The Craft of Fiction - Percy Lubbock (great books for teens .txt) 📗

If Flaubert allows himself the liberty of telling his story in various ways—with a method, that is to say, which is often modified as he proceeds—it is likely that he has good cause to do so. Weighing every word and calculating every effect so patiently, he could not have been casual and careless over his method; he would not take one way rather than another because it saved him trouble, or because he failed to notice that there were other ways, or because they all seemed to him much the same. And yet at first sight it does seem that his manner of arriving at his subject—if his subject is Emma Bovary—is considerably casual. He begins with Charles, of all people—Charles, her husband, the stupid soul who falls heavily in love with her prettiness and never has the glimmer of an understanding of what she is; and he begins with the early history of Charles, and his upbringing, and the irrelevant first marriage that his mother forces upon him, and his widowhood; and then it happens that Charles has a professional visit to pay to a certain farm, the farmer's daughter happens to be Emma, and so we finally stumble upon the subject of the book. Is that the neatest possible mode of striking it? But Flaubert seems to be very sure of himself, and it is not uninteresting to ask exactly what he means.

As for his subject, it is of course Emma Bovary in the first place; the book is the portrait of a foolish woman, romantically inclined, in small and prosaic conditions. She is in the centre of it all, certainly; there is no doubt of her position in the book. But why is she there? The true subject of the novel is not given, as we saw, by a mere summary of the course which is taken by the story. She may be there for her own sake, simply, or for the sake of the predicament in which she stands; she may be presented as a curious scrap of character, fit to be studied; or Flaubert may have been struck by her as the instrument, the victim, the occasion, of a particular train of events. Perhaps she is a creature portrayed because he thinks her typical and picturesque; perhaps she is a disturbing little force let loose among the lives that surround her; perhaps, on the other hand, she is a hapless sufferer in the clash between her aspirations and her fate. Given Emma and what she is by nature, given her environment and the facts of her story, there are dozens of different subjects, I dare say, latent in the case. The woman, the men, all they say and do, the whole scene behind them—none of it gives any clue to the right manner of treating them. The one irreducible idea out of which the book, as Flaubert wrote it, unfolds—this it is that must be sought.

Now if Emma was devised for her own sake, solely because a nature and a temper like hers seemed to Flaubert an amusing study—if his one aim was to make the portrait of a woman of that kind—then the rest of the matter falls into line, we shall know how to regard it. These conditions in which Emma finds herself will have been chosen by the author because they appeared to throw light on her, to call out her natural qualities, to give her the best opportunity of disclosing what she is. Her stupid husband and her fascinating lovers will enter the scene in order that she may become whatever she has it in her to be. Flaubert elects to place her in a certain provincial town, full of odd characters; he gives the town and its folk an extraordinary actuality; it is not a town quelconque, not a generalized town, but as individual and recognizable as he can make it. None the less—always supposing that Emma by herself is the whole of his subject—he must have lit on this particular town simply because it seemed to explain and expound her better than another. If he had thought that a woman of her sort, rather meanly ambitious, rather fatuously romantic, would have revealed her quality more intensely in a different world—in success, freedom, wealth—he would have placed her otherwise; Charles and Rodolphe and Homard and the rest of them would have vanished, the more illuminating set of circumstances (whatever they might be) would have appeared instead. Emma's world as it is at present, in the book that Flaubert wrote, would have to be regarded, accordingly, as all a consequence of Emma, invented to do her a service, described in order that they may make the description of her. Her world, that is to say, would belong to the treatment of the story; none of it, not her husband, not the life of the market-town, would be a part of the author's postulate, the groundwork of his fable; it would be possible to imagine a different setting, better, it might be, than that which Flaubert has chosen. All this—if the subject of the book is nothing but the portrait of such a woman.

But of course it is not so; one glance at our remembrance of the book is enough to show it. Emma's world could not be other than it is, she could not be shifted into richer and larger conditions, without destroying the whole point and purpose of Flaubert's novel. She by herself is not the subject of his book. What he proposes to exhibit is the history of a woman like her in just such a world as hers, a foolish woman in narrow circumstances; so that the provincial scene, acting upon her, making her what she becomes, is as essential as she is herself. Not a portrait, therefore, not a study of character for its own sake, but something in the nature of a drama, where the two chief players are a woman on one side and her whole environment on the other—that is Madame Bovary. There is a conflict, a trial of strength, and a doubtful issue. Emma is not much of a force, no doubt; her impulses are wild, her emotions are thin and poor, she has no power of passion with which to fight the world. All she has is her romantic dream and her plain, primitive appetite; but these can be effective arms, after all, and she may yet succeed in getting her way and making her own terms. On the other hand the limitations of her life are very blank and uncompromising indeed; they close all round her, hampering her flights, restricting her opportunities. The drama is set, at any rate, whatever may come of it; Emma marries her husband, is established at Yonville and faced with the poverty of her situation. Something will result, the issue will announce itself. It is the mark of a dramatic case that it contains an opposition of some kind, a pair of wills that collide, an action that pulls in two directions; and so far Madame Bovary has the look of a drama. Flaubert might work on the book from that point of view and throw the emphasis on the issue. The middle of his subject would then be found in the struggle between Emma and all that constitutes her life, between her romantic dreams and her besetting facts. The question is what will happen.

But then again—that is not exactly the question in this book. Obviously the emphasis is not upon the commonplace little events of Emma's career. They might, no doubt, be the steps in a dramatic tale, but they are nothing of the kind as Flaubert handles them. He makes it perfectly clear that his view is not centred upon the actual outcome of Emma's predicament, whether it will issue this way or that; what she does or fails to do is of very small moment. Her passages with Rodolphe and with Léon are pictures that pass; they solve nothing, they lead to no climax. Rodolphe's final rejection of her, for example, is no scene of drama, deciding a question that has been held in suspense; it is one of Emma's various mischances, with its own marked effect upon her, but it does not stand out in the book as a turning-point in the action. She goes her way and acts out her history; but of whatever suspense, whatever dramatic value, there might be in it Flaubert makes nothing, he evidently considers it of no account. Who, in recalling the book, thinks of the chain of incident that runs through it, compared with the long and living impression of a few of the people in it and of the place in which they are set? None of the events really matter for their own sake; they might have happened differently, not one of them is indispensable as it is. Emma must certainly have made what she could of her opportunities of romance, but they need not necessarily have appeared in the shape of Léon or Rodolphe; she would have found others if these had not been at hand. The events, therefore, Emma's excursions to Rouen, her forest-rides, her one or two memorable adventures in the world, all these are only Flaubert's way of telling his subject, of making it count to the eye. They are not in themselves what he has to say, they simply illustrate it.

What it comes to, I take it, is that though Madame Bovary, the novel, is a kind of drama—since there is the interaction of this woman confronted by these facts—it is a drama chosen for the sake of the picture in it, for the impression it gives of the manner in which certain lives are lived. It might have another force of its own; it might be a strife of characters and wills, in which the men and women would take the matter into their own hands and make all the interest by their action; it might be a drama, say, as Jane Eyre is a drama, where another obscure little woman has a part to play, but where the question is how she plays it, what she achieves or misses in particular. To Flaubert the situation out of which he made his novel appeared in another light. It was not as dramatic as it was pictorial; there was not the stuff in Emma, more especially, that could make her the main figure of a drama; she is small and futile, she could not well uphold an interest that would depend directly on her behaviour. But for a picture, where the interest depends only on what she is—that is quite different. Her futility is then a real value; it can be made amusing and vivid to the last degree, so long as no other weight is thrown on it; she can make a perfect impression of life, though she cannot create much of a story. Let Emma and her plight, therefore, appear as a picture; let her be shown in the act of living her life, entangled as it is with her past and her present; that is how the final fact at the heart of Flaubert's subject will be best displayed.

Here is the clue, it seems, to his treatment of the theme. It is pictorial, and its object is to make Emma's existence as intelligible and visible as may be. We who read the book are to share her sense of life, till no uncertainty is left in it; we are to see and understand her experience, and to see her while she enjoys or endures it; we are to be placed within her world, to get the immediate taste of it, and outside her world as well, to get