By Aimee Israel-Pelletier
Israel Pelletier argues that Trois contes calls for a unique form of examining which distinguishes it from Madame Bovary and different Flaubert texts. by the point he wrote this past due paintings, Flaubert's perspective towards his characters and the function of fiction had replaced to deal with assorted social, political, and literary pressures. He developed opposing degrees of which means for every of the tales, directly and ironic, which produced a extra fruitful method of addressing a few of his matters and assumptions approximately langauge and phantasm. incorporated during this examine are a provocative feminist studying of Un Coeur, an evaluation of Saint Julien as Flaubert's try to come to phrases along with his originality as a author, and an interpretation of Hérodias as an autobiography of the writing technique.
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Extra resources for Flaubert's Straight and Suspect Saints: The Unity of 'Trois contes'
23 It does not, however, take Félicité long to feel at home and happy with the family. The episode of the bull in Part 2 suggests dramatically the way Félicité perceives men and how she is able to respond to their threat. On a peaceful night, as she, Madame Aubain, and the two children are returning home after an excursion to the farm, they are surrounded by a group of oxen. Madame Aubain and the children are petrified, but Félicité is able to calm them, and the oxen turn away. The walk home, however, holds a far more frightening surprise.
The infinite presents a threat of boredom and the threat of a loss of self. In Flaubert, one of the functions of description is precisely to limit or otherwise define and circumscribe the experience of the infinite, to strike a balance between the specific and the general, between the personal and the universal. 17 In this scene that features nature as an immense maternal body, a womb (the sky covers the scene with its huge canopy), only the women are content; Paul experiences the vast though sheltered space as limitation and confinement.
However, what is most remarkable about her vision, and what, for some readers, passes as a sign of her simple-mindedness, is her tendency toward animism. She is, like Flaubert himself, inclined to endow objects and signs with life. 36 For instance, Loulou is as much alive to her in death as he is in life. Moreover, at Honfleur, she stands watching Victor's boat disappear into the horizon until she sees nothing but "une tache noire qui pâlissait toujours, 42 Flaubert's Straight and Suspect Saints s'enfonça, disparut" (34).