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"The priest did not fail to point this out; he even explained to Bovary that the Lord sometimes prolonged the life of persons when he thought it meet for their salvation; and Charles remembered the day when, so near death, she had received the communion. Perhaps there was no need to despair, he thought."
Without doubt, it is the husband who begins and who terminates the book; but the most serious portrait of the work, the one that illumines the other paintings, is that of Madame Bovary. Here I relate, I do not cite. It takes the husband first at college, and it must be stated that the boy already gave evidence of the kind of husband he would make.
"Does this amuse you?" he said, bending over her so closely that the end of his moustache brushed her cheek. She replied carelessly: "Oh, dear me, no, not much." Then he proposed that they should leave the theatre and go and take an ice somewhere. "Oh, not yet; let us stay," said Bovary. "Her hair's undone; this is going to be tragic."
At this moment Monsieur Leon came out from a neighbouring door with a bundle of papers under his arm. He came to greet her, and stood in the shade in front of the Lheureux's shop under the projecting grey awning. Madame Bovary said she was going to see her baby, but that she was beginning to grow tired. "If " said Leon, not daring to go on. "Have you any business to attend to?" she asked.
The conversation languished; Madame Bovary gave it up every few minutes, whilst he himself seemed quite embarrassed. Seated on a low chair near the fire, he turned round in his fingers the ivory thimble-case. She stitched on, or from time to time turned down the hem of the cloth with her nail. She did not speak; he was silent, captivated by her silence, as he would have been by her speech.
Monsieur Homais toward liqueur-time began singing "Le Dieu des bonnes gens." Monsieur Léon sang a barcarolle, and Madame Bovary, senior, who was godmother, a romance of the time of the Empire; finally, M. Bovary, senior, insisted on having the child brought down, and began baptizing it with a glass of champagne that he poured over its head.
I now come to the third, which is a series of adulteries. After the religious transition, Madame Bovary is again ready to fall. She goes to the theatre at Rouen. The play is Lucia di Lammermoor. Emma returns to her old self.
In Flaubert's Bovary there could be no question but that we must mainly use the eyes of Emma herself; the middle of the subject is in her experience, not anywhere in the concrete facts around her.
"Then, Madame Bovary," he said at last, "excuse me, but duty first, you know; I must look after my good-for-nothings. The first communion will soon be upon us, and I fear we shall be behind after all. So after Ascension Day I keep them recta* an extra hour every Wednesday. Poor children!
Emma was much embarrassed; all the drawers of the writing-table were empty; they owed over a fortnight's wages to Lestiboudois, two quarters to the servant, for any quantity of other things, and Bovary was impatiently expecting Monsieur Derozerays' account, which he was in the habit of paying him every year about midsummer. She succeeded at first in putting off Lheureux.
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