Гюстав Флобер

Опит с характер

Личен живот

Гюстав Флобер (1821-1880), Гюстав Флобер) е роден на 12 декември 1821 г. Баща му е известен хирург в Руен в района на Нормандия на северозападна Франция. Той е директор на общинската болница в Руан от 1818 г. Флобер израства в болнична среда и е свикнал да прави аутопсии на трупове. Тази среда култивира неговата несъвместимост с религията.

In1830,Flauberthadjustlearnedthealphabetwhenhewas9yearsoldwhenheenteredschool.

Флобер е много висока личност, особено пред дами.

Flaubert'sfatherisaChampagneandhismotherisaNormandy.Hehasthecharacteristicsofthesetwoethnicgroups:acheerfulpersonality,atthesametimetheindifferenceofthenorthernpeoples,andacheerfultemperament.Atthesametime,inFlaubert'snature,thereissadnesshidden,andheyearnsforanidealthatcannotbepursued.

ItwasthemaidYuliwhofirstledhimtothisbeautifulworld.Sheisamasterofstorytelling.LittleFlaubertsatnexttoheralldaylong,andwasinfluencedbyromanticfantasiessinceshewasachild.

Intheeyesofordinarypeople,Flaubert'sintelligenceislow,butheshowsliterarytalent.Helikedliteraturesincehewasachildandreadalotofclassics.

През 1834 г. Флоберт е издал таблоид с ръкописи „ArtandProgress“.

In1835,whenFlaubertwas14yearsold,whilevacationingontheseasideinTrouville,withmusicpublisherÉlisaSchlésinger,thewifeofSchlesinger,founderof"Music"Metandfellinlovewithheratfirstsight.FlaubertsawAlyssaforthefirsttime,andhisshynessmadehimfrozeinfrontofthisbeautifulwoman.

In1840,FlaubertenrolledintheLawSchooloftheUniversityofParisaccordingtohisfather’swishesandarrangements.However,hepreferredliteraturesincehewasachildandwasnotinterestedinlawatall,sohestilllivedinRouenmostofthetime.Rarelygotoclass.InParis,hemetHugo,whomheadmiredforalongtime.Buthespentalotoftimereadingliteraryworksandmakingfriendswithliterati.

През 1843 г. той се проваля на юридическия изпит.

In1844,hesufferedasuddenneurosis(similartoepilepsy).Sincethen,heinterruptedhisstudiesandlivedintheCroisetteManorofhisparentsallyearround.Afterthat,hedevotedhimselftoliterarycreation.

Hedidn'tmakemanyfriendsallhislife,hedidn'tlikesocializing,andherarelytraveled,excepttocollectmaterialsforcreativepurposes.Inhisyouth,heformedadeepfriendshipwiththewriterDuGangandthepoetBuYe.Wheneverhehasanewwork,healwaysreadittothemfirst.Althoughthesetwowritersthemselvesarenotveryaccomplishedwriters,theyhavegoodartisticappreciationandjudgment,andtheycanbluntlyputforwardmorepertinentopinions.TheystartedtoturnfromromanticismtorealisminFlaubert'screation.Arolethatcannotbeignored.

In1845,afterthedeathofFlaubert’sfather,heacceptedalotofinheritanceandlivedwithhismotherandnieceintheCroisetteVillaontheoutskirtsofRouen.Helivedwithhismotherandlivedastablelifeuntilhisdeath..ThisvillaislocatedonthebanksoftheSeine,withbeautifulscenery,quietandpleasant,Flauberthasbeenfightinghardhereallhislife.Heisindifferenttotheworld,heisindifferenttolife,closeshisdoors,devoteshimselftocreation,andregardsartashisreligion.

InJuly1846,hemetthepoetessLouiseColletinParis.ShesoonbecameaclosefriendandmistressofFlaubert.Thefriendshiplastedfortenyears,leavingalargenumberofletters,whichisthefirst-handinformationforstudyinghiscreativethoughts.GaoLayproposedtohimtwice.

Whathispersonalemotionallifebringstohimishisunderstandingofwomen.AlthoughFlauberthasnotmarriedandlivedaloneinhislife,hislovelifeisstillrichandcolorful.Therearefiveimportantwomeninhislife:AlyssaSchlesinger,MadameFoucault,LouiseGaulay,PrincessMathildeandJulietHelbert.Inparticular,hisfirstloveforMrs.Schlesingerrepresentshis"agreatloveinhisentirelife"and"theonlypassion".Intheinteractionwiththesewomen,hehasadeepunderstandingofwomen'sspiritualworldandemotionalworld.Therefore,hewasabletoobservewomenfromthestandpointofwomen.

Джордж Санг, Зола, Мопасан и други поддържат добри отношения с него.

През 1880 г. Флобер умира от инсулт на 59 години.

Earlyexperience

Thein-depthunderstandingofsocietyenabledFlauberttoseethedarknessoflife.FlaubertexperiencedtheFrenchJulyRevolution,theFebruaryRevolution,andtheSecondEmpire.Hesawthatbehindtheprosperityofsocietyarepoliticalcorruption,materialdesires,andmoraldepravity,andthereisonlyintriguebetweenpeoplewithoutsincerityandtrust.Therefore,heshowedagreatunderstandingofsomebehaviorsofwomenlivinginthissocialenvironment.

Hesawthelowstatusofwomen,andalsodiscoveredthevirtuesofmanylow-levelwomen.Flaubertsawthekindnessandintegrityofwomenfromhismother,andthetendernessandbraveryofwomenfromsomeofthewomenaroundhim.Therefore,heparticularlyaffirmedcertainqualitiesembodiedinwomen.

Thehospitalenvironmenthasinfluencedhisperceptionofthesufferinginlife.WhenFlaubertwasyoung,heoftensawthethinfigureandpalefaceofthepatient,whichmadehimlooksopainful,sad,andlonely.Hisownillnessesalsobroughthimpain.Hisfatherandsisterdiedoneafteranother,makinghimfeeltheshortnessoflife.Itcanbesaidthatthesceneofthepatient,hisownillness,andthedeathofhisrelativesfilledFlaubert'sheartwithnamelesssorrowandmelancholy,whichcausedhispessimismanddisappointmentinlife.,

Пътят към писането

Писането на Флобер не се основава на вдъхновение, а на старание, съвети и съвети от приятели и проницателно наблюдение. Той работи упорито и преследва идеален стил. Флобер не си позволява да използва една и съща дума два пъти на една и съща страница.

От 1843 г. Флобер започва да се опитва да създава романи.

През 1845 г. Флобер завършва първата чернова на „Емоционално възпитание“.

Flaubertisapurewriter.Hehasnojoborcareer.Creationishislife,andartishisentirelife.Hesaid:"Lifeissougly,theonlywaytoendureistoavoidit.Toavoidit,youcanonlyliveinart,andyoucanonlyseekthetruthfrombeautybutnotthetruth."Hedoesnotsellwords,letalonesellhissoul,heIttookmanyyearstowriteanovel.Hedoesnotpublisharticlesinthenewspapers,andsomenovelsarecompletedandshelvedfor20years,andthenpublishedafterrevision.

Flaubertisawriterwhohasfacedenormouscontradictionsallhislife,anditcanevenbesaidthatheisacontradictioncombination.EvenFlauberthimselfhadtoadmitthathewasa"strangeanimalwhowasdrunkalldaylong"withcontradictionsinhispersonality.Asearlyaswhenhewas29yearsold,whenhismotherurgedhimtogetmarriedassoonaspossible,hecalledhimselfanintrovert,buthisbodywasfilledwithboilingblood,hismindwasfullofpassionateandrestlessthoughts,andhewassometimesquiet.Excitingsometimes.Tenyearslater,heonceagainconfessedhispersonalitytotheGoncourtbrothers:"Therearetwopeoplelivinginmybody.Oneiswhatyouseenow,withatightupperbodyandaheavybuttocks.Hewasborntowriteatthedesk.People;anotheronewholikestowander,atrulyhappywandererandobsessedwithalifefullofchanges.

Flaubertisaveryextremeperson.Inhismind,hethinksthatloveandhatearethesameSupremacyandnocompromise.FlaubertmentionedhisunderstandingoffriendshipinalettertoMissChantepieonDecember13,1866:"Welovewhetheritisacertainanimaloraperson(Infact,thedifferencebetweenhumansandanimalsisnotthatbig),thebeautyofthiskindoffeelingliesinthatweknowhowtolove.Ourownvalueliesinthepoweroflove.".Forhim,thischerishmentoffriendshipisbynomeansconfinedtowords,hedoesitinhislife.

LouisBouilhetisFlaubert’sclosestfriendFlaubert,whowasalsothe"midwife"ofhisliteraryworks,cherishedthesincerefriendshipwithFlaubertallhislife.AfterBouye’sdeath,Flaubertwrotehislastplay,Lesexefaible,andpublishedhisAcollectionofpoemsandprefacetoit.

В допълнение към ранните му произведения „Спомени на Лудия“ (1839) и „Смар, древни тайни“ (1839), важните произведения на Флобер включват „Мадам Бовари“ (1857), „Саламбо“ (1862), „Емоционално възпитание“ (1869) и „Изкушението на Св. Антон "(1874), има и сборник с разкази "Три истории", както и един незавършен роман "Фабре и Пегюше" и др. Той е написал голям брой писма.

Flaubertfrom1848Startedtowrite"TheTemptationofSt.Anthony"in1872andfinalizeditin1872.Duringthisperiod,themanuscriptwaschangedthreetimesandpublishedin1874.Flaubertstartedwritingthisnoveltimeandtimeagain,andagainandagainputitaway,andwantedtogiveitup.SaintAnthonyTemptedFlaubertfor25years.FlauberthimselfsaidthatSaintAnthonyishimself.SaintAnthonyisthefounderoftheancientChristianmonastery.Hehasresistedthetemptationsofthedevilinhislife.

Afterthepublicationof"MadameBovary",FlaubertwasverytiredanddisappointedwiththerealityofEuropeansociety.Hetriedtoescapefromthisworld,sohesethissightsontheancientkingdomofCarthageandAfrica.Hesaid"Inthedepthsofmysoul,thereisthemorningmistofthenorththatIbreathedsinceIwasyoung;Iwasbornwiththemelancholyandmigratoryinstinctofasavagenation,andIhatelifefrommyheart,sothattheyhavetoleavetheirhometown.Soleavingtheirhometown,asifleavingthemselves."So,hewrotethehistoricalnovel"Salembo".ThestoryhappenedafterthefirstPunicWar,whentheCarthagemercenaryMatoledamutiny,andhefellinlovewiththedaughteroftheCarthagecommander-in-chief,Sarangbo.Aftermanybloodyandcruelbattles,themercenarywasdefeated,Matowassentencedtodeath,andSarangbodiedimmediately.

Флобер „отхвърля всички фракции“ и мрази реализма. Такива заглавия. Той не се присъединява към никоя партия и не се интересува от никоя асоциация. Той мрази реализма, така че пише „Г-жа Бовари“.

FlauberthadclosecontactswithnaturalistwritersandtheoreticiansZolathroughouthislife.Zolawashisfriend,andthefamousnaturalistwriterMaupassantwashisprouddiscipleinhislateryears.

InDecember1875,adebateaboutaestheticsoccurredbetweenFlaubertandtheFrenchwriterGeorgeSand,whowasalsoateacherandfriend.Inthisdebate,Flaubertsaid:"SpeakingofmeThosefriends,youaddedasentenceof'Myschool',Irejectallschoolsinadvance","Ican'thaveanothertemperamentotherthanmytemperament,oranothersetofaestheticsthatisnotdevelopedbasedonmytemperament","andNotethatIhatewhateveryoneunanimouslycallsrealism,eventhoughtheyhaveassignedmetobeoneofitshighpriests."Hehatesotherpeopleclassifyinghimintoacertaincategory,andneveradmitsthatheisrelatedtoanykindofdoctrine,especiallyItisrealism.

Characterworks

Издаване на книги

Seemorebooks

Творчески характеристики

Тема на произведението

Една от темите на литературните произведения на Флобер: романтични чувства.

Themostfundamentalcharacteristicofromanticliteratureistheperceptualknowledgeofspecificthingsandthefreeexpressionofemotions(religiousemotions,sademotions,emotionstowardsnature,etc.).Inhisyouth,Flaubertshowedgreatenthusiasmforthiskindofliteraryaestheticthought.Flaubertlikedobscuremetaphors,darkcolors,andsonorouswords,andChateaubriand’spoemsmadehimecstatic.Onthispathofliterarycreation,Flaubertnotonlyexpressedhisadmirationandloveforromanticliterarythoughtthroughlettersandspeeches,butalsoexpressedhisstandpointthroughpracticalactions.EverythingthatFlaubertwroteinhisyouthisgloomy,gloomyandpessimistic:"ManicandIncompetent"writesthatamanwasburiedaliveandgnawedoffhisarm;theprotagonistof"AsYouLikeIt"isamonkeyandablackwomanThechildborn;"DreamofHell"writesthatthealchemyoldmanlivesinthebelltowerofthedynasty,andisassociatedwithbats.Satanreturnshisyouthandloveinexchangeforhissoul,buttheoldmanhasnosoul.Satanwantstodeceiveandcannotdeceive.Whenhewas16yearsold,hecompletedthephilosophicalnovel"InfatuationandMorality".TheheroineMazawasfullofsexualcommotionandindulgedinfantasy.Shewenttoofarawayfrommarriagecustoms,andthenabandonedherlover,andfinallyendedinsuicide.Thefamous"November"wasinspiredbyGoethe's"TheTroublesofYoungWerther",Chateaubriand's"Rene"andMusser's"ACenturyofRepentance".Theprotagonistisan18-year-oldboy.,Fulloflingeringdisappointmentandhazydesires,heabhorstheworld,yearnsforendless,andhaslingeringsuicidalthoughts.

Thethemesinvolvedintheseearlyworksarefullofthecharacteristicsofromanticliterature,suchasphilosophicalstories,absurdstories,autobiography,tragediesandhistoricalstories.Alltheworkstouchonthedarkestandmostgloomythemes:death,corpses,madness,despair,inextricabletroubles,demonsandghosts,etc.Therefore,itcanbesaidthatFlaubertwasborninthegenerationperiodofromanticliterature,andinhisyouth,withthedevelopmentofthisliteraryschool,hegraduallyembarkedontheroadofliterature.

2. Флобер на средна възраст в "Симбиозата" на реалността и романтиката

(1)Thecreationofthemasterpiecesofrealism"MadameBovary"and"MadameBovary"beganIn1851,justbeforethat,twoeventsofgreatsignificancetoFlauberthadhappened.Thefirstisthecompletionof"TheTemptationofSt.Anton";thesecondisthejourneytotheMiddleEastwhichlastedayearandahalf.InSeptember1849,Flauberttookthreeyearstofinallywritewhathethoughtwas"theworkofGod""TheTemptationofSt.Anton".HewassoexcitedthatheimmediatelyinvitedhisclosefriendsDuGangandBouyetoappreciateit..Thereadingwilllast8hoursadayforatotalof4days.

Flaubertwaitedhappilyforthecomplimentsofhisfriends,buthewaitedforDuGangandBouye’sfrankandsevereruling:"Webelievethatmasterpiecesshouldbethrownintothefire,don’tmentionit."Theythink,"Thewritingoftheworkismonotonous,andthelyricalpassagereplacestheupsanddownsoftheplot.Afterlisteningtoit,Iamnotinterested.Thesentenceisbeautifulandtheintentionisgrand,buttheeffectishorrible.St.Antonhasanillusion,anditisendless."ThiskindofjudgmentisextremelycrueltoFlaubert.Thismorethan500-pagemanuscriptishisworkformorethanathousanddaysandnights!However,Flaubertisstillwillingtoaccepttheadviceofhisfriends:giveupthelongandprotractedlyrical,bizarreimagination.ItwasfromthismomentthatFlaubertbegantore-examinehiscreativestyle,andforthefirsttimequestionedhisromanticthoughts.ThenexttriptotheMiddleEastwithDuGanglastedaboutayearandahalf.ThetwofriendssetofffromParis,passedthroughEgypt,Damascus,Syria,Greece,andfinallyreturnedtoChinaviaTurkey.Thislongjourney,forFlaubert,inadditiontounderstandingtheexoticandgrowingknowledge,isa"healingjourney".Heneedstorecoverhiswritingenthusiasmfromthefailureof"TheTemptationofSt.Anton",andmoreimportantlyItistothinkaboutwherethecreativestyleshouldgointhefuture."Farewelltoromanticismandturntosolidthemes,likeBalzac's"Auntie"or"UncleBangs",andabandonthebranchesandnonsense."DuGangandBuye'sadviceisstillinmyears.InthesameyearthatthetriptotheMiddleEastended,thatis,in1851,Flaubertfirsttriedthis"down-to-earth"writingstyle,whichwaslatertherepresentativeworkofrealisticliterarythought,"MadameBovary".

RealisticliterarythoughtappearedinBritain,Franceandothercountriesinthe1830s,andreachedaprosperousperiodofdevelopmentaround1850.Themainreasonforitsemergenceistotrulyreflectthedarksocialreality.Exposethe"moneyrule"ofthebourgeoisie.Therefore,realisticliterarythoughtpromotesanobjectiveandmeticulousdescriptionofreality,especiallythemostcommonpeopleandthingsindailylife,andcannotdeliberatelybeautifyormodifyreality."MadameBovary"issuchawork.In1853,inalettertoLouiseCollet,Flaubertmentionedtherealityofthenovel:"Itiscertainthatallcreationsarederivedfromreallife,andpoetryisthesameasgeometry.Accurate.Atthismoment,mypoorMadameBovarymustbesufferingandcryingin20villagesinFranceatthesametime."Throughouttheprocessofwriting,Flaubertislikeascientist,withanobjectiveandpreciseattitude.Treatthetextunderthepen.OnJuly22,1853,hesaidtoCollet:"Today,'I'hasachievedgreatsuccess.Inthemorning,'I'foundareportofthemayor’sspeechintheRouendailynewspaper.Onesentenceisexactlythesameasthesentenceusedby"I"whenhewrote"Mrs.Bovary"lastnight(thegovernor'sspeechattheagriculturalexhibition).Notonlythebasicmeaningandthewordsareexactlythesame,butalsotherhymingtechniqueisthesame."I"Toputitbluntly,suchthingsmake'I'rejoice.Whenliteratureisasaccurateasscience,itissostrongandpowerful."

Therealityof"MadameBovary"Notonlywasitconfirmedintheauthor'scommunicationcollection,butthewritersofthesameperiodalsoexpressedtheirviews.MaupassantpraisedFlaubert'screationinthearticle"ToGustaveFlaubert"as"anin-depth,comprehensiveandamazingstudyofthehumancondition,andarepresentationoftheoriginalstateoflife."WhenreadersreadthenovelAtthetime,youmustbeshockedbythevividcharactersinfrontofyou.Throughtheauthor'smeticulousdescription,youcanfeeltheirsadness,theirlifestyle,andeventhesmelloftheair.Inordernottoaddanyauthor'semotions,Flaubertadoptedthe"impersonal"writingprinciple.Maupassantlikenedthiscreativetechniquetoan"invisible,ubiquitousbutmissingpower."AndréTevillealsoexpressedhisviewsclearly.HebelievedthatFlaubertpushedStendhal’sinfluencetoahigherpoint."MadameBovary"isahistoricalnovelthatembodiesthemostpopularreality.sex.

(2) Романтични мисли и реалистично писане

"MadameBovary"isrecognizedbytheworldasarepresentativeworkofrealismliterature,itsauthorGustaveFlouBaiBaiisnaturallylistedasarealistwriter,andsomescholarsbelievethatFlaubertpushedthedevelopmentofrealistliteraturetoaclimax.InalettertohisloyalreaderMadameGenetteonOctober30,1856,Flaubertexplainedtheliterarytheoryheunderstood:

"Peoplethinkthat'I'isobsessedwiththerealThings,butactuallyIhatethem;becauseitisbecauseIhaterealismthatIwrotethisnovel.ButIalsohatetheillusionofidealismthatfoolsus."Fromthispassage,wecanexplainFlaubert'sliteraryviewpointasfollows:WhenFlaubert'sidealsencounteredcruelreality,hewasextremelydesperate.Ontheonehand,heresentshisunrealisticromanticfeelings;ontheotherhand,hecan'tbearthedarknessofreality,andcanonlyrecordrealitytruthfullywithapeninhishand,andexposeandcomplaintotheworld.

InanotherlettertoCollet,Flaubertonceagainsummarizedthecharacteristicsofhisliterarycreation:"Fromaliterarypointofview,therearetwocompletelydifferentpeoplein'I':Onelovesyelling,lovespassion,lovesthewingsofeagles,sonoroussentencesandpeakthoughts;theothergoesallouttodigoutandsearchfortruth,thatis,lovetoaccuratelyrevealsubtlefacts,andtheattitudetowardmajoreventsisthesame;Whateveryouexpress,youcanreallyfeelit."

Thispassagefullyconfirmsthe"symbiosis"ofromanticismandrealisminFlaubert.InFlaubert,anindividualfullofcontradictorypersonalities,everythingseemsirreconcilable.PaulBourgéfurtherexplainedFlaubert’spointofviewthat"therearetwopeopleonhimatthesametime".Bourgébelievesthatthese"twopeople"arearomanticpoetandascholar,andtheyarebothenemiesandfriends.MutualconstraintsexistinFlaubertatthesametimeandfollowhimthroughouthislife.ThisviewcanexplainFlaubert’scontradictionsinhisliterarychoices-heisnotonlythemostdeterminedromanticwriterbutalsothemostdiligentrealistwriterofhistime,hisromanticthoughtsandhisscientificspiritfinallyIntherestoftheirlives,theyrestrictandcombinewitheachother;atthesametime,theycanceleachotherandmergewitheachother.

Flaubertlivedinthehospitalwherehisfatherworkedsincehewasachild.Hewitnessedillness,death,andautopsy.Thisgrowingenvironmentcastaheavyshadowonhisyoungmind.Fromtheperspectiveofthesocialenvironment,theFrenchrevolutionaries'visionofan"idealcountry"wascompletelyshatteredbythecrueltyofreality.Peoplearenostalgicfordreamsandrelyonfantasytoresistthemisfortunesofreallife.Flaubert,whogrewupinsuchafamilyandsocialenvironment,likedtohideintheturbulentinnerworldandembracedreamssincehewassensible,buthewasextremelyindifferentandpessimisticaboutreality.Heventedallhisemotionsinhisliterature.Increation.Therefore,Flaubertisbornaromantic,hisporesexudearomanticatmosphere.However,undertheweightofreality,Flaubertcouldnotescape.Hehadtofacethesocialconditionsatthetimeandusedhisownpentodescribetheeraofhislifeobjectively,meticulouslyandevencruelly.Itcanbesaidthat"MadameBovary"isacreationbyFlaubertthatiscontrarytohisownemotions.Heforcedhimselftostayoutsideofthestorylineandcreateitcalmlyandtruthfullywithoutaddinganypersonalfeelings.In5years,afterseveralabandonments,thediscardingofcountlessmanuscripts,andthousandsofsleeplessnights,thisromanticistwriterfinallycompletedarealisticnovelthattrulyreproducessocialcustoms.

Ofcourse,romanticismandrealismcannotbestrictlydistinguished.AlthoughFlaubertadherestotherealisticwritingstyle,hisromanticismisstillreflectedinmanynovels.TheprotagonistEmmain"MadameBovary"'syearningforexoticism,herandLeon'semotionalexpressionofnaturalscenery,andeventheimplicitmetaphorsofEmma'scorpseandthesingingblindallretainromanticismWritingstyle.Therefore,whenjudgingFlaubert'sliteraryaestheticsduringthisperiod,hecanonlybesaidtobearomanticandrealistwriterwhohasbothromantictemperamentandscientificrigorouswritingstyle.

3. Флобер в по-късните му години-"пионерът" на модернизма

(1)Нихилизмът на Флобер

TheFranco-PrussianWarbrokeoutin1870,seeAshishomelandwasdestroyedandhiscompatriotsdiedinbattle,Flaubert'spatrioticenthusiasmwasaroused.Heactivelyparticipatedinthefront-linewarfareandtookonthetaskoftreatingthewoundedattheRouenHospital.However,underthestrongoffensiveofthePrussiansoldiers,theFrencharmyretreatedsteadily.Soon,NapoleonIIIsurrendered,Pariswascaptured,andthepeople'sdistrustoftheregimecontinuedtodeepen.Francefellintoanunprecedentedpoliticalcrisis.ThisseriesofblowsmadeFlaubertdistraught.HewasdeeplydesperateforthefutureofFrance.Heoncesaidangrily:"Franceissodecadent,sonasty,andcontemptuous.Ihopeitwilldisappearforever."

Inthefaceofadevastatedmotherland,war-torncompatriots,andthoseinpowerwhoaregreedyformoneyandpower,Flaubertwrotedesperately:"'I'islikeascrappaper.Fallinginthewind,Ihavenodesireforlife.Iamimmersedinlonelinessandloneliness.Idon’tknowwheretoreturn.""ThemoreIwork,themoresureIam,everythingintheworld,especially"My"lifeismeaningless."AtthistimeFlauberthasneitherlongedforlifenordeath.Thereisnomoremeaningfulthingintheworldexceptforwriting.Hecanonlyhideinliterarycreation.Tofindamomentofpeace.Infact,Flaubert’spessimismhasbeenaroundforalongtime.Duringtherevolutionin1848,he,DuGangandBouyerwitnessedtherevolutionarieslootingtheTuileriesPalace,thepeoplefallinginapoolofblood,theabolitionoftheking,andtheestablishmentofarepubliconthestreetsofParis.,Thebloodysuppressionofdemonstratorsbythoseinpower.ThesesuddenchangesshockedFlaubert.Likemostyoungliterati,hewasimmersedinaseaof​​bitterness,losthisway,andevenfellintodespair.

Ifthe1848revolutionmadeFlaubertmorepessimistic,theFranco-PrussianWarof1870undoubtedlyturnedFlaubertfromapessimisttoanihilist.ItcanbesaidthatFlaubert'snihilisticideascontinuedtodeepenwithage,andcontinuedtostrengthenwiththechangesinFrenchsociety,untilhelefttheworld.Underthecontrolofthiskindofnihilism,Flaubert'sliteraryaestheticshasalsochangedsignificantly.Hehopesthathecanalwaysavoidthecrueltyoftherealworld.Fortheuglinessandcorruptionofthebourgeoisie,hecanonlyturnaroundandescapeintotheartworldandconcentrateoncreation.Headvocated"theseparationofartandthecrowd",even"theseparationofpeopleandthecrowd",hewipedawayallpersonaltracesinhisworks,sothat"thepersonalityoftheauthorcompletelydisappearedfromthework".Thiskindof"impersonalized"creativeconcepthasbegunwhenhewrote"MadameBovary",andastimegoesby,heincreasinglybelievesthatonlythismethodofwritingcanmaketheworkfreefromtheconstraintsofhistoryandtime..Forthecontentofthenovel,Flaubertboredwitheverythingthathappenedinthiscrudereality.Hecouldnotlovethecharactershewrote,norcouldhelovewhattheydid.ForFlaubert,thethemeandcontentofthenovelonlyserveasa"springboard",withonlyonepurpose:tohighlightthebeautyofform.Onlytheformofanovelisthereal"eternalbeauty".Heexplainedhiswritingprincipleinthisway:

"What'I'thinksisbeautiful,andwhat'I'hopestodoisabookwithoutatheme.Book,abookthathasnodirectcontactwiththeoutsideworld.Thisbookexistsonlybytheinnerpowerofitsliteraryform.Ifpossible,thisbookshouldhavenosubject,likealandfloatingintheair,oratleastthesubjectisveryobscure.Themostbeautifulworksarethosethathavealmostnosubstance;themorethecontentexpressedisclosertothemind,themoretrivialthewordsused,andthemorebeautifulthework.'I'believethisisthefuturedirectionofart."

Thisideaof​​creatingaliteraryworkthat"hasnosubstanceandexistsonlybyform"hasmanysimilaritieswithlatermodernistideas.Modernistliterarywritersadvocate"playingdowntheplot.""Inmodernistnovels,theplotoftenhasnoclimax,andtheplotcluesareunremarkable,sometimespausedandlingering,andthetimerelationshipandcausalitybetweeneventsareunknown."Thatistosay,theplotorthecontentofthestoryonlyexiststoreflectthecreativeformofthenovel.Atthispoint,Flauberttooktheearlieststep.Proustoncesaid:"FromthebeginningofFlaubert,theplotofthenovelhasbecomeexpression,andthingshavelifelikepeople."AsFengHanjinexplainedinthearticle"FlaubertistheMidwifeofModernNovels""Thefocusofnovelcreationisdirectedfromthenarrativeofthestorytotheperformanceofpeopleandobjects,andthecharacter-centeredfictionisdirectedtothedistributive,multi-themedliferealism.ThisisFlaubert’smajorcontributiontomodernnovels.Contribution."SartrealsocalledFlaubertinhisbook"TheIdiotoftheFamily"as"thepioneerofmodernfiction."

(2)Модернистичната тенденция на "Боваран и Пекюше"

ZolaoncestronglypraisedFlaubert’scontributiontothedevelopmentofliterature,thinkingthathewas"natural"Theoriginatorofideologicalliterature",andlaterliterarycriticsandFlaubertscholarshavealsoproposedFlaubert’snaturalisticliterarytendency,especiallyhislastnovel"BovarandPecuchet"Naturalness.Thescientificexperimentsonarchaeology,genetics,chemistry,etc.donebythetwoyoungclerksinthework,andtheirmediocrelifeinlife,allreflecttheprinciplesof"science"and"de-typification"advocatedbynaturalism.;AndFlaubert'snearlyharshdescriptionofrealityinthisnovel,andtheharshrealityreflectedinitalsoconformstothenaturalism'spursuitoftheauthenticityofthework.Butatthesametime,manycluesofmodernismcanalsobefoundinthisunfinishedwork.

Firstofall,asmentionedabove,amajorfeatureofmodernistnovelsisthe"diminishmentofplot."Lookingatthenovel"BovarandPecuchet",theoutlineofthestoryisdifficulttogeneralize.Generallyspeaking,thestorylinecontainsthebeginning,development,climaxandending.Thecharacters,time,andeventrouteareclear.Butifyoulookatthisnovelagain,youbasicallycan’tfindtheseelements.Theonlythingwecanextractfromthenovelaretwogoodguyswhoaredoingscientificexperimentsoverandoveragain.Ifwemustfindthecontradictionsandconflictsinthestory,thereareonlyexperimentsthatcontinuetofail.Withrepeatedre-experiments,thewholebookislikeanexperimentalrecord,recordingfragmentsoftheprotagonist’slife.

Secondly,mostmodernistliteraryworksshow"thedespairofthetheme"and"theabsurdityofthecharacters".Afterenteringthe20thcentury,mankindhasbecomemoreandmoreadvocatingscienceandempiricalscience,andthecapitalistsocietythathasexperiencedscienceandempiricalhasmadepeoplefeelitschaoticanduglynaturemoreandmore.Mostoftheworksofmodernismembodytheaversiontosocietythathumanbeingshavedevelopedafterexperiencingthecontinuousevolutionofcivilization.Thedevelopmentofsciencecannotpreventthetragicfateofhumansocietyfromconstantlyfermenting,andmankinditselfisgraduallybecomingabsurdinthetragicwhirlpoolofhumancivilization.BouvardandPecuchetareanti-traditionalanddeviant.Oneisawidowerwhowasdefraudedofmoneybyanewlywedwife,andtheotherisanoldchildwhohasneverbeenmarriedandhasnoknowledgeoftheworld.Afteraseriesofridiculoustragedies,theycanonlyliveinseclusion.Thevillagesliveamediocrelifeofimmersingthemselvesinexperimentsandcopyingdocuments.Theycan'tfindthemeaningofsurvivalandhavenohopefortheirfuture.Thispathologicalcharacterandhisabsurdlifearealsoinlinewiththeliteraryaestheticsofmodernistwriters.

Finally,asRolandBarthessaid,"Thewritingoftheclassicalerabrokedown.FromFlauberttoourtime,thewholeliteraturehasbecomeaproblemoflanguage.AndFlauWorshiphasalsobecomeawatershedbetweenclassicalliteratureandmodernliterature.ThelanguageBarthessaidmainlyreferstotheexquisiteandpreciseusageofitsusage,andthekeywordis“precision”,includingFlaubert’spreciseandcorrectdescriptionofcharactersandevents.Theaccuracyofthelanguageused.Theaccuracyofthedescriptionhasbeenmentionedabove,soIwon’trepeatithere;however,Flaubert’srequirementsforlanguageaccuracyaresomewhat"crazy."TheperiodofMadameFarleyhasalreadybegun,andbythetime"BovarandPecuchet"hasreachedthe"extreme"Flaubertreads1,500booksduringhis10-yearwritingperiod.Regardingphysics,chemistry,biology,medicine,archaeologicalexperimentsandpublishedspeeches,theauthorcarefullyconsultsrelevantbooksandrecordsthevocabularyinvolvedinordertoachieve“precision.”Flaubert’sprecisewordinganddescription,Whichisexactlythesameasthenewnovel’soppositiontotraditionalcreativemethodsandapurelyobjectivedescriptionoftheworldofthings.

Втората тема в литературните произведения на Флобер: натурализъм.

Flaubert,aFrenchwriterinthe19thcentury,wasakeyfigureinthetransitionfromrealismtonaturalism.Therefore,whendiscussingFlaubert’sliteraryandartisticthoughts,Chineseandforeignacademiccirclesoftenfocusonnaturalismandreality.Hesitationandwanderingbetweenphilosophies.Flaubert’sobjectiveandfairartisticpursuit,acertainempiricalspirit,andhismulti-facetedandmulti-levelunderstandinganddescriptionofcharacters,havemadehimanovelistwhostartednaturalismthinking.Doctrineisinextricablylinked,anditsliteraryandartisticthoughtandcreativepracticeclearlyshowthecharacteristicsofnaturalism.NaturalistwritersandtheoristsZolaandMaupassantunanimouslyregardedhimasateacherandregardedMrs.Bovary.Itisregardedasthepioneeringworkofnaturalism.

1.ThediscussionoftherelationshipbetweenFlaubertandnaturalisticliterarythoughtsinChineseandforeignacademiccircles

ForeignacademiccirclesbothclassifyFlaubertasThenaturalistschoolclassifieshimastherealistschool,andmoreoftenitputshiminthenaturalistcamp.

Flaubertisthetruepioneerofnaturalism,thisispreciselybecause"MadameBovary"mayalwaysbeamasterpieceofnaturalism.ThepioneerofnaturalismtheoryZolahimselfregardedFlaubertashisownteacher.Zolasaidin"OnNovels":"Gustave·Flaubertisthenovelistwhohasuseddescriptionmostaccuratelysofar.Inhisworks,thedescriptionoftheenvironmentiskeptinareasonablebalance:itdoesnotoverwhelmpeople,butisalmostalwayslimitedtodeterminingcharacters.Itisthispointthatformedthetremendouspowerof"MadameBovary"and"EmotionalEducation".

Второ, натуралистичната тенденция в естетическите мисли на Флобер

След публикуването на „Мадам Бовари“ през 1857 г., великият френски критик Сен-Бюф написа критика, смята, че издаването на „Госпожа Бовари“ е накарало всички да разберат какво е реализъм. Оттогава Флобер и реализмът са изградили една неразрушима връзка.

WhenothersregardedFlaubertasthewineofrealism,Flauberthimselfwasextremelydisgusted,andherepeatedlyclaimedinhisbookletthathehadnocontactwithrealistwriters.Hesaidthathewrote"Mrs.Bovary"becausehehatedrealism.

Flaubertemphasizedthathedoesnotbelongtoany"ism",becausehestrivesnottobecomeanygenre.ThisisessentiallyFlaubert'sordertolethisownworksnotbelimitedtoanykindofthought."Artforthesakeofart"ishisonlyartisticpurpose.Hehasanidealofpureart,andartishisreligion.

Flaubertattachesgreatimportancetothetemperingofartisticlanguage.Hesaid:"Nomatterwhatawriterwantstodescribe,thereisonlyonenounavailableforhimtouse.Averbmustbeusedtomaketheobjectlively,andanadjectivemustbeusedtomaketheobjectdistinct.Therefore,youhavetosearchharduntilyoufindthatone.Noun,thatverbandthatadjective."HeonceaskedhisdiscipleMaupassanttoobserveallthetime,justtofindtheonlywordthatwasjustright.Thisiswhatlatergenerationscall"asingleword."ThisdemandforlanguageandwritingisrelatedtoFlaubert'srigorousanddistinctcharacterofloveandhatred.Hehatesthe"half"ofthebourgeoischaracterverymuch.InAugust1853,FlaubertwrotetoMs.Gaulay,"Ah,Ihavecometoknowthisfossilofthebourgeoisie,whatkindofhalfcharacter,whathalfwill,andwhathalfpassion."Hewasneverstubborn.Yesandyes,noandno,thereisabsolutelynosuchthingasjustmakingpromises,orpromisingone'sideals,ormockingtheworld;neverseekcompromises,donotseekcompromises,donotseekmediocrityineverythinglikethebourgeois.Thesameappliestothepursuitofliterarylanguage.Wemustfindtheonlylanguagethatcanexpressourthoughtsveryaccurately.Hisownworksareconcise,accurate,sonorousandpowerful,andare"modelprose"inthehistoryofFrenchliterature.

Inordertoprotectthewholeofartfromdamage,Flaubertstronglyadvocatedthatthewritershouldnotappearintheworkwhenheisengagedinwriting,soasnottodestroythewholenatureofthework.Whenhewascreating,hetriedhisbesttospeakforhimselfwithhisworks,andhewasnotallowedtoappearintheworks.Before"Mrs.Bovary"cameout,therewerefewnovelswithoutastorytellingtone.OnlyFlaubertisaconsciousartist.ThisisrootedinFlaubert'spurelyobjectivewritingattitudeandidealpursuit.Itispreciselybecauseofthepursuitofafairandobjectivedescriptionofthingsthathehatesthewriter'sownappearance:"TheartistshouldbethesameinhisworkasGodisincreation,invisible,butomnipotent;heisfelteverywhere,buthecannotbeseen".Impersonalité(impersonalité)hasbecomeacriterionforhisevaluationofworks,oraprincipleofhiscreation.AccordingtoFlaubert'sinsightsintoart,theauthorneedstoreturnthingstotheirtruecolorstocreateworks.Theattitudeofthenovelistshouldbethesameasthatofthescientist,objective.

В „Madame Bovary“ читателите няма да срещнат „изключения“. В текста не са фотореалистичните зодии, подобни на живота, а автентичността на картината. Преди Флобер да създаде „Salangbao“, той специално отиде в Тунис, Северна Африка, където се развива романът, за да събере материали, което всъщност беше екскурзия. ubert преследва обективно и честно писане. Той се противопоставя, че книгата има заключение, защото заключение е еквивалентно на неубедително.

Flaubert'sscientist-likeandobjectiveaestheticthoughtsarecloselyrelatedtotheenvironmentinwhichhegrewupwhenhewasachild.Sincebothfatherandbrotheraredoctors,thewardandautopsyroomofthehospitalarenexttohishouse,andthesceneinitisdeeplycarvedintohismemory.Inhismemory,hesaid:Theanatomyclassroomofthemunicipalhospitalisfacingourgarden.Howmanytimes,withmysister,Iclimbeduptheflowerstand,hungamongthegrapes,andlookedatthelistedbodiescuriously.Thesunwasshiningonit,thecorpsewaslight,lyingonthebed,bleedingwasstillsecretingfromhiswound;hisfacewashorriblycrumpled,andhiseyesopened.

Naturally,whatFlaubertoftenseesistheoppositeofthings.Inaddition,hehadabraindisease,andFlauberthadbeentorturedbythisstrangediseaseuntilhewas23yearsold.Inordertostudythestrangediseasethatisalmostincurableandunderstandwhyitis,Flauberthasreadhisfather'scollectionofbooks,thatis,booksonmedicineandphysiology.Therefore,Flaubertoftendescribedthecarrionandthefesterofthelivingbodywithanindifferentandobjectivenarrativeinhiscreation.Forexample,healmostusesanatomicalmethodstoanalyzeanddescribeEmma.

Flaubert,adheringtohisfather'smedicalspirit,hatesgeneralandemptyterms.Inthetextof"MadameBovary",Flaubert'sfather"belongstothegreatsurgicalschoolfoundedbyPisha."Flaubertonceindulgedinhisfather'scollectionofbooks,constantlyreviewingBishaandCabanis'methodsofusingknowledgeinbiologyandanalyzingphenomena.Flaubertmovedalmostentirelytoobservehisthings..

Flaubertnotonlyadherestohisownpointofviewonliteraryandartisticconcepts,butalsoimplementshisaestheticidealswithhisactualcreations.Flaubert'sgreatestliteraryachievementisthenovel"MadameBovary"."MadameBovary","EmotionalEducation"and"TheTemptationofSt.Anton"havebecomerepresentativeworksofFlaubert'snaturalistictendency.Intheseworks,Flaubertdescribestheprotagonist’ssubtlephysiologicalfeelingsindetailfromtheperspectiveofphysiology.Forexample,in"Mrs.Bovary",whenEmmawastoldaboutherfirsttrystwithRodolph,thenoveldescribedherexcitementandforgetfulnesslikethis:

„Тя си повтаряше: „Отгоре! Отгоре!“ Тя обичаше тази концепция, тъй като внезапно се появиха други младежи. Тя най-накрая получи радостта от любовта, неочакваното си щастие и студена топлина. върховете на чувствата блестят под нейните мисли. Обикновеното съществуване се появява само в пространството на тези върхове, отдалечено, ниско и падащо в сенките."

Три. Модерната ориентация на натуралистичната естетика на Флобер

FromFlaubert’saestheticsandcreativepractice,itcanbeseenthatintermsofculturalconcepts,heismoreadvancedthanStendhalandBalzac.Modern.Flaubertisalandlord.Heexpressedthedissatisfactionofthelandlordclasswiththebourgeoisieindifferentways.Flauberthatesthebourgeoisieandbelievesthatthebourgeoisieis"akindofbeastthatdoesnotunderstandthehumansoulatall."ThebourgeoisinFlaubert'sminddoesnotrespectart,soFlaubertneverusesapenforwriting,butusesaquillpenforartisticcreationandwriting.IntermsofChristianity,Flaubertdivideshumansintothreeperiods:paganismatfirst,Christianitylater,andanimalfacereligionnow.Hebelievesthatfountainpensandblottingpaperareallproductsofmodernanimal-faceteaching.Flauberthatestherepressionofpeoplebythebourgeoisie,sohetriestousehisworkstoexplorethehelplessnessof"people"inthemodernrealitythatalienatespeople.

"EmotionalEducation"isthefirsttotakethenoveloutoftheoldformandtakeanotherdirection-thecommondirectionofmodernnovels.Thisslowlyandsteadilyconqueredanewpieceoflandforthenovel.Flaubert'snovelsareindeedfullofmodernityintechnique,especiallyintheirunderstandingandquestioningofpeople.

SincetheoriginofEuropeancivilization,peoplehavebeentryingtoexplainthe"sphinxmystery"ofwhatis"person".TheancientGreeksengravedthemottoof"knowyourself"inthesun.AttheTempleofGodApollo.People’sconfusionaboutself-understandingbecameevenmoreconfusinginthe19thcenturywhenthenaturalsciencesdevelopedrapidly.Inthecontextoftherapiddevelopmentofproductivityandthecontinuousalienationofpeoplebyadvancedtechnology,Flaubertpersistentlyponderedthelivingconditionsoftheone-dimensionalpeopleinmodernsocietyinhisliterature.His"MadamBovary"and"EmotionalEducation""Isthebestembodiment.LiJianwusaid,"Theoldworlddoesnotallowthetraitortoexposeitsface.However,"Mrs.Bovary"laidthefoundationformodernnovels,andthetraitorwon."

Objectiveandfairartisticpursuit,certainempiricalevidenceSpiritandthemulti-facetedandmulti-levelunderstandinganddescriptionofcharacters.Flaubertbecameanovelistwhoinitiatedthethoughtofnaturalism.Zolaandothersregarded"MadameBovary"asthepioneeringworkofnaturalism,whichisinlinewiththerealityofliteratureandart.ItcanbesaidthatinthehistoryofFrenchandEuropeanliterature,Flaubertisawriterfromtraditiontomodernity.Hisliterarythoughtsarenoteasytogeneralizeandconcludewithasimple"ism",notonlybecauseFlauberthimselftriedhisbesttobreakcertaintemperamentrestrictions,butalsobecauseofthepurityofhisliterarythoughtsandtherichnessofhisworks.Theconnotation.

ThereisaverycloseconnectionbetweenFlaubertandnaturalism.Hisliterarythoughtsandliteraryworkshaveaclearnaturalistictendency.Thisisanindisputablefact.Nomatterhowyoulookatit,Flaubert'sroleasapioneerofnaturalismisunquestionable.

ArtisticFeatures

Flauberthascarriedoutasuper-epochandsuper-consciousexplorationandpursuitoftheaesthetictrendandartisticexpressionofmodernnovels.Firstofall,thestorycharacterscreatedinFlaubert’swritingsarealwaystheproductofstoriesandplots.Therearenofixedcharacterslabeledwithfacialmakeupinhisworks,andthereisnostoryandenvironmenttailoredforthecharacters,andmoreItstartsfromtheoriginalecologyoflifetoexplorethetrueinnerworldofthecharacters.Second,Flaubertseldomdirectlydescribesthefacialfeaturesofthecharacters.Hepaysmoreattentiontotheexcavationandportrayalofthepsychologicaltruthofthecharacters.Thisiscompletelyconsistentwiththeartisticpropositionofthe"newnovel"genre,oneofthemodernists.Third,Flaubert,whosufferedfrombraindiseaseswhenhewasyoung,begantoinvolvesubconsciousareasthatfewpeopleusedtoinvolve.Hisspeculationanddepictionofdreams,theuseofmythologicalarchetypes,andthepursuitofdisorderlyflowofconsciousnessenlightenedthetendencyoflatermodernistliteraturetopayattentiontotheflowofconsciousnessandtheexcavationofthesubconscious.

Разглеждане на модерността на творбите от психологическо описание

ThekeytoFlaubert’soldattractingpeople’sattentionliesinhisartisticpropositionandliterarycreationModernity.Heisarealistwriter.Hewantstoreproducesociallifetruthfullyandobjectively.However,hisunderstandingandgraspofrealityisverydifferentfromotherrealistwriters.ThetruthadvocatedbyFlaubertistheauthor’sclose-scientificreflectionofreallifewithacompletelyobjectiveandcalmattitude.Theauthor’sownjoys,sorrows,sorrowsandjoysshouldbeabandonedintheworks,andthestoriesandcharactersshouldbeallowedtodevelopfreelyinaccordancewiththelogicoflife,focusingonexcavation.Thepsychologicalrealityofthecharactersrealizesthetransformationfroma"mirrorreflectingreallife"anda"secretary"toaclever"psychiatrist"whousesascalpeltodissectsocialrealityandpeople'sinnerworld.Thiskindoftransformationisexactlywhateverymodernistliteraryschoolstrivesfor.

Единството на нещата и хората: от артистичния типичен до реалния живот

FromtheperspectiveofFlaubert'sartisticpropositions,heisnotentirelyinfavorofbeinga"clerk"ofFrenchhistory.InFlaubert'seyes,"Theartistshouldabsorbeverythingfromtheground,likeawatersuctionmachine,withapiperunningallthewaytothevisceraofthings.Anythingthatishiddeninthegroundthatisinvisibletohumaneyes,hedrawsitonthegroundandspraysittowardthesun.,Showingabizarrecolor.Whenitcomestoreality,itwillbecomethehumiliationoftheworld.Hemustwalkintothesoulofthingsandstandinfrontofthewidestrange,andthenhefindsthatheisonlyusedtolookingatstrangelyshapedthings.Theso-calledmonstersarenotmonsters.Theso-calledheroesandsagesaremonsters.Everythingisonlyexceptions,accidents,dramas,anddoesnotbelongtoournormalhumannature."

Walkingintothesoulofthings,realityisnolongertheexternalrealityseenbypeople'seyes,butthesurrealandmetaphysicalreality.Latermodernistliteraryphilosophymostlybelievedthattheobjectivelyexistingworldwasnotreal,andthatonlysubjectivepsychologicalperceptionswerereal.Whatmodernistwritersloveisthiskindofsurreal“truth”and“self-acting”.exist".Ofcourse,thisisnottosaythatFlaubertisanidealistwriter.Onthecontrary,whathepursuesisnotonlytheapparentrealityoflife,buttheessentialbeautybehindthehiddenappearance,thepsychologicalrealitybehindthecharacter'sface.

InFlaubert’sworks,youcanseeFrenchsocialcustoms,andseeallkindsofpeoplefromtheera,butreadersseemoreofpsychologicalandsurrealpeople.Stateofexistence.Behindthereallifestate,readerscanseethesurrealspiritwithsymbolicmetaphormeaning,andcanfindthehiddenmythologicalform.ThesemaynotbeFlaubert’sdeliberatepursuits,butitispreciselythisindiscretionthatmakeshisworksnaturallyandintriguing.Itmakeshimdistinctlydifferentfromthepreviousrealistwritersandisalsoformedfromthedeliberatepursuitsofmanymodernwriters.sharpcontrast.TherearefewsuccessfulcharactersinFlaubert'scharacters.Mostofthemendupinloneliness,fantasy,pursuit,andultimatelyfailure.Theexperienceofbeingborninadoctor'sfamilyandbeingillinhisyouth,andlivinginseclusionformostofhislifemadeFlaubert'spursuitoftheessentialmeaningoflifeevenmoretragic.Flaubertoncesaidthattheprotagonistinthenovel"MadameBovary"-"Emma"ishim.InEmma'sbody,itisthemottoengravedonthetempleoftheancientGreeksungodApollo:Knowyourself.Differentfromthephilosophicalbasisofpuresocialcriticalrationalityintraditionalrealism,suchanexperienceandanalysisofliferequiresamoreprofoundscalpel,andaformofexpressionthatismoreinlinewiththelawsoflifeandart.

InFlaubert’sworks,therearenofixedcharactersaffixedtolabels,noraretherestoriesandenvironmentstailoredforthesecharacters,andthereisnocleardisclosureorstraightforwardexplanation.Whatisonlyisthatthewritercreatesarealillusionbasedontheoriginalecologyoflifeandfromhisownheart,andusesthisillusiontoconveyhisunderstandingandthinkingaboutsocietyandlife.Thiskindofillusionisclosertolifethanphotography,canshowtherichnessoflife,andrevealtheessenceoflife,sotheworkwillbemorevital.ItispreciselybecauseFlaubertavoidsthetendencyofexcessivepursuitoftypificationinhiscreationthathisworksandthecharactersheportrayscangraduallyshowtheessentialtruthofsurrealandsuper-epoch,andcanhavelong-termvitality.

Характеристики на модерността

Thedistinctivecharacteristicsofmodernityinthetextof"EmotionalEducation"reflecttoalargeextentFlaubert’sownaestheticideals.AndheraldedthebirthofmodernFrenchnovels.Thisarticleattemptstorevealitsspecialmodernitythroughtheanalysisofthework.

ForFlaubert,thepurposeofartisbeauty.Flaubertalsopaysattentiontoauthenticity.Forhim,anaction,anattitude,acolor,apieceofclothing,atone,andawayofexpressionmayallshowasenseofreality.ManyofhisdescriptionsofsceneriesembodywhatRolandBarthescallsthe"realeffect".StartingfromFlaubert,the"truth"ofrealityintheworkshasbecomeuncertain,andthisfeatureisconcentratedinthework"EmotionalEducation".Itbreakstheconventionsoftraditionalnovelsintermsofstorystructure,charactercreationandnarrativeskills.

Thepublicationof"MadameBovary"(1857)wasanimportantdateinthehistoryofFrenchnovels-anewnovelstructureappeared:FlaubertusedaseriesofsimplepicturesandscenesWritingreplacestheplotdevelopment-basednovelstructurethatBalzacborrowedfromWalterScott.

Fromanarrativeperspective,thehidden,unnamedandobjectivenarratorreplacestheubiquitousandomniscientnarrator.Thesecharacteristicsopenedaneweraforthenovel.

1.„Истината“ на слабите

Fromtheperspectiveofcharacters,Flaubert'sworksdonotcontaintheconquerorsandheroesdescribedbyBalzacorStendhal.

"EmotionalEducation"showstheordinarylifeexperienceofanordinarydreamer.AlthoughFrederickalsoenviedtheupperclass,heoftenwenttoabigbankerasaguest,andhisvanityalsodrovehimtopursuethebanker'swife.

Flaubert'sFrederickisnotahero,orevenananti-hero.Attheendofthenovel,theprotagonistFrederickandhisfriendDeloriersummarizedtheirlivesasfollows:"Bothofthemlosttheiryears.Onedreamedoflove,theotherdreamedofpower."FrederickthisThecharactersreflectanewattitudetowardslifeofmodernpeople,askepticalattitude.HeisnolongerasconfidentasaherolikeJulien,butisskepticalofreality,andthereforeappearsmoreflesh-and-bloodandclosertoreality.Forthisreason,Zola,whohasaspeciallikingfor"EmotionalEducation",wasmovedbythetruefeelingsofthecharactersinthework.Hefeltasifhesawhisshadowinit,andthoughtthatthisworkwaslikeamicrocosmofreallife.

Второ, обикновената "истина"

Флобер пише в писмо до Жорж Сандин през 1875 г., че „съзнателно иска да избегне случайни и драматични неща, нечудовища, никакви герои“.

В текста няма нито разтърсващи сълзи сцени на Юго, нито възходи и падения в творбите на Балзак, нито дори деликатен психологически анализ на Стендал. Творбите на Флобер вече нямат ясен и единен сюжет. Той нарушава сюжетните правила (начало, развитие, кулминация, край) на традиционните романи. Следователно, не е лесно е да обобщим сюжета на "Емоционалното възпитание". В този смисъл Флобер е създателят на френските "модерни" романи.

3.Непълната"истина"

StartingfromFlaubert,theauthorityofthenarrativesubjectbegantowaver.InsteadofBalzacandStendhal’spracticeofallowingthenarratortofrequentlyinterveneinthework,hetriedhisbesttomakethenarratordisappearfromthework.Heevenbelievesthatanovelisthasnorighttoexpresshispersonalopinionsonanything.Stendhaloftenbreaksintothenarrative,judgesthewordsanddeedsofthecharacters,examinesthecharacters'hearts,expresseshisloveandhatred,ordirectlytalkswiththereaderinthetoneof"I";Balzacfrequentlyintervenesinhisworks.Flaubertistheopposite,hisnarrationisindifferent,calm,andunobtrusive.

За Флобер романите трябва да са научни, а великите творци трябва да са научни и обективни. Не бъдете лирични, не съдете лично, личността на автора е скрита в произведението.

However,Flaubert’snarrativeinnovationisnotmainlyreflectedintheabsenceofthenarrator,butintheuseoflimitedperspectives(internalfocusandexternalfocus)andfreeindirectspeech.Theuseofthesetechniquesalsoreflectstheauthor'sdoubtsaboutsubjectiveconclusions.Youcanoftenseehisskepticismtowardsallconclusionsinhisletters.HebelievesthathumansarenotGodsandtheircognitiveabilitiesarelimited.Itisdifficulttojudgethingsobjectivelyandunerringly.Itisfutiletoseektheanswertoabsolutetruth:"Frivolous,narrow-minded,conceited,andimpulsivepeoplearealwaysIfyouwanttogetaconclusion,nogreatgeniuscanmakeafinalconclusion,andnogreatworkhasafinalconclusion,becausehumanbeingsarealwayswalkingandhavenoconclusions.Lifeisaneternalproblem."

BeforeFlaubert,notmanyFrenchwritersusedinternalfocus.InFlaubert'sworks,theuseofthisinner-focusingnarrativetechniqueismoreobviousandcommon.Soonafterthebeginningof"EmotionalEducation",thereaderenteredtheeyesoftheprotagonistFrederick.Fromhiseyes,hesawthesceneryonbothsidesoftheSeinegraduallydriftingawaywiththeadvanceoftheship,untiltheappearanceofMrs.Arnou.ItwaslikeadreamtoFrederick:suddenly,avisionappearedbeforehiseyes.

Charactercontroversy

AsagreatFrenchnovelistinthemiddleofthe19thcentury,Flaubert’sworkshavealwaysbeenhighlyvaluedbyliterarycriticsaroundtheworld.ResearchonhisownliterarygenreIthasbeenthefocusofheateddiscussionforalongtime.Generallyspeaking,thedefinitionofFlaubert'sliterarychoiceismainlyconcentratedinthetwomajorliteraryschoolsofRomanticismandRealism,buttherelationshipbetweenthetwoinFlauberthasnotbeenfinalized.

TheliterarycriticsgenerallybelievethatFlaubertinhisyouthwasapassionateandexoticromantic.Afterhismiddleage,heturnedintorealityasthesocietychangedandhisthoughtsmatured.Ideologicalwriter.Forexample,thefamousFrenchscholarandencyclopedialexicographerPauldeRouxlikenedFlauberttothe"traitd'union"(traitd'union)thatconnectsromanticismandrealism,orthe"convergenceofthetwoschools".point".HebelievesthatFlaubert'searlyworksareromanticandlyrical.ThierryFerraro(ThierryFerraro)moreclearlyputforwardthedividinglinebetweenromanticismandrealism.Heevenopposedromanticismandrealism,thinkingthatFlaubertcompletelyabandonedtheromanticwritingmethodsbeforeturningRealistic;atthesametime,healsobelievesthatFlaubert'stransformationtorealismisarebellionandaccusationagainstromanticism.

Flauberthimselfneitheradmitsthathebelongstoromanticismnorconsidershimselfanabsoluterealistwriter.Herefusestobeassociatedwithanyliterarygenre,andheopposesthatpeoplepostanythingonhisworks.Agenrelabel.Hecommentedonhiswritingstyle:"Peoplethinkthat'I'isobsessedwithrealthings,butinfact'I'hatesthem;becauseitispreciselybecauseof'I'haterealismthat'I'Wrote(MadameBovary)thisnovel.However,'I'alsoabhorstheillusionofidealismthatfoolsus."ThispassageshowsthatFlauberthasbothromanticandrealisticqualities.Strugglingandwanderinginacontradictoryliteraryschool.

Characterevaluation

Flaubertadoptsthe"freeindirect"discourseforminhisnarrativemethod.Hefrequentlychangesvariousnarrativeviewpointsandnarrativetenseswithoutshowingatrace,thusThedifferencebetweenthelanguageofthenarratorandthelanguageofthecharactersisblurred,andthevoiceofthefull-focusnarratorandthevoiceoftheinner-focusedcharactersareconfused.Flaubertskillfullyusedthisambiguitysothathecouldspeakforhimselfinotherpeople'slanguage,neithercompletelyimplicatednorcompletelyinnocent.Flaubertisananatomistandpsychologistwhoadvocatesscientificandobjectivespirit.

——ZengYanbing (Професор на Школата по писма, Китайски университет Ренмин)

Flaubertislikeoperatingascalpelwhenhewrites.Fromhishand,itcanbeseenthatitislikeananatomistandphysiologist.

——SaintBeauff (френски литературен критик)

Ръководителят защитава принципа на писане на „прикриването на писателя“.

——LiJianwu(FamousModernWriter)

FlaubertwasthegreatestFrenchwriterinthe19thcentury.

——Гурмон (Гурмон, лидерът на френската символистична поезия)

FlaubertwasthelargestFrenchnovelistinthesecondhalfofthe19thcentury.Afterhisdeath,nooneinEuropecanmatch.

——Сейнтсбъри

Флобер е натуралистичен брат на Зола.

——Юсман (френски писател)