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Madame Bovary (Oxford World's Classics) Paperback – June 2, 2005

4.5 out of 5 stars 19 customer reviews

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Editorial Reviews


"Madame Bovary is available in a superb new translation, in a handsome hardback volume,and if you've never read it, or if you've only worked through it in first-year college French, you need to sit down with this book as soon as possible. This is one of the summits of prose art, and not to know such a masterpiece is to live a diminished life."--Michael Dirda, Washington Post Book World

About the Author

Margaret Mauldon has worked as a translator since 1987. She has translated Zola's L'Assommoir, Stendhal's The Charterhouse of Parma, Huysmans' Against Nature (winner of the Scott Moncrieff Prize for translation, 1999), Constant's Adolphe, and Maupassant's Bel-Ami, all for the Oxford World's Classics series. Malcolm Bowie, formerly Marshal Foch Professor of French Literature at the University of Oxford, is now Master of Christ's College, Cambridge. His publications include Proust Among the Stars, which won the prestigious Truman Capote Award for Literary Criticism in 2001.

Product Details

  • Series: Oxford World's Classics
  • Paperback: 358 pages
  • Publisher: Oxford University Press (June 2, 2005)
  • Language: English
  • ISBN-10: 0192840398
  • ISBN-13: 978-0192840394
  • Product Dimensions: 7.7 x 0.9 x 5 inches
  • Shipping Weight: 8 ounces
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (19 customer reviews)
  • Amazon Best Sellers Rank: #2,267,110 in Books (See Top 100 in Books)

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Customer Reviews

Top Customer Reviews

Format: Paperback
Flaubert claimed to absent himself from his work, to be "everywhere present and yet nowhere visible," and in some points in "Bovary" this technical detachment seems to effect a sense of icy-cold objectivity. And yet every time I read the novel it becomes clearer that it was written in a state of intense emotion, of excruciating moral striving and almost blood-thirsty savagery. With every choice of every "right word" is embedded Flaubert's love or Flaubert's hate, and sometimes both love and hate at once.

What does Flaubert hate? He certainly seems to hate cliche, and Emma's days are wasted in pursuit of one cliche after another. She does not love the three men in her life, or her daughter, or God, or anyone, but sees them as more or less suitable accessories to the cloying romance she would like to make of her life. To say that Flaubert hates the idea of the bourgeois is accurate but potentially misleading. For him, the bourgeois has almost nothing to do with social class and everything to do with a failure to look and think for oneself, everything to do with giving in to the temptation to accept easy generalities ("received ideas") and ignore the value in the minutia of everyday life. Emma does not notice, as careful readers will, the depravity of the aristocrats at the ball because she does not observe them; she is only interested in the *idea* of aristocrats and in how being among them reflects on her. This has nothing to do with being middle class or with being for or against the establishment. Emma adopts anti-establishment attitudes, and certainly transgresses against social custom, but this is Emma at her worst; her affectations are no more admirable than Leon's poeticized histrionics or the pose of Byronic nihilism with which Rodolphe lures Emma into bed.
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By Sirin on December 11, 2007
Format: Paperback
I came to Madame Bovary through a perhaps fairly commonplace contemporary window - Julian Barnes's masterful 1984 novel 'Flaubert's Parrot'. Barnes, for those who are unfamiliar with him, is a Francophile English novelist who grabbed me when I was younger and I now read omnivorously. Flaubert's Parrot is a fascinating playful novel meditating on life, art, and especially Flaubert and his life and work, and especially Madame Bovary.

Of course, I was slightly wary of Madame Bovary's massive classic status. It easily holds its own in the pantheon of top five novels ever or something. But to read some of the reviews you might think Emma Bovary was a moderately attractive provincial slapper who got what she deserved.

People who think this clearly have no understanding human psychology. For on a first reading (most novels one reading suffices, but for Madame Bovary it was clear that it demands many subsequent re-readings) it was clear that Flaubert's succes du scandale is perhaps the greatest realist novel ever.

His style is supremely elegant, yet not dated in the way many of his 19th Century contemporaries have become. His subject is the world and its everymen - provincial people, limited in education, with vulgar and at hypocritical mores. His themes are timeless - the disjunction between people's idealised projection of themselves and the reality of their lives, the power dynamics of human relationships, the machinations of the heart, the difficulties of communication between people who live closely knit lives. His characters shine through not as mere holograms but as shining paragons of convincing personalities - the plodding mediocre husband, the frustrated wife, the feckless libertine and (my favourite) the tedious community worthy. These are not cliches but exemplars of so much human existence brought to life by the brilliance of Flaubert's style (he only wrote 25 words a day - slow progress, but well worth it).
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Format: Paperback
A wonderful read (even with the translation)!

Flaubert has written an engaging tale (set in 19th century rural France) that is beautifully written (or a least translated). The quality of the prose of descriptions of persons, places and things is of the highest quality; however, some of the conversations between characters, may have lost a little something in the translation. Nonetheless, this book had no trouble keeping my interest and provided me with a dramatic tragedy that was, to say the least, memorable.

This book must have caused quite a stir in its day, due to what would have been considered a scandalous topic at the time of its original publication. (SPOILER) It is the story of a beautiful, but bored and unsatisfied housewife, paired with a naive, cuckold husband; both of whom unwittingly conspire (her actively, him passively) to lead their marriage on an ever downward spiraling path to ruin.

Simply a superbly told tale! 5 Stars.
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Format: Paperback
I agree with the editorial review above that says you could shake this book and nothing would fall out. I am amazed at how much emotion Flaubert can convey in the midst of apparently neutral descriptions of fact. The story is powerfully told, and nothing is wasted.

The book is rather like a longer alternate version of Hedda Gabler. The author's unblinking eye shows you the virtues and flaws of all characters, letting the reader draw his or her own conclusions.
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Format: Paperback
If you are a potential reader of the book, I would recommend that you skip the analysis and comment - and I will not discuss the plot here. Instead, just jump in and read the novel. You can read the analysis later. I read this Oxford version of the novel a few months ago after being directed towards it by such well known writers as Saul Bellow and Vladimir Nabokov. They have written pieces and done interviews where they have pointed to this work of Flaubert as a pivotal work in the development of the modern novel and realism. It was followed by other great novels from writers such as Tolstoy, D.H. Lawrence, Dreiser, and Joyce, etc. It is a great novel, certainly yes, but in addition it is simply a great read.

With all of that fanfare, how does one write a review for Amazon? My quick answer is that the book meets all expectations. It immediately captures the reader. I read it start to finish in one day. It was impossible to put down. After reading it I read Flaubert's "Sentimental Education." It is a somewhat slower paced novel and it is good as well, but not quite as good as "Madame Bovary."

There are a number of charming features found in the novel. These include the interesting characters and the 19th century rural French atmosphere. With this setting and with the interesting characters, Flaubert strives for just the right phrases, the correct plot, and the proper structure to present his tale. It is said that he wrote only 100 pages per year and agonized over every paragraph. It seems as such, because the final product is a smooth quick read.

The prose is beautifully written and has its own charm. Here is an example for about one quarter of the way into the book shortly after from when the protagonist Emma meets her first lover.
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