Loti has no immediate4 literary ancestor and no pupil worthy5 of the name. He indulges in a dainty pessimism6 and is most of all an impressionist, not of the vogue7 of Zola — although he can be, on occasion, as brutally8 plain as he — but more in the manner of Victor Hugo, his predecessor9, or Alphonse Daudet, his lifelong friend. In Loti’s works, however, pessimism is softened10 to a musical melancholy11; the style is direct; the vocabulary exquisite12; the moral situations familiar; the characters not complex. In short, his place is unique, apart from the normal lines of novelistic development.
The vein13 of Loti is not absolutely new, but is certainly novel. In him it first revealed itself in a receptive sympathy for the rare flood of experiences that his naval14 life brought on him, experiences which had not fallen to the lot of Bernardin de St. Pierre or Chateaubriand, both of whom he resembles. But neither of those writers possessed15 Loti’s delicate sensitiveness to exotic nature as it is reflected in the foreign mind and heart. Strange but real worlds he has conjured16 up for us in most of his works and with means that are, as with all great artists, extremely simple. He may be compared to Kipling and to Stevenson: to Kipling, because he has done for the French seaman17 something that the Englishman has done for “Tommy Atkins,” although their methods are often more opposed than similar; like Stevenson, he has gone searching for romance in the ends of the earth; like Stevenson, too, he has put into all of his works a style that is never less than dominant18 and often irresistible19. Charm, indeed, is the one fine quality that all his critics, whether friendly or not, acknowledge, and it is one well able to cover, if need be, a multitude of literary sins.
Pierre Loti was elected a member of the French Academy in 1891, succeeding to the chair of Octave Feuillet. Some of his writings are: ‘Aziyade,’ written in 1879; the scene is laid in Constantinople. This was followed by ‘Rarahu,’ a Polynesian idyl (1880; again published under the title Le Mariage de Loti, 1882). ‘Roman d’un Spahi (1881) deals with Algiers. Taton-gaye is a true ‘bete-humaine’, sunk in moral slumber20 or quivering with ferocious21 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 Dames22 de la Kasbah,’ relating also to Algiers, and then came ‘Madame Chrysanthème’ (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 mirage23 is a little obscure, but the intense and abiding24 charm of Nature remains25. Loti has not again reached the level of Madame Chrysanthème, and English critics at least will have to suspend their judgment26 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.
Dedication27
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 hesitation28 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 Chrysanthème, 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 recollect29 a certain image 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 attired30 little damsel placed between us had been one of our neighbors. Kindly31 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 quaint32 bit of pottery33, some grotesquely34 carved ivory idol35, 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.

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1
retired
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adj.隐退的,退休的,退役的 | |
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2
discreetly
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ad.(言行)审慎地,慎重地 | |
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3
plume
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n.羽毛;v.整理羽毛,骚首弄姿,用羽毛装饰 | |
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4
immediate
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adj.立即的;直接的,最接近的;紧靠的 | |
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5
worthy
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adj.(of)值得的,配得上的;有价值的 | |
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6
pessimism
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n.悲观者,悲观主义者,厌世者 | |
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7
Vogue
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n.时髦,时尚;adj.流行的 | |
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8
brutally
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adv.残忍地,野蛮地,冷酷无情地 | |
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9
predecessor
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n.前辈,前任 | |
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10
softened
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(使)变软( soften的过去式和过去分词 ); 缓解打击; 缓和; 安慰 | |
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11
melancholy
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n.忧郁,愁思;adj.令人感伤(沮丧)的,忧郁的 | |
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12
exquisite
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adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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13
vein
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n.血管,静脉;叶脉,纹理;情绪;vt.使成脉络 | |
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14
naval
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adj.海军的,军舰的,船的 | |
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15
possessed
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adj.疯狂的;拥有的,占有的 | |
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16
conjured
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用魔术变出( conjure的过去式和过去分词 ); 祈求,恳求; 变戏法; (变魔术般地) 使…出现 | |
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17
seaman
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n.海员,水手,水兵 | |
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18
dominant
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adj.支配的,统治的;占优势的;显性的;n.主因,要素,主要的人(或物);显性基因 | |
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19
irresistible
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adj.非常诱人的,无法拒绝的,无法抗拒的 | |
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20
slumber
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n.睡眠,沉睡状态 | |
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21
ferocious
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adj.凶猛的,残暴的,极度的,十分强烈的 | |
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22
dames
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n.(在英国)夫人(一种封号),夫人(爵士妻子的称号)( dame的名词复数 );女人 | |
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23
mirage
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n.海市蜃楼,幻景 | |
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24
abiding
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adj.永久的,持久的,不变的 | |
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25
remains
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n.剩余物,残留物;遗体,遗迹 | |
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26
judgment
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n.审判;判断力,识别力,看法,意见 | |
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27
dedication
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n.奉献,献身,致力,题献,献辞 | |
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28
hesitation
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n.犹豫,踌躇 | |
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29
recollect
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v.回忆,想起,记起,忆起,记得 | |
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30
attired
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adj.穿着整齐的v.使穿上衣服,使穿上盛装( attire的过去式和过去分词 ) | |
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31
kindly
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adj.和蔼的,温和的,爽快的;adv.温和地,亲切地 | |
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32
quaint
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adj.古雅的,离奇有趣的,奇怪的 | |
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33
pottery
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n.陶器,陶器场 | |
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34
grotesquely
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adv. 奇异地,荒诞地 | |
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35
idol
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n.偶像,红人,宠儿 | |
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