the significance of life in two such books as Madame Bovary and Salammbô.
At its first appearance, Madame Bovary was prosecuted, though unsuccessfully, as offensive to public morals. In derision of this famous prosecution, Henry James with studious jauntiness, asserts that in the heat of his first admiration he thought what an excellent moral tract it would make. "It may be very seriously maintained," he continues, "that M. Flaubert's masterpiece is the pearl of 'Sunday reading.'" As a work of fiction and recreation the book lacks, in his opinion, one quite indispensable quality: it lacks charm. Well, there are momentary flashes of beauty and grace, dazzling bits of color, haunting melancholy cadences in every chapter of Flaubert; but a charming book he never wrote. A total impression of charm he never gave—he never could give; because his total impression of life was not charming but atrocious. It is perhaps an accident, as has been suggested, that one can so readily employ Madame Bovary to illustrate that text on the "wages of sin." Emma, to be sure, goes down the easy alluring path to disgrace and ruin. But that is only an incident in the wider meaning of Flaubert's fiction, a meaning more amply expressed in Salammbô, where not one foolish woman alone but thousands on thousands of men, women, and children, mingled with charging elephants and vipers, flounder and fight in indescribable welters of blood and filth, and go down to rot in a common pit. If I read Flaubert's meaning
