JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. , mon maitre, le plus grand sc6lrat que la terre ait jamais porte, un enrage, un chien, un diable, un Turc, un heretique . .. un vrai Sardanapale .. .--Moliere, Dom Juan, I, I A T THE END of July 1830 there was a violent revolution in Paris that changed the course of nineteenth-century French history. As the fighting spread through the streets of the capital, Hector Berlioz completed the cantata that won First Grand Prize in the annual competition sponsored by the Academie des Beaux-Arts of the Institut de France. Like the revolution, that competition, and that victory, colored much of Berlioz's subsequent career, we now realize, as the leading composer and the leading critic of his generation. Indeed Berlioz used the several works he composed for the competition (in 1830, and for those of earlier years, in 1827, 1828, and 1829) as sources for a number of later pieces; and he used the competition itself as the subject of a number of later critical essays.' With one exception 1 Berlioz's main writings on the competition are as follows: "Acad mie des Beaux-
