"The faster the word sticks to the thought, the more beautiful is the effect"
About this Quote
Speed, for Flaubert, isn’t about churning out pages; it’s about achieving that near-chemical bond between what the mind conceives and what the sentence delivers. “The faster the word sticks to the thought” reads like an aesthetic law disguised as a practical note, one that quietly announces his lifelong obsession with le mot juste. The phrasing is physical and a little violent: the word doesn’t “match” the thought, it “sticks” to it, as if language must be pressed into adhesion before the idea evaporates or gets contaminated by approximation.
The intent is both technical and moral. Flaubert distrusts “almost right” language because it smuggles in vagueness, sentimentality, and cliché - the lazy shortcuts of bourgeois prose he spent his career skewering. When the word arrives immediately, it creates an illusion of inevitability: the reader feels the thought and its expression were born together, not stitched after the fact. That’s where “beauty” comes from here: not ornament, but frictionless transmission, the sensation that meaning has been moved without residue.
Context matters because Flaubert was famously slow, rewriting obsessively and testing sentences aloud. The subtext is paradoxical on purpose: the beauty of speed is produced by painstaking delay. He’s describing the effect, not the process. Great prose, in his view, should land with the snap of spontaneity even when it’s engineered like a cathedral.
The intent is both technical and moral. Flaubert distrusts “almost right” language because it smuggles in vagueness, sentimentality, and cliché - the lazy shortcuts of bourgeois prose he spent his career skewering. When the word arrives immediately, it creates an illusion of inevitability: the reader feels the thought and its expression were born together, not stitched after the fact. That’s where “beauty” comes from here: not ornament, but frictionless transmission, the sensation that meaning has been moved without residue.
Context matters because Flaubert was famously slow, rewriting obsessively and testing sentences aloud. The subtext is paradoxical on purpose: the beauty of speed is produced by painstaking delay. He’s describing the effect, not the process. Great prose, in his view, should land with the snap of spontaneity even when it’s engineered like a cathedral.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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