'Madame Bovary, written by Gustave Flaubert (1857), and 'Crime and Punishment, written by Fyodor Dostoevsky (1866)'The women in these novels only come to life through loving the men. Discuss, making reference to your course texts.

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Both 'Madame Bovary, written by Gustave Flaubert (1857), and 'Crime and Punishment, written by Fyodor Dostoevsky (1866) are products of western culture of the nineteenth century. Both authors are men writing from within a fiercely patriarchal society. Patriarchy is a social system of rule that ensures the dominance of men and the subsequent subservience of women. In this society relationships between men and women are built on inequality. However, patriarchy goes much further than this; not only does it involve the subordination of women, but it is also a social process or conditioning whereby women come to accept in their own thinking the idea of male superiority. From this position it is easy to see how 'women in these novels only come to life through loving the men. Both these authors appear to consider this concept in different ways. Flaubert seems to accept that women aspire to be their idealised images penned by men and creates an environment of reality whereby the absurdity of the 'romantic novel can be exposed. Dostoevsky shows how such a system can be equally as damaging for men.

In 'Madame Bovary1 Flaubert creates a bored, middle class, wife of a doctor, living in desperately dull circumstances in a provincial French setting. Emma Bovary is the daughter of a spendthrift farmer, Monsieur Rouault, who, though he seems to show much affection for his daughter, marries her off to Charles Bovary, a man he thinks 'rather puny as 'she is of little use to him in the house and Charles would 'strike no hard bargain in the matter of a dowry.(Page 1). Madame Bovary 'had received a good education, had learnt dancing, geography, drawing, embroidery and to play the piano (Page 15) and it is because of this education that she discovers the romantic novel. Madame Bovary is an avid reader and immerses herself in literature rather than face her isolated life, at first on the farm with her father and later, with Charles who 'could not rouse emotion in her, nor laughter, nor excuse for dreams.(Page 6) The words she uses to voice her thoughts reflect the romantic ideas she has internalised 'Love, she believed, should come with the suddenness of thunder and lightening, should burst like a storm upon her life, sweeping her away, scattering her resolutions like leaves before a wind, driving her whole heart to the abyss.(Page 8).

In the pages of the novels she reads Emma finds a world more adventurous and fanciful than her reality. She, like the characters in the stories, searches for truth beyond that which we encounter in everyday experience, she believes the myth created by the author and, in a sense, her story becomes literary criticism as the romantic believer is exposed to lifes harsh realities. Realism versus romance. Through Emma, Flaubert comments on the power of literature to shape and define our world, Emma is the product of a masculine imagination whose very existence is questioning the validity of female stereotypes established by largely male authors.

The realism in the novel is strikingly accurate. Flauberts style and aesthetic transformation of the ordinary and, sometimes, vulgar reality of life in Provincial France is the perfect backdrop for this tale. Emmas sense of style and its importance, along with her aristocratic airs and graces seem in sharp contrast with her surroundings of rural simplicity 'Her own daily scene a tedious countryside, a half-witted, middle-class society, an unceasing round of mediocrity- she saw as an exception to some more glorious rule, as something in which, by mere ill-chance, she had been caught and held (Page 5) Emma clearly believes that she is destined for great things. Flaubert uses her ambition to comic effect and the reader can visualise her humiliation as she leaves the ball at La Vanbyessard, having at last been exposed to courtly life, and climbs into Charles rickety old phaeton '… the little cob ambled along between the shafts which were too big for him…The corded box bumped rhythmically against the body of the vehicle.(Page 4) Help with essay on 'Madame Bovary, written by Gustave Flaubert (1857), and 'Crime and Punishment, written by Fyodor Dostoevsky (1866)'The women in these novels only come to life through loving the men. Discuss, making reference to your course texts.

The original statement was that 'women only come to life through loving the men and this does not altogether correspond to the impression made by Emma in this novel and would entirely depend on how we define the word 'love. If 'love is defined as 'an intense emotion of affection, warmth, fondness and regard towards a person or thing then she shows little sign of such affection, not even to her own flesh and blood. However, if an alternative meaning is used (and there are eighteen definitions to choose from) that of 'a deep feeling of sexual attraction and desire then it is true to say that Emma loves both Rodolphe and Lon. Though Emma appears to be in love with the romantic experience, the passion and the flattery of love itself, rather than any man.

Emma blames her adultery on her hopes being dashed in reality 'In the days before her marriage she had fancied she was in love. But the happiness love should have brought her did not come. Her husband Charles disappoints her from the start. Here is a rather passionless man, not much of a conversationalist who '…taught her nothing, knew nothing, desired nothing. (Page 6) Flaubert goes to great lengths to add authenticity by adapting his narrative perspective when introducing Charles in the first few pages of the novel. Whereas in the rest of the novel the narrative is omniscient third person, in these few pages 'we hear the narrative voice, the first person. Whether it is Flauberts voice telling the reader about an old school chum or a nameless witness after the fact, it seems to work and Charles becomes real whereas he could easily have appeared to be a caricature. In order for Flaubert to make his point it is important for the reader to believe in Charles character and his content attitude to life and to establish very early that he is no reader, though he eventually becomes a doctor, he is firmly established as a less complex character than his wife who clearly does not speak her language of love. A language Flaubert seems anxious to expose as fraudulent and has no place within the realms of reality.

Emma is clearly wooed by the use of romantic language and her husbands incapability to communicate in such a way is established early in their relationship. Charles is clearly incapable of such articulacy and this is evident whilst they experience their brief courtship 'At moments she was gay and looked at him with innocent wide eyes, then suddenly her lids would droop, and her eyes founder in a tide of boredom, while her thoughts took aimless flight. (Page 0) Emma does, however come to life when Rodolphe uses the right words and phrases, himself a serious seducer of educated women. His experience drives him to use the language women have come to accept from a system they have internalised, in order to seduce her and little else.

It is interesting that, in Madame Bovary and Crime and Punishment women who are not physically attractive to men are also the focus of anxiety and hostility. Perhaps their uncharming presence hints that women may not be divinely designed just to meet the needs of men. Graceless women who also refuse to be submissive appear to be the most fearful. Flaubert uses the death of the first Madame Bovary to satirise the tendency for literature to persecute these monstrous shrews, often subjecting them to torture or burning them as witches; it is somewhat unusual for them to live happily ever after with 'Prince Charming. Whilst killing off this 'widow-wife in a single paragraph, no warning or build up, he draws attention to this 'She is dead! What a surprise! (Page 17) It is as though he is mocking the demands of the masculine, which makes her death both necessary and inevitable. Dostoevsky makes the bloody murder of another ugly old women the central issue of the entire novel, she also has the disadvantage of being a money lender (never the most popular people in any society) and is described as being 'as rich as a Jew (Page 61) The reader, along with Raskolnykov, is left to puzzle over the true motive for such a crime.

Dostoevskys St Petersburg is a far cry from Flauberts Provincial France and though they share a similar patriarchal structure within their society it is interesting to see how extreme deprivation and poverty can affect the interpretation of such rules. In the early chapters of the novel, Roskolnykov has a series of seemingly unconnected experiences featuring womens vulnerability within a patriarchal structure where men seem depressed and powerless. Roskolnykov lives in a room 'more like a cupboard (Page 1) in St Petersburg which, when described is painted as a 'mournfully repellent picture (Page 0). After 'rehearsing his project (Page ) and sizing up the practical logistics of such a crime, he leaves Alna Ivanovnas house 'in great confusion wondering at 'what vileness my heart seems capable of (Page 7)

But this city seems to breed vileness and this is demonstrated in the story of Marmeladov, a drunk, who in typical drunken fashion appears to blame everyone for his supreme misfortune, including himself 'an abject and useless creature (Page 11), 'such is my character, I am a beast of nature. (Page 1) He is incapable of supporting his family and this is the cruelty of the system whereby women are possessions of men, he has no choice. Raskolnykov hears how this mans wife was beaten by a money lender whilst Marmeladov 'lay fuddled with drink (Page 11) He tells how his daughter is driven to prostitution in order to support her consumptive stepmother and her children. His masculine pride insinuates that it was his wife, Katerinas idea; when Sonya questions her as to whether this is something she should do, Katerina mocks the harsh realities of life ' "Why not?" answered Katerina Ivanovna mockingly; "What is there to preserve so carefully? What a treasure!"(Page 16) Katerina has known better times, a better class, she knows the rules and realises that the daughter of a drunken fool is never going to have any material value within such an environment, and beseeches Raskolnykov not to 'blame her! It was said in distraction, when she was ill, and wrought up, and the children were crying with hunger… (Page 16), hardly the circumstances in which rational decisions are made.

After reading a letter from his mother telling him of the problems of sexual harassment that have driven his sister, Dunya to leave her position as governess and her subsequent decision to accept an offer of marriage on largely financial grounds, Raskolnykov becomes even more uneasy with his situation. Dunya is an intelligent, educated young lady in a social system that has no middle class, she is a good and respectable Christian but she realises unlike her brother, who seems permanently in a dream of arguments and counter-arguments that never really go anywhere, that she must accept her duty. Raskolnykov is appalled that Dunya is prepared to marry a man who merely 'seems good and kind (Page 8) in order to ensure financial security for herself and hopefully her family. This distresses Raskolnykov, he realises that both women have made a rational decision to sell themselves, yet Dunyas crime is far worse because it hides behind a façade of respectability, Dunya can 'reckon on comforts into the bargain, and with the other it is a question simply of dying hunger.(Page 4) As he judges his sister he seems to forget his previous thinking on the issue of Sonya 'What a little gold mine theyve managed to get hold of there! and profit from! Oh yes, they draw their profits from it! And theyve got used to it. Men are scoundrels; they can get used to anything! (Page 5) When it is not his sister selling her body to maintain her family Raskolnykov can understand and almost approve but now, because of his inability to maintain her, and her love for him, he realises that Dunya is prepared to take such a step. The burden of responsibility lies on his shoulders, as man of the family he must provide for his women or allow them to fall.

What is truly remarkable about this man is that in his desperate need to solve the problems that were 'not new in fact this is' an old and painful story, (page 4) Raskolnykov realises that the murder he planned, the 'vile solution is his only option. Not realising that in order to prevent one woman from selling herself in marriage he is prepared to take the life of another. Dunyas eventual response to Raskolnykovs scathing criticism of her decision to marry hauntingly echoes this sentiment, as the deed is by this time already done If I destroy anything it will be myself and nobody else… I have not killed anybody! (Page ).

In Madam Bovary Emmas experience of the church allows an appreciation of its aesthetic appeal and little else 'loved the church for its flowers, (Page 5) and the women in Crime and Punishment refer to God constantly. It seems that in the harsh reality of 1th century Russia, (somewhat overstated by Dostoevsky) it is faith in the Russian Orthodox Church that gives them strength. When Raskolnykov asks Sonya, mockingly, to read to him from her New Testament, she hesitates and he begins to understand how she keeps her sanity in such a cruel world Raskolnykov half understood why Sonya could not make herself read to him… He knew very well how difficult it was for her to expose and betray all that was her own. He understood that those feelings in fact constituted the real long-standing secret, cherished perhaps since her girlhood, in the midst of her family, with an unhappy father, a stepmother crazed by grief, and hungry children, in an atmosphere of hideous shrieks and reproaches. (Page 1) Both in Madam Bovary and Crime and Punishment it would seem that there is evidence that, in order to cope with or even escape an unequal and unfair system, women put their faith in an imagined alternative. Powerless to change their circumstances they seek paradise in their imaginations and construct an ideal that men could never match. It is the love of their hopes and dreams that allow these women to come to life hopes and dreams that are, for the most part, designed by men.

Bibliography

Dostoevsky, Fyodor Crime and Punishment Translated by Jessie

Coulson, Oxford University Press, Oxford 15

Flaubert, Gustave Madame Bovary Translated by Gerard Hopkins

Oxford University Press 181

Hingley, Ronald Russian Writers and Society 185 104 Mcgraw Hill, USA 167

Steegmuller, Francis (Ed) The Letters of Gustave Flaubert 180-1857 Harvard, USA 180

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