quivering with ferocious joys. It is in this book
that Loti has eclipsed Zola. One of his masterpieces
is ‘Mon Freye Yves’ (ocean and Brittany),
together with ‘Pecheur d’Islande’
(1886); both translated into German by Elizabeth,
Queen of Roumania (Carmen Sylva). In 1884 was
published ’Les trois Dames de la Kasbah,’
relating also to Algiers, and then came ‘Madame
Chrysantheme’ (1887), crowned by the Academy.
’Japoneries d’automne’ (1889), Japanese
scenes; then ‘Au Maroc’ (Morocco; 1890).
Partly autobiographical are ‘Le Roman d’un
Enfant’ (1890) and ’Le Livre de la Pitie
et de la Mort’ (1891). Then followed ’Fantomes
d’Orient (1892), L’Exilee (1893), Le Desert
(Syria; 1895), Jerusalem, La Galilee (Palestine; 1895),
Pages choisies (1896), Ramuntcho (1897), Reflets sur
la Sombre Route’ (1898), and finally ‘Derniers
Jours de Pekin’ (1903). Many exquisite
pages are to be found in Loti’s work. His
composition is now and then somewhat disconnected;
the impressions are vague, almost illusory, and the
mirage is a little obscure, but the intense and abiding
charm of Nature remains. Loti has not again reached
the level of Madame Chrysantheme, and English critics
at least will have to suspend their judgment for a
while. In any event, he has given to the world
many great books, and is shrined with the Forty “Immortals.”
Albert Sorel
de l’Academie Francaise.
To Madame la Duchesse de Richelieu
Madame la Duchesse,
Permit me to beg your acceptance of this work, as
a respectful tribute of my friendship.
I feel some hesitation in offering it, for its theme
can not be deemed altogether correct; but I have endeavored
to make its expression, at least, in harmony with
good taste, and I trust that my endeavors have been
successful.
This record is the journal of a summer of my life,
in which I have changed nothing, not even the dates,
thinking that in our efforts to arrange matters we
succeed often only in disarranging them. Although
the most important role may appear to devolve on Madame
Chrysantheme, it is very certain that the three principal
points of interest are myself, Japan, and the effect
produced on me by that country.
Do you recollect a certain photograph—rather
absurd, I must admit—representing that
great fellow Yves, a Japanese girl, and myself, grouped
as we were posed by a Nagasaki artist? You smiled
when I assured you that the carefully attired little
damsel placed between us had been one of our neighbors.
Kindly receive my book with the same indulgent smile,
without seeking therein a meaning either good or bad,
in the same spirit in which you would receive some
quaint bit of pottery, some grotesquely carved ivory
idol, or some fantastic trifle brought to you from
this singular fatherland of all fantasy.
Believe me, with the deepest respect,
Madame la Duchesse,
Your
affectionate
Pierre
Loti.
