Word: flaubert
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...Five Towns, The Old Wives' Tale, the Clayhanger trilogy and Ricey-man Steps was also a superb storyteller and a literary innovator, a Dickens shorn of romanticism. By imposing on the sentimental Edwardian fabric the realistic techniques he had absorbed from such French masters as Goncourt, Flaubert, Maupassant and Turgenev (whom he insisted on calling French because it was in that language that he read him), Bennett became the first popular novelist of his time to tell of the actual lives of recognizable people in words that ordinary readers could understand. This was not a happy accident. Beneath...
...Gustave Flaubert, Bouvard et Pecuchet...
...certain intellectual qualities inherited from the Enlightenment: lucidity, irony, skepticism, intellectual curiosity, combined with the impassioned intensity and enhanced sensibility of the Romantics, their rebellion and sense of technical experiment, their awareness of living in a tragic age. The generation which reconciled these opposites was that of Baudelaire, Flaubert and Dostoevsky, of Whitman, Melville and Ruskin, of Edmond de Goncourt and Matthew Arnold, to which one might add Renan and Turgenev ... all these artists reach...
...major novelist of a minor language: Portuguese. A scrawny chap with big buck teeth and a hook nose, Eça de Queiroz (pronounced Essa de Kay-rozh) spent most of his life as a Portuguese consul in London and Paris, fell under the spell of Flaubert and Zola, wrote a stack of realistic novels that appalled the provincial Portuguese and impressed some literate Parisians but missed fire in America. In 1962, however, a translation of O Crime do Padre Amaro presented him to U.S. readers as a satirist of force and finesse...
...Brook's film as in Flaubert's book, the heroine (Jeanne Moreau) lives in a French provincial town and is married to a prosperous and proper bourgeois who is even duller than she is. She is bored, she falls in love with a younger man (Jean-Paul Belmondo), she loses him. At this point, Flaubert's heroine kills herself. Brook's heroine, alas, owes rather less to Flaubert than she does to Freud. Her drama is not a tragedy of society but a crisis of identity. "She wants to live a life, anybody's life...