Madame Bovary: Color Illustrated, Formatted for E-Readers (Unabridged Version), by Gustave Flaubert
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Madame Bovary: Color Illustrated, Formatted for E-Readers (Unabridged Version), by Gustave Flaubert
PDF Ebook Download : Madame Bovary: Color Illustrated, Formatted for E-Readers (Unabridged Version), by Gustave Flaubert
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Formatted for E-Readers, Unabridged & Original version. You will find it much more comfortable to read on your device/app. Easy on your eyes. Includes: 15 Colored Illustrations and Biography Madame Bovary (1856) is the French writer Gustave Flaubert's debut novel. The story focuses on a doctor's wife, Emma Bovary, who has adulterous affairs and lives beyond her means in order to escape the banalities and emptiness of provincial life. Though the basic plot is rather simple, even archetypal, the novel's true art lies in its details and hidden patterns. Flaubert was a notorious perfectionist and claimed always to be searching for le mot juste ("the precise word"). When it was first serialized in La Revue de Paris between 1 October 1856 and 15 December 1856, the novel was attacked for obscenity by public prosecutors. The resulting trial, held in January 1857, made the story notorious. After Flaubert's acquittal on 7 February 1857, Madame Bovary became a bestseller when it was published as a single volume in April 1857. The novel is now considered Flaubert's masterpiece, as well as a seminal work of realism and one of the most influential novels ever written. The British critic James Wood writes in How Fiction Works: "Flaubert established for good or ill, what most readers think of as modern realist narration and his influence is almost too familiar to be visible" Madame Bovary takes place in provincial northern France, near the town of Rouen in Normandy. Charles Bovary is a shy, oddly dressed teenager arriving at a new school where he is ridiculed by his new classmates. Charles struggles his way to a second-rate medical degree and becomes an officier de santé in the Public Health Service. He marries the woman his mother has chosen for him, the unpleasant but supposedly rich widow Heloise Dubuc. He sets out to build a practice in the village of Tostes (now Tôtes). One day, Charles visits a local farm to set the owner's broken leg and meets his patient's daughter, Emma Rouault. Emma is a beautiful, daintily dressed young woman who has received a "good education" in a convent. She has a powerful yearning for luxury and romance inspired by reading popular novels. Charles is immediately attracted to her and visits his patient far more often than necessary until Heloise's jealousy puts a stop to the visits. When Heloise dies, Charles waits a decent interval before courting Emma in earnest. Her father gives his consent, thus Emma and Charles marry. When Emma is nearly fully recovered, she and Charles attend the opera, at Charles' insistence, in nearby Rouen. The opera reawakens Emma's passions and she encounters Léon who, now educated and working in Rouen, is also attending the opera. They begin an affair. While Charles believes that she is taking piano lessons, Emma travels to the city each week to meet Léon, always in the same room of the same hotel, which the two come to view as their home. The love affair is ecstatic at first, but by degrees Léon grows bored with Emma's emotional excesses and Emma grows ambivalent about Léon, who himself becomes more like the mistress in the relationship, comparing poorly, at least implicitly, with the rakish and domineering Rodolphe. Emma indulges her fancy for luxury goods with purchases made on credit from the crafty merchant Lheureux, who arranges for her to obtain power of attorney over Charles’ estate. Emma's debt steadily mounts. Madame Bovary: Color Illustrated, Formatted for E-Readers (Unabridged Version), by Gustave Flaubert- Amazon Sales Rank: #2876482 in eBooks
- Published on: 2015-09-01
- Released on: 2015-09-01
- Format: Kindle eBook
Review "Madame Bovary is like the railroad stations erected in its epoch: graceful, even floral, but cast of iron." --John UpdikeFrom the Trade Paperback edition.
Review "[Flaubert's] masterwork has been given the English translation it deserves." -Kathryn Harrison, The New York Times Book Review "[A] brilliant new translation." -Lee Siegel, The New York Observer "[Davis] has a finer ear for the natural cadences of English, in narrative and dialogue, than any of her predecessors, and there are many moments in her Madame Bovary when one pauses to admire how clean and spare a sentence seems by comparison with its earlier translated versions. . . . Only a very good writer indeed could have written it. . . . The bones of the original French show clearly through her English, and the rawness of her translation is, on the whole, invigorating." -Jonathan Raban, The New York Review of Books "How tickled Madame Bovary herself would be by the latest homage paid to her. . . . I'm grateful to Davis for luring me back to Madame Bovary and for giving us a version which strikes me as elegant and alive." -Maureen Corrigan, NPR's Fresh Air "Flaubert's obsessive masterpiece finally gets the obsessive translation it deserves." -New York "Davis is the best fiction writer ever to translate the novel. . . . [Her] work shares the Flaubertian virtues of compression, irony and an extreme sense of control. . . . Davis's Madame Bovary is a linguistically careful version, in the modern style, rendered into an unobtrusively American English." -Julian Barnes, London Review of Books "Davis captures with precision the sensitivity of the novel's language. . . . [Her] version . . . ultimately demonstrates her own empathy with Emma." -The New Republic "At last, the real Madame Bovary . . . The publication of the Davis version is an event. . . . Davis has come closer than any previous translator to capturing Flaubert's style and content accurately for English-language readers. . . . Her version benefits from her finesse as a writer and seems fresh and different compared to other translations." -The American Spectator "Davis has produced a very fine [translation that] displays a cool detachment not at all dissimilar to Flaubert's own." -The New Criterion "Davis [is] operating in top form in her new translation of Madame Bovary. . . . I was struck delirious by the force of Flaubert's writing, and the precision (the perfection) of Davis's translation." -Macy Halford, The New Yorker's Book Bench "Davis's edition should bring a new generation to Flaubert's classic of bourgeois ennui and adultery." -Newsday "A new translation that spans the ages [and] hews as close to the original as may be possible. . . . Davis's translation strives for-and largely achieves-the flavor of Flaubert's realism. . . . It provides such an unfussy, straightforward narrative that it underscores how truly modern a writer Flaubert was." -BookPage "Davis has forged a masterpiece out of a masterpiece. . . . This Madame Bovary is a veritable page-turner. . . . In French, the story leapt out at me like a hallucinatory Technicolor poem; in the lapidary English of Lydia Davis, I receive the same frisson of recognition-that the novel still lives. . . . Thanks to Lydia Davis, the book remains: a great, companionlike, eternal gilded mirror of Flaubert's world." -Neil Baldwin, The Faster Times "Davis . . . does a brilliant job of capturing Flaubert's diamond-hard style. . . . Davis's English prose has precisely the qualities she notes that Flaubert was striving for in French; it is 'clear and direct, economical and precise.' This translation reminds you what an aggressively modern writer Flaubert is." -Kirkus Reviews "[Davis] is one of the most innovative prose stylists of our time, and thus an excellent match for Flaubert's masterpiece. Flaubert's sentences are certainly sonorous in French, and the sentences in this translation reveal a similar attention to sound. . . . We are in debt to Flaubert for his influence on much of the writing we have today; the extent of our debt has never been so clear." -The Believer Acclaim for Lydia Davis and her translation of Swann's Way "[Her] capacity to make language unleash entire states of existence reveals the extent to which Davis's fiction is influenced by her work as a translator." -The New York Times "Few writers now working make the words on the page matter more." -Jonathan Franzen "Davis is the best prose stylist in America." -Rick Moody "Swann's Way is transformed into something even more enchanting in Lydia Davis's new translation." -Vanity Fair "Davis is closer, much closer, to Proust's French. . . . [Her] Swann's Way is one of those translations . . . that put the question of languages out of your mind, and leave you only with questions of language." -The Village Voice "Accessible and faithful to Proust. Davis replicates the hesitations and digressions, the backward looks and forward glances that swell Proust's sentences and send them cascading to their conclusion-without sacrificing the natural air of his style." -Los Angeles Times Book Review "Davis is an extraordinary technician of language, capable of revealing elusive human tendencies through the most unusual means." -Bookforum "[Davis] commands language and imagery, playing the reader like a master." -Los Angeles Times "The subtleties of the French language, in spite of their difficulty, hold no secrets from you. . . . No literary genre deters you. You helped to make known to the English-speaking public some of the finest French literature of the century. . . . You have found a way not only to put your many talents at the service of the French language and culture, but also to place your stamp on the literary legacy of our times." -French Insignia of the Order of Arts and Letters citation
Language Notes Text: English (translation) Original Language: French
Where to Download Madame Bovary: Color Illustrated, Formatted for E-Readers (Unabridged Version), by Gustave Flaubert
Most helpful customer reviews
118 of 123 people found the following review helpful. The Hope Diamond of Novels By Bruce Kendall Making a statement like Madame Bovary is the "greatest" novel ever written would be superfluous. It could be argued that it is the most perfectly written novel in the history of letters and that in creating it, Flaubert mastered the genre. What can't be argued is that it is one of the most influential novels ever written. It changed the face of literature as no other novel has, and has been appreciated and acknowledged by virtually every important novelist who was either Flaubert's contemporary or who came after him. It's interesting to see the range in opinion that still surrounds this novel. Some of the Readers here at Amazon are morally affronted by the novel's central character, viewing her as something sinister and "unlikeable," and panning the novel for this reason. Such a reaction recalls the negative reviews Bovary engendered soon after its initial publication. It was attacked by many of the authorities of French literature at the time for being ugly and perverse, and for the impression that the novel presented no properly moral frame. These readers didn't "like" Emma much either, and they took their dislike out on her creator. But this is one of the factors making Madame Bovary "modern". One of the hallmarks of modern novels is that they often portray unsympathetic characters, and Emma certainly falls into this category. How can we as readers "like" a woman who elbows her toddler daughter away from her so forcefully that the child "fell against the chest of drawers, and cut her cheek on the brass curtain-holder." After this pernicious behavior, Emma has a few brief moments of self-castigation and maybe even remorse, but very soon is struck by "what an ugly child" Berthe is. Emma's self-centeredness borders on solipsism. For readers looking for maternal instincts in their female characters or for a depiction of a devoted wife, they had better turn to Pearl S. Buck and The Good Earth, perhaps, rather than to Flaubert. Much has been made of Flaubert's attempts to remove himself from the narrative, that he was searching for some sort of ultimate objectivity. His narrative technique is much more complex than that, however. It is his employment of a shifting narrative, sometimes objective, sometimes subjective, that again is an indicator of the novel's modernity. At times the narrator is merely reporting events or is involved in providing descriptive details. Yet often the authorial voice makes rather plain how the reader is to look at Emma and her plebeian persona. When she finally succumbs to Rodolphe and thinks she is truly in love, Flaubert becomes downright cynical: " `I've a lover, a lover,' she said to herself again and again, revelling in the thought as if she had attained a second puberty. At last she would know the delights of love, the feverish joys of which she had despaired. She was entering a marvelous world where all was passion, ecstasy, delirium." Emma is a neurasthenic, in the modern sense, but in the 19th century she would have been said to suffer from hysteria, a mental condition diagnosed primarily in women. When her lovers leave her, she has what amounts to nervous breakdowns. After Rodolphe leaves her she makes herself so sick that she comes near death. Her imagination is much too powerful and too impressionable for her own good. This is part of the reason for Flaubert's oft-repeated quote, "Bovary, c'est moi." Flaubert was a neurasthenic as well and could easily work himself into a swoon as a result of his imaginative flights. There is even conjecture that he may have been, like Dostoevsky, an epileptic, and it is further intimated that this disorder was brought on by nerves, though this may be dubious, medically speaking. Madame Bovary is not flawless, but it comes awfully close. It is one of the great controlled experiments in the fiction of any era. It even anticipates cinematic technique in many instances, but particularly in the scene at the Agricultural Fair. Note how Flaubert juxtaposes the utterly mundane activities and speeches occurring in the town square with Rodolphe's equally inane seduction of Emma in the empty Council Chamber above the square:"He took her hand and she did not withdraw it.""`General Prize!' cried the Chairman.'""`Just now, for instance, when I came to call on you...'""Monsieur Bizet of Quincampoix.""`...how could I know that I should escort you here?'""Seventy francs!""`And I've stayed with you, because I couldn't tear myself away, though I've tried a hundred times.'""Manure!"This is representative Flaubert. With a few deft strokes, he lays the whole absurdity of both the seduction and the provincial's activities bare.If you have read this book previously and have come away feeling demoralized and even angered, please try reading it again, this time concentrating on the richness of its metaphors, Flaubert's mastery of foreshadowing, symbolism and description. Maybe you will come away with your viewpoint changed. For those who have not yet read this classic of classics, I know that if your mind remains open, you will come away with an appreciation for this master-novelist and for this monumental work.
63 of 68 people found the following review helpful. Skip this edition By Paul T. Klammer Skip this. Footnotes in the middle of pages with no source reference in the page. Use of obscure terms (form for bench), choppy uneven language. I compared this to another paper edition I own. The translation is poor at best. Sometimes you do get exactly what you pay for.
44 of 47 people found the following review helpful. Flaubert Would Roll Over in his Grave By Ann Seymour Having originally read MADAME BOVARY in French, I am bound to find English versions disappointing, though, over the years, I have twice read acceptable translations. From Amazon, I bought the General Books paperback, and I cannot comprehend how Marx Aveling could allow it to appear for sale, especially after her adoring Flaubert prologue. The publisher scanned her copy without proofing it, and there are so many typos it's virtually unreadable.The language is as forced and artificial as Flaubert's is natural and true. He created such marvelous characters that they manage to struggle through this mess and touch the reader. But I implore people not to read this genius author in this disgrace of a book. - Ann Seymour
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