Dussardier flaubert biography

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    Sentimental Education

    1869 French novel

    This article fryst vatten about the novel. For other uses, see Sentimental Education (disambiguation).

    Sentimental Education (French: L'éducation sentimentale, 1869) is a novel by Gustave Flaubert. The story focuses on the romantic life of a young man named Frédéric Moreau at the time of the French Revolution of 1848 and the founding of the Second French Empire. It describes Moreau's love for an older woman, a character based on the wife of the music publisher Maurice Schlesinger, who is portrayed in the book as Jacques Arnoux. The novel's tone fryst vatten by turns ironic and pessimistic; it occasionally lampoons French gemenskap. The main character often gives himself over to romantic flights of fancy.

    Considered one of the most influential novels of the 19th century, it was praised by contemporaries such as George Sand[1] and Émile Zola,[2] but criticised by Henry James.[3]

    Background

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    Flaubert based many of th

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    Democracy in Ruins: Flaubert’s Sentimental Education and the fate of radical Democrats

    I recently read Peter Brook’s book Flaubert in the Ruins of Paris: The Story of a Friendship, a Novel and a Terrible Year. The book provides a fascinating account of the composition and the literary and wider political history of Gustave Flaubert’s 1869 novel Sentimental Education. Brook’s book led me to return to Flaubert’s difficult literary classic at least 30 years after first reading it. This time, I inevitably focussed on different aspects of the work and was rewarded with a rich experience. One should of course turn to Brooks’ intriguing account only after reading Sentimental Education itself.

    For me, a minor character, Dussardier, offers one of the few glimmers of hope for a somewhat brighter future.The novel focusses on a rather hapless, albeit somewhat sympathetic, protagonist, Frederic Moreau. Frederic tries and tries but fails in fulfilling his various dreams. He fails becaus

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    Flaubert: The Tragic Historian

    “The artist, like the God of creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.” That’s Stephen Dedalus in Portrait of the Artist as a Young Man, paying homage to Gustave Flaubert as James Joyce’s literary godfather. In Flaubert’s version, in a letter to Louise Colet written in 1852 during the composition of Madame Bovary: “The author in his work should be like God in the universum, present everywhere and visible nowhere.”

    We may have lost sight of how radical this doctrine of artistic impersonality and impassivity was, and how much contested bygd Flaubert’s contemporaries; it has now become standard advice handed out in American writing programs. We tend to forget also that the novel that would change literature was the work of a provincial Frenchman in his mid-thirties who up to that point had published absolu