The novel’s plot reflects aspects of a romantic and melancholic mood due to its focus on Emma’s failed quest for happiness and romance and her eventual downfall. However, the mocking cynicism underlying these events, and the novel’s detached realist presentation of some of these tragedies, lessen the stirring effect of the plot in favor of a more sardonic critique.
Although the novel may encourage sympathy for Emma, despite her callous or foolish actions, the novel balances this sympathy with cutting realism. Placing the romantic Emma in a realistic setting forces her to face consequences and exposes the foolishness of her values, the latter of which is often portrayed by the novel indirectly mocking her. For example, in the moments leading up to her death in Part 3, Chapter 8, the reader gets insight into the agonizing pain she is in and the brief comfort that the priest brings her, which enhances the tragedy of her suffering. However, the moment of her death is made somewhat humorous and ironic as the blind man sings bawdy love songs and is summed up in a few detached lines:
A convulsion threw her down upon the mattress. They all drew near. Her life had ended.
Thus, the realist style means that moments of romance or tragedy can never be limited to romantic or tragic moods alone; otherwise, this novel would be too much like the romantic literature Emma idealizes and Flaubert deconstructs. Instead, the intrusion of the mundane or otherwise contradictory real world into these romantic scenes refuses to let the reader sink into one set mood.