Realism
The term realism first appeared in a Parisian periodical in 1826, as noted by Haig in his article on Flaubert in the Dictionary of Literary Biography. The journalist described realism as a movement aimed at imitating not artistic masterpieces but the natural world. Later in the article, the writer suggests that realist works could eventually be considered "the literature of truth." Realism gained popularity in painting, especially in the works of Gustave Courbet, and in literature during the mid-nineteenth century. Novelists of this movement turned away from what they saw as the artificiality of romanticism, focusing instead on the ordinary aspects of contemporary life. They rejected the idealism and imaginative celebration typical of romantic novels, opting instead to portray believable characters and their often problematic interactions with society. To achieve this, realistic novels emphasize the commonplace and avoid unlikely coincidences and excessive emotionalism. Authors like Samuel Clemens discarded traditional sentimental novelistic forms, chronicling the strengths and weaknesses of ordinary people facing significant social challenges, such as the restrictive conventions that oppressed nineteenth-century African Americans. Writers who embraced realism used settings and plot details that mirrored their characters' daily lives and incorporated realistic dialogue that mimicked natural speech patterns.

Realism in Madame Bovary is evident in Flaubert's rejection of the idealism found in traditional romantic literature, instead exploring the day-to-day life of Emma Bovary. While other writers like Honoré Balzac and Stendhal also focused on their characters' daily lives, those characters led exciting lives and were not considered "ordinary." Flaubert was among the first to depict the often monotonous and sordid life of the middle class in his fiction.

Censorship in Nineteenth-Century France
During France's Second Empire (1852–1870), ruled by Emperor Napoleon Bonaparte III, the government enforced a moral code by suppressing challenges to traditional conduct. Authors were allowed to write about characters who defied societal norms, but those characters were expected to be justly punished for their actions. The government supported didactic literature that encouraged readers to condemn immoral behavior, such as adultery. However, when Flaubert refused to denounce Emma in Madame Bovary for her actions and Emma herself did not seek forgiveness, Flaubert was charged with pornography and blasphemy, leading to the book being banned. Eventually, all charges against him were dropped, and the ban was lifted. Haig notes that the judge who dismissed the case did so with a warning about the excesses of realism, a literary form he deemed both "vulgaire et souvent choquant" (vulgar and often shocking). Although Flaubert did not consider himself a realist, critics have categorized the novel within this literary school.

Structure
Flaubert frequently reveals Emma’s character and circumstances by juxtaposing various scenes in the novel. Many of these moments involve Emma blending past memories with her current reality. One such instance occurs at the ball. As Emma gazes out the windows, observing the servants on the lawn, detached from the evening's splendor and festivities, she imagines herself as she once was on her father’s farm. This contrast between past and present underscores Emma’s fixation on the opulent lifestyle she witnesses at the ball. Another example takes place when she looks at Léon. While staring at him, she conjures up an image of Charles, as she has seen him countless times before. The contrast between her vision of Charles and her gaze at Léon leads her to compare the two. Concluding that Charles is vastly inferior, she quickly falls in love with Léon.

Flaubert employs a different type of juxtaposition during the agricultural fair scene. Here, he alternates between two concurrent events: Rodolphe’s initial seduction of Emma and the awarding of prizes at the fair. This technique emphasizes Rodolphe’s deliberate and self-serving attempt to entice Emma into an affair.

Symbol
Flaubert also utilizes symbolism to reinforce his themes. He introduces an element of foreshadowing at the ball when Emma notices a guest rumored to have been Marie Antoinette’s lover. The depiction of the disheveled man with bloodshot eyes and “drops of gravy falling from his lips” highlights his “life wild with debauchery” and hints at Emma’s own impending downfall. In another scene, at the conclusion of the agricultural exposition, the crowd is treated to a fireworks display. To alleviate concerns about potential fires, Monsieur Binet remarks that no sparks have fallen. Nevertheless, destruction looms for Emma, as her affair with Rodolphe has been ignited.

Mid-nineteenth century: In 1835, French philosopher Victor Cousin coins the term “l’Art pour l’Art” (“Art for Art’s sake”) to describe a burgeoning literary movement that emphasizes style over other literary elements. This movement significantly influences Flaubert.

Today: Confessional narratives have become a dominant form in contemporary literature.

Mid-nineteenth century: The first American women's rights convention takes place in Seneca Falls, New York, in 1848.

Today: Women have made substantial progress in their quest for equality. Although certain measures, such as the 1972 Equal Rights Amendment Bill, have yet to be passed, gender discrimination is now illegal.

Mid-nineteenth century: The Second Empire commences in France in 1852. Under the rule of Bonaparte III, French society adheres to a rigorous public moral code.

Today: Some interpret the election of George W. Bush as a reflection of America’s longing for a more conservative moral framework.

There have been eight movie adaptations of Madame Bovary and five television adaptations. The most renowned version was directed by Vincente Minnelli in 1949 for MGM. Jennifer Jones played the role of Emma, while Van Heflin portrayed Charles.

Sources
Davis, Lennard J., “Gustave Flaubert,” in European Writers, Vol. 7, Scribner’s, 1985, pp. 1373–94.

Haig, Stirling, “Gustave Flaubert,” in Dictionary of Literary Biography, Volume 119: Nineteenth-Century French Fiction Writers: Romanticism and Realism, 1800–1860, Gale Research, 1992, pp. 120–51.

Hemmings, F. W. J., ed., The Age of Realism, Penguin, 1974.

Lee, Susanna, “Flaubert’s Blague Supérieure: The Secular World of Madame Bovary,” in Symposium, Vol. 54, No. 4, Winter 2001, pp. 203–17.

Further Reading
Ginsburg, Michal Peled, Flaubert Writing: A Study in Narrative Strategies, Stanford University Press, 1986. Ginsburg provides an insightful analysis of Flaubert’s narrative techniques and stylistic choices.

Green, Anne, Flaubert and the Historical Novel, Cambridge University Press, 1982. Green contextualizes the novel within its historical and cultural background.

Knight, Diana, Flaubert and the Historical Novel, Cambridge University Press, 1985. Knight delivers an in-depth psychological exploration of Emma Bovary, comparing her with other characters created by Flaubert.

Levin, Harry, The Gates of Horn: A Study of Five French Realists, Oxford University Press, 1963. Levin situates the novel within the realist tradition and contrasts it with other works in the same movement.