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Tahiti. Loti himself goes by the name of "Harry Grant" in the novel, an
English naval officer, to hide his real identity (this was before the public knew Pierre Loti/Harry Grant was actually Julien Viaud). The plot correctly follows known facts about Loti's life and generally corresponds with his diaries. Many of the details such as dialog and specific events were embellished for dramatic effect.
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It was in Tahiti that the transformation of Julien Viaud into Pierre Loti began, a transformation that would come to characterize Loti's future work and life. He "went native": living among the local people, learning the language, wearing their dress, adopting their customs, loving their women, even
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says, "Loti's works helps to sustain gratifying image of cultural superiority among his
European readers. To enjoy reading Loti is to enjoy the personal and cultural complacency of which the colonial venture thrived." However Loti's lyrical prose and hauntingly vivid descriptions of the Polynesian
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of "Loti" given to him by the local natives—all the while retaining his military duties, and keeping a detailed diary which would become the source for his novel. Cavorting with natives while on active duty might appear unusual, but French military custom did not generally prevent its officers from
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As a young boy in France, Julien Viaud (later known as Pierre Loti) was introduced to
Polynesia by his older brother Gustave, a naval officer who brought home stories of the exotic islands, including stories about a relationship he had with a Tahitian woman. Julien would never forget these stories
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The novel reflected prevailing imperialistic attitudes towards the colonies, seeing the natives as innocent and wild children of the forest exposed to the fearsome and old paternal
European culture. This was during a period (1880s to 1900s) when European imperialism had reached its height and the
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can be seen both as a non-fiction account of Loti's true-life experiences, and a literary work. Most of the main characters were real people, however Rarahu herself was not—Loti admitted in a letter dated 1879 that she was a composite of many women he had liaisons with during his two months in
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socializing with other classes, unlike the
English military, so it was easy for Loti to divide his attentions and duties between the navy and the Tahitians. Further, the admiral of the fleet had a personal interest in the history and anthropology of Tahiti and encouraged Loti to learn more.
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islands are artistically satisfying, and the tragic ending, as Loti recognizes his failure through a broken heart, adds a more human and universal dimension to the strictly colonial interpretation.
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and aimed to one day follow his brother's example. He eventually joined the navy, and at the age of twenty-two in 1872, was stationed at the town of
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51:. It was Loti's second novel and the first to win him great fame and a wide following. It describes Loti's romantic liaison with an exotic
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242:- this is an out of copyright translation (1920s?) by Clara Bell in a facsimile reprint. The Introduction by O'Connor is recent.
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genre of "romantic exoticism", of which this work is one of the finest examples, struck a popular chord. In a
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and later editions under the new title. It was received with wide acclaim from both critics and the public.
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found it "charming, new without extravagance, original without affection." The public found its exotic and
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a sharp and welcome contrast from the in-vogue French realist school that included such authors as
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described it as "one of the most charming works to have appeared for a long time," and
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is still in print and often listed with other books about the literature of
Polynesia.
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in Tahiti for two months. It was, as he put it, "the dream of my childhood."
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perspective it is largely seen as racist and imperialistic. As biographer
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Eleanor
Frierson (Translator), Wright Frierson (Translator).
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55:girl named Rarahu. It is the basis of two operas
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108:was first published in 1880 under the title
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278:. 1920s. Chapter IV "Isle of Desire".
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249:. University of Hawaii Press, 1976.
265:Pierre Loti: The Legendary Romantic
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226:Kaori O'Connor (Introduction),
431:French autobiographical novels
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232:Tahiti: The Marriage of Loti
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436:Novels adapted into operas
272:Romance of a Great Writer
188:Lesley Blanch (1982/83)
22:Rarahu, drawing by Loti
270:Edward B. D'Auvergne.
197:Edward B. D'Auvergne (
174:Kaori O'Connor (2002).
45:autobiographical novel
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441:Novels by Pierre Loti
267:. 1982–83. Chapter 4.
257:- recent translation.
31:(1880; also known as
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336:An Iceland Fisherman
234:. Kegan Paul, 2002.
211:The Marriage of Loti
106:The Marriage of Loti
99:The Marriage of Loti
33:The Marriage of Loti
344:Madame Chrysanthème
426:1880 French novels
352:Le Mariage de Loti
28:Le Mariage de Loti
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405:Piyer Loti Museum
255:978-0-8248-0395-7
90:adopting the new
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313:Pierre Loti
126:lyric prose
49:Pierre Loti
420:Categories
228:Clara Bell
221:References
130:Émile Zola
77:Background
368:Ramuntcho
115:Le Figaro
92:pseudonym
387:Au Maroc
201:. 1920s)
121:Le Temps
53:Tahitian
43:) is an
328:Aziyadé
84:Papeete
390:(1890)
379:Memoir
371:(1897)
363:(1883)
355:(1880)
347:(1887)
339:(1886)
331:(1879)
320:Novels
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110:Rarahu
41:Tahiti
37:Rarahu
149:Notes
61:Lakmé
39:, or
251:ISBN
236:ISBN
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276:ca
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179:^
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298:t
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