904.

14. Flaubert–Sand: The Correspondence, ed. A. Jacobs, trans. Francis Steegmuller and Barbara Bray (London: Harvill, 1993), p. 398.

15. G. Flaubert, Euvres complètes (Paris: Club de I'Honnête homme, 1971–5), vol. 15, p. 458.

16. Madame Bovary, trans. G. Wall (Harmondsworth: Penguin, 1992), pp. 120–21.

17. Flaubert, CEuvres complètes, vol. 15, pp. 471, 476.

18. Ibid., p. 475.

19. Ibid., p. 480.

20. Ibid., p. 463.

21. Ibid., p. 481.

22. Quoted in A. W. Raitt, Flaubert: Trois contes (London: Grant and Cutler, 1991), pp. 54–5.

23. Flaubert, Euvres complètes, vol. 15, p. 506.

Further Reading

Barnes, J., Flaubert's Parrot (London: Cape, 1984).

Berg, W. J., Saint/Oedipus: Psychocritical Approaches to Flaubert's Art (Ithaca, NY: Cornell University Press, 1982).

Brombert, V., The Novels of Flaubert: A Study of Themes and Techniques (Princeton: Princeton University Press, 1966).

Felman, S., ‘Flaubert's Signature The Legend of Saint Julian the Hospitable’, in Naomi Schor and Henry Majewski (eds.), Flaubert and Postmodernism (Lincoln: University of Nebraska Press, 1984), pp. 46–75.

Genette, G., ‘Demotivation in Herodias’, in Schor and Majewski (eds.), Flaubert and Postmodernism, pp. 193–201.

Raitt, A. W., ‘The Composition of Flaubert's Saint Julien l'Hospitalier’, French Studies, 19 (1965), pp. 358–72.

—— Flaubert: Trois contes (London: Grant and Cutler, 1991).

Wall, G., Flaubert: A Life (London: Faber, 2001).

Translator's Note

The translation is based on the 1988 Classiques Gamier edition of Trois Contes by P. M. Wetherill, which reproduces, in Professor Wetherill's words, ‘as faithfully as possible, the text of Flaubert's final manuscript’.

Flaubert's final manuscript presents a considerable challenge to the editor. It is strewn with crossings-out, marginal notes and rewritings – a clear indication of Flaubert's search for historical, geographical and technical precision and for stylistic poise.