Like Francois Montaigne and Jean-Jacques Rousseau, Marcel Proust and Andre Gide, Colette is a superb expositor of herself in her writing. The most important influence on her was that of her mother, Sido, whose Demeter she followed by playing Persephone. Her Sido-self became a personal version of the Garden of Eden, pure and soundly instinctual. The character of Gigi is a reincarnation of this undefiled, uninitiated stage. Significantly, the tale ends before the lovers are married—for marriage, Colette came to discover, usually is a time of trouble and disillusionment.
Colette’s first marriage proved to be particularly painful. It was in 1893, to a man fifteen years her senior named Henry Gauthier-Villars, whom everyone called Willy. She had fallen in love with Willy when she was seventeen; her mother never approved of him. The attraction was largely sexual, in a somewhat masochistic way: Colette was fascinated by the fantasy of becoming the willing plaything of a dissolute older man. Later, she came to distrust erotic desire as a demoniac drive that was usually fulfilled in sorrow and subjugation. Willy, while witty and erudite, soon shamed her with his cruelty, coarseness, and chronic adulteries, yet she remained with him for thirteen tormented years, during which she founded her literary career. She began by setting down thinly fictionalized accounts of her schoolgirl memories. Willy decided that they were salable. Her first novel, Claudine a...
(The entire section is 557 words.)