This new one, (who, being romantic, never lost balance, who, being sensitive, hid behind apathy and cynicism), raised the banner against classicism, before Hugo’s noisy "Cromwell".

However, still entertaining even with his "belief", he took the form of Clara Gazoul (the "portrait" of the actress in the book resembles Mérimée!) and "translated" himself under the name "Letrange", meaning "the paradoxical".

His two most well-known plays, however, "The Chariot of Untainted Mysteries" (as is the full title of the "Chariot") and "The Opportunity", were not included in the 1825 volume. They were published in 1829 in the "Parisian Review", and in 1830, Mérimée included them in the new edition of "The Theater of Clara Gazoul", where later (in 1842) he added "Zakerie" and "The Carzaval Family".

With his theater - as well as with his short stories - Mérimée becomes a precursor, not only of romanticism but also of realism. From the former, he derives passion and "local color". From the latter, precise psychology and objective observation.

The "Chariot" is a characteristic example of his style: The (romantic) picturesque aspects of Peru and the actress Camilla Pericol, on one hand. The (realistic) satirical portrayal of the Viceroy and his Court, on the other. The whole is wonderfully harmonized with acuity, grace, authenticity, and humor, which remained - who would have thought it - classic!

Undoubtedly, Mérimée did not intend his works as performances so much as for reading. He focuses more on the development of feelings than on the drama itself. That’s why his "Theater" took time to gain establishment.

In 1827, "African Love" premiered with only 10 performances. It would take another 23 years for "The Chariot" to be accepted at the "French Comedy". But its debut was met with boos! Only in 1920, when Jacques Copeau staged it at "Vie-Colombier" - playing the Viceroy himself, with Pericol as Valentine Tessier - did the French "discover" the most theatrical of Mérimée's works.

Since then, "The Chariot" has not ceased to be performed, not only in its homeland but also in all the countries of the world. It now stands as one of the most representative examples of the best French theater. In Greece, it was first performed, again by the National Theater, in 1933, directed by Fotis Politis and with the unforgettable Aimilios Veakis and Katerina, who achieved exceptional success in the roles of the Viceroy and Pericol.