Abstract Flaubert claimed mastery in matters of style in the French language as well as in the psychological sciences. Mastery in both areas is on clear display in the writing of Madame Bovary. Our heroine presents as a new kind of personality, namely as someone who depends greatly on sensory experience in order to maintain her emotional equilibrium. So, when under stress, she can only find some kind of soothing comfort in her perfumes, silks, and cashmeres. This dynamic pattern leaves her at a disadvantage when tasked with higher level life requirements – such as the payment of bills, the very thing that, in the end, causes her ruin. Dynamically, failures of memory and the resulting fragmentation of experience leave her with a precarious sense of self. For our heroine, there is little ability to link present experience to the past and therefore no possibility of metaphoric or symbolic thinking; in other words, she is condemned to repeat. Flaubert felt that Madame Bovary would only have original value as the sum of his psychological understandings. Further, he hoped his psychological work, often hidden under the form, would be deeply felt by the reader, as it was by him.

中文翻译：

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古斯塔夫福楼拜的心理科学

摘要 福楼拜声称精通法语和心理科学的风格问题。包法利夫人的著作清楚地展示了这两个领域的精通。我们的女主角呈现出一种新的个性，即非常依赖感官体验来维持她的情绪平衡的人。因此，在压力之下，她只能在香水、丝绸和羊绒中找到某种舒缓的舒适感。这种动态模式让她在面临更高层次的生活要求时处于不利地位——例如支付账单，最终导致她破产的事情。动态地，记忆的失败和由此产生的经验碎片使她的自我意识不稳定。为了我们的女主角，几乎没有能力将现在的经验与过去联系起来，因此没有隐喻或象征性思维的可能性；换言之，她注定要重蹈覆辙。福楼拜认为包法利夫人只有作为他心理理解的总和才具有原始价值。更进一步，他希望他的心理工作，往往隐藏在形式之下，能被读者深深地感受到，就像他一样。