On a trip to Spain in 1830, our narrator recounts his encounters with two strange characters: a thief named Don José Navarro and a beautiful Romani woman named Carmen...little does he know that soon, these two will be entangled in a tumultuous love affair that spells out tragedy for both parties. This novella, written and first published in 1845, has been adapted into a number of dramatic works, including the famous opera by Georges Bizet.
By : Prosper Mérimée (1803 - 1870), Translated by Mary Lloyd (1853 - 1936)
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The novella comprises four parts. Only the first three appeared in the original publication in the October 1, 1845, issue of the Revue des deux Mondes (Review of the Two Worlds; the fourth first appeared in the book publication in 1846. Mérimée tells the story as if it had really happened to him on his trip to Spain in 1830.
Part I. The work is prefaced by an untranslated quotation from the poet Palladas:
Πᾶσα γυνὴ χόλος ἐστίν· ἔχει δ᾽ δύω ὥρας, τὴν μίαν ἐν θαλάμῳ, τὴν μίαν ἐν θανάτῳ. (Every woman turns sour/Twice she has her hour/One is in bed/The other is dead).
For readers of Ancient Greek, this set the theme of the tale: a ferocious woman, sex, and death.
While searching for the site of the Battle of Munda in a lonely spot in Andalusia, the author meets a man who his guide hints is a dangerous robber. Instead of fleeing, the author befriends the man by sharing cigars and food. They stay in the same primitive inn that night. The guide tells the author that the man is the robber known as Don José Navarro and leaves to turn him in, but the author warns Don José, who escapes.
Part II. Later, in Córdoba, the author meets Carmen, a beautiful Romani woman who is fascinated by his repeating watch. He goes to her home so she can tell his fortune, and she impresses him with her occult knowledge. They are interrupted by Don José, and although Carmen makes throat-cutting gestures, José escorts the author out. The author finds his watch is missing.
Some months later, again in Córdoba, a friend of the author's tells him that Don José Navarro is to be garrotted the next day. The author visits the prisoner and hears the story of his life.
Part III. The robber's real name is José Lizarrabengoa, and he is a Basque hidalgo from Navarre. He killed a man in a fight resulting from a game of paume (presumably some form of Basque pelota) and had to flee. In Seville he joined a unit of dragoons, soldiers with police functions.
One day he met Carmen, then working in the cigar factory he was guarding. As he alone in his unit ignored her, she teased him. A few hours later, he arrested her for cutting "x"s in a co-worker's face in a quarrel. She convinced him by speaking Basque that she was half Basque, and he let her go, for which he was imprisoned for a month and demoted.
After his release, he encountered her again and she repaid him with a day of bliss, followed by another when he allowed her fellow smugglers to pass his post. He looked for her at the house of one of her Romani friends, but she entered with his lieutenant. In the ensuing fight, José killed the lieutenant. He fled to Carmen's outlaw band.
With the outlaws, he progressed from smuggling to robbery, and was sometimes with Carmen but suffered from jealousy as she used her attractions to further the band's enterprises; he also learned that she was married. After her husband joined the band, José provoked a knife fight with him and killed him. Carmen became José's wife.
However, she told him she loved him less than before, and she became attracted to a successful young picador named Lucas. José, mad with jealousy, begged her to forsake other men and live with him; they could start an honest life in America. She said that she knew from omens that he was fated to kill her, but "Carmen will always be free,"[c] and as she now hated herself for having loved him, she would never give in to him. He stabbed her to death and then turned himself in. Don José ends his tale by saying that the Romani are to blame for the way they raised Carmen.
Part IV. This part consists of scholarly remarks on the Romani: their appearance, their customs, their conjectured history, and their language. According to Henri Martineau, editor of a collection of Mérimée's fiction, the etymologies at the end are "extremely suspect".
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