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On ne badine pas avec l'amour (oeuvre au programme du Bac de français 2027, 1re générale & techno): suivi du parcours « Les jeux du coeur et de la parole »
200 pages, Paperback
Published April 10, 2024
About the author
Alfred de Musset
1,633 books231 followersAlfred Louis Charles de Musset-Pathay (11 December 1810 – 2 May 1857) was a French dramatist, poet, and novelist. Along with his poetry, he is known for writing La Confession d'un enfant du siècle (The Confession of a Child of the Century, autobiographical) from 1836.
Musset was born on 11 December 1810 in Paris. His family was upper-class but poor and his father worked in various key government positions, but never gave his son any money. His mother was similarly accomplished, and her role as a society hostess, - for example her drawing-room parties, luncheons, and dinners, held in the Musset residence - left a lasting impression on young Alfred.
Early indications of Musset's boyhood talents were seen by his fondness for acting impromptu mini-plays based upon episodes from old romance stories he had read. Years later, elder brother Paul de Musset would preserve these, and many other details, for posterity, in a biography on his famous younger brother.
Alfred de Musset entered the collège Henri IV at the age of nine, where in 1827 he won the Latin essay prize in the Concours général. With the help of Paul Foucher, Victor Hugo's brother-in-law, he began to attend, at the age of 17, the Cénacle, the literary salon of Charles Nodier at the Bibliothèque de l'Arsenal. After attempts at careers in medicine (which he gave up owing to a distaste for dissections), law, drawing, English and piano, he became one of the first Romantic writers, with his first collection of poems, Contes d'Espagne et d'Italie (1829, Tales of Spain and Italy). By the time he reached the age of 20, his rising literary fame was already accompanied by a sulphurous reputation fed by his dandy side.
He was the librarian of the French Ministry of the Interior under the July Monarchy. During this time he also involved himself in polemics during the Rhine crisis of 1840, caused by the French prime minister Adolphe Thiers, who as Minister of the Interior had been Musset's superior. Thiers had demanded that France should own the left bank of the Rhine (described as France's "natural boundary"), as it had under Napoleon, despite the territory's German population. These demands were rejected by German songs and poems, including Nikolaus Becker's Rheinlied, which contained the verse: "Sie sollen ihn nicht haben, den freien, deutschen Rhein ..." (They shall not have it, the free, German Rhine). Musset answered to this with a poem of his own: "Nous l'avons eu, votre Rhin allemand" (We've had it, your German Rhine).
The tale of his celebrated love affair with George Sand, which lasted from 1833 to 1835, is told from his point of view in his autobiographical novel, La Confession d'un Enfant du Siècle (The Confession of a Child of the Century, made into a film, Children of the Century), and from her point of view in her Elle et lui. Musset's Nuits (1835–1837, Nights) trace his emotional upheaval of his love for George Sand, from early despair to final resignation. He is also believed to be the author of Gamiani, or Two Nights of Excess (1833), a lesbian erotic novel, also believed to be modeled on George Sand.
Tomb of Alfred de Musset in Père Lachaise Cemetery
Musset was dismissed from his post as librarian by the new minister Ledru-Rollin after the revolution of 1848. He was however appointed librarian of the Ministry of Public Instruction in 1853.
Musset received the Légion d'honneur on 24 April 1845, at the same time as Balzac, and was elected to the Académie française in 1852 (after two failures to do so in 1848 and 1850).
Alfred de Musset died in his sleep on 2 May 1857. The cause was heart failure, the combination of alcoholism and a longstanding aortic insufficiency. One symptom that had been noticed by his brother was a bobbing of the head as a result of the amplification of the pulse; this was later called de Musset's sign. He was buried in Père Lachaise Cemetery in Paris.
Musset was born on 11 December 1810 in Paris. His family was upper-class but poor and his father worked in various key government positions, but never gave his son any money. His mother was similarly accomplished, and her role as a society hostess, - for example her drawing-room parties, luncheons, and dinners, held in the Musset residence - left a lasting impression on young Alfred.
Early indications of Musset's boyhood talents were seen by his fondness for acting impromptu mini-plays based upon episodes from old romance stories he had read. Years later, elder brother Paul de Musset would preserve these, and many other details, for posterity, in a biography on his famous younger brother.
Alfred de Musset entered the collège Henri IV at the age of nine, where in 1827 he won the Latin essay prize in the Concours général. With the help of Paul Foucher, Victor Hugo's brother-in-law, he began to attend, at the age of 17, the Cénacle, the literary salon of Charles Nodier at the Bibliothèque de l'Arsenal. After attempts at careers in medicine (which he gave up owing to a distaste for dissections), law, drawing, English and piano, he became one of the first Romantic writers, with his first collection of poems, Contes d'Espagne et d'Italie (1829, Tales of Spain and Italy). By the time he reached the age of 20, his rising literary fame was already accompanied by a sulphurous reputation fed by his dandy side.
He was the librarian of the French Ministry of the Interior under the July Monarchy. During this time he also involved himself in polemics during the Rhine crisis of 1840, caused by the French prime minister Adolphe Thiers, who as Minister of the Interior had been Musset's superior. Thiers had demanded that France should own the left bank of the Rhine (described as France's "natural boundary"), as it had under Napoleon, despite the territory's German population. These demands were rejected by German songs and poems, including Nikolaus Becker's Rheinlied, which contained the verse: "Sie sollen ihn nicht haben, den freien, deutschen Rhein ..." (They shall not have it, the free, German Rhine). Musset answered to this with a poem of his own: "Nous l'avons eu, votre Rhin allemand" (We've had it, your German Rhine).
The tale of his celebrated love affair with George Sand, which lasted from 1833 to 1835, is told from his point of view in his autobiographical novel, La Confession d'un Enfant du Siècle (The Confession of a Child of the Century, made into a film, Children of the Century), and from her point of view in her Elle et lui. Musset's Nuits (1835–1837, Nights) trace his emotional upheaval of his love for George Sand, from early despair to final resignation. He is also believed to be the author of Gamiani, or Two Nights of Excess (1833), a lesbian erotic novel, also believed to be modeled on George Sand.
Tomb of Alfred de Musset in Père Lachaise Cemetery
Musset was dismissed from his post as librarian by the new minister Ledru-Rollin after the revolution of 1848. He was however appointed librarian of the Ministry of Public Instruction in 1853.
Musset received the Légion d'honneur on 24 April 1845, at the same time as Balzac, and was elected to the Académie française in 1852 (after two failures to do so in 1848 and 1850).
Alfred de Musset died in his sleep on 2 May 1857. The cause was heart failure, the combination of alcoholism and a longstanding aortic insufficiency. One symptom that had been noticed by his brother was a bobbing of the head as a result of the amplification of the pulse; this was later called de Musset's sign. He was buried in Père Lachaise Cemetery in Paris.
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Displaying 1 - 27 of 27 reviews
September 20, 2025
POURQUOI ELLE EDT TOMBEE AMOUREUSE DE LUI WSH IL L'A MANIPULEE MOI JE DIS PTN NN CAMILLE MON AMOUR T'ETAIS LESBIENNE COMMENT UN HOMME T'AS EU
September 22, 2025
og Wattpad
September 6, 2026
(3,7/5) rosette avais rien demandé la pauvre 😭💔
March 6, 2026
J’ai pas trop l’habitude de lire des pièces de théâtre car je trouve compliqué de s’immerger pleinement dans l’histoire, donc la lecture s’éternise. Ça a donc été le cas pour cette œuvre, même si j’ai beaucoup aimé l’intrigue.
Certains personages restent néanmoins à développer comme celui de Rosette et je trouve la fin archi nulle.
Certains personages restent néanmoins à développer comme celui de Rosette et je trouve la fin archi nulle.
July 26, 2025
Le style d’écriture est très beau et touchant, l’auteur a une finesse sur la psychologie de ses personnages à la fois réalistes et imparfaits. Une pièce assez drôle. Juste dommage que tous les personnages ne participent pas à l’intrigue mais ça reste une lecture agréable
December 26, 2025
Les très bons souvenirs de l’écrit de français 🥲
Non en vrai c’est un classique des classiques pour parler de la dangerosité de jouer avec une âme amoureuse qui peut se briser selon ces sentiments initiaux !!
Non en vrai c’est un classique des classiques pour parler de la dangerosité de jouer avec une âme amoureuse qui peut se briser selon ces sentiments initiaux !!
November 3, 2024
Étonnamment j ai vraiment apprécié
C’était une belle pièce même si la fin est pas fini pour moi
J crois même que je m’en souviendrais
C’était une belle pièce même si la fin est pas fini pour moi
J crois même que je m’en souviendrais
March 28, 2025
Dialogues qui font réfléchir et qui sont intéressants, la fin est un peu trop inattendue et décevante. Les personnages méritent d'être plus développés, surtout Rosette.
April 14, 2025
pas compris la fin mdrr force à moi
September 26, 2025
Pas si mal pour une œuvre lu pour le bac et omg les dramaaaas
October 25, 2025
Nul, tellement prévisible, banale, bateau. Au moins c’était court.
February 7, 2026
Perdican gros manipulateur
February 16, 2026
m’a permis un 16🥰🥰
February 21, 2026
c'était obvious. Perdican t'es qu'un con wsh faut savoir ce que tu veux.
February 24, 2026
ils ne veulent pas communiquer ?
April 3, 2026
divertissant mais je lirais pas ca si ct pas pr le bac.... not my thing
April 19, 2026
J'ai tout simplement adoré !
June 19, 2026
Œuvre choisie pour la deuxième partie de l’oral. Rosette je suis sorry pour toi, le chœur t’avait prévenu de pas écouter les hommes.
August 14, 2026
En vrai sympa et drôle.
Assez intéressant à disserter mais vue trop rapidement à la fin de l’année et je trouve pas étudiée assez profondément.
Assez intéressant à disserter mais vue trop rapidement à la fin de l’année et je trouve pas étudiée assez profondément.
August 29, 2026
Lu pour le bac
September 10, 2026
J’ai tellement aimé!! Je ne m’attendais pas à ça.
September 11, 2026
Sans hésiter l'un des meilleurs livres d'école que j'ai lu.
February 7, 2026
I had mixed feelings about On ne badine pas avec l’amour, but I still found it to be an interesting and well-constructed play.
The relationship between Perdican and Camille is carefully built around a psychological and emotional game. Their interactions rely heavily on lies and manipulation, each trying to force the other to confess their hidden feelings. This dynamic creates a conflict that can simultaneously be seen as a game, an expression of pride, and a genuine emotional confrontation.
The character who impressed me the most was Rosette. She plays a crucial role in revealing the darker side of the protagonists’ behavior. Through her innocence and naivety, Musset highlights the cruelty of the “game” played by Camille and Perdican. When Rosette realizes that she was courted merely for their amusement, the consequences of their badinage become painfully clear.
One aspect I appreciated was the way the play’s vision of love evolves throughout the story. It begins with a relatively light and even comedic tone but progressively becomes tragic and more realistic. In that sense, the title perfectly captures the message of the play: love may start as a game, but its consequences extend far beyond those who think they control it. The love triangle between Perdican, Camille, and Rosette embodies this idea and forms the emotional center of the drama.
I also enjoyed Musset’s style. The dialogues are lively, particularly the stichomythic exchanges, and there are interesting structural echoes throughout the play. For example, the mirroring effect between Act II, Scene 5 and Act III, Scene 6 creates a sense of symmetry in the dramatic construction. One of the most memorable lines for me comes from Act II, Scene 5: “But there is in this world something holy and sublime: the union of two of these imperfect and dreadful beings.”
The ending feels both tragic and didactic. It delivers a clear moral lesson about the limits and dangers of treating love as a game.
Overall, I would still recommend this play, especially for readers who want to discover Musset and Romantic theatre. It’s a solid classic that combines dramatic tension with a thoughtful reflection on love, pride, and human flaws.
The relationship between Perdican and Camille is carefully built around a psychological and emotional game. Their interactions rely heavily on lies and manipulation, each trying to force the other to confess their hidden feelings. This dynamic creates a conflict that can simultaneously be seen as a game, an expression of pride, and a genuine emotional confrontation.
The character who impressed me the most was Rosette. She plays a crucial role in revealing the darker side of the protagonists’ behavior. Through her innocence and naivety, Musset highlights the cruelty of the “game” played by Camille and Perdican. When Rosette realizes that she was courted merely for their amusement, the consequences of their badinage become painfully clear.
One aspect I appreciated was the way the play’s vision of love evolves throughout the story. It begins with a relatively light and even comedic tone but progressively becomes tragic and more realistic. In that sense, the title perfectly captures the message of the play: love may start as a game, but its consequences extend far beyond those who think they control it. The love triangle between Perdican, Camille, and Rosette embodies this idea and forms the emotional center of the drama.
I also enjoyed Musset’s style. The dialogues are lively, particularly the stichomythic exchanges, and there are interesting structural echoes throughout the play. For example, the mirroring effect between Act II, Scene 5 and Act III, Scene 6 creates a sense of symmetry in the dramatic construction. One of the most memorable lines for me comes from Act II, Scene 5: “But there is in this world something holy and sublime: the union of two of these imperfect and dreadful beings.”
The ending feels both tragic and didactic. It delivers a clear moral lesson about the limits and dangers of treating love as a game.
Overall, I would still recommend this play, especially for readers who want to discover Musset and Romantic theatre. It’s a solid classic that combines dramatic tension with a thoughtful reflection on love, pride, and human flaws.
April 15, 2026
Je ne peux pas de déttacher de cette oeuvre par rapport au bac puisque vraiment j’ai appris la moitié du livre en tant que citations mais, c’est une très belle pièce de théatre et j’ai aimé la fin plutôt tragique et inattendue!
April 12, 2025
3,5⭐️
Update : ce livre m’a fait foirer mon bac donc 0⭐️
Update : ce livre m’a fait foirer mon bac donc 0⭐️
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August 20, 2025Yall are just mad Camille was a diva
Displaying 1 - 27 of 27 reviews