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The kind of proverb

dramatic The proverb is generally considered a minor genre. It is inherited from a worldly entertainment that practiced in the salons of the seventeenth precious, century, so we had fun playing skits, often improvised, which was ilustre a proverb. The guests then had to guess the proverb well illustrated.

the eighteenth century, when fairs are becoming increasingly important in the growing social and intellectual life, the saying grows and becomes dramatic fashion: a singer, Charles Colle, presents its Theatre Private, full of contemporary references to the Duke of Orleans and his entourage. This is especially Carmontelle (1717-1806) that will make this game a literary genre. Officer (organizer) of the court festivities of the Duke of Orleans, a friend of the grandfather of Musset Carmontelle published eight volumes of proverbs. With scenes entertaining, everyday, often satirical, proverbs are also a representation of society and of contemporary manners.

Abandoned during the Revolution and the Empire, the kind of proverb reappears under the Restoration. We play the proverbs of Carmontelle on theater stages Boulevard. New authors (Savage, Romieu, Scribe) are required. Theodore Leclerc met a real success when he gives his satirical sayings dimension against the Ultras and clericalism.

These satirical and even philosophical dimensions will be highlighted in the saying of Alfred de Vigny, Leaves for fear, shown at the Opera in 1833. The kind of dramatic turns proverb, the proverb is no longer the subject of a riddle illustrated by the case, but often appears in the title (You catch more flies with honey than with vinegar, or Who drank drink, said Leclercq) and almost always the end of the room.

As accustomed since childhood to hear and see him play the proverbs of Carmontelle, Musset appreciates this fine entertainment. He has already made use of proverbs to label his dramatic texts (Browns Fire, published in 1829, the Cup and Lip, 1832), but in 1834 we can also assume he is trying to enjoy a fad, giving the subtitle "saying" his piece: We do not trifle with love.

This title and moral development that are consistent with the listing rules of the traditional kind. But its length, the multiplication sets, the complexity of the plot and characters, the mixture of tones and the tragic ending, the piece de Musset far exceeds the scope and ambitions of the proverb.

Later, with He Say Never (1836), A door must be opened or closed (1845), We can not think of any (1849) and A caprice (1837), Musset reuses the kind of proverb, but these pieces do, however, turn more to the tragedy. It is with the proverb that Musset dramatic peaked and thereafter, it will be abandoned, and disappears from the scene permanently.

according to an article PID of the journal, folder "Musset, the disenchanted", March 2001.

Ill. :

No Trifling with Love , Alfred de Musset, directed by Philippe Faure. Théâtre de la Tempête, Paris, 2008.

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The Allegory of the pelican

The pelican, here is an allegory to a recurring theme in the work of Musset: the artist needs to create suffering. Having managed to find food for its young, the pelican giving its "Children" his "feelings of a father" as a meal.

The most desperate are the songs

[more beautiful,

And I know of immortals who are pure

[sobs.

When the pelican, tired from a long trip,

In the mists of evening rushes back to her, Her little hungry
run along the shore
Seeing off fall on the water.
Already believer capture and share their prey,
They run to their father with cries of joy
Shaking their beaks on their hideous goitre.
him, slowly gaining a high rock,
From his wing during his clutch housing,
Fisherman melancholy, watching the skies.
blood flowing long streams of his chest open;
In vain he searched the depths of the seas;
Ocean beach was empty and deserted;
For food he brings his heart.
Dark and silent, lying on the stone
Sharing his son's entrails father
In his sublime love it soothes the pain,
And looking run its bloody breast,
On his feast he collapses dead and staggers,
Drunk on lust, love and horror.
But sometimes in the middle of the divine sacrifice,
Tired of dying in too long ordeal,
He fears that his children will not leave alive;
Then he rises, opens its wings to the wind,
And, striking his heart with a wild cry,
It grows in the night so funereal farewell
What birds desert the sea shore,
And the belated traveler on the beach, go
Sensing death, commends himself to God.
Poet, thus are the great poets. They leave those merry
living time;
But human treats they serve at their festivals
Look Like most of those pelicans.
When they speak well of hopes,
From sadness and oblivion, of love and woe,
This is not a concert to dilate the heart.
Their rantings are like swords
They draw a circle in the air dazzling
But there still hangs a drop of blood.

Musset, "The May Night", New Poems,

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Musset, enfant terrible of Romanticism

Childhood

Empire was at its height when born in Paris in December 1810, Alfred de Musset in an old aristocratic family, his father is a scholar, he is the author of a history of life and works of Jean-Jacques Rousseau.

He and his older brother Paul, a happy childhood and pampered. It is entrusted to the age of nine years a tutor and then entered the College Henri IV where he was a brilliant student. He won first prize in French essay and the second prize Latin essay contest general in 1827. He becomes the friend of the Duc de Chartres, son of the future King Louis-Philippe, and Paul Foucher, brother of Victor Hugo, who will introduce the Cenacle romantic.

passionate young man, Alfred de Musset is also a poet early, in September 1827 he wrote in a letter to Paul Foucher: "I would not write or I would be Schiller and Shakespeare."

artist

Sometimes called "the enfant terrible of Romanticism," independent spirit, however Musset embodies the evil of the century romantic. His poetic, dramatic and romantic eats his unfortunate experiences. It also makes the idea that suffering is needed to create poetic (cf. "The Pelican" in the May Night ).

His collection of poems (Stories from Spain and Italy, is well received by critics but its his play The Venetian Night, played the next year is a failure.

Like many of his heroes, ( octave in Les Caprices ... , Lorenzo Lorenzaccio ), Musset practice of debauchery and intemperance. Anticlerical, he had said, the religion of love. His connections were numerous and varied but still intense. " In whatever place I was, says the hero of Confession of a child of the century, some occupation that I forced myself, I could think only of women: the sight of a woman made me tremble ... However, I thought only women and I no longer believed in the possibility of true love . "

This contradiction is at the heart of many works of the author and his" failures "in love. Many women through the life of Musset. Each time, it was elation and heartbreak. Met in 1833, George Sand was at that time, as Musset, "Infamous" in the words of Philip Soupault. Their love, emblematic of Romanticism was a long series moments of grace and heartbreak, places of choice (the forest of Fontainebleau and Venice ...) and passionate letters. "No man ever loved as I love you, Alfred wrote to George, I'm lost, you see, I'm drowned, flooded with love ... you have another lover, I know. J ' but die in love, love. "

In the years following this link, Musset published his masterpieces No Trifling with Love and Lorenzaccio in 1834, the May Night and the Night of December (two poems) in 1835 and Confession of a Child of the Century (novel about the evil of the century) in 1836.

The decline

From 1840 the literary production of Musset seems to dry up. His health is deteriorating and neurasthenia (depression) are increasing. His excesses there are probably no strangers.

Moreover, the indifference he now meets with critics and artists, although, after many failures, elected to the French Academy in 1852, probably contributes to his dejection.

The writers of the generation, regard him as the symbol of the excesses of romanticism (excess pathetic emphasis ...).

"I've never been able to endure this master of the dandies, the impudence of a spoiled child who relies on the Heaven and Hell for the adventures of breakfast, the muddy torrent of grammar and prosody" , wrote Baudelaire without indulgence.

Only a few dramatic late success, from the representation of a whim in 1847, will inform a purpose of existence was probably, as stated in his best friend Alfred Tattet, "a hideous suicide." Musset died in 1857, he was forty-seven. According to his vow, he will be buried in Pere-Lachaise in the protective shadow a willow.

Biographical greatly inspired by a dam Etienne Calais No Trifling with Love, Alfred de Musset , et al. "Tags", Nathan, 1992.