"Caught up in life, you see it badly. You suffer from it or enjoy it too much. The artist, in my opinion, is a monstrosity, something outside of nature"
About this Quote
Flaubert is aiming his scalpel at the ordinary condition of being alive: immersion. “Caught up in life, you see it badly” isn’t moral scolding so much as a diagnosis of distorted perception. When you’re inside the storm, your vision is warped by stakes, appetite, panic, longing. You don’t observe; you react. The follow-up sting - “You suffer from it or enjoy it too much” - treats feeling itself as a kind of optical error, an overexposure that blows out detail.
Then he drops the provocation: the artist as “a monstrosity, something outside of nature.” It’s classic Flaubertian severity: the writer as a creature engineered for detachment, an unnatural hybrid of sensibility and coldness. The subtext is not that artists lack emotion, but that they metabolize it differently. Where most people are consumed by experience, the artist converts it into form. That conversion requires a partial exile from ordinary belonging. “Monstrosity” is the price of clarity.
Context matters: Flaubert is the patron saint of impersonal style, obsessed with le mot juste and suspicious of confession. After the scandal of Madame Bovary and his lifelong refusal of easy sentiment, he elevates distance into an ethic. This isn’t romantic “genius” talk; it’s a grim professionalism. The line works because it flatters no one: not the happy, not the miserable, not even the artist. It frames art as an unnatural discipline of seeing, and the artist as someone condemned - or equipped - to stand slightly apart, lucid and lonely.
Then he drops the provocation: the artist as “a monstrosity, something outside of nature.” It’s classic Flaubertian severity: the writer as a creature engineered for detachment, an unnatural hybrid of sensibility and coldness. The subtext is not that artists lack emotion, but that they metabolize it differently. Where most people are consumed by experience, the artist converts it into form. That conversion requires a partial exile from ordinary belonging. “Monstrosity” is the price of clarity.
Context matters: Flaubert is the patron saint of impersonal style, obsessed with le mot juste and suspicious of confession. After the scandal of Madame Bovary and his lifelong refusal of easy sentiment, he elevates distance into an ethic. This isn’t romantic “genius” talk; it’s a grim professionalism. The line works because it flatters no one: not the happy, not the miserable, not even the artist. It frames art as an unnatural discipline of seeing, and the artist as someone condemned - or equipped - to stand slightly apart, lucid and lonely.
Quote Details
| Topic | Art |
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