- Paperback: 368 pages
- Publisher: Penguin Books Ltd; New impression edition (28 May 1970)
- Language: English
- ISBN-10: 0140440151
- ISBN-13: 978-0140440157
- Product Dimensions: 17.8 x 2.5 x 12.7 cm
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 2,590,954 in Books (See Top 100 in Books)
Madame Bovary (Classics) Paperback – 28 May 1970
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your e-mail address or mobile phone number.
Présenté par Félicien Marceau, Le livre de poche nr.713/714, Band wat verkleurd / Discolouration, Gevouwen rug / Folded back / / French pockets / Frans / French / Français / Französisch / Pocket / Poche / Taschenbuch / 11 x 17 cm / 503 .pp /
Top Customer Reviews
The story of the younger Madame Bovary (her mother-in-law is the other) is presented in the context of people whose illusions exceed their reality. Eventually, reality catches up with them. In the case of Emma Bovary, these illusions are mostly tied up in the notion that romantic relationships will make life wonderful and that love conquers all. She meets a young doctor of limited potential and marries with little thought. Soon, she finds him unbearable. The only time she is happy is when the two attend a ball at a chateaux put on by some of the nobility (the beautiful people of that time). She has a crisis of spirit and becomes depressed. To help, he moves to another town where life may be better for her. She has a daughter, but takes no interest in her. Other men attract her, and she falls for each one who pays attention to her in a romantic style. Clearly, she is in love with romance. Adultery is not rewarded, and she has a breakdown when one lover leaves her. Recovering, she takes on a younger lover she can dominate. This, too, works badly and she becomes reckless in her pursuit of pleasure. In the process, she takes to being reckless in other ways and brings financial ruin to herself and her family. The book ends in tragedy.
Here is the case for this being dated and irrelevant for today. A modern woman would usually not be trapped in such a way. She would separate from or divorce the husband she grew to detest, and make a new life.Read more ›
Most Helpful Customer Reviews on Amazon.com (beta)
Consequently, to translate Flaubert is a daunting task for any native English-speaker. While I had neither the benefit of the original nor other translations to compare with Alan Russell's, his translation, in my estimation, does the job both `adequately and sufficiently.' (`Adequate and sufficient,' by the way, is no small praise coming from a former philosophy student!)
MADAME BOVARY is a classic not only of French literature, but also of World Literature -- and rightfully so. The story itself is not particularly extraordinary. It is rather Flaubert's telling of it that makes it a classic.
Just as Anna is the eminently memorable focal point of Tolstoy's ANNA KARENINA, Emma is what remains behind in stark detail in the reader's mind after feasting on Gustave Flaubert's MADAME BOVARY.
Your library will never be complete with a copy of MADAME BOVARY. And your reading pleasure will never be consummated without reading the book, start to finish.
Brooklyn, NY, USA
Trompe-l'oeil (or, The In and Out. Of Love.)
With my imperfect command of French, I agree with his opinion. Stendhal, yes, he can be read, even Balzac with a dictionary at hand, but the former deliberately wrote vernacular prose (although he still created a distinctive style, much like Hemingway) and the latter's verbal flamboyance is more striking than stylish.
So the question for an English-speaking reader is: which translation should I read? There are more than a dozen, I believe.
Alan Russell translated BOVARY for Penguin and that's the version reprinted here. Like most of the early Penguin translations from French, Russell's reads very well, though you have the impression that like Margaret Shaw, who translated Stendhal, and Leonard Tannock, who specialized in Zola, Russell aimed for readability more than complete accuracy and faithful tone.
Steegmuller was the American equivalent of Russell, and his translation is more nuanced, but it's been argued that he aims at smoothing out Flaubert's rough patches.
Lydia Davis's new translation contains a forward in which she sums up her judgments of most of the previous translators of BOVARY. If you believe her, Gerald Hopkins adds unnecessary verbiage to the text, but I think that's wrong; Hopkins version is one of the best.
The late Malcolm Bowie, a professor of French literature and a superb critic (his PROUST AMONG THE STARS is one of the best critical books ever on the captive of the cork-lined room), argues that Margaret Mauldon's translation for Oxford Classics is top-of-the-line, but you do wonder if his being hired to write the introduction to her translation might have influenced his judgment.
Whatever, reading Russell's version is recommended by me, and then following up with Hopkins, Steegmuller, Mauldon, and Davis if you become an aficianado would be a good way to go.