e often the women who "behind the balustrade of a balcony" was being embraced by her lover or the women who "lay dreaming on sofas with an open letter, gazing at the moon" and thinking of their dashing sweetheart (MB, 23). Through her constant reading of these books, she put these types of women on pedestals. It was her conscious goal to become like them. These ideas root themselves in her mind and in all she does she strives to emulate them.
             Emma, having already identified herself with the heroines of romantic fiction began a cycle of destruction as soon as she married Charles Bovary. She had romanticized, magnified and glorified her affection for him and viewed marriage as the next pastoral step in her li
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