However his huge success had much to do with his mentor, Gustavo Flaubert.

然而，莫泊桑的巨大成功和他的文导师福楼拜是分不开的。

Flaubert's novel shows us the tensions and travails of married life without ever really taking sides.

福楼拜的小说向我们展示了婚姻生活的紧张与艰辛，却从未真正偏袒任何一方。

Flaubert seemed almost deliberately to enjoy unsettling the desire to find easy answers.

福楼拜似乎几乎故意要享受破坏寻找简单答案的欲望。

After 1856 Gustave Flaubert's debut novel Madame Bovary appears in serial form in the literary magazine Revue de Paris.

1856年后，古斯塔夫·福楼拜的处女作《包法利夫人》以连载形式出现在文杂志《巴黎评论》上。

Ford, it is claimed, is of the school of Stendhal and of Flaubert; Ford is a psychologist.

据称，福特是司汤达和福楼拜派的代表。福特是一位心理家。

Stories are told of scrupulous writers like Flaubert, who spent days trying to get one or two sentences exactly right.

很多故事讲述了像福楼拜这样一丝不苟的作家，他们花了好几天时间试图把一两句话写对。

The newspapers had, for Flaubert, armed stupidity and given authority to fools.

对于福楼拜而言，报纸武装了愚蠢，并赋予了傻瓜权威。

Flaubert keeps the word in italics throughout to send up the neo religious reverence in which this object is held.

福楼拜在整个文本中用来讽刺这种物品所受到的类似新宗教般的崇拜。

Flaubert, I think it was, who said that before you begin to write, you have to dry your tears and silence your laughter.

我想是福楼拜说过， 在你开始写作之前，必须擦干眼泪， 止住笑声。

Flaubert described himself in a letter as being in a semi-diseased state, " itching with sentences." He just had to get them out.

福楼拜在一封信中形容自己处于一种半病态的状态，“对句子心痒痒”。他只需要把他们救出来。

For Flaubert, the French bourgeoisie could be a repository of the most extreme prudery, snobbery, smugness, racism and pomposity.

对于福楼拜而言，法国资产阶级可能是极端的伪善、势利、自满、种族主义和浮夸的藏身之所。

Paradoxically, one can perhaps be proudest to be French when one reads Gustave Flaubert.

矛盾的是，也许在阅读古斯塔夫·福楼拜的作品时， 身为法国人会感到最为自豪。

It had much in common with Realism, which aimed to present an accurate evocation of ordinary life, as exemplified in Gustave Flaubert's Madame Bovary.

它与现实主义有许多共同点， 后者旨在准确再现日常生活，正如古斯塔夫·福楼拜的《包法利夫人》所展示的那样。

Foreside from hating a lot about his country, Flaubert also captures some of its best and wisest sides.

除了讨厌自己国家的很多方面外， 福楼拜也捕捉到了它最好的和最有智慧的一面。

New York, for a young man who had frequented the Goncourts and Flaubert, and who thought the life of ideas the only one worth living!

纽约， 对于一个经常光顾龚古尔和福楼拜的年轻人来说，他认为思想的生活是唯一值得过的生活！

Gustave Flaubert was a bourgeois, a middle-class Frenchman, and yet he loathed a great deal to do with his country and his class.

古斯塔夫·福楼拜是个资产阶级， 一个中产阶级的法国人，然而他对自己的国家和阶层却深恶痛绝。

At the age of 17, in a somewhat melodramatic mood Flaubert wrote " Art is superior to everything, a book of poetry is worth more than a railway."

17岁时，福楼拜在一种略显夸张的情绪下写道：“艺术高于一切，一本诗集比一条铁路更有价值。”

Flaubert wrote arguably the single greatest tragic novel ever written, Madame Bovary, which he worked on for five years and published in 1857.

福楼拜创作了可能是有史以来最伟大的悲剧小说《包法利夫人》，他花了五年时间来撰写， 并于1857年出版。

In the 1870s, Flaubert began keeping a record of what he judged to be the most idiotic patterns of thought promoted by the modern world in general and by newspapers in particular.

在19世纪70年代，福楼拜开始记录他认为是最愚蠢的思维方式，这些思维方式是由现代社会， 尤其是报纸所推广的。

Flaubert tells us in no uncertain terms that the reason Emma Bovary grew so dissatisfied unfairly so, with marriage, and therefore embarked on her disastrous affairs was because of the books she had read.

福楼拜毫不含糊地告诉我们， 艾玛·包法利之所以对婚姻如此不满，并因此走上灾难性的出轨之路，是因为她读过的那些书。