The Pearl of Lima: A Story of True Love — Story, Setting & Ideas

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Verne, Jules, 1828-1905, Wilbur, Anne T. [Translator] Project Gutenberg 2009 Not confirmed
Man-woman relationships -- Fiction; Jews -- Fiction; Lima (Peru) -- Fiction; Dowry -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 25,131
Reading time 110 min
Text sections 3

Before opening The Pearl of Lima: A Story of True Love — Story, Setting & Ideas, the edition data offers a quick orientation: 25,131 words, 1 hr 50 min estimated reading time, and 3 detected text sections.

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Jules Verne's early novella set in 1850s Lima, weaving a love story with social tensions among Spanish grandees, Jews, Indians, and mestizos. The narrative moves from the Plaza-Mayor to coastal gambling dens and a canoe on shark-infested waters, using recurring images of light, shadow, and concealment.
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The sun had disappeared behind the snowy peaks of the Cordilleras; but the beautiful Peruvian sky long retains, through the transparent veil of night, the reflection of his rays; the atmosphere is impregnated with a refreshing coolness, which in these burning latitudes affords freedom of breath; it is the hour in which one can live a European life, and seek without on the verandas some cooling gentle zephyr; it seems as if a metallic roof was then interposed between the sun and the earth, which, retaining the heat and suffering only the light to pass, offers beneath its shelter a reparative repose.

This much desired hour had at last sounded from the clock of the cathedral. While the earliest stars were rising above the horizon, the numerous promenaders were traversing the streets of Lima, wrapped in their light mantles, and conversing gravely on the most trivial affairs. There was a great movement of the populace on the Plaza-Mayor, that forum of the ancient city of kings; artisans were profiting by the coolness to quit their daily labors; they circulated actively among the crowd, crying their various merchandise; the ladies of Lima, carefully enveloped in the mantillas which mask their countenances, with the exception of the right eye, darted stealthy glances on the surrounding masses; they undulated through the groups of smokers, like foam at the will of the waves; other señoras, in ball costume, _coiffed_ only with their abundant hair or some natural flowers, passed in large calêches, throwing on the _caballeros_ nonchalant regards.

But these glances were not bestowed indiscriminately upon the young cavaliers; the thoughts of the noble ladies could rest only on aristocratic heights. The Indians passed without lifting their eyes upon them, knowing themselves to be beneath their notice; betraying by no gesture or word, the bitter envy of their hearts. They contrasted strongly with the half-breeds, or mestizoes, who, repulsed like the former, vented their indignation in cries and protestations.

The proud descendants of Pizarro marched with heads high, as in the times when their ancestors founded the city of kings; their traditional scorn rested alike on the Indians whom they had conquered, and the mestizoes, born of their relations with the natives of the New World. The Indians, on the contrary, were constantly struggling to break their chains, and cherished alike aversion toward the conquerors of the ancient empire of the Incas and their haughty and insolent descendants.

But the mestizoes, Spanish in their contempt for the Indians, and Indian in their hatred which they had vowed against the Spaniards, burned with both these vivid and impassioned sentiments.

A group of these young people stood near the pretty fountain in the centre of the Plaza-Mayor. Clad in their _poncho_, a piece of cloth or cotton in the form of a parallelogram, with an opening in the middle to give passage to the head, in large pantaloons, striped with a thousand colors, _coiffed_ with broad-brimmed hats of Guayaquil straw, they were talking, declaiming, gesticulating.

"You are right, André," said a very obsequious young man, whom they called Milleflores.

This was the friend, the parasite of André Certa, a young mestizo of swarthy complexion, whose thin beard gave a singular appearance to his countenance.

André Certa, the son of a rich merchant killed in the last _émeute_ of the conspirator Lafuente, had inherited a large fortune; this he freely scattered among his friends, whose humble salutations he demanded in exchange for handfuls of gold.

"Of what use are these changes in government, these eternal _pronunciamentos_ which disturb Peru to gratify private ambition?" resumed André, in a loud voice; "what is it to me whether Gambarra or Santa Cruz rule, if there is no equality."

"Well said," exclaimed Milleflores, who, under the most republican government, could never have been the equal of a man of sense.

"How is it," resumed André Certa, "that I, the son of a merchant, can ride only in a calêche drawn by mules? Have not my ships brought wealth and prosperity to the country? Is not the aristocracy of piasters worth all the titles of Spain?"

"It is a shame!" resumed the young mestizo. "There is Don Fernand, who passes in his carriage drawn by two horses! Don Fernand d'Aiquillo! He has scarcely property enough to feed his coachman and horses, and he must come to parade himself proudly about the square. And, hold! here is another! the Marquis Don Vegal!"

The story opens on the Plaza-Mayor of Lima at dusk, a moment when the city's rigid social hierarchy becomes visible through movement and gaze. Verne describes how the "ladies of Lima, carefully enveloped in the mantillas which mask their countenances, with the exception of the right eye, darted stealthy glances on the surrounding masses." This careful choreography of seeing and being seen establishes a world where every glance carries social weight. The plaza itself functions as a stage where Indians, mestizos, and Spanish grandees perform their prescribed roles, their interactions governed by unspoken rules of precedence.

Structured by Light and Shadow

Verne repeatedly uses the transition from day to night to frame key scenes. The opening paragraph dwells on the "transparent veil of night" and the "refreshing coolness" that allows Lima's inhabitants to emerge. This pattern recurs when Martin Paz swims after the canoe "just after the sun had buried his last rays in the waves of the ocean, and darkness hovered over the crests of the waves." The darkness enables concealment—Martin Paz glides "like a serpent in the shadow"—but also heightens danger, as the sharks that frequent those waters are invisible. Light and shadow do not merely set mood; they structure the plot by enabling eavesdropping and secret dealings.

Movement Between Public and Private Spaces

The narrative moves deliberately from the open Plaza-Mayor to the enclosed gambling saloon at Chorillos, then to the exposed canoe on the sea. Each space carries its own rules of visibility. In the plaza, social status determines who may look at whom. In the saloon, the Jew Samuel controls the game, stopping the banker with a sign when André Certa's losses threaten their bargain. The canoe, far from shore, becomes a space for secret negotiation, yet even there the characters are watched by Martin Paz, who has "precipitated himself into the sea" to listen. This layering of observation—characters watching characters who think themselves unseen—creates a dense web of surveillance.

Recurring Images of Enclosure and Exposure

Several images recur: mantillas that mask faces, the "metallic roof" that traps heat, the canoe adrift on open water, and the poignard hidden in a girdle. These objects suggest a world where protection and vulnerability coexist. The mantilla allows the wearer to see without being fully seen; the canoe offers no shelter from sharks or eavesdroppers. Martin Paz's decision to swim after the boat—"without once reflecting that sharks of the most dangerous species frequented these fatal shores"—exposes him to mortal risk for the sake of overhearing a secret. The poignard, kept ready but unused in the excerpt, hints at violence held in reserve.

Voice and Social Distance

Verne's narrator maintains a detached, almost ethnographic tone when describing the crowd: "The Indians passed without lifting their eyes upon them, knowing themselves to be beneath their notice." This omniscient perspective reports thoughts and motives without endorsing them. Dialogue, by contrast, is terse and functional. Samuel speaks in short, commanding sentences: "Continue now," "You may ruin this gentleman after his marriage." André Certa's replies are curt and angry. The contrast between the narrator's measured descriptions and the characters' raw exchanges underscores the gap between public decorum and private greed. The Jew Samuel, described as appearing "wherever there was a real to be made," is given no interiority; he exists as a function of the plot.

Readers will find that the novella's power lies less in its romantic plot than in its precise rendering of social spaces and the movements between them. Pay attention to who is allowed to look at whom, and when darkness falls. The recurring images of concealment—mantillas, shadows, the sea's surface—are not decorative; they are the mechanisms by which secrets are kept and discovered. Verne's early work here anticipates his later interest in systems of control, though on a smaller, more intimate scale.

There’s something about that old Verne story—the light and shadow over Lima, the secrets tucked behind every glance—that stays with you long after the canoe drifts off. It reminded me, oddly, of the quieter passages in Ruth Fielding Homeward Bound; Or, A Red Cross Worker's Ocean Perils — Reading Companion, where home feels both near and impossibly far. Both know how distance changes what we see.

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