thereby securing his own ruin. Despite Charles's complete devotion to Emma, she despises him as he is the epitome of all that is dull and common. When Charles discovers Emma's deceptions after her death he is devastated and dies soon after, but not before frittering away the very last of the assets remaining after his bankruptcy by living the way he believed Emma would have wanted him to live.
Charles is presented from the start as a likeable and well-meaning fool who happens to have a good memory and a way with people. Although it annoys Emma that Charles doesn't deduce her attitude toward him based on her very subtle hints and cues, she would need a far more blunt approach to get her message across. Charles's lack of insight regarding Emma is not unique. He fails to realize that Homais is not his friend but his enemy and lets the pharmacist isolate him from the other people in town. He fails to realize that Rodolphe has designs on Emma. He trusts Léon implicitly even though he's aware Emma is emotionally attached to the young clerk. He fails to realize that Emma's expenditures have put the household in debt, and he doesn't realize that Lheureux is a financial predator. He also ignores potential allies in the town who might have pointed out what everybody else thought was obvious.
Charles is no genius, but at the time he meets Emma he's doing well financially. He's married, he's got a thriving practice that has grown in response to his popularity with his patients, and he's got a good reputation in the community. After he moves to a new town, he never regains his former position, and Emma is part of the reason why. He knows he is in financial trouble, but continues to enable Emma's spendthrift ways. He takes on more than his share of his responsibility for the success of the marriage, and he tries to cover for Emma's lapses. Meanwhile, he gives up control over the financial aspects of his practice, which allows Emma to start embezzling. In fact, he borrows from a moneylender and does not tell Emma.
During Emma's first mysterious collapse, which is in response to her realization that she's not getting a second ball invitation, Charles abandons his patients and acts as her full-time nurse even though her life is not obviously in danger. The more he hovers, the worse Emma's "health problem" becomes. He gives up a thriving practice and moves to an area where he knows nobody. He nurses her through two more collapses, and allows her to talk him into attempting an operation he is not qualified to perform.
Monsieur Homais
Monsieur Homais is the town pharmacist. In one incident, he convinces Charles to perform corrective surgery on a young stable boy, afflicted with a club foot. During this era, correcting or eliminating a disability was a daring option and he may have considered this an opportunity to garner personal attention and praise. The operation is a disaster, and the stable boy is left with his leg amputated at the thigh.
Despite having been convicted of practicing medicine without a license, he continues to give "consultations" in his pharmacy. This means that the presence of a licensed health officer in town is a threat to him. Not only are he and Charles in competition for patients, but if Charles were to report Homais for practicing medicine without a license, the courts would deal strictly with Homais given that it would be a second conviction. So, to keep the clueless Charles from turning him in to the authorities should Charles ever find out about the "consultations", Homais becomes Charles's best friend, at least on the surface. Meanwhile he undermines Charles at every opportunity. Convincing him to attempt the risky club foot operation may have been part of an ongoing strategy to discredit Charles so as to run him out of town. At the end of the book, after Charles's death, Homais uses similar strategies to get rid of subsequent doctors and is left in sole control of the medical profession in Yonville.
He is also vehemently anti-clerical and an atheist. He is the one who insists that Emma should go riding with Rodolphe, that Charles take her to see the opera in Rouen, and that she be allowed to take expensive music lessons in Rouen. No idiot, and with his ear to the ground for gossip, Homais appears to be completely unaware of Emma's adultery but subtly goes out of his way to make it easier for her. He also directly enables her ultimate act of self-destruction by detailing in her presence the means by which his supply of arsenic might be accessed.
Madame Homais
The wife of Monsieur Homais, Madame Homais is a simple woman whose life revolves around her husband and children, of which she has four. Caring for four children is no trivial task, especially without electricity, hot running water, or any form of public schooling beyond occasional classes offered by the parish priest. Furthermore, in addition to her own four children Madame Homais cares for Justin, a teenage relative who lives with the Homais family and who helps Monsieur Homais out in the pharmacy. She also takes care of a boarder: a young male student by the name of Léon Dupuis. With that many people in the household, Madame Homais can be excused for having a live-in maid to help with at least some of the cooking, cleaning, and mending. Even with the maid's help, Madame Homais works very hard. Since the pharmacy is quite successful, she could perhaps get away with having her own horse or dressing in the latest fashions, but she does not. Instead, she takes in a boarder to earn extra money.
Madame Homais serves chiefly as a foil for Emma. Whereas Madame Homais, or even Charles's infirm first wife, has a legitimate reason for wanting a maid, Emma is able-bodied aside from her drama-induced fainting fits and collapses. She simply chooses to do no housework, and to refrain from any of the activities bourgeois women generally did in order to earn money on the side. She does not sub-let an upstairs bedroom to a tenant the way Madame Homais rents to Léon, she leaves all the housekeeping to the maid, and does no work herself unless it suits whatever religious or social fantasy she has about herself at the time. Madame Homais does not dress fashionably or even well, whereas Emma is always dressed in the latest expensive fashions that are more lavish than what anyone else in Yonville seems able to afford. Madame Homais dotes on her children, while Emma ignores and despises her daughter unless she's acting out a maternal fantasy.
Emma despises Madame Homais for her simplicity, unless she's in the mood to pretend to idealize good mothers. Madame Homais, however, seems unaware that Emma dislikes her. Even when other people gossip about Emma, Madame Homais defends her. That naive loyalty is rewarded with nothing but contempt most of the time.
Léon Dupuis
First befriending Emma when she moves to Yonville, Léon seems a perfect match for her. He shares her romantic ideals as well as her disdain for common life. He worships Emma from afar before leaving to study law in Paris. A chance encounter brings the two together several years later and this time they begin an affair. Though the relationship is passionate at first, after a time the mystique wears off.
Financially, Léon cannot afford to carry on the affair, so Emma pays more and more of the bills. Eventually she assumes the whole financial burden. She also takes the lead in planning meetings and setting up communication, which is a reversal of the role she had with Rodolphe. Léon does not seem to find Emma's financial aggression disturbing or inappropriate, although when Emma asks him to pawn some spoons she'd received as a wedding gift from her father, Léon does become uncomfortable. He objects to the heavy spending, but does not press too hard when Emma overrules him. He's content to be the recipient of Emma's largesse, and to not think too much about where the money is coming from. He also does not feel particularly obligated to reciprocate later, when Emma asks him for help in her hour of financial need.
Over time, Léon becomes disenchanted with Emma, particularly after her attentions start to affect his work. The first time she arrives at his office, he's charmed and leaves work quickly. After a while, the interruptions have an effect on his work and his attitude to the other clerks. Eventually someone sends word to Léon's mother that her son is "ruining himself with a married woman", and Léon's mother and employer insist that he break off the affair. Léon does, briefly, but cannot stay away from Emma. His reluctance is tempered with relief because Emma's pursuit of him has become increasingly disturbing. When Emma's debts finally come due, she attempts to seduce Léon into stealing the money to cover her debts from his employer. At this point, he becomes genuinely afraid. He fobs her off with an excuse and disappears from her life.
Rodolphe Boulanger
Rodolphe is a wealthy local man who seduces Emma as one more addition to a long string of mistresses. Though occasionally charmed by Emma, Rodolphe feels little true emotion towards her. As Emma becomes more and more desperate, Rodolphe loses interest and worries about her lack of caution. He eventually ends their relationship, but not before going through a collection of letters and tokens from previous mistresses, all of whom ended up wanting either love or money.
Rodolphe's deteriorating feelings for Emma do not keep him from accepting the valuable gifts she showers on him throughout their relationship, even though he realizes at some level that she can't afford to be so generous. The gifts she gives him are of the same value and quality as she imagines an aristocrat such as the Vicount might receive from a similarly aristocratic mistress. Rodolphe's gifts to Emma are nowhere near as valuable even though he is by far the wealthier of the two. He does not feel particularly obligated by having accepted the gifts, even though they create a large part of Emma's debt to Lheureux.
When Emma asks Rodolphe for help at the peak of her financial crisis, after refusing the sex-for-money exchange offered by the wealthy Monsieur Guillaumin, she essentially attempts to initiate a sex-for-money exchange with Rodolphe. She pretends at first to have returned out of love, then when the timing feels right she asks him for money, using an obvious lie about why she needs a loan. She therefore comes across as among the most mercenary of Rodolphe's past mistresses. Rodolphe therefore sees no need to help her, though he could perhaps not afford to lend her enough money to keep her creditors at bay even if he desired to.
Monsieur L'heureux
A manipulative and sly merchant who continually convinces Emma to buy goods on credit and borrow money from him. L'heureux plays Emma masterfully and eventually leads her so far into debt as to cause her financial ruin and subsequent suicide.
L'heureux's reputation as an aggressive money lender is well known in Yonville. Had Emma or Charles had the wit to make inquiries about him or even to listen to the gossip, they would have realized that L'heureux had ruined at least one other person in town through his stratagems. Yet the only "friend" they trust, Homais, is fully aware of L'heureux's treachery but disinclined to warn Emma or Charles. So both Emma and Charles end up borrowing money from L'heureux without each other's knowledge.
Setting
The setting of Madame Bovary is crucial to the novel for several reasons. First, it is important as it applies to Flaubert's realist style and social commentary. Secondly, the setting is important in how it relates to the protagonist Emma.
It has been calculated that the novel begins in October 1827 and ends in August 1846 (Francis Steegmuller). This is around the era known as the “July Monarchy”, or the rule of King Louis-Philippe. This was a period in which there was a great up-surge in the power of the bourgeois middle class. Flaubert detested the bourgeoisie. Much of the time and effort, therefore, that he spends detailing the customs of the rural French people can be interpreted as social criticism.
Flaubert put much effort into making sure his depictions of common life were accurate. This was aided by the fact that he chose a subject that was very familiar to him. He chose to set the story in and around the city of Rouen in Normandy, the setting of his own birth and childhood. This care and detail that Flaubert gives to his setting is important in looking at the style of the novel. It is this faithfulness to the mundane elements of country life that has garnered the book its reputation as the beginning of the literary movement known as “literary realism”.
Flaubert also deliberately used his setting to contrast with his protagonist. Emma's romantic fantasies are strikingly foiled by the practicalities of the common life around her. Flaubert uses this juxtaposition to reflect on both subjects. Emma becomes more capricious and ludicrous in the harsh light of everyday reality. By the same token, however, the self-important banality of the local people is magnified in comparison to Emma, who, though impractical, still reflects an appreciation of beauty and greatness that seems entirely absent in the bourgeois class.
Style
The book, loosely based on the life story of a schoolfriend who had become a doctor, was written at the urging of friends, who were trying (unsuccessfully) to "cure" Flaubert of his deep-dyed Romanticism by assigning him the dreariest subject they could think of, and challenging him to make it interesting without allowing anything out-of-the-way to occur. Although Flaubert had little liking for the styles of Balzac or Zola, the novel is now seen as a prime example of Realism, a fact which contributed to the trial for obscenity (which was a politically-motivated attack by the government on the liberal newspaper in which it was being serialized, La Revue de Paris). Flaubert, as the author of the story, does not comment directly on the moral character of Emma Bovary and abstains from explicitly condemning her adultery. This decision caused some to accuse Flaubert of glorifying adultery and creating a scandal.
The Realist movement used verisimilitude through a focus on character development. Realism was a reaction against Romanticism. Emma may be said to be the embodiment of a romantic; in her mental and emotional process, she has no relation to the realities of her world. She inevitably becomes dissatisfied since her larger-than-life fantasies are impossible to realize. Flaubert declared that much of what is in the novel is in his own life by saying, "Madame Bovary, c'est moi" ("Madame Bovary is me").
Madame Bovary, on the whole, is a commentary on the entire self-satisfied, deluded, bourgeois culture of Flaubert's time period. His contempt for the bourgeoisie is expressed through his characters: Emma and Charles Bovary lost in romantic delusions; absurd and harmful scientific characters, a self-serving money lender, lovers seeking excitement finding only the banality of marriage in their adulterous affairs. All are seeking escape in empty church rituals, unrealistic romantic novels, or delusions of one sort or another.
Literary significance and reception
Long established as one of the greatest novels ever written, the book has often been described as a "perfect" work of fiction. Henry James writes: "Madame Bovary has a perfection that not only stamps it, but that makes it stand almost alone; it holds itself with such a supreme unapproachable assurance as both excites and defies judgment."
Adaptations
Madame Bovary has been made into several films, beginning with Jean Renoir's 1932 version. It has also been the subject of multiple television miniseries and made-for-TV movies. The most notable of these adaptations was the 1949 film produced by MGM. Directed by Vincente Minnelli, it starred Jennifer Jones in the title role, co-starring James Mason, Van Heflin, Louis Jourdan, and Gene Lockhart. It was adapted by Giles Cooper for the BBC in 1964, with the same script being used for a new production in 1975. A new BBC version adapted by Heidi Thomas was made in 2000, starring Frances O'Connor and Hugh Bonneville.
Claude Chabrol made his version starring Isabelle Huppert.
Madame Bovary has been adapted into a piece of musical theatre, entitled The Bovary Tale. Composer: Anne Freier. Librettist: Laura Steel. The first performance was at the Gatehouse Theatre in Highgate Village in September 2009.
David Lean's film Ryan's Daughter (1970) was a loose adaptation of the story, relocating it to Ireland during the time of the Easter Rebellion. The script had begun life as a straight adaptation of Bovary, but Lean convinced writer Robert Bolt to re-work it into another setting.
Indian director Ketan Mehta adapted the novel into a 1992 Hindi film Maya Memsaab.
Madame Blueberry is an 1998 film in the Veggietales animated series. It is a loose parody of Madame Bovary, in which Madame Blueberry, an anthropomorphic blueberry, gathers material possessions in a vain attempt to find happiness.
Academy Award nominated film Little Children features the novel as part of a book club discussion, and shares a few elements of the main idea.
Naomi Ragen loosely based her 2007 novel The Saturday Wife on Madame Bovary.
Posy Simmonds graphic novel Gemma Bovery reworked the story into a satirical tale of English expatriates in France.
Vale Abraão (1993) (Abraham's Vale) by Manoel de Oliveira is a close interpretation set in Portugal, even referencing and discussing Flaubert's novel several times.
"Madame Ovary" is the name of a character in DC Comics' The Adventures of the Outsiders #33-35. Madame Ovary's name was really Dr. Ovarin, and she was created by Mike W. Barr and Alan Davis.