I'm a free spirit, men love me / I'll drink, I'll dance but do not forsake me
For my magic will end in flames and / Your heart will burn out my name
I: L'amour est un oisseau rebelle
The character of Carmen, a young Spanish gitana, is the perfect embodiment of the Hot Gypsy Girl stereotype. Bizet's opera, composed in four acts and first performed in 1875, is the tragic story of how a respectable army officer, Don José, is drawn in to her dangerous world in all its oriental otherness and infectious immorality.
His mad obsession with Carmen and vain belief that he might possess her love, costs him everything; his honour, his dignity, and his masculine pride. Although it is she - not he - who ends up in a pool of blood on the floor, having been murdered by his hand: Ah! Carmen! ma Carmen adorée! he cries, having stabbed her in a jealous rage.
But whilst it's Carmen who is ultimately the victim of a terrible crime, it's Don José with whom the audience are expected to sympathise; seeing him as the victim of her duplicity and guile. And that, of course, is exactly how racism, misogyny and class discrimination works. It's also how a work of art that openly exploits a Hot Gypsy Girl's appeal in order to titilate its audience and appear outrageously unconventional, implicitly reaffirms the bourgeois order at the same time.
As Adriana Helbig rightly notes:
"Don José's transformation and Carmen's murder embodied a strong message to the 19th-century middle-class audience: Carmen's deviant, immoral actions would not be tolerated and any contact with her would lead to pain and eventual social, spiritual, and moral ruin."
This being the case - Carmen being an essentially moral and reactionary tale - one is surprised that Nietzsche loved it so - but loved it he did! Indeed, he claimed to have seen it twenty times (coincidentally the same number of performances that Brahms also claimed to have attended) and that each occasion left him feeling happier and more alive than the last.
Perhaps we might briefly explore why that was the case - why, if you like, even a famous German philosopher should fall under the spell of a Gypsy Girl in all of her Andalusian hotness ...
II: L'amour est enfant de bohème
A real man, says Zarathustra, wants two things above all others: Gefahr und Spiel. For this reason, he desires a woman like Carmen; for within the pornographic imagination the Hot Gypsy Girl is one of the most dangerous playthings on earth. And so, perhaps, at some level, in boasting of his love for Carmen and her animal vitality, Nietzsche is affirming his own masculinity following his failed relationship with Lou Salomé.
But there are, of course, other reasons why Nietzsche was drawn to this opera and proclaimed Bizet a genius - not least to piss off the Wagnerians, although it should be noted that Wagner himself greatly admired Carmen, having attended the very successful first production in Vienna, six years before Nietzsche first saw it in Genoa, in 1881.
For Nietzsche, Carmen identifies the tragi-comic essence of love, which Oscar Wilde famously summarizes: Each man kills the thing he loves. But, more than this, it accomplishes a much-needed Mediterraneanization of music, by which Nietzsche means it makes music gay and free-spirited once more; giving wings to thought and - as he also hints - putting lead in pencil.
In other words, Bizet makes horny; giving one that feeling of power that is, in Nietzschean ethics, the source of happiness and, ultimately, goodness. For Nietzsche, Carmen makes one a better man and a better philosopher - and this is why he is happy to throw himself at the feet of a Hot Gypsy Girl in Seville ...
Notes
Bizet's Carmen (1875) was based on a novella of the same title by Prosper Mérimée, written and first published in 1845. Amongst other sources, Mérimée drew upon George Borrow's book The Zincali (1841) for material on the Romani living in Spain; a work largely responsible for the Spanish components of the Hot Gypsy Girl stereotype.
Adriana Helbig, 'Gypsies, Morality, Sexuality', The New York City Opera Project: Carmen (2003). Click here to read.
Nietzsche, The Case of Wagner, trans. Walter Kaufmann, (Vintage Books, 1967).
For an interesting essay on Carmen as Nietzsche's muse, by Traian Penciuc, click here. Pencuic rightly argues that Nietzsche's affinity for Bizet's opera is anything but whimsical.
To read part one of this post - On the Racial and Sexual Stereotyping of Romani Women - click here.
To read part two of this post - Esmeralda: Trope Codifier and Fraud - click here.
