taken the greatest care, employed all the prestige of his style in painting the portrait of this woman. Has he tried to show her on the side of intelligence? Never. From the side of the heart? Not at all. On the part of mind? No. From the side of physical beauty? Not even that. Oh! I know very well that the portrait of Madame Bovary after the adultery is most brilliant; but the picture is above all lascivious, the post is voluptuous, the beauty a beauty of provocation.
I come now to the four important quotations; I shall make but four; I hold to my outline: I have said that the first would be the love for Rodolphe, the second the religious reaction, the third the love for Léon, the fourth her death.
Here is the first. Madame Bovary is near her fall, nearly ready to succumb.
"Domestic mediocrity drove her to lewd fancies, marriage tendernesses to adulterous desires. She would have liked Charles to beat her, that she might have a better right to hate him, to revenge herself upon him."
What was it that seduced Rodolphe and prepared him? The opening of Madame Bovary's dress which had burst in places along the seams of the corsage. Rodolphe took his servant to Bovary's house, to bleed him. The servant was very ill, and Madame Bovary held the basin.
"Madame Bovary took the basin to put it under the table. With the movement she made in bending down, her skirt (it was a summer frock with four flounces, yellow, long in the waist and wide in the skirt) spread out around her on the flags of the room; and as Emma, stooping, staggered a little as she stretched out her arms, the stuff here and there gave with the inflections of her bust."
Here is Rodolphe's reflection: "He again saw Emma in her room, dressed as he had seen her, and he undressed her."
It is the first day they had spoken to each other. "They looked at one another. A supreme desire made their dry lips tremble, and softly, without an effort, their fingers intertwined."
These are the preliminaries of the fall. It is necessary to read the fall itself.
"When the habit was ready, Charles wrote to Monsieur Boulanger that his wife was at his command, and that they counted on his good-nature.
"The next day at noon, Rodolphe appeared at Charles's door with two saddle-horses. One had pink rosettes at his ears and a deerskin side-saddle.
"Rodolphe had put on high soft boots, saying to himself that no doubt she had never seen anything like them. In fact, Emma was charmed with his appearance as he stood on the landing in his great velvet coat and white corduroy breeches."
"As soon as he felt the ground, Emma's horse set off at a gallop. Rodolphe galloped by her side."
Here they are in the forest.
"He drew her farther on to a small pool where duckweeds made a greenness on the water. Faded waterlilies lay motionless between the reeds. At the noise of their steps in the grass, frogs jumped away to hide themselves.
"'I am wrong! I am wrong!' she said. 'I am mad to listen to you!'"
"'Why? Emma! Emma!'"
"'Oh, Rodolphe!' said the young woman slowly, leaning on his shoulder."
"The cloth of her habit caught against the velvet of his coat. She threw back her white neck, swelling with a sigh, and faltering, in tears, with a long shudder and hiding her face, she gave herself up to him."
Then she arose and, after shaking off the fatigue of voluptuousness, returned to the domestic hearth, to that hearth where she would find a husband who adored her. After this first fall, after this first adultery, this first fault, is it a sentiment of remorse that she feels, in the presence of this deceived husband who adores her? No! with a bold front, she enters, glorifying adultery.
"But when she saw herself in the glass she wondered at her face. Never had her eyes been so large, so black, of so profound a depth. Something subtle about her being transfigured her. She repeated, 'I have a lover! a lover!' delighting at the idea as if a second puberty had come to her. So at last she was to know those joys of love, that fever of happiness of which she had despaired! She was entering upon marvels where all would be passion, ecstasy, delirium."
Thus, from this first fault, this first fall, she glorified adultery, she sang the song of adultery, its poesy and its delights. This, gentlemen, to me is much more dangerous and immoral than the fall itself! Gentlemen, all pales before this glorification of adultery, even the rendezvous at night some time after:
"To call her, Rodolphe threw a sprinkle of sand at the shutters. She jumped up with a start; but sometimes he had to wait, for Charles had a mania for chatting by the fireside, and he would not stop. She was wild with impatience; if her eyes could have done it, she would have hurled him out at the window. At last she would begin to undress, then take up a book, and go on reading very quietly as if the book amused her. But Charles, who was in bed, called to her to come too.
"'Come, now, Emma,' he said, 'it is time.'
"'Yes, I am coming,' she answered.
"Then, as the candles dazzled him, he turned to the wall and fell asleep. She escaped, smiling, palpitating, undressed.
"Rodolphe had a large cloak; he wrapped her in it, and putting his arm around her waist, he drew her without a word to the end of the garden."
"It was in the arbour, on the same seat of old sticks where formerly Léon had looked at her so amorously on the summer evenings. She never thought of him now.
"The cold of the nights made them clasp closer; the sighs of their lips seemed to them deeper; their eyes, that they could hardly see, larger; and in the midst of the silence low words were spoken that fell on their souls sonorous crystalline, and reverberating in multiplied vibrations."
Gentlemen, do you know of language anywhere in the world more expressive? Have you ever seen a more lascivious picture? Listen further:
"Never had Madame Bovary been so beautiful as at this period; she had that indefinable beauty that results from joy, from enthusiasm, from success, and that is only the harmony of temperament with circumstances. Her desires, her sorrows, the experience of pleasure and her ever-young illusions had, as soil and rain and winds and the sun make flowers grow, gradually developed her, and she at length blossomed forth in all the plentitude of her nature. Her eyelids seemed chiselled expressly for her long amorous looks in which the pupil disappeared, while a strong inspiration expanded her delicate nostrils and raised the fleshy corner of her lips, shaded in the light by a little black down. One would have thought that an artist apt in conception had arranged the curls of hair upon her neck; they fell in a thick mass, negligently and with the changing chances of their adultery that unbound them every day. Her voice now took more mellow inflections, her figure also; something subtle and penetrating escaped even from the folds of her gown and from the line of her foot. Charles, as when they were first married, thought her delicious and quite irresistible."
Up to this time this woman's beauty had consisted of her grace, her elegance, and her clothes; finally she is shown to you without a veil and you can say whether adultery has embellished her or not.
"'Take me away,' she cried, 'carry me off! Oh, I entreat you!'
"And she threw herself upon his mouth, as if to seize there the unexpected consent it breathed forth in a kiss."
Here is a portrait, gentlemen, which M. Flaubert knows well how to draw. How the eyes of this woman enlarge! Something ravishing expands around her, and then her fall! Her beauty has never been so brilliant as the next day after her fall and the days following. What the author shows you is the poetry of adultery, and I ask you again
