202
NATHALIE SARRAUTE
I repeat: all of these defects. The redundant, coldly "fine" writ–
ing, the dubious imagery, the conventional sentiments, the
trompe–
l'oeil
reality. But this time-and herein lies all the difference-the
trompe-I'oeil
is presented as such.
Everything that had been hard to accept in Flaubert's work con–
tributes to the perlection of
this
novel. Here Flaubert's defects be–
come virtues. They are transformed by something that has the im–
portance of an immense discovery. A new world vision, an unknown
substance, has burst upon the novel.
If
it were necessary to furnish proof that what is important in
writing is the unearthing, or re-creation of a new psychic substance,
no work could better serve
this
purpose than
Madame Bovary.
This new element, this unknown reality, which Flaubert was the
first to make the material of a book, is what has since been called
inauthenticity.
In the
Education Sentimentale
Flaubert lost his perspective. Con–
sequently, confusing convention and reality, neglecting psychological
complexity to indulge his love of beautiful description, of anthology
pieces, he also lost the game.
At times he himself had a presentiment of failure, for reasons
(as happens with writers) that are not ours, not those of
his
readers.
He felt that something was wrong, that the "true psychological state"
which "has not yet been described ... withdraws the very things that
are the most interesting to a more remote plane ..." and he added, "I
touch upon many subjects the ultimate depths of which one would
like to see."
Here this "true psychological state"-if I may be permitted this
opinion-would again be the portrayal of an inauthentic emotion.
These depths are indeed what one would like to see, because they
exist, as they do in
Madame Bovary.
Flaubert's attention, however,
was so diverted by appearances that he either did not, or would
not, see them.
But although he lost that game, with
Madame Bovary
he won.
For in
Madame Bovary
all the conditions are favorable, everything
concurs toward success.
Here, to pursue his quest to the end, to see through appearances,
to discover a new fictional substance and give it life, Flaubert chose
the right position, at once remote and yet entirely committed. This is
the source of the extraordinary insights conferred by repulsion and
