human
The literary procedure of Flaubert threw everybody off the track and even some of the experts. But it was a very simple matter; it was by the accumulation and the superposition of details that he arrived at power. It is the physiologic method, the method of the myopes who look at things one after the other, very exactly, and then describe them successively. The literature of imagination may be divided into two distinct schools, that of the myopes and that of the hyperopes. The myopes see minutely, study every line, finding each detail of importance because everything appears to them in isolation; about them is a sort of cloud in which is detached the object in exaggerated proportions. They have, as it were, a microscope in their eye which enlarges everything. The description of Venice from the Campanile of St. Mark, that of Destitution in 'Captain Fracasse,' by Gautier are the capital results of myopic vision. The hyperopes, on the other hand, look at the _ensemble_, in which the details are lost, and form a kind of general harmony. The detail loses all significance, except perhaps they seek to bring it into relief as a work of art.... Besides, the myopes seek to portray sensations, while the hyperopes especially aim at analysis of the sentiments. If a hyperopic writer suddenly becomes myopic, his manner of thinking, and consequently of writing, at once is modified. What I call the school of the myopes, Gautier names the school of the rabids. He said to Mérimée: 'Your characters have no muscles,' and Mérimée answered, 'Yours have no draperies.'
gpt
St. Anthony of the second remaking. In the failure of this pitiful work there was naught left except bottomless pessimism, the
human
and all the rest, called
gpt
Madame Bovary and