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About halfway through the book though Braddon's book breaks away completely from Flaubert's. Yes, like Emma, Isobel becomes infatuated with the handsome young local lord of the manor, and finds that he's not exactly immune to her charms either. But whereas Emma is quite hard-bitten and socially-ambitious, Isobel's love of romantic fiction has stymied her development, and she is stuck at the level of being a starry-eyed innocent schoolgirl, unable to cope when her admirer wants to move the relationship onto a more prosaic level.
This book is very Victorian in places and that might put off the modern reader. For instance, the dark sentimentality, the protracted death-bed scenes, the long speeches (where the characters don't seem to be having a conversation so much as "addressing a public meeting", as Queen Victoria once famously said about Gladstone), and Isobel's tendency to start fainting when it all gets too much, can take a bit of swallowing, but bear with it, as this is a really beautiful book. It seems unfair that Mrs Braddon has been dismissed since her lifetime as being nothing more than a Victorian sensation scribbler, a sort of sub-Wilkie Collins. It's unfair because she simply wrote so beautifully, and the scenes in this book brim with life and a deep, wide-eyed understanding of human nature. It's also very moving in parts, most particularly George's final remarks to his wife, which are very moving in their simplicity.
I personally think it's better than "Madame Bovary" simply because, although Flaubert's novel is undoubtedly good, I also found it relentlessly grim. He simply seems to offer no hope for ANYONE! I often admire French authors for their clear-headed lack of sentimentality (Zola for instance), but sometimes they can take it a tad too far! I was annoyed by the somewhat lofty and indifferent analysis of "The Doctor's Wife" given in the intro to my copy. Ignore all that, just enjoy a bloomin' good story!
The characters are fleshed out and not typical Victorian representations. Read more
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