but why this stupefaction which manifest's itself at death? Why?
Because this surprise is something that is a mystery, because it is
difficult to comprehend and judge, although one must resign himself to
it. And as for me, I say that if death is the beginning of annihilation,
that if the devoted husband feels his love increase on learning of the
adulteries of his wife, that if opinion is represented by a grotesque
being, that if religious sentiment is represented by a ridiculous
priest, one person alone is right, and that is Emma Bovary,--Messalina
was right against Juvenal.

This is the conclusion of the book, drawn not by the author, but by a
man who reflects and goes to the depths of things, by a man who has
sought in this book for a person who could rule this woman. There is
none there. The only person who ruled was Madame Bovary. It is
necessary to seek elsewhere than in the book; we must look to Christian
morals, which are the foundation of modern civilization. By this
standard all explains itself, all becomes clear.

In its name the adulteress is stigmatized, condemned, not because her
act is an imprudence, exposing her to disillusions and regrets, but
because it is a crime against the family. You stigmatize and condemn
suicide, not because it is a foolish thing (the fool is not
responsible), not because it is a cowardly act (for it sometimes
requires a certain physical courage), but because it is a scorn of duty
in the life we are living, and the cry of unbelief in the life to come.

This code of morals stigmatizes realistic literature, not because it
paints the passions: hatred, vengeance, love--the world sees but the
surface and art should paint them--but not paint them without bridle,
without limits. Art without rules is not art. It is like a woman who