Reading Order
Frédéric et Bernerette Reading Order
Frédéric et Bernerette (1838) by Alfred de Musset is the story of a young bourgeois, Frédéric, who falls in love with Bernerette, a grisette — a working-class seamstress — and of the difficulties that the difference in their social position creates. Unlike Mimi Pinson (1845), which is a charming idyll of grisette generosity, Frédéric et Bernerette is a more complex and less comfortable story: Bernerette loves Frédéric but she also needs to survive, and her practical arrangements with other men drive Frédéric to abandon her, and her, in her distress, to a decision that ends the story on a note of genuine tragedy. The story is one of the most realistic of Musset's prose works — the social distance between Frédéric and Bernerette, and the economic constraints that govern Bernerette's choices, are presented without the softening romance that Mimi Pinson applies to the same social world — and it is a significant transition between the Romantic tradition of the idealized grisette and the Naturalist tradition that would portray working-class women more unsparing.
Where to start
Frédéric et Bernerette is short (under 80 pages) and should be read alongside the other Musset grisette stories: Mimi Pinson (more idealized) and the prose short stories (more varied). It pairs well with Murger's Scènes de la vie de bohème as a contrast between the romantic and the realistic treatment of the same world.
Complete Frédéric et Bernerette Book List
- 1Buy
Frédéric et Bernerette
Alfred de Musset·1838·Available in French in collections of Musset's prose (Nouvelles, GF Flammarion). Occasionally collected with other Musset novellas. - Buy
Mimi Pinson
OptionalAlfred de Musset·1845·The lighter companion grisette story — the idealized version of the same social world that Frédéric et Bernerette treats more realistically.
Frédéric et Bernerette — Frequently Asked Questions
How does Frédéric et Bernerette compare to Mimi Pinson as a portrait of the grisette?
The two stories are best read as companion portraits of the same social type — the grisette, the working-class young Parisienne of the Latin Quarter — that emphasize very different aspects of her situation. Mimi Pinson is an idealized portrait: Mimi's defining act is selling her only dress to help a sick friend, and the story presents her generosity as uncomplicated and beautiful. Bernerette is a more troubled portrait: she genuinely loves Frédéric, but she also makes practical arrangements with other men that Frédéric cannot accept, and the social and economic conditions that create this double life are part of the story's subject. Mimi Pinson ignores the economics of the grisette's position; Frédéric et Bernerette takes them seriously, which is why the story ends in tragedy rather than charm. The contrast between them is not a contradiction in Musset's view of the type but a range: Mimi Pinson is what the grisette can be at her best, Bernerette is what the conditions of her life can do to her.
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