Bouvard and Pécuchet: A Tragi-comic Novel of Bourgeois Life, part 2 — A Reader’s Guide

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Flaubert, Gustave, 1821-1880 Project Gutenberg 2014 Not confirmed
France -- Social life and customs -- 19th century -- Fiction; French fiction -- Translations into English; Middle class -- France -- History -- 19th century -- Fiction; Middle class -- France -- Retirement -- Fiction Readers of public-domain and historical texts
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Words 79,367
Reading time 346 min
Text sections 8

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In this second part of Flaubert's unfinished novel, Bouvard and Pécuchet, having survived a near-death experience, turn to religion, then art and science, only to encounter the same futility. The volume also includes Flaubert's scathing letter to the Rouen municipal council, a model of bourgeois satire.
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LESSONS IN ART AND SCIENCE 50

[EXTRACT FROM A PLAN FOUND AMONGST GUSTAVE FLAUBERT'S PAPERS INDICATING THE CONCLUSION OF THE WORK.] 94

THE DANCE OF DEATH 1-14

PREFACE TO THE LAST SONGS (_Posthumous Poems_) OF LOUIS BOUILHET 1-22

LETTER TO THE MUNICIPALITY OF ROUEN 1-15

SELECTED CORRESPONDENCE

INTIMATE REMEMBRANCES OF GUSTAVE FLAUBERT 1-42

CORRESPONDENCE 43-135

"THEN, HAPLY, FAITHFUL ONE, WEARY AS I, THOU FINALLY SHALT SEEK SOME PRECIPICE FROM WHICH TO CAST THYSELF." (See page 6, _The Dance of Death_) _Frontispiece_

BOUVARD AND PÉCUCHET CARRIED THEM OFF 43

NERO: YET, I AM LOTH TO DIE} DEATH: DIE, THEN! } 7

BOUVARD AND PÉCUCHET (_CONTINUED._)

Marcel reappeared next day at three o'clock, his face green, his eyes bloodshot, a lump on his forehead, his breeches torn, his breath tainted with a strong smell of brandy, and his person covered with dirt.

He had been, according to an annual custom of his, six leagues away at Iqueville to enjoy a midnight repast with a friend; and, stuttering more than ever, crying, wishing to beat himself, he begged of them for pardon, as if he had committed a crime. His masters granted it to him. A singular feeling of serenity rendered them indulgent.

The snow had suddenly melted, and they walked about the garden, inhaling the genial air, delighted merely with living.

Was it only chance that had kept them from death? Bouvard felt deeply affected. Pécuchet recalled his first commission, and, full of gratitude to the Force, the Cause, on which they depended, the idea took possession of them to read pious works.

The Gospel dilated their souls, dazzled them like a sun. They perceived Jesus standing on a mountain, with one arm raised, while below the multitude listened to Him; or else on the margin of a lake in the midst of the apostles, while they drew in their nets; next on the ass, in the clamour of the "alleluias," His hair fanned by the quivering palms; finally, lifted high upon the Cross, bending down His head, from which eternally falls a dew of blood upon the world. What won them, what ravished them, was His tenderness for the humble, His defence of the poor, His exaltation of the oppressed; and they found in that Book, wherein Heaven unfolds itself, nothing theological in the midst of so many precepts, no dogma, no requirement, save purity of heart.

As for the miracles, their reason was not astonished by them. They had been acquainted with them from their childhood. The loftiness of St. John enchanted Pécuchet, and better disposed him to appreciate the _Imitation_.

Here were no more parables, flowers, birds, but lamentations--a compression of the soul into itself.

Bouvard grew sad as he turned over these pages, which seemed to have been written in foggy weather, in the depths of a cloister, between a belfry and a tomb. Our mortal life appeared there so wretched that one must needs forget it and return to God. And the two poor men, after all their disappointments, experienced that need of simple natures--to love something, to find rest for their souls.

They studied _Ecclesiastes_, _Isaiah_, _Jeremiah_.

But the Bible dismayed them with its lion-voiced prophets, the crashing of thunder in the skies, all the sobbings of Gehenna, and its God scattering empires as the wind scatters clouds.

They read it on Sunday at the hour of vespers, while the bell was ringing.

One day they went to mass, and then came back. It was a kind of recreation at the end of the week. The Count and Countess de Faverges bowed to them from the distance, a circumstance which was remarked. The justice of the peace said to them with blinking eyes:

"Excellent! You have my approval."

All the village dames now sent them consecrated bread. The Abbé Jeufroy paid them a visit; they returned it; friendly intercourse followed; and the priest avoided talking about religion.

They were astonished at this reserve, so much so that Pécuchet, with an assumption of indifference, asked him what was the way to set about obtaining faith.

"Practise first of all."

They began to practise, the one with hope, the other with defiance, Bouvard being convinced that he would never be a devotee. For a month he regularly followed all the services; but, unlike Pécuchet, he did not wish to subject himself to Lenten fare.

Was this a hygienic measure? We know what hygiene is worth. A matter of the proprieties? Down with the proprieties! A mark of submission towards the Church? He laughed at it just as much; in short, he declared the rule absurd, pharisaical, and contrary to the spirit of the Gospel.

The second part of Flaubert's unfinished novel opens with Bouvard and Pécuchet, after a narrow escape from death, experiencing a rare moment of serenity. The snow has melted, and they walk in the garden, 'delighted merely with living.' This fragile contentment leads them to pious reading: the Gospel 'dilated their souls, dazzled them like a sun.' Yet Flaubert's irony is never far—their religious fervor is as naive as their earlier enthusiasms. They see in Jesus only 'His tenderness for the humble, His defence of the poor,' and find 'nothing theological' in the Book. This selective, sentimental piety is a prelude to further disillusionment.

The Gospel According to Bouvard and Pécuchet

When the two copyists turn to religion, they do so with characteristic literalness. The Gospel 'dilated their souls, dazzled them like a sun'—a simile that suggests both illumination and blindness. They imagine Jesus 'standing on a mountain, with one arm raised,' or 'on the margin of a lake,' or 'lifted high upon the Cross.' These are vivid tableaux, not theological insights. Flaubert notes that 'their reason was not astonished' by miracles; they accept everything with a credulity that mirrors their earlier scientific gullibility. The narrator's dry observation—'they found in that Book, wherein Heaven unfolds itself, nothing theological'—underscores their inability to grapple with dogma. Their faith is a sentimental attachment to images of humility and oppression, not a coherent belief system. This episode prefigures their eventual abandonment of religion, just as they abandoned agriculture, chemistry, and medicine.

The Committee as Comic Villain

Included in this volume is Flaubert's Letter to the Municipality of Rouen, a separate polemic that nonetheless echoes the novel's themes. The letter attacks the municipal council for refusing to fund a fountain bearing the bust of the poet Louis Bouilhet. Flaubert's satire targets the bourgeois committee's paralysis: 'When the public clamours, a committee is at once appointed; and from that time nothing is done.' He mocks their stinginess—30,000 francs for a Napoleon statue, but only 7,037.38 for a statue of Corneille, and nothing for Bouilhet. The letter's refrain, 'always the committee!', becomes a comic motif. Flaubert accuses the bourgeoisie of having 'the feelings of the rabble' and predicts their end. This document, with its specific figures and quoted newspaper reactions, offers a real-world counterpart to the novel's fictional critiques of mediocrity and inertia.

The Structure of Failure

The novel's second part continues the pattern established in the first: each new enthusiasm—religion, art, science—leads to disappointment. The excerpts show Bouvard and Pécuchet moving from Gospel reading to a 'Conference' on art and science, but the trajectory is clear. Flaubert's plan, included as an extract, indicates the work's conclusion: the two heroes return to copying, their original occupation. This circular structure is the novel's deepest irony. The 'Tragi-comic' subtitle is earned not through plot twists but through the relentless repetition of failure. The reader watches the protagonists cycle through disciplines, each time believing they have found the key, only to be thwarted by their own incompetence or the world's indifference. Flaubert's method is accumulative: the specific details of each failure—the lump on Marcel's forehead, the 7,037.38 francs—build a world where nothing succeeds.

Readers approaching this second part should attend to Flaubert's use of repetition and variation. Each new subject—religion, art, municipal politics—receives the same treatment: initial enthusiasm, comic mishap, and quiet defeat. The inclusion of the Letter to the Municipality of Rouen is not an appendix but a key: it shows Flaubert's satirical method applied to real events, with the same targets (mediocrity, committees, false economy) that animate the novel. Watch how the prose shifts between lyrical description and deadpan reportage; that tension is the book's engine.

After all these years among the stacks, I still ponder Bouvard and Pécuchet's restless futility, how their grand pursuits crumble into quiet absurdity. It reminds me sometimes of The Corner House Girls How they moved to Milton, what they found, and what they did — Background and Themes, where simpler folk find meaning not in great systems, but in daily, modest struggles. Different worlds, yet both whisper of our shared, stumbling humanity.

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