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What is Flaubert's impersonal principle?

It should be Flaubert's impersonal narrative

Flaubert's objective narration did not completely give up his right to "guide" readers. Because judging from the work Madame Bovary, we can still feel the author's own inclination, position and intention in reading. In addition, I don't agree with the statement of "pure objectivity". Because this concept makes a mess of some already clear facts. Besides, Madame Bovary is not a "purely objective" work, which is essentially different from the so-called "materialized novel" and "purely objective narrative" of the later "new novel" such as Rob Ge Ye (I'm not saying that Rob Ge Ye's work is useless, at least his "jealousy" is good), but Rob Ge Ye can't leave Flaubert's rhetoric without language and writing. Language and writing are the products of "culture", which is neither "pure" nor "material". How to achieve "pure objectivity"? If it's not a myth, what is it? Later, Rob Geyer simply stopped writing novels (it is said that he has recently returned to his old job) and went to make movies because he felt that the camera was closer to his "materialization" requirements. In my opinion, this is still unreasonable. A camera is a thing, but the person who controls it is also a product of "culture". He or she has his or her own special values and emotional happiness, hatred, sadness and joy. How does he (she) achieve "pure objectivity"?

As far as Madame Bovary is concerned, Flaubert's transformation has not abandoned the traditional narrative resources, nor destroyed the harmony and perfection of the work style. The most important thing is that the narrative has an appropriate limit. As we said before, it is impossible for a writer like lev tolstoy to imitate easily. His great talent is a miracle in itself (Zweig said that he is greater than a great man), and Flaubert's body is more like a craftsman. There is no doubt that he is an outstanding craftsman. Madame Bovary is an elaborate masterpiece, which has become a symbol of perfection since its publication. Flaubert is very sensitive to language and style, and his creative attitude is even more conscientious and meticulous. In Madame Bovary, the author does not deal with any details and clues at will, and strives for perfection. The rhythm of narrative, the measure of language, the arrangement of speed and strength are all just right. The order in which each character appears in the work, the proportion in the story, and the relationship between the main character and the secondary character all conform to a specific proportion. For example, Emma met Lyon for the first time, but when the relationship between Emma and Lyon heated up sharply, the author sent him to Paris. The huge emotional vacancy left by Leon made her jump into Rudolph's arms like a moth. When Emma and Rudolph calmed down, Leon came back from Paris. This arrangement not only makes the plot develop reasonably, but also makes the narrative ups and downs, avoiding the common problem of straightforward narration. For another example, the viscount and the blind are symbolic figures in their works. Although it is not written much, it has a specific meaning every time it appears, which seems to indicate some subtle changes in the course of the story. Emma's "slip" (she and Rudolph fell into the river of desire) is very important in the story of the novel, but the location chosen by the author is neither Rudolph's hut nor the Woods and gardens they walked through, but arranged in the conference hall of an agricultural exhibition. At the same time, Rudolph's verbal attacks on Emma are often interrupted by the chairman's speech. False love vows and confessions are completely juxtaposed with words such as bulls, seeds, medals and cesspits, and the author does not give any explanation. The whole flirting process looks funny and absurd, but there is pent-up desire everywhere between the lines. The tension formed by the display of different types of discourse makes this scene unforgettable. In fact, this is also the most wonderful chapter about flirting that I have ever read.

About language, Flaubert once described it in his novel: We beat the broken iron pot of language and tried to touch the stars in the sky with it, just to make the bear dance. It seems that Flaubert has a special sensitivity to language and a very clear understanding of the great difficulties in expressing the meaning of language. From this, we can understand why Flaubert regards the accuracy of language as the only mission expressed by the author; It is also understandable why the author's discrimination and choice of words have reached the point of being possessed. Some people regard Madame Bovary as the best textbook for studying writers, and this evaluation is not excessive.

If the most commonly used word for evaluating a great novel is still "This is a great epic", then Madame Bovary deserves to be called "a great epic".