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The first appearance of Pierre Loti's works, twenty years ago, caused a sensation throughout those circles wherein the creations of intellect and imagination are felt, studied, and discussed. The author was one who, with a power which no one had wielded before him, carried off his readers into exotic lands, and whose art, in appearance most simple, proved a genuine enchantment for the imagination. It was the time when M. Zola and his school stood at the head of the literary movement. There breathed forth from Loti's writings an all-penetrating fragrance of poesy, which liberated French literary ideals from the heavy and oppressive yoke of the Naturalistic school. Truth now soared on unhampered pinions, and the reading world was completely won by the unsurpassed intensity and faithful accuracy with which he depicted the alluring charms of far-off scenes, and painted the naive soul of the races that seem to endure in the isles of the Pacific as surviving representatives of the world's infancy.

It was then learned that this independent writer was named in real life Louis Marie Julien Viaud, and that he was a naval officer. This very fact, that he was not a writer by profession, added indeed to his success. He actually had seen that which he was describing, he had lived that which he was relating. What in any other man would have seemed but research and oddity, remained natural in the case of a sailor who returned each year with a manuscript in his hand. Africa, Asia, the isles of the Pacific, were the usual scenes of his dramas. Finally from France itself, and from the oldest provinces of France, he drew subject-matter for two of his novels, An Iceland Fisherman and Ramuntcho. This proved a surprise. Our Breton sailors and our Basque mountaineers were not less foreign to the Parisian drawing-room than was Aziyade or the little Rahahu. One claimed to have a knowledge of Brittany, or of the Pyrenees, because one had visited Dinard or Biarritz; while in reality neither Tahiti nor the Isle of Paques could have remained more completely unknown to us.

The developments of human industry have brought the extremities of the world nearer together; but the soul of each race continues to cloak itself in its own individuality and to remain a mystery to the rest of the world. One trait alone is common to all: the infinite sadness of human destiny. This it was that Loti impressed so vividly on the reading world.

His success was great. Though a young man as yet, Loti saw his work crowned with what in France may be considered the supreme sanction: he was elected to membership in the French Academy. His name became coupled with those of Bernardin de St. Pierre and of Chateaubriand. With the sole exception of the author of Paul and Virginia and of the writer of Atala, he seemed to be one without predecessor and without a master. It may be well here to inquire how much reason there is for this assertion, and what novel features are presented in his work.

It has become a trite saying that French genius lacks the sense of Nature, that the French tongue is colourless, and therefore wants the most striking feature of poetry. If we abandoned for one moment the domain of letters and took a comprehensive view of the field of art, we might be permitted to express astonishment at the passing of so summary a judgment on the genius of a nation which has, in the real sense of the term, produced two such painters of Nature as Claude Lorrain and Corot. But even in the realm of letters it is easily seen that this mode of thinking is due largely to insufficient knowledge of the language's resources, and to a study of French literature which does not extend beyond the seventeenth century. Without going back to the Duke of Orleans and to Villon, one need only read a few of the poets of the sixteenth century to be struck by the prominence given to Nature in their writings. Nothing is more delightful than Ronsard's word-paintings of his sweet country of Vendome. Until the day of Malherbe, the didactic Regnier and the Calvinistic Marot are the only two who could be said to give colour to the preconceived and prevalent notion as to the dryness of French poetry. And even after Malherbe, in the seventeenth century, we find that La Fontaine, the most truly French of French writers, was a passionate lover of Nature. He who can see nothing in the latter's fables beyond the little dramas which they unfold and the ordinary moral which the poet draws therefrom, must confess that he fails to understand him. His landscapes possess precision, accuracy, and life, while such is the fragrance of his speech that it seems laden with the fresh perfume of the fields and furrows.

Racine himself, the most penetrating and the most psychological of poets, is too well versed in the human soul not to have felt its intimate union with Nature. His magnificent verse in Phedre,

“Ah, que ne suis-je assise a l'ombre des forets!”

is but the cry of despair, the appeal, filled with anguish, of a heart that is troubled and which oft has sought peace and alleviation amid the cold indifference of inanimate things. The small place given to Nature in the French literature of the seventeenth century is not to be ascribed to the language nor explained by a lack of sensibility on the part of the race. The true cause is to be found in the spirit of that period; for investigation will disclose that the very same condition then characterized the literatures of England, of Spain, and of Italy.

We must bear in mind that, owing to an almost unique combination of circumstances, there never has been a period when man was more convinced of the nobility and, I dare say it, of the sovereignty of man, or was more inclined to look upon the latter as a being independent of the external world. He did not suspect the intimately close bonds which unite the creature to the medium in which it lives. A man of the world in the seventeenth century was utterly without a notion of those truths which in their ensemble constitute the natural sciences. He crossed the threshold of life possessed of a deep classical instruction, and all-imbued with stoical ideas of virtue. At the same time, he had received the mould of a strong but narrow Christian education, in which nothing figured save his relations with God. This twofold training elevated his soul and fortified his will, but wrenched him violently from all communion with Nature. This is the standpoint from which we must view the heroes of Corneille, if we would understand those extraordinary souls which, always at the highest degree of tension, deny themselves, as a weakness, everything that resembles tenderness or pity. Again, thus and thus alone can we explain how Descartes, and with him all the philosophers of his century, ran counter to all common sense, and refused to recognise that animals might possess a soul-like principle which, however remotely, might link them to the human being.

When, in the eighteenth century, minds became emancipated from the narrow restrictions of religious discipline, and when method was introduced into the study of scientific problems, Nature took her revenge as well in literature as in all other fields of human thought. Rousseau it was who inaugurated the movement in France, and the whole of Europe followed in the wake of France. It may even be declared that the reaction against the seventeenth century was in many respects excessive, for the eighteenth century gave itself up to a species of sentimental debauch. It is none the less a fact that the author of La Nouvelle Heloise was the first to blend the moral life of man with his exterior surroundings. He felt the savage beauty and grandeur of the mountains of Switzerland, the grace of the Savoy horizons, and the more familiar elegance of the Parisian suburbs. We may say that he opened the eye of humanity to the spectacle which the world offered it. In Germany, Lessing, Goethe, Hegel, Schelling have proclaimed him their master; while even in England, Byron, and George Eliot herself, have recognised all that they owed to him.

The first of Rosseau's disciples in France was Bernardin de St. Pierre, whose name has frequently been recalled in connection with Loti. Indeed, the charming masterpiece of Paul and Virginia was the first example of exoticism in literature; and thereby it excited the curiosity of our fathers at the same time that it dazzled them by the wealth and brilliancy of its descriptions.

Then came Chateaubriand; but Nature with him was not a mere background. He sought from it an accompaniment, in the musical sense of the term, to the movements of his soul; and being somewhat prone to melancholy, his taste seems to have favoured sombre landscapes, stormy and tragical. The entire romantic school was born from him, Victor Hugo and George Sand, Theophile Gautier who draws from the French tongue resources unequalled in wealth and colour, and even M. Zola himself, whose naturalism, after all, is but the last form and, as it were, the end of romanticism, since it would be difficult to discover in him any characteristic that did not exist, as a germ at least, in Balzac.

I have just said that Chateaubriand sought in Nature an accompaniment to the movements of his soul: this was the case with all the romanticists. We do not find Rene, Manfred, Indiana, living in the midst of a tranquil and monotonous Nature. The storms of heaven must respond to the storms of their soul; and it is a fact that all these great writers, Byron as well as Victor Hugo, have not so much contemplated and seen Nature as they have interpreted it through the medium of their own passions; and it is in this sense that the keen Amiel could justly remark that a landscape is a condition or a state of the soul.

M. Loti does not merely interpret a landscape; though perhaps, to begin with, he is unconscious of doing more. With him, the human being is a part of Nature, one of its very expressions, like animals and plants, mountain forms and sky tints. His characters are what they are only because they issue forth from the medium in which they live. They are truly creatures, and not gods inhabiting the earth. Hence their profound and striking reality.

Hence also one of the peculiar characteristics of Loti's workers. He loves to paint simple souls, hearts close to Nature, whose primitive passions are singularly similar to those of animals. He is happy in the isles of the Pacific or on the borders of Senegal; and when he shifts his scenes into old Europe it is never with men and women of the world that he entertains us.

What we call a man of the world is the same everywhere; he is moulded by the society of men, but Nature and the universe have no place in his life and thought. M. Paul Bourget's heroes might live without distinction in Newport or in Monte Carlo; they take root nowhere, but live in the large cities, in winter resorts and in drawing-rooms as transient visitors in temporary abiding-places.

Loti seeks his heroes and his heroines among those antique races of Europe which have survived all conquests, and which have preserved, with their native tongue, the individuality of their character. He met Ramuntcho in the Basque country, but dearer than all to him is Brittany: here it was that he met his Iceland fishermen.

The Breton soul bears an imprint of Armorica's primitive soil: it is melancholy and noble. There is an undefinable charm about those arid lands and those sod-flanked hills of granite, whose sole horizon is the far-stretching sea. Europe ends here, and beyond remains only the broad expanse of the ocean. The poor people who dwell here are silent and tenacious: their heart is full of tenderness and of dreams. Yann, the Iceland fisherman, and his sweetheart, Gaud of Paimpol, can only live here, in the small houses of Brittany, where people huddle together in a stand against the storms which come howling from the depths of the Atlantic.

Loti's novels are never complicated with a mass of incidents. The characters are of humble station and their life is as simple as their soul. Aziyade, The Romance of a Spahi, An Iceland Fisherman, Ramuntcho, all present the story of a love and a separation. A departure, or death itself, intervenes to put an end to the romance. But the cause matters little; the separation is the same; the hearts are broken; Nature survives; it covers over and absorbs the miserable ruins which we leave behind us. No one better than Loti has ever brought out the frailty of all things pertaining to us, for no one better than he has made us realize the persistency of life and the indifference of Nature.

This circumstance imparts to the reading of M. Loti's works a character of peculiar sadness. The trend of his novels is not one that incites curiosity; his heroes are simple, and the atmosphere in which they live is foreign to us. What saddens us is not their history, but the undefinable impression that our pleasures are nothing and that we are but an accident. This is a thought common to the degree of triteness among moralists and theologians; but as they present it, it fails to move us. It troubles us as presented by M. Loti, because he has known how to give it all the force of a sensation.

How has he accomplished this?

He writes with extreme simplicity, and is not averse to the use of vague and indefinite expressions. And yet the wealth and precision of Gautier's and Hugo's language fail to endow their landscapes with the striking charm and intense life which are to be found in those of Loti. I can find no other reason for this than that which I have suggested above: the landscape, in Hugo's and in Gautier's scenes, is a background and nothing more; while Loti makes it the predominating figure of his drama. Our sensibilities are necessarily aroused before this apparition of Nature, blind, inaccessible, and all-powerful as the Fates of old.

It may prove interesting to inquire how Loti contrived to sound such a new note in art.

He boasted, on the day of his reception into the French Academy, that he had never read. Many protested, some smiled, and a large number of persons refused to believe the assertion. Yet the statement was actually quite credible, for the foundation and basis of M. Loti rest on a naive simplicity which makes him very sensitive to the things of the outside world, and gives him a perfect comprehension of simple souls. He is not a reader, for he is not imbued with book notions of things; his ideas of them are direct, and everything with him is not memory, but reflected sensation.

On the other hand, that sailor-life which had enabled him to see the world, must have confirmed in him this mental attitude. The deck officer who watches the vessel's course may do nothing which could distract his attention; but while ever ready to act and always unoccupied, he thinks, he dreams, he listens to the voices of the sea; and everything about him is of interest to him, the shape of the clouds, the aspect of skies and waters. He knows that a mere board's thickness is all that separates him and defends him from death. Such is the habitual state of mind which M. Loti has brought to the colouring of his books.

He has related to us how, when still a little child, he first beheld the sea. He had escaped from the parental home, allured by the brisk and pungent air and by the “peculiar noise, at once feeble and great,” which could be heard beyond little hills of sand to which led a certain path. He recognised the sea; “before me something appeared, something sombre and noisy, which had loomed up from all sides at once, and which seemed to have no end; a moving expanse which struck me with mortal vertigo; … above was stretched out full a sky all of one piece, of a dark gray colour like a heavy mantle; very, very far away, in unmeasurable depths of horizon, could be seen a break, an opening between sea and sky, a long empty crack, of a light pale yellow.” He felt a sadness unspeakable, a sense of desolate solitude, of abandonment, of exile. He ran back in haste to unburden his soul upon his mother's bosom, and, as he says, “to seek consolation with her for a thousand anticipated, indescribable pangs, which had wrung my heart at the sight of that vast green, deep expanse.”

A poet of the sea had been born, and his genius still bears a trace of the shudder of fear experienced that evening by Pierre Loti the little child.

Loti was born not far from the ocean, in Saintonge, of an old Huguenot family which had numbered many sailors among its members. While yet a mere child he thumbed the old Bible which formerly, in the days of persecution, had been read only with cautious secrecy; and he perused the vessel's ancient records wherein mariners long since gone had noted, almost a century before, that “the weather was good,” that “the wind was favourable,” and that “doradoes or gilt-heads were passing near the ship.”

He was passionately fond of music. He had few comrades, and his imagination was of the exalted kind. His first ambition was to be a minister, then a missionary; and finally he decided to become a sailor. He wanted to see the world, he had the curiosity of things; he was inclined to search for the strange and the unknown; he must seek that sensation, delightful and fascinating to complex souls, of betaking himself off, of withdrawing from his own world, of breaking with his own mode of life, and of creating for himself voluntary regrets.

He felt in the presence of Nature a species of disquietude, and experienced therefrom sensations which might almost be expressed in colours: his head, he himself states, “might be compared to a camera, filled with sensitive plates.” This power of vision permitted him to apprehend only the appearance of things, not their reality; he was conscious of the nothingness of nothing, of the dust of dust. The remnants of his religious education intensified still more this distaste for the external world.

He was wont to spend his summer vacation in the south of France, and he preserved its warm sunny impressions. It was only later that he became acquainted with Brittany. She inspired him at first with a feeling of oppression and of sadness, and it was long before he learned to love her.

Thus was formed and developed, far from literary circles and from Parisian coteries, one of the most original writers that had appeared for a long time. He noted his impressions while touring the world; one fine morning he published them, and from the very first the reading public was won. He related his adventures and his own romance. The question could then be raised whether his skill and art would prove as consummate if he should deviate from his own personality to write what might be termed impersonal poems; and it is precisely in this last direction that he subsequently produced what are now considered his masterpieces.

A strange writer assuredly is this, at once logical and illusive, who makes us feel at the same time the sensation of things and that of their nothingness. Amid so many works wherein the luxuries of the Orient, the quasi animal life of the Pacific, the burning passions of Africa, are painted with a vigour of imagination never witnessed before his advent, An Iceland Fisherman shines forth with incomparable brilliancy. Something of the pure soul of Brittany is to be found in these melancholy pages, which, so long as the French tongue endures, must evoke the admiration of artists, and must arouse the pity and stir the emotions of men.

JULES CAMBON. BIOGRAPHICAL NOTE

The real name of PIERRE LOTI is LOUIS MARIE JULIEN VIAUD. He was born of Protestant parents, in the old city of Rochefort, on the 14th of January, 1850. In one of his pleasant volumes of autobiography, “Le Roman d'un Enfant,” he has given a very pleasing account of his childhood, which was most tenderly cared for and surrounded with indulgences. At a very early age he began to develop that extreme sensitiveness to external influences which has distinguished him ever since. He was first taught at a school in Rochefort, but at the age of seventeen, being destined for the navy, he entered the great French naval school, Le Borda, and has gradually risen in his profession. His pseudonym is said to have had reference to his extreme shyness and reserve in early life, which made his comrades call him after “le Loti,” an Indian flower which loves to blush unseen. He was never given to books or study (when he was received at the French Academy, he had the courage to say, “Loti ne sait pas lire”), and it was not until his thirtieth year that he was persuaded to write down and publish certain curious experiences at Constantinople, in “Aziyade,” a book which, like so many of Loti's, seems half a romance, half an autobiography. He proceeded to the South Seas, and, on leaving Tahiti, published the Polynesian idyl, originally called “Raharu,” which was reprinted as “Le Mariage de Loti” (1880), and which first introduced to the wider public an author of remarkable originality and charm. Loti now became extremely prolific, and in a succession of volumes chronicled old exotic memories or manipulated the journal of new travels. “Le Roman d'un Spahi,” a record of the melancholy adventures of a soldier in Senegambia, belongs to 1881. In 1882 Loti issued a collection of short studies under the general title of “Fleurs d'Ennui.” In 1883 he achieved the widest celebrity, for not only did he publish “Mon Frere Yves,” a novel describing the life of a French bluejacket in all parts of the world—perhaps, on the whole, to this day his most characteristic production—but he was involved in a public discussion in a manner which did him great credit. While taking part as a naval officer in the Tonquin war, Loti had exposed in a Parisian newspaper a series of scandals which succeeded on the capture of Hue, and, being recalled, he was now suspended from the service for more than a year. He continued for some time nearly silent, but in 1886, he published a novel of life among the Breton fisher-folk, entitled “Pecheurs d'Islande”; this has been the most popular of all his writings. In 1887 he brought out a volume of extraordinary merit, which has never received the attention it deserves; this is “Propos d'Exil,” a series of short studies of exotic places, in Loti's peculiar semi-autobiographic style. The fantastic romance of Japanese manners, “Madame Chrysantheme,” belongs to the same year. Passing over one or two slighter productions, we come to 1890, to “Au Maroc,” the record of a journey to Fez in company with a French embassy. A collection of strangely confidential and sentimental reminiscences, called “Le Livre de la Pitie et de la Mort,” belongs to 1891. Loti was on board his ship at the port of Algiers when news was brought to him of his election, on the 21st of May, 1891, to the French Academy. Since he has become an Immortal the literary activity of Pierre Loti has somewhat declined. In 1892 he published “Fantome d'Orient,” another dreamy study of life in Constantinople, a sort of continuation of “Aziyade.” He has described a visit to the Holy Land in three volumes, “Le Desert,” “Jerusalem,” “La Galilee” (1895–96), and he has written one novel, “Ramentcho” (1897), a story of manners in the Basque province, which is quite on a level with his best work. In 1898 he collected his later essays as “Figures et Choses qui passaient.” In 1899–1900 Loti visited British India, and in the autumn of the latter year China; and he has described what he saw there, after the seige, in a charming volume, “Derniers Jours de Pekin,” 1902.

E. G.