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Updated: May 29, 2025
The chill of this introduction was not carried off by the public reception of the Spectacle dans un Fauteuil (as the new collection was entitled), which remained almost unnoticed for some weeks, until Sainte-Beuve in the Revue des Deux Mondes of January 15, 1833, published a review of this and the earlier poems, indicating their beauty and originality, the promise of the one and progress of the other, with his infallible discernment and discrimination. A few critics followed his lead, others differed, and discussions began again which could not but spread the young man's fame. The Revue des Deux Mondes was now open to him, and henceforth, with a few exceptions, whatever he wrote appeared in that periodical. He made his entry with the drama of Andrea del Sarto, which is rife with tense and tragic situations and deeply-moving scenes. The affairs of the family turned out much better than had been expected, but Alfred de Musset continued to work with application and ardor. His fine critical faculty kept his vagaries within bounds: he knew better than anybody "how much good sense it requires to do without common sense" a dictum of his own. Like every true artist, he took his subjects wherever he found them: the dripping raindrops and tolling of the convent-bell suggested one of Chopin's most enchanting Preludes; the accidental attitudes of women and children in the street have given painters and sculptors their finest groups; so a bunch of fresh roses which De Musset's mother put upon his table one morning during his days of extravagant dissipation, saying, "All this for fourpence," gave him a happy idea for unravelling the perplexity of Valentin in Les Deux Maîtresses; and his unconscious exclamation, "Si je vous le disais pourtant que je vous aime," which caused a passer-by in the street to laugh at him, furnished the opening of the Stances
His name runs from mouth to mouth, being uttered with praises that can only reflect glory upon Spain and true Spaniards like ourselves, who never deny our blood, however mixed it may be. "Today, at eleven o'clock in the morning, we attended a deeply-moving spectacle. Today, as is generally known, is the fiesta of the Virgin of Peace and is being observed by the Brethren of the Holy Rosary.
Yet again, if we want to see will struggling against obstacles, the classic to turn to is not Hamlet, not Lear, but Robinson Crusoe; yet no one, except a pantomime librettist, ever saw a drama in Defoe's narrative. In a Platonic dialogue, in Paradise Lost, in John Gilpin, there is a struggle of will against obstacles; there is none in Hannele, which, nevertheless, is a deeply-moving drama.
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