Mérimée-Bizet

de Thierry Ozwald

Carmenhas recently been the object of repeated assaults: the recent staging of Leo Muscato to the Florentine musical Mai, the outrageous book by Sophie Rabau, the positions of some American research departments in French literature, such as that of the Louisiana State University, etc., tend to turn the gypsy of Merimee into an icon of feminism breaking: she would be the Liberated, the all-powerful female, the emblem of the generations of women to come finally freed from the grip of the male Judaeo-Christian dominant. And to "revolt" the creature against its author, to rebuff the character against his literary destiny - by simply banning the male gender - and to try to bend or warp the myth: "Women, women, there is onlyLa Périchole , thereby illustrating their libidinous and facetious misogyny, a couplet that the neurasthenic suffragettes disguised as amazons of today seem to take up in chorus ... The involuntary buffoonery of modern times is decidedly masterly.--Eurédit.