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Psychological Skills of Flober in Romane "Madame Bovari"

Toirova Dilfuza Fayzullayevna

The article examines the work of Flaubert, in which the most difficult problems are posed - social, psychological, scientific. The masses of human experiences have been investigated, explained in shades that had not previously attracted the attention of artists. And these explanations are so clear and often so true that the smallest detail acquires the extraordinary power of artistic typicality. The work reveals the broadest pictures of modern society. Of course, there is not that huge crowd of characters that moves in Balzac's "The Human Comedy". Flaubert's characters cannot be counted in thousands or hundreds. But in these comparatively few heroes, Flaubert embodied the typical features of his modernity with an amazing power of condensation. These are "deep" heroes, since behind them are hidden tendencies of social development, the fate of many people, something close and familiar to everyone. They are heroes that make one think, and these reflections lead the modern reader to conclusions that Flaubert himself did not think about.

A new view of the world, a new understanding of the truth, to which Flaubert came in the early 40s, forced him to join the fight against Musset's “sentimentalism”. Lamartine and his "rump", this whole crowd of poets clanking on the lyre with eyes directed to the stars, all these confessions, inspirations and tears seemed to Flaubert something directly opposite to genuine art and at the same time to romanticism, which, in his opinion, in his manifestos and works of art he expressed the tendencies of "objective" art.

Despite its close connection with romanticism, Flaubert's creative and aesthetic system is something fundamentally different and completely new in French literature. Some elements of romantic aesthetics acquire a different meaning in Flaubert: romantic dynamics is replaced by naturalistic statics and romantic history by naturalistic nature.

Submitting his creativity to the task of cognition, penetration into the objective world, reincarnation, Flaubert considered aesthetics not as a sum of recipes and norms, but as a definition of the highest tasks of art and ways of artistic cognition of reality. Therefore, the concept of form in his aesthetics is expressed in categories of a cognitive nature, and questions of technology turned out to be ideological questions.

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