Three Tales

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First published in 1877, these three stories are dominated by questions of doubt, love, loneliness, and religious experience; together they confirm Flaubert as a master of the short story. A Simple Heart (also published as A Simple Soul), relates the story of Félicité, an uneducated serving-woman who retains her Catholic faith despite a life of desolation and loss. The Legend of Saint Julian Hospitator, inspired by a stained-glass window in Rouen cathedral, describes the fate of a sadistic hunter destined to murder his own parents. The blend of faith and cruelty that dominates this story may also be found in Herodias, a reworking of the tale of Salome and John the Baptist.

144 pages, Paperback

First published April 1,1877

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About the author

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Gustave Flaubert was a French novelist. He has been considered the leading exponent of literary realism in his country and abroad. According to the literary theorist Kornelije Kvas, "in Flaubert, realism strives for formal perfection, so the presentation of reality tends to be neutral, emphasizing the values and importance of style as an objective method of presenting reality". He is known especially for his debut novel Madame Bovary (1857), his Correspondence, and his scrupulous devotion to his style and aesthetics. The celebrated short story writer Guy de Maupassant was a protégé of Flaubert.

Community Reviews

Rating(3.9 / 5.0, 99 votes)
5 stars
27(27%)
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35(35%)
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99 reviews All reviews
April 16,2025
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This is an interesting collection of stories. As the Translator's Preface says, "These three short stories by Flaubert are unlike anyone else's, and they are also unlike much of his own work, for another reason than their shortness." I admit I was hoping for something that I would call more 'Flaubert-like,' and the prose is the best of it.

The first story is called A Simple Heart and is most like what I anticipated. "Madam Aubain's servant Félicité was the envy of the ladies of Pont-l'Évêque for half a century." Thus begins the telling of a servant whose heart was generous.

It is followed by The Legend of St. Julian the Hospitaller. This is more of a fable and takes place during the middle ages.

The final story is called Herodias and takes place in Biblical times. In fact it incorporates the story of John the Baptist after he was imprisoned by King Herod.
Before daybreak one morning the Tetrarch Herod Antipas came out to lean on it and look round him.

The mountains immediately under his eyes were beginning to unveil their crests, while their main bulk was still in shadow to the bottom of the chasms. A mist was floating; it parted, and the contours of the Dead Sea appeared. The dawn, rising behind Machærus, spread a glow of red. Soon it lit up the sands on the beach, the hills, the desert, and, still further, the mountains of Judea, and steepened their grey, knotted surfaces.
April 16,2025
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Tính tỉ mỉ và thận trọng ngay từ nhỏ giúp cho những câu chuyện của ông chân thực và phong phú. Các chi tiết miêu tả bên ngoài đầy màu sắc và sống động, xen kẽ hợp lý giúp người đọc dễ dàng nắm bắt nội dung. Pha chút ảnh hưởng bởi chất lãng mạn của Hugo với nét phê phán hiện thực trong tuyệt vọng riêng của mình, tài năng của ông lại nổi bật hơn những nhà văn khác như bông cúc dại e ấp trong vườn hồng kiêu sa.
Ba truyện kể, chỉ câu chuyện cuối mang một bối cảnh riêng, mang ý nghĩa lịch sử và tôn giáo của một vùng đất lớn, người thiếu kiến thức có thể không nắm bắt được. Tóm lại, bạn chỉ cần tra cứu sự kiện "Hêrôđê Antipas, quận vương của Galilê, ra lệnh chém đầu thánh Gioan Tẩy giả " là hiểu.
April 16,2025
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Gustave Flaubert (1821-1880) bracht Drie vertellingen drie jaar voor zijn dood uit. De korte verhalen verschillen veel van elkaar. Net als velen voor mij vond ik Een eenvoudig hart het mooist. Het leven van boerendochter en huishoudster Félicité, die een halve eeuw trouw blijft aan haar meesteres en zich gedurende haar leven bekommert om anderen, van een neef tot papegaai Loulou, die allen desondanks sterven, is even onopvallend als aandoenlijk. Flaubert schreef het verhaal als antwoord op de kritiek van Georges Sand dat hij te weinig mededogen zou hebben met zijn personages. Missie geslaagd.

In tegenstelling tot Een eenvoudig hart zijn de andere twee korte verhalen niet eigentijds. De legende van de heilige Julianus de gastvrije is meer een mythe over een edelman die met overtuiging eerst dieren en daarna mensen leert doden, maar gedoemd is zijn eigen ouders om te brengen. Herodias is een hervertelling van het verhaal van Johannes de doper, wiens hoofd op verzoek van Herodias, de nieuwe vrouw van viervorst Antipas, op een schotel werd gebracht.
n  Het scherpe lemmet van de bijl had van boven naar beneden glijdend de kaak gekliefd. De mondhoeken waren vertrokken in een krampachtige grimas. De baard was overspat met reeds geronnen bloed. De gesloten oogleden waren bleek als schelpen; en van alle kanten kaatste het kaarslicht erop.
Het kwam bij de tafel van de priesters. Een Farizeeër draaide het nieuwsgierig om; en toen Mannaëi het weer rechtop had gezet, plaatste hij het voor Aulus, die hier wakker van werd. Tussen hun kierende wimpers door leken de dode ogen en de uitgebluste ogen elkaar iets te zeggen.
n
Allemaal goed en aardig, maar heel bijzonder vond ik deze verhalen niet: voor mij is Flaubert op zijn best wanneer hij de negentiende eeuw in geuren en kleuren vertelt.

Om in de sfeer te blijven, ben ik verdergegaan met n  Flaubert's Parrotn van Julian Barnes over de opgezette papegaai die model stond voor Loulou.
April 16,2025
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Ratings:

First tale: 3.5 stars
Second tale: 3.7 stars
Third tale: 3.0 stars

I reviewed every single tale for itself. This was my 3rd Flaubert read. Also the worst. Too bad.
April 16,2025
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Η πρώτη ιστορία , το "μια απλή καρδιά" ,είναι η ιστορία της φελισιτε( ironically enough, μιας και μόνο ευτυχία δε τη λες την καημένη με όλα όσα την έχουν βρει ),που είναι ένας μικρός ύμνος στην ανιδιοτελή αγάπη μιας απλής καθημερινής αγρότισσας,οικιακής βοηθού που το μόνο που έκανε στη ζωή της ήταν να αγαπά και να απογοητεύεται από τα χτυπήματα της μοιρας.νατουραλισμος,βάσανα,αγροτική ζωή και βαλσαμωμενοι παπαγάλοι είναι τα στοιχεία που κάνουν αυτή την ιστορία από απλή σε ...Φλωμπέρ
April 16,2025
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This was *sick*. Hovering just under 5 stars...

Cliché observation I know but Flaubert's intense accumulation of empirical and period detail, whether describing rural Christian folk ritual in Cœur Simple, the fantastic bestiary of Saint-Julian, or the genuinely dazzling array of ethno-religious diversity in Hérodias' biblical Palestine, made for some of the most vivid prose I've read. Flaubert also has a major eye for the dramatic set-piece, e.g. the two mirrored hunts in Julian - one a jaw-dropping slaughter and the other a deeply eerie, unsettling reversal of the former - and the journey into the bowels of the Tetrarch's castle in Hérodias (+ the pit where Ioakannan/John the Baptist is imprisoned? mad). I might not have loved the first story from the start, but as soon as the holy sparrot was introduced I was sold.

The treatment of religion here is really interesting; I suppose it's a fascination with the drama, beauty, fervour and imagistic power of the Abrahamic faiths that animates Flaubert here principally, as well as the sheer variety that forms of devotion and religion take. One story is a kind of oedipal medieval folktale, one is about an illiterate, destitute woman's individual (mis)interpretation of scripture, and the final one takes in all angles on the coming of Christ in a panorama that encompasses Jewish horror, Christian cultish devotion, Roman impassiveness, even some rogue Norse and Babylonian cameos. Though they all end in an admission to heaven and a promise of salvation, in at least two of the tales these Ascensions almost come across as a joke, at turns sentimental/absurd (in the gigantic parrot of Félicité's case) or sour/macabre (John the Baptist's decree that "for him to increase, I must decrease" taken a bit too literally). What unites the treatment of Christianity here isn't the superficial narrative parallels; rather these points of comparison emphasise the myriad ways people distort, mutate, and enliven religion. Kinda Borgesian*, but differing interpretations of faith are as numerous and strange as its interpreters, and Flaubert seems to revel in this carnival.

*appropriate because its reading about his love for Saint Antoine that's put me onto Flaubert in the first place.
April 16,2025
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Not my cup of tea. Although the second tale was good. I think the book would have been better in its original language (French).
April 16,2025
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Parenthèse dans l’épuisant travail documentaire qu’exigeait l’écriture de son dernier roman, Bouvard et Pécuchet, Flaubert mit au point ses Trois Contes vers 1875. Ce livre, qu’il qualifie dans sa correspondance de petit volume « assez drôle », est sans aucun doute l’un des plus aboutis de cet immense auteur et peut servir à la fois de synthèse, d’introduction ou de conclusion a l’ensemble de son œuvre.

Un cœur simple est l’histoire pitoyable de Félicité, une humble servante frappée par les décès, l’un après l’autre, des personnes de son entourage, mais qui trouve réconfort dans la présence de son perroquet domestique. Les descriptions de la bourgeoisie normande donnent lieu à des pages admirables qui rappellent Madame Bovary. Mais l’un des aspects les plus étranges de ce conte est l’ambigüité du ton : faut-il prendre ce récit tel que Flaubert le décrit dans sa correspondance, comme le portrait « très sérieux et très triste […] d'une vie obscure, celle d'une pauvre fille de campagne, dévote mais mystique, dévouée sans exaltation et tendre comme du pain frais » ? Ou bien s’agit-il d’un portrait ironique et moqueur, voire dérisoire de la « foi du charbonnier » ? Ce conte à la saveur aigre-douce ne cesse d’osciller entre ces deux possibilités.

La légende de saint Julien l’Hospitalier tourne autour des mêmes motifs que le conte précédent : les animaux et la sainteté. Dans la lignée de La Tentation de saint Antoine, cette nouvelle est moins célèbre qu’Un cœur simple, mais est probablement plus aboutie ou, du moins, plus directe. C’est la contemplation d’un vitrail médiéval de la cathédrale de Rouen qui inspira Flaubert. Il en tira un récit dont la dimension fabuleuse, voire mythique n’est pas sans évoquer la tragédie grecque. La prose de l’auteur est d’une intensité époustouflante tant dans la cruauté des scènes de chasse que dans le drame ultime de la mort du saint.

Le dernier conte, Hérodias, est tiré d’un épisode célèbre des Évangiles : la décollation de Jean Baptiste (voir Mt 14.1-12 et Mc 6.12-29). Ce petit « péplum » biblique exprime, comme Salammbô, la fascination de Flaubert pour l’Orient et pour l’Antiquité — « La vacherie d'Hérode pour Hérodias m'excite », écrit-il dans sa correspondance. Les descriptions somptueuses déploient un chatoiement de couleurs et un entassement de textures dignes des peintures de Delacroix ou, peut-être plus encore, de Gustave Moreau — voir en particulier Salomé et L'Apparition, deux tableaux exactement contemporains du texte de Flaubert.

En somme, entre Félicité et son perroquet-paraclet, Julien l’Hospitalier et Jean le Baptiste, ces Trois Contes composent un étrange triptyque, un éblouissant et malicieux retable hagiographique.
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