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Bianca Maria Gerlich
It was the object of this article to discover possible historical traces of the basic structure of the novel-cycle Ciclo dei Pirati della Malesia by Emilio Salgari, in particular the historical existence of its chief protagonist Sandokan. Since historical facts corresponding to the setting of the cycle can in fact be found, it is clear that Salgari's novel should not be read as mere fictional literature but rather as literature with an historical background. Besides some rather general historical facts and circumstances, even some of the details turn out to be historical. The names of persons, places and constellations that were well-known in Europe such as "James Brooke", "Sarawak" and "Labuan" figure, but so do "Sandokan" and the "flag of the tiger" which were known at the time to a rather small group of people in Sabah. Salgari's dates are correct, too : Le Tigri di Mompracem starts at the end of 1849, and the original version La Tigre della Malesia in 1847 ; the battle of Malludu in fact took place in 1845. In the Yanez-passage we are informed that Sandokan was resident on the north coast of Borneo for a few years before he settled down in Mompracem.
Perhaps the fundamental messages of the cycle correspond more to historical reality than some reports by European contemporaries or historians do. The Sandokan' s fight for freedom against the European colonizers reflects historical reality. Salgari portrayed history from the perspective of the "losers" and not from that of the "winners", unlike what one finds in most European literature of the last century. His protagonist, who belongs to the weaker party, is positively valued, whereas in official British historiography Malludu is obviously viewed negatively.
However, it should be realized that only the basic structure of the novel coincides in part with historical events and persons, whereas vast parts - especially the immanent actions - belong to fiction. The cycle shows a form of virtual historical reality : Salgari worked his story out upon a historical frame, the polarity between "Sandokan" and "the British". The tension between this poles is essentially determined through the efforts of the colonizers. A detailed examination of historical analogies in the immanent parts of the cycle, or concerning Salgari's descriptions on Bornean customs, social relations and other aspects could bring forth further interesting results. The introductory question concerning the place of historicity in Salgari's Ciclo dei Pirati della Malesia can however be answered positively even on the basis of our preliminary examination. The three symbols "Mompracem", and the "flag of the tiger" and "Sandokan" did exist and were handed down orally and in writing. But more relevant perhaps is the connection between "Sandokan" and the "flag of the tiger" through Sandokan's native country Malludu. He lived there and was indeed very probably in a position of authority. The emblem of Malludu was the flag of the tiger. Malludu was mentioned by Salgari in what may be seen as a basically correct historical context. His fundamental historical message privileges the "Malay" and not the "European" side. Salgari's anti-colonial interpretation thus finds interesting echoes in the modern discussion of nineteenth-century colonial expansion in Southeast Asia.