Macrame Guysn Gals N#186;1 by Susan Shwarts

By Susan Shwarts

This positively hilarious macrame books will be necessary for reward making.

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Du nouveau sur 'Madame Bo­ vary,' " Revue d'Histoire litteraire de la France, July-September, 1947, pp. ) β The account appeared in the issue of October 4, 1837, p. 1,183. It is reproduced in Jean Bruneau, Les Debuts Utteraires de Gustave Flaubert, 1831-1845, pp. 132-135. THE NOVELS OF FLAUBERT total frenzy that Ernest, almost afraid (in this he an­ nounces Leon) decides to abandon her. Desperate, Mazza kills her husband and her children, and finally takes her own life by poison. The story was written in 1837, some fifteen years before Flaubert set to work on Madame Bovary.

We are gradually led to the unique perspective of Emma. But this is achieved progressively: Charles serves as a transition. 8 It would be a mistake, however, to reduce Charles to a purely functional role. A careful reading of the text, as well as of the available scenarios, reveals an intrinsic interest in the character. His early courtship of Emma, at the Bertaux farm, is treated with obvious warmth. His nascent sensations of love—associated with the sights and smells of country life—are almost touchingly presented.

J'etais Ies chevaux, Ies feuilles, Ie vent. . "74 Curiously, the dogma of impassi­ bility is here clearly related to Flaubert's fervid pantheistic longings. We are thus far indeed from the artificer's supposed coldness and arrogance. Flaubert's ideal of impersonality is really one of a majestic and quasi-universal mimesis: the artist's mind must, he feels, be as vast as the ocean, and the shores should be well out of sight. Flaubert's yearning for total experiences, his passionate dreams of the inaccessible are at the very heart of his theoretical pronouncements.

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