Madame Bovary: Lacanian Psychoanalytic Framework

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Emma Bovary’s determination to “find out exactly what was meant by the words ‘bliss,’ ‘passion,’ and ‘rapture,’ which had seemed so beautiful in her books” (Flaubert 34) starts her journey to demise. Strangled by the idea of her marriage, Emma claims to live a boring life. Because of her failures to reach the ideals of the fantastic and romantic world she builds in her boredom, she poisons herself at the end of the novel. Lacan’s psychoanalytical framework, therefore, seems fitting to describe Emma’s psyche. His approach shows that the character is unaware of the distinction between her real self and her environment. This approach to reach what is desirable is reflected in the character’s language that reflects her unconscious. Through this framework, it becomes an objective to find improvement in the character’s discontentment enough to affect the character’s disposition. (Bacco). In order to discuss this further through Emma Bovary’s character, I will use the three stages in Lacan’s framework that serve basis to the character’s psyche. First is the imaginary stage, second is the symbolic stage, and third is the real stage. The first is that in which the character experiences a detachment from what the character feels is significant (Siegel). In Emma’s case, this is at the beginning of the novel where she loses her ideal sense of “love” through her marriage (marriage naturally being a process of detachment). “Before her marriage she believed herself to be in love; but since the happiness which should have resulted from this love has not come to her, she felt she must have been mistaken” (Flaubert 33). Emma lives according to this notion throughout the novel. She is in constant search for this exaggerated romanticism she keeps in her imagination, or in Lacan’s framework, her imaginary stage. This is proven as more than halfway through the novel, Emma “was

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