Reading Order
On ne saurait penser à toutOn ne saurait penser à tout Reading Order
On ne saurait penser à tout (One Cannot Think of Everything, 1849) by Alfred de Musset is one of his later Proverbes dramatiques — lighter and shorter than the major early comedies, but characteristic of the form at its most elegant. The Marquis de Valberg, at a country house party, forgets to ask his host for a horse and finds he must borrow one; in the process of arranging the loan he encounters his host's daughter Laure and falls into an easy, charming conversation that becomes the occasion for the play's central comic reversal. The Proverbe is a miniature — one act, two characters, a single situation — and its particular quality is the precision of its social observation: the way that small social awkwardnesses can become the occasion for genuine contact, the way that what begins as a practical problem (no horse) becomes an emotional encounter (mutual attraction). It belongs to the later Musset who has moved away from the Romantic tragedy of the early work and settled into a more comfortable accommodation with social comedy.
Where to start
Read On ne saurait penser à tout in the context of the complete Proverbes collection — it is a miniature and makes most sense as part of the range, from the one-act perfection of Il faut qu'une porte to the more elaborate comedy of Il ne faut jurer de rien.
Complete On ne saurait penser à tout Book List
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On ne saurait penser à tout
Alfred de Musset·1849·Available in French in the Comédies et Proverbes collection (Gallimard Folio or GF Flammarion) and in the Pléiade Théâtre complet. - Buy
Il faut qu'une porte soit ouverte ou fermée
OptionalAlfred de Musset·1845·The companion one-act Proverbe that shows what the form can do at its most concentrated and most emotionally resonant.
On ne saurait penser à tout — Frequently Asked Questions
How does On ne saurait penser à tout represent the later Musset?
On ne saurait penser à tout (1849) belongs to the later Musset — the writer of the 1840s who had moved away from the anguished Romanticism of the early work (Les Nuits, La Confession, Lorenzaccio) and settled into a more comfortable social mode. The early Musset comedies (Les Caprices de Marianne, Fantasio, On ne badine pas) use social comedy as a frame for exploring genuine emotional risk, and the risk always threatens to become tragedy. The later Proverbes (Il faut qu'une porte soit ouverte, On ne saurait penser à tout) are lighter and more purely comic — the social observation is still sharp, the dialogue still economical, but the stakes are lower and the resolutions happier. This shift reflects both Musset's personal development (the catastrophic affairs of the 1830s had passed) and the changing cultural temperature of the July Monarchy and early Second Republic, which rewarded social comedy more than Romantic tragedy.
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