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He compiled a spicy
Dictionnaire des idées reçues (1913;
Dictionary of Received Ideas). And his last and unfinished book,
Bouvard et Pecuchet (1881), an encyclopedic satire of contemporary practices and knowledge, ends up with the two false scholars returning to their original jobs, that of copyists.
Flaubert’s major preoccupation transcended any school; he called it “style,” in the larger sense of artistic creation. Style for him was as much behind the words as in the words, as much the soul as the flesh of a work. It was not contingent on a topic: “There are neither beautiful nor ugly subjects, and one could almost establish as an axiom, if one adopts the point of view of pure Art, that there is no subject at all, style being in itself an absolute way of seeing things.” He toyed with the notion of composing “a book about nothing, a book wi
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