Flaubert based many of the protagonist's experiences including the romantic passion on his own life. He wrote of the work in The novel's tone is by turns ironic and pessimistic; it occasionally lampoons French society. Roque, who works for Dambreuse. Despite this, his introduction to Dambreuse is not very successful. Arnoux, whose wife he developed a fascination for when he met her briefly at the start of the novel.
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Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — L'educazione sentimentale by Gustave Flaubert. L'educazione sentimentale by Gustave Flaubert ,. Giuseppe Pallavicini Caffarelli Translator. Enrico Groppali Contributor. Nonostante Gustave Flaubert continui, per la maggioranza dei lettori, a essere esclusivamente l'autore di Madame Bovary , L'educazione sentimentale ha meritatamente avuto i riconoscimenti che merita un capolavoro narrativo fondamentale nel romanzo moderno.
Storia di una giovinezza consumata nell'amore platonico per una donna sposata e diario delle speranze e delusioni di un Nonostante Gustave Flaubert continui, per la maggioranza dei lettori, a essere esclusivamente l'autore di Madame Bovary , L'educazione sentimentale ha meritatamente avuto i riconoscimenti che merita un capolavoro narrativo fondamentale nel romanzo moderno. Get A Copy. Paperback , Oscar classici , pages. Published by Mondadori first published April 15th More Details Original Title.
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Showing Average rating 3. Rating details. Sort order. Start your review of L'educazione sentimentale. Readers also enjoyed. About Gustave Flaubert. Gustave Flaubert. Gustave Flaubert December 12, — May 8, is counted among the greatest Western novelists. Flaubert's curious modes of composition favored and were emphasized by these peculiarities. He worked in sullen solitude, sometimes occupying a week in the completion of one page, never satisfied with what he had composed, Gustave Flaubert December 12, — May 8, is counted among the greatest Western novelists.
He worked in sullen solitude, sometimes occupying a week in the completion of one page, never satisfied with what he had composed, violently tormenting his brain for the best turn of a phrase, the most absolutely final adjective. It cannot be said that his incessant labors were not rewarded. His private letters show that he was not one of those to whom easy and correct language is naturally given; he gained his extraordinary perfection with the unceasing sweat of his brow.
One of the most severe of academic critics admits that in all his works, and in every page of his works, Flaubert may be considered a model of style. That he was one of the greatest writers who ever lived in France is now commonly admitted, and his greatness principally depends upon the extraordinary vigour and exactitude of his style. Less perhaps than any other writer, not of France, but of modern Europe, Flaubert yields admission to the inexact, the abstract, the vaguely inapt expression which is the bane of ordinary methods of composition.
Being, as he is, a mixture in almost equal parts of the romanticist and the realist, the marvellous propriety of his style has been helpful to later writers of both schools, of every school. The absolute exactitude with which he adapts his expression to his purpose is seen in all parts of his work, but particularly in the portraits he draws of the figures in his principal romances.
The degree and manner in which, since his death, the fame of Flaubert has extended, form an interesting chapter of literary history. The publication of Madame Bovary in had been followed by more scandal than admiration; it was not understood at first that this novel was the beginning of something new, the scrupulously truthful portraiture of life. Gradually this aspect of his genius was accepted, and began to crowd out all others. At the time of his death he was famous as a realist, pure and simple.
But even after the decline of the realistic school Flaubert did not lose prestige; other facets of his genius caught the light. It has been perceived that he was not merely realistic, but real; that his clairvoyance was almost boundless; that he saw certain phenomena more clearly than the best of observers had done.
Flaubert is a writer who must always appeal more to other authors than to the world at large, because the art of writing, the indefatigable pursuit of perfect expression, were always before him, and because he hated the lax felicities of improvisation as a disloyalty to the most sacred procedures of the literary artist. He can be said to have made cynicism into an art-form, as evinced by this observation from To be stupid, and selfish, and to have good health are the three requirements for happiness; though if stupidity is lacking, the others are useless.
Another edition 10 vols. Flaubert's correspondence with George Sand was published in with an introduction by Guy de Maupassant. He has been admired or written about by almost every major literary personality of the 20th century, including philosophers such as Pierre Bourdieu. Georges Perec named Sentimental Education as one of his favou Books by Gustave Flaubert.
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