MÉRIMÉE (Prosper). - Lot 66

MÉRIMÉE (Prosper). The Play by Clara Gazul, a Spanish Actress. Paris: A. Sautelet & Co., 1825. — In-8, 204 x 127: (2 ff.), ix, 337 pp., (1 f.). Olive half-calf, smooth spine with decoration, speckled edges (contemporary binding). A sought-after first edition of Prosper Mérimée’s debut work, published anonymously. This is a collection of six comedies introduced by a preface signed by Joseph L’Estrange, the author’s pseudonym. It includes: *The Spaniards in Denmark* — *A Woman Is a Devil, or The Temptation of Saint Anthony* — *African Love* — *Inès Mendo, or Prejudice Vanquished* — *Heaven and Hell*. This work holds an important place in the history of theater. Eager to revitalize French theater, Mérimée attempted to apply to his plays the new theory of modern theater that Stendhal had notably set forth in *Racine and Shakespeare* (1823). These comedies, however, were not intended to be performed. Among the plays is *African Love*, described as a “comedy” but telling a tragic story. In Córdoba, the wealthy Moor Hadji Nouman has purchased the beautiful slave Mojana. His friend Zeïn, a Bedouin from the desert, fell in love with the same woman at the slave market and sold all his possessions to buy her, but arrived too late. He comes to demand money from Nouman, then discovers that it was his friend who had purchased the slave. He demands that she be handed over to him, invoking the oath Nouman made after Zeïn saved his life in the desert. Nouman hesitates, then suggests that Mojana choose between them. She throws herself into Nouman’s arms. Zeïn, desperate and furious, draws his dagger. The two friends fight and kill each other. As he dies, Nouman also stabs Mojana, making her responsible for her friend’s death. But the denouement turns out to be a play within a play: the servant announces, “Dinner is ready and the play is over,” the actors rise to their feet, and Mojana addresses the audience to conclude, presenting *African Love* as a “comedy, or, if you will, a tragedy,” and excusing the Bedouin’s unchivalrous behavior as a result of the Sahara’s heat. A copy in period binding, one of the few bearing the notation “Théâtre de Clara Gazul” on the half-title page; most bear “Collection des théâtres étrangers.” Does not include the extremely rare portrait of “Clara Gazul,” which is believed to have been bound into only about fifty copies. Spine faded, normal wear and tear. Corner missing on the last two leaves, without affecting the text. Brown stains on the endpapers. A few scattered foxing spots.