Western Images on Asian Feminity
Pierre Loti's novel, Madame Chrysantheme, gives an intimate portrayal of 19th century Asian women, as stereotyped by Western society. Although the book is named in her behalf, the title character, Madame Chrysantheme, is only seen through the subjective eyes of the novel's protagonist, the Narrator. Loti is able to depict the title character as a secondary role, presenting Madame Chrysantheme as the typical Japanese women of the time. By allowing her to fit into this part, Loti is able to convey the theme of "Asian femininity" throughout the pages, allowing the reader to discover for themselves the 19th century Western image of the Asian woman. Loti's use of Madame Chrysantheme as the title character is done in order to allow her to serve as a function for the novel. Distinctly not a main character, the Narrator, a sailor, takes Chrysantheme as his bride for a temporary marriage when he arrives in Nagasaki. Picking her for her Japanese aura, the Narrator chooses Chrysantheme as he would pick a souvenir from a shelf - the one most defining of Japan.When his first match is not acceptable to him, he desires another immediately. In the same room is another available bride which is pointed out to him by fellow sailor, Yves.
From the title character not being referred to as a main character, to the stereotypical views of the Japanese women, Loti shows the 19th century persona of the Asian woman. This notion of "Asian femininity" was ideal to the Westerners because they desired companionship while they were away from home and found it quite easily in Asian countries, such as Japan. The idea that young women are sold or rented by their families to foreigners temporarily visiting the area is a concept that many during the 19th viewed as unconventional, yet desirable. By collectively characterizing Chrysantheme and all Japanese women, the Narrator shows his cliched image of Japan and shows the bias that Westerners had towards the Asian population during this time period. The Japanese women are not seen as individuals, but as a collective group that may be broken into pieces in order to fulfill the fantasies of Western men visiting Nagasaki. Moreover, they are very funny, thus drawn up in line. Who can tell how this strange arrangement shall work out? Is it a woman or a doll? The Narrator views Chrysantheme as an object throughout the majority of the novel, and regards her as property or a service he is paying for during his stay in Nagasaki. In speaking of them, we say: "Our little trained dogs," and in truth they are singular like them. Seen from behind our dolls [Japanese "temporary" brides] are very dainty. The Narrator observes them in this respect during an outing in Nagasaki. Eyes with long lashes, rather narrow, but which would be called good in any country around the world.
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Acceptance Essays
