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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.

AN ICELAND FISHERMAN

by Pierre Loti

PART 1 ON THE ICY SEA

CHAPTER I THE FISHERMEN

There they were, five huge, square-built seamen, drinking away together in the dismal cabin, which reeked of fish-pickle and bilge- water. The overhead beams came down too low for their tall statures, and rounded off at one end so as to resemble a gull's breast, seen from within. The whole rolled gently with a monotonous wail, inclining one slowly to drowsiness.

Outside, beyond doubt, lay the sea and the night; but one could not be quite sure of that, for a single opening in the deck was closed by its weather-hatch, and the only light came from an old hanging-lamp, swinging to and fro. A fire shone in the stove, at which their saturated clothes were drying, and giving out steam that mingled with the smoke from their clay pipes.

Their massive table, fitted exactly to its shape, occupied the whole space; and there was just enough room for moving around and sitting upon the narrow lockers fastened to the sides. Thick beams ran above them, very nearly touching their heads, and behind them yawned the berths, apparently hollowed out of the solid timbers, like recesses of a vault wherein to place the dead. All the wainscoting was rough and worn, impregnated with damp and salt, defaced and polished by the continual rubbings of their hands.

They had been drinking wine and cider in their pannikins, and the sheer enjoyment of life lit up their frank, honest faces. Now, they lingered at table chatting, in Breton tongue, on women and marriage. A china statuette of the Virgin Mary was fastened on a bracket against the midship partition, in the place of honour. This patron saint of our sailors was rather antiquated, and painted with very simple art; yet these porcelain images live much longer than real men, and her red and blue robe still seemed very fresh in the midst of the sombre greys of the poor wooden box. She must have listened to many an ardent prayer in deadly hours; at her feet were nailed two nosegays of artificial flowers and a rosary.

These half-dozen men were dressed alike; a thick blue woollen jersey clung to the body, drawn in by the waist-belt; on the head was worn the waterproof helmet, known as the sou'-wester. These men were of different ages. The skipper might have been about forty; the three others between twenty-five and thirty. The youngest, whom they called Sylvestre or "Lurlu," was only seventeen, yet already a man for height and strength; a fine curly black beard covered his cheeks; still he had childlike eyes, bluish-grey in hue, and sweet and tender in expression.

Huddled against one another, for want of space, they seemed to feel downright comfort, snugly packed in their dark home.

Outside spread the ocean and night--the infinite solitude of dark fathomless waters. A brass watch, hung on the wall, pointed to eleven o'clock--doubtless eleven at night--and upon the deck pattered the drizzling rain.

Among themselves, they treated these questions of marriage very merrily; but without saying anything indecent. No, indeed, they only sketched plans for those who were still bachelors, or related funny stories happening at home at wedding-feasts. Sometimes with a happy laugh they made some rather too free remarks about the fun in love- making. But love-making, as these men understand it, is always a healthy sensation, and for all its coarseness remains tolerably chaste.

But Sylvestre was worried, because a mate called Jean (which Bretons pronounce "Yann") did not come down below. Where could Yann be, by the way? was he lashed to his work on deck? Why did he not come below to take his share in their feast?

"It's close on midnight, hows'ever," observed the captain; and drawing himself up he raised the scuttle with his head, so as to call Yann that way.

Then a weird glimmer fell from above.

"Yann! Yann! Look alive, matey!"

"Matey" answered roughly from outside while through the half-opened hatchway the faint light kept entering like that of dawn. Nearly midnight, yet it looked like a peep of day, or the light of the starry gloaming, sent from afar through mystic lenses of magicians.

When the aperture closed, night reigned again, save for the small lamp, "sended" now and again aside, which shed its yellow light. A man in clogs was heard coming down the wooden steps.

He entered bent in two like a big bear, for he was a giant. At first he made a wry face, holding his nose, because of the acrid smell of the souse.

He exceeded a little too much the ordinary proportions of man, especially in breadth, though he was straight as a poplar. When he faced you the muscles of his shoulders, moulded under his blue jersey, stood out like great globes at the tops of his arms. His large brown eyes were very mobile, with a grand, wild expression.

Sylvestre threw his arms round Yann, and drew him towards him tenderly, after the fashion of children. Sylvestre was betrothed to Yann's sister, and he treated him as an elder brother, of course. And Yann allowed himself to be pulled about like a young lion, answering by a kind smile that showed his white teeth. These were somewhat far apart, and appeared quite small. His fair moustache was rather short, although never cut. It was tightly curled in small rolls above his lips, which were most exquisitely and delicately modelled, and then frizzed off at the ends on either side of the deep corners of his mouth. The remainder of his beard was shaven, and his highly coloured cheeks retained a fresh bloom like that of fruit never yet handled.

When Yann was seated, the mugs were filled up anew.

The lighting of all the pipes was an excuse for the cabin boy to smoke a few wiffs himself. He was a robust little fellow, with round cheeks --a kind of little brother to them all, more or less related to one another as they were; otherwise his work had been hard enough for the darling of the crew. Yann let him drink out of his own glass before he was sent to bed. Thereupon the important topic of marriage was revived.

"But I say, Yann," asked Sylvestre, "when are we going to celebrate your wedding?"

"You ought to be ashamed," said the master; "a hulking chap like you, twenty-seven years old and not yet spliced; ho, ho! What must the lasses think of you when they see you roll by?"