A Quote by Sophie Barthes
Madame Bovary is timeless. It is not just about the female condition in France in the 1840s. It's not a simple cautionary tale. Emma is more than a character; she gives us an insight into human nature. With Emma, we are diving into the complexities of Flaubert's psyche.
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Flaubert's famous sentence, "Madame Bovary, c'est moi" ("Madame Bovary, she is me"), in reality means, " Madame Bovary, c'est nous" ("Madame Bovary, she is us"), in our modern incapacity to live a "good-enough" life.
As Baudelaire said it so beautifully, Emma Bovary is an androgynous character. She cannot be reduced to a gender or a sociological type. She represents something bigger than herself. That was the genius of Flaubert: the ability to combine the general and the particular.
In Madame Bovary Flaubert never allows anything to go on too long; he can suggest years of boredom in a paragraph, capture the essence of a character in a single conversational exchange, or show us the gulf between his soulful heroine and her dull-witted husband in a sentence (and one that, moreover, presages all Emma's later experience of men). (...) This is one of the summits of prose art, and not to know such a masterpiece is to live a diminished life.
Madame Bovary is one my favorite novels. Emma Bovary will always be an enigma, but as the years pass, I feel that I understand her better. She has a violent nostalgia, almost an infantile nostalgia, to be understood by the men surrounding her. I like her relentless fight for independence, her rebellion against the mediocre, and her quest for the sublime, even if she burns her wigs in the process. I like that Flaubert never judges her morally for her self-destructiveness, for her desperate attempt to satisfy her wildest desires and appetites.
It's funny, having the same name as someone. Me, Emma Watson and Emma Stone, the amount of times I've been called Emma Watson or Emma Stone is so funny. It's just 'cause we're all named Emma. None of us look alike.
Gustave Flaubert said, "Emma Bovary, c'est moi." It is not possible to write something you are not, but to have a new form, with a different hair color and a new body ... I do very little of that. That's why I keep bringing up the same people. I haven't given myself a hard time about it. But I can't make six new characters instead of one.
And you can't complain about kissing Emma Watson. Isn't that what everyone in the world wants to do? I've known Emma for a few years. She's this amazing capacity of young and vibrant and brilliant, but also a bright, intelligent old soul.
I want to go to Harry Potter Land! I actually should text Emma Watson to see if she can hook us up with a backstage pass or something. That's the perk of doing a movie with Emma called 'The Perks Of Being A Wallflower.'
Emma Watson was saying the other day that when Helena Bonham Carter was becoming Hermione, or trying to become her for the polyjuice-potion sequence, she was trying to take on Emma's mannerisms, and she was asking Emma questions like, "What's Hermione's favorite color?" Because she wanted to absorb all this information and to know, in here touches temple what she was like. And as I've tried to develop as an actor, I see that these things, however much they seem insignificant... By knowing what's Neville's Longbottom favorite Beatles song, you can know so much!
The power of 'Madame Bovary' stems from Flaubert's determination to render each object of his scrutiny exactly as it looks, or sounds or smells or feels or tastes.
Both of you’ll just have to believe me. Emma’s one of those women who was born with… The thing is, the minute a heterosexual man looks at her, all he can think about is – well, her mouth, and – ” “Emma?” Torie’s own mouth gaped in astonishment. Patrick crossed his legs. “Maybe we’re not talking about the same person. British accent? Good appetite? Hums songs from The Lion King when she doesn’t think anybody’s listening?
I have a boundless passion for Flaubert. It's unthinkable to me that someone might not have read 'Madame Bovary.' He writes with a scalpel. Everything has meaning. My students were not allowed not to like him!
Emma McChesney was engaged in that nerve-wracking process known as getting things out of the way. When Emma McChesney aimed to get things out of the way she did not use a shovel; she used a road-drag.
Emma Willard told the legislature that the education of women "has been too exclusively directed to fit them for displaying to advantage the charms of youth and beauty" The problem, she said, was that "the taste of men, whatever it might happen to be, has made into a standard for the formation of the female character." Reason and religion teach us, she said, that "we too are primary existences...not the satellites of men.
When my mum was ill, I always thought the club paid for me to fly back and visit her, and then, only years down the line, I found out it was Emma, so she did some stuff for me that was personal that I'll truly never forget, so I have got an alliance to Emma Hayes.
In fiction, imaginary people become realer to us than any named celebrity glimpsed in a series of rumored events, whose causes and subtler ramifications must remain in the dark. An invented figure like Anna Karenina or Emma Bovary emerges fully into the light of understanding, which brings with it identification, sympathy and pity.
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