Of all Flaubert's novels published in persian, Madame Bovary is undoubtedly the most translated. We can count more than 10 versions, whose publications span a period of nearly sixty years. The study of many epitexts of these translations, although historically widely separated, reveals a common situation: no real extralinguistic competence complements the supposed linguistic competence required for translation. This incompetence acts directly on the paratranslations and, apart from the title, the translation of which does not seem problematic, the cover page and the prefaces of the translators bear the trace of it. It gives rise to unsuitable iconic peritexts and causes the translator's prefaces to be coupled with a moralizing, even ideological discourse, the study of which turns out to be interesting in terms of the history of the reception of the work in Iran. The object of this article will therefore be the study of the paratextual elements of five translations of Madame Bovary, the translator's preface and the cover page, in order to show how, over the years, extralinguistic incompetence and the interference of the ideological can be sources of erroneous information on the author, his aesthetic and on the literary movement from which he comes and lead to the creation of an iranianized and ideologized image of Flaubert in the iranian literary landscape.