By Prosper Mérimée
The novella that was once the foundation for probably the preferred opera of all time, Prosper Mérimée’s Carmen is the swashbuckling tale of a nineteenth-century Spanish soldier who deserts his put up to pursue the fiery gypsy attractiveness, Carmen—who is as courageous as she is fickle.
The opera’s plot, it seems, is predicated basically on a part of the bigger experience that's Carmen. the tale opens, for instance, with the narrator, a historian like Mérimée, learning the misplaced website of an old Roman conflict at the plains of Andalusia, while he meets a infamous bandit, Don José Navarro, at the run from the legislations. Feeling a definite sympathy for Don José, whose face is “at as soon as noble and fierce,” and a vicarious thrill at this brush with threat, he is helping the bandit to escape.
When they subsequent meet back, Don José is in reformatory in Cordova, as a result of be hanged for his crimes. In his final days, he tells the narrator a couple of wild gypsy girl he met again in Seville . . .
What follows is an iconic and hugely interesting story of doomed ardour jam-packed with chases, sword fights, bullfights, smuggling, wild dancing, and more—except no mezzo-sopranos.
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It goes amazingly well; Tara doesn’t seem to show any jealousy at all. My guess is, I’ll hear about it later when we’re alone, but right now she’s the gracious hostess. I grab a pair of leashes, planning to take them for a walk in Eastside Park, which is about five blocks from my house. We’re halfway down the block, walking at a leisurely pace, when I hear a voice. ” Suddenly, instead of holding two leashes, I’m only holding one, Tara’s. Yogi has taken off like a track star exploding out of the blocks, surprising me and breaking out of my grip on his leash.
I panic for a moment, fearful that he will run into the street and get hit by a car. I turn to see that he is still on the sidewalk, running in the other direction toward a young woman, perhaps in her early twenties. The woman is down on one knee, waiting for Yogi to arrive. She doesn’t have to wait long; for a middle aged dog, Yogi can really motor. Yogi takes off about five feet from her, flying and landing on her. She rolls back, laughing, with him on top of her. They roll and hug for about fifteen seconds; I’m not sure I’ve ever seen a happier human or dog.
I rescued Tara more than eight years ago from the same shelter that currently houses Yogi. Just looking at her now, enjoying the sights and smells as we walk through the park, easily reaffirms my commitment that I will never let another golden die in a shelter, not if it takes every dollar I have. Fortunately, it doesn’t. Tara and I pass a number of our “dog friends” as we walk. These are the same people, walking their dogs, that we meet almost every time we’re in the park. I don’t know any of the people’s names, and we merely exchange pleasantries and minor canine chitchat, yet we have a common bond through our love of our dogs.
Carmen (The Art of the Novella) by Prosper Mérimée