Madame Bovary, Gustave Flaubert
Historical and Cultural Context
Madame Bovary was first published in 1857 during the French Second Empire (1852-1870), under the reign of Napoleon III. This was a time of economic growth and modernisation in France.
Despite these advances, French society was deeply stratified with clearly defined classes: aristocracy, bourgeoisie (middle class), and working class. Flaubert, critical of bourgeois attitudes, presents these social divisions through his characters.
The rural setting of the novel reflects the prevalent rural life in France during this period. This contrasts with the increasing urbanisation happening in Paris and other major French cities.
The book reflects the significant role of the Catholic Church in French society. Flaubert critiques its hypocrisy, as seen in the character of the priest in the novel.
The status of women in mid-19th century France is a crucial aspect of the novel's background. Women were largely confined to domestic roles and had limited personal and economic freedom.
The romantic ideals prevalent in much of 19th century literature are contrasted with the harsh realities of provincial life in Madame Bovary, Flaubert's realism was a deliberate reaction against romanticism.
The cultural milieu of the time included the growing popularity of novels, particularly those that appealed to middle-class women, reflecting Emma's fascination with romantic novels.
The impact of the Industrial Revolution and capitalism is visible in the novel through themes of debt and consumerism.
The novel also reflects changes in the medical field during this era, with Charles Bovary depicted as an inept but well-meaning country doctor, a symbol of the transitional state of medicine in the mid-19th century.
Flaubert's novel, in part, reflects the period's societal concern about the 'woman question'—a widespread debate about the changing roles and rights of women. Emma Bovary's dissatisfaction symbolises the discontent many women felt within the domestic sphere.
When was Madame Bovary first published?
A. 1867
B. 1857
C. 1877
D. 1847
What is the main literary style of Madame Bovary?
A. Romanticism
B. Gothic
C. Realism
D. Surrealism
In which historical era was Madame Bovary set?
A. The French Revolution
B. The French Second Empire
C. The Bourbon Restoration
D. The French Third Republic
What setting in Madame Bovary contrasts the increasing urbanisation in France?
A. The bustling city setting
B. The gloomy forest setting
C. The tranquil seaside setting
D. The rural setting
DISCUSSION: Pick 2 songs that you think Emma would listen to if she were alive today. Explain why you chose them.
Further reading
Barnes, Julian. Flaubert’s Parrot. New York: Vintage Books, 1990. This is a postmodern novel that tells a story of Geoffrey Braithwaite's obsession with Gustave Flaubert.
Bloom, Harold, ed. Modern Critical Interpretations: Gustave Flaubert’s Madame Bovary. New York: Chelsea House Publishers, 1988. A collection of critical interpretations of Flaubert's novel, edited by Harold Bloom.
Flaubert, Gustave. Madame Bovary: Backgrounds and Sources; Essays in Criticism. Ed. and trans. Paul de Man. New York: W.W. Norton & Company, 1965. Comprehensive edition of Madame Bovary, including extensive background information and criticism essays, edited and translated by Paul de Man.
Gans, Eric. Madame Bovary: The End of Romance. Boston: Twayne Publishers, 1989. This is a critical analysis of Madame Bovary, exploring the end of the romantic ideal in the novel.
Heath, Stephen. Gustave Flaubert: Madame Bovary. New York: Cambridge University Press, 1992. Heath critically assesses Madame Bovary.
Sartre, Jean-Paul. The Family Idiot: Gustave Flaubert, 1821–1857. Trans. Carol Cosman. Chicago: University of Chicago Press, 1981. This is an extensive biographical work by Jean-Paul Sartre focusing on the life of Gustave Flaubert, translated by Carol Cosman.
Steegmuller, Francis, ed. The Letters of Gustave Flaubert. Cambridge: Harvard University Press, 1982. A collection of Gustave Flaubert's letters, providing insights into his life and work, edited by Francis Steegmuller.