impartial from the object of study, which the omniscient narrator, a surrogate scientist, tries to achieve through the plot-structure, fluctuation of point of view, opposition of characters:
It is one of my principles, that one must not write oneself. The artist must be in his work like God in his creation, invisible and omnipotent. Let him be sensed everywhere, but not seen.
I even think that a novelist hasn’t the right to express his opinion on anything whatsoever. Has God ever expressed his opinion? Despite its commitment to impartiality, French realism becomes an attack, an intellectual condemn, upon the abuses and corruptions of society, the arena where the hero is tested. Zola wrote Le Ventre de Paris, which is a direct attack against France and Napoleon the Third the day after The Commune, Flaubert after having described the dingy events of outskirts, unequivocal symbol of bourgeoisie behavior, declares, Madame Bovary se moi. Consequently, the text is a denounce of a social order in which human beings are forced to exploit or being exploited, the existential failure, the majority of them incur into, is a labyrinthine outcome where environmental determinism goes along with the weakness of the protagonists. Chinese postmodern realism, following the path traced by French realism, conquers the reader by describing the ugliness of life. However, it is not so much interested in condemning society, as it is in reviewing history over and over again. History is