Flaubert's Parrot

friends those years produced – and yet I felt unmoved. 50th Armoured Division, Second British Army. Memories came out of hiding, but not emotions; not even the memories of emotions. After lunch I went to the museum and watched a film about the landings, then drove ten kilometres to Bayeux to examine that other cross-Channel invasion of nine centuries earlier. Queen Matilda’s tapestry is like horizontal cinema, the frames joined edge to edge. Both events seemed equally strange: one too distant to be true, the other too familiar to be true. How do we seize the past? Can we ever do so? When I was a medical student some pranksters at an end-of-term dance released into the hall a piglet which had been smeared with grease. It squirmed between legs, evaded capture, squealed a lot. People fell over trying to grasp it, and were made to look ridiculous in the process. The past often seems to behave like that piglet.

On my third day in Rouen I walked to the Hotel-Dieu, the hospital where Gustave’s father had been head surgeon, and where the writer spent his childhood. Along the avenue Gustave Flaubert, past the Imprimerie Flaubert and a snack-bar called Le Flaubert: you certainly feel you’re going in the right direction. Parked near the hospital was a large white Peugeot hatchback: it was painted with blue stars, a telephone number and the words AMBULANCE FLAUBERT. The writer as healer? Unlikely. I remembered George Sand’s matronly rebuke to her younger colleague. ‘You produce desolation,’ she wrote, ‘and I produce consolation.’ The Peugeot should have read AMBULANCE GEORGE SAND.

At the Hotel-Dieu I was admitted by a gaunt, fidgety gardien whose white coat puzzled me. He wasn’t a doctor, a pharmacien or a cricket umpire. White coats imply antisepsis and clean judgment. Why should a museum caretaker wear one – to protect Gustave’s childhood from germs? He explained that the museum was devoted partly to Flaubert and partly to medical history, then hurried me round, locking the doors behind us with noisy efficiency. I was shown the room where Gustave was born, his eau-de-Cologne pot, tobacco jar and first magazine article. Various images of the writer confirmed the dire early shift he underwent from handsome youth to paunchy, balding burgher. Syphilis, some conclude. Normal nineteenth-century ageing, others reply. Perhaps it was merely that his body had a sense of decorum: when the mind inside declared itself prematurely old, the flesh did its best to conform. I kept reminding myself that he had fair hair. It’s hard to remember: photographs make everyone seem dark.

The other rooms contained medical instruments of the eighteenth and nineteenth centuries: heavy metal relics coming to sharp points, and enema pumps of a calibre which surprised even me. Medicine then must have been such an exciting, desperate, violent business; nowadays it is all pills and bureaucracy. Or is it just that the past seems to contain more local colour than the present? I studied the doctoral thesis of Gustave’s brother Achille: it was called ‘Some Considerations on the Moment of Operation on the Strangulated Hernia’. A fraternal parallel: Achille’s thesis later became Gustave’s metaphor. ‘I feel, against the stupidity of my time, floods of hatred which choke me. Shit rises to my mouth as in the case of a strangulated hernia. But I want to keep it, fix it, harden it; I want to concoct a paste with which I shall cover the nineteenth century, in the same way as they paint Indian pagodas with cow dung.’

The conjunction of these two museums seemed odd at first. It made sense when I remembered Lemot’s famous cartoon of Flaubert dissecting Emma Bovary. It shows the novelist flourishing on the end of a large fork the dripping heart he has triumphantly torn from his heroine’s body. He brandishes the organ aloft like a prize surgical exhibit, while on the left of the drawing the feet of the recumbent, violated Emma are just visible. The writer as butcher, the writer as sensitive brute.

Then I saw the parrot. It sat in a small alcove, bright green and perky-eyed, with its head at an inquiring angle. ‘Psittacus,’ ran the inscription on the end of its perch: ‘Parrot borrowed by G. Flaubert from the Museum of Rouen and placed on his work-table during the writing of Un c?ur simple, where it is called Loulou, the parrot of Felicite, the principal character in the tale.’ A Xeroxed letter from Flaubert confirmed the fact: the parrot, he wrote, had been on his desk for three weeks, and the sight of it was beginning to irritate him.

Loulou was in fine condition, the feathers as crisp and the eye as irritating as they must have been a hundred years earlier. I gazed at the bird, and to my surprise felt ardently in touch with this writer who disdainfully forbade posterity to take any personal interest in him. His statue was a retread; his house had been knocked down; his books naturally had their own life – responses to them weren’t responses to him. But here, in this unexceptional green parrot, preserved in a routine yet mysterious fashion, was something which made me feel I had almost known the writer. I was both moved and cheered.

On the way back to my hotel I bought a student text of Un c?ur simple. Perhaps you know the story. It’s about a poor, uneducated servant-woman called Felicite, who serves the same mistress for half a century, unresentfully sacrificing her own life to those of others. She becomes attached, in turn, to a rough fiance, to her mistress’s children, to her nephew, and to an old man with a cancerous arm. All of them are casually taken from her: they die, or depart, or simply forget her. It is an existence in which, not surprisingly, the consolations of religion come to make up for the desolations of life.

The final object in Felicite’s ever-diminishing chain of attachments is Loulou, the parrot. When, in due course, he too dies, Felicite has him stuffed. She keeps the adored relic beside her, and even takes to saying her prayers while kneeling before him. A doctrinal confusion develops in her simple mind: she wonders whether the Holy Ghost, conventionally represented as a dove, would not be better portrayed as a parrot. Logic is certainly on her side: parrots and Holy Ghosts can speak, whereas doves cannot. At the end of the story, Felicite herself dies. ‘There was a smile on her lips. The movements of her heart slowed down beat by beat, each time more distant, like a fountain running dry or an echo disappearing; and as she breathed her final breath she thought she saw, as the heavens opened for her, a gigantic parrot hovering above her head.’

The control of tone is vital. Imagine the technical difficulty of writing a story in which a badly stuffed bird with a ridiculous name ends up standing in for one third of the Trinity, and in which the intention is neither satirical, sentimental, nor blasphemous. Imagine further telling such a story from the point of view of an ignorant old woman without making it sound derogatory or coy. But then the aim of Un c?ur simple is quite elsewhere: the parrot is a perfect and controlled example of the Flaubertian grotesque.

We can, if we wish (and if we disobey Flaubert), submit the bird to additional interpretation. For instance, there are submerged parallels between the life of the prematurely aged novelist and the maturely aged Felicite. Critics have sent in the ferrets. Both of them were solitary; both of them had lives stained with loss; both of them, though full of grief, were persevering. Those keen to push things further suggest that the incident in which Felicite is struck down by a mail-coach on the road to Honfleur is a submerged reference to Gustave’s first epileptic fit, when he was struck down on the road outside Bourg-Achard. I don’t know. How submerged does a reference have to be before it drowns?

In one cardinal way, of course, Felicite is the complete opposite of Flaubert: she is virtually inarticulate. But you could argue that this is where Loulou comes in. The parrot, the articulate beast, a rare creature that makes human sounds. Not for nothing does Felicite confuse Loulou with the Holy Ghost, the giver of tongues.

Felicite + Loulou = Flaubert? Not exactly; but you could claim that he is present in both of them. Felicite encloses his character; Loulou encloses his voice. You could say that the parrot, representing clever vocalisation without much brain power, was Pure Word. If you were a French academic, you might say that he was un symbole de Logos. Being English, I hasten back to the corporeal: to that svelte, perky creature I had seen at the Hotel-Dieu. I imagined Loulou sitting on the other side of Flaubert’s desk and staring back at him like some taunting reflection from a funfair mirror. No wonder three weeks of its parodic presence caused irritation. Is the writer much more than a sophisticated parrot?

We should perhaps note at this point the four principal encounters between the novelist and a member of the parrot family. In the 1830s, during their annual holiday at Trouville, the Flaubert household regularly used to visit a retired sea-captain called Pierre Barbey; his menage, we are told, included a magnificent parrot. In 1845 Gustave was travelling through Antibes, on his way to Italy, when he came across a sick parakeet which merited an entry in his diary; the bird used to perch carefully on the mudguard of its owner’s light cart, and at dinnertime would be brought in and placed on the mantelpiece. The diarist notes the ‘strange love’ clearly evident between man and pet. In 1851, returning from the Orient via Venice, Flaubert heard a parrot in a gilt cage calling out over the Grand Canal its imitation of a gondolier: ‘Fa eh, capo die.’ In 1853 he was again in Trouville; lodging with a pharmacien, he found himself constantly irritated by a parrot which screamed, ‘As-tu dejeune, Jako?’ and ‘Cocu, mon petit