Pierre Loti

And he based Madama Butterfly on David Belasco's play, Madame Butterfly, a tragedy of Japan, which he had seen in London in 1900.

Belasco's play itself was also an adaptation from John Luther Long's 1898 short story, Madame Butterfly, which in turn was drawn from his sister's recollections of Japan and Pierre Loti's 1887 novel, Madame Chrysanthum.

This is j- You're, what you're describing is just how art works.

Yeah.

Miss Saigon's music was written by Claude Michel Schoenberg, who also wrote Les Mis, so it's probably not a coincidence that a melody from Madame Butterfly's humming chorus shows up in Les Mis' Bring Him Home.

There was a French opera based on Pierre Loti's novel Madame Chrysanthem that predates Puccini's Madame Butterfly, premiering in 1894.

It has a very light online footprint, so it's hard to say how popular it was at the time, but it seems like Puccini's opera pretty much wiped it out of historical consciousness.

Madame Butterfly is historically plausible.

What he hinted in that sonnet he was eventually to prove in his letters from prison to Mr. Ross, printed as a book under the title De Profundis.

Just as Pierre Loti once wrote a book of pity and of death, so might De Profundis be called Wilde's book of pity and of life.

Just as that book hints the tragedy of his prison life, a tragedy more of soul than of body, so does this present little volume disclose some few facts from the man's life after leaving prison.

The few had perforce to read De Profundis in the light of their knowledge that its author, after all the resolutions and conclusions in that document, reverted to his baser self and died with his life fallen far below the altitude marked in the prison letters.

What he hinted in that sonnet he was eventually to prove in his letters from prison to Mr. Ross, printed as a book under the title De Profundis.

Just as Pierre Loti once wrote a book of pity and of death, so might De Profundis be called Wilde's book of pity and of life.

Just as that book hints the tragedy of his prison life, a tragedy more of soul than of body, so does this present little volume disclose some few facts from the man's life after leaving prison.

The few had perforce to read De Profundis in the light of their knowledge that its author, after all the resolutions and conclusions in that document, reverted to his baser self and died with his life fallen far below the altitude marked in the prison letters.

Yokoi Yayu, a Japanese poet of the 18th century, celebrated as a composer of hoku, has left us this naive record of the feelings with which he heard the chirping of Saikede in summer and in autumn.

in the sultry period feeling oppressed by the greatness of the heat i made this verse the chirping of the semi aggravates the heat until i wish to cut down the pine-tree on which it sings but the days passed quickly and later when i heard the crying of the semi grow fainter and fainter in the time of the autumn winds i began to feel compassion for them and made this second verse si ni no kore hitotsu bakari wa aki no semi now there survives but a single one of the semi of autumn lovers of pierre loti the world's greatest prose writer may remember in madame chrysanthemum a delightful passage about a japanese house describing the old dry work as impregnated with sonority by the shrilling crickets of a hundred summers there is a japanese poem containing a fancy not altogether dissimilar into the woods of the pine-tree seems to soak the voice of the semi A very large number of Japanese poems about semi describe the noise of the creatures as an affliction.

To fully sympathize with the complaints of the poets, one must have heard certain varieties of Japanese Saikete.

In full midsummer chorus, but even by readers without experience of the clamor, the following verses will probably be found suggesting.