Famous Women: George Sand Part 9

In the play we come down from the clouds; the poetry is gone, taste is shocked, fancy uncharmed, the improbabilities become grotesque, and the whole is distorted and tedious. Madame Sand's personages are never weary of a.n.a.lyzing their sentiments. Her flowing style, so pleasant to read, carries us swiftly and easily through her dissertations in print, before we have time to tire of them. On the stage such colloquies soon appear lengthy and unnatural. The climax of absurdity is reached in _Flaminio_, where we find the adventurer expatiating to the man of the world on "the divinity of his essence."

There is scarcely a department of theatrical literature in which Madame Sand does not appear as an aspirant. She was a wors.h.i.+pper of Shakespeare, acknowledging him as the king of dramatic writers. For her attempt to adapt "As You Like It" to suit the tastes of a Parisian audience, she disarms criticism by a preface in the form of a letter to M. Regnier, of the Comedie Francaise, prefixed to the printed play. Here she says plainly that to resolve to alter Shakespeare is to resolve to murder, and that she aims at nothing more than at giving the French public some idea of the original. In "As You Like It" the license of fancy taken is too wide for the piece to be safely represented to her countrymen, since it must jar terribly on "that French reason which,"

remarks Madame Sand, "we are so vain of, and which deprives us of so many originalities quite as precious as itself." The fantastic, which had so much attraction for her (possibly a result of her part German origin), is a growth that has hard work to flourish on French soil. The reader will remember the fate of Weber's _Freischutz_, outrageously hissed when first produced at Paris in its original form. Nine days later it was reproduced, having been taken to pieces and put together again by M. Castil-Blaze, and thus as _Robin des Bois_ it ran for 357 nights. The reckless imagination that distinguishes the Shakespearian comedy and does not shrink before the introduction of a lion and a serpent into the forest of Arden, and the miraculous and instantaneous conversion of the wretch Oliver into a worthy suitor for Celia, needed to be toned down for acceptance by the Parisians. But Madame Sand was less fortunate than M. Castil-Blaze. Her version, produced at the Theatre Francais, in 1856, failed to please, although supported by such actors as Delaunay, Arnold-Plessy, and Favart. Macready, who had made Madame Sand's acquaintance in 1845, when he was giving Shakespearian performances in Paris, and whom she greatly admired, dedicating to him her little theatrical romance _Le Chateau des Desertes_, was present at this representation and records it as a failure. But of her works for the stage, which number over a score, few like her _Comme il vous plaira_ missed making some mark at the time, the prestige of her name and the exceptionally favorable circ.u.mstances under which they were produced securing more than justice for their intrinsic merit. It was natural that she should over-estimate their value and continue to add to their number. These pieces would be carefully rehea.r.s.ed on the little stage in the house at Nohant, often with the aid of leading professional actors; and there, at least, the success was unqualified.

Her ingenious novel _Les Beaux Messieurs Bois Dore_, dramatized with the aid of Paul Meurice and acted in 1862, was a triumph for Madame Sand and her friend Bocage. The form and spirit of this novel seem inspired by Sir Walter Scott, and though far from perfect, it is a striking instance of the versatility of her imaginative powers. The leading character of the septuagenarian Marquis, with his many amiable virtues, and his one amiable weakness, a longing to preserve intact his youthfulness of appearance as he has really preserved his youthfulness of heart, is both natural and original, comic and half pathetic withal. The part in the play seemed made for Bocage, and his heart was set upon undertaking it.

But his health was failing at the time, and the manager hesitated about giving him the role. "Take care, my friend," wrote Bocage to Madame Sand; "perhaps I shall die if I play the part; but if I play it not, I shall die of that, to a certainty." She insisted, and play it he did, to perfection, she tells us. "He did not act the Marquis de Bois Dore; he was the personage himself, as the author had dreamt him." It was to be his last achievement, and he knew it. "It is my end," he said one night, "but I shall die like a soldier on the field of honor." And so he did, continuing to play the role up till a few days before his death.

More lasting success has attended Madame Sand in two of the lightest of society comedies, _Le Mariage de Victorine_ and _Le Marquis de Villemer_, which seem likely to take a permanent place in the _repertoire_ of the French stage. The first, a continuation that had suggested itself to her of Sedaine's century-old comedy, _Le Philosophe sans le savoir_, escapes the ill fate that seems to attend sequels in general. It is of the slightest materials, but holds together, and is gracefully conceived and executed. First produced at the Gymnase in 1851, it was revived during the last year of Madame Sand's life in a manner very gratifying to her, being brought out with great applause at the Comedie Francaise, preceded on each occasion by Sedaine's play, and the same artists appearing in both.

The excellent dramatic version of her popular novel _Le Marquis de Villemer_, first acted in 1864, is free from the defects that weaken most of her stage compositions. It is said that in preparing it she accepted some hints from Alexander Dumas the younger. Whatever the cause, the result is a play where characters, composition and dialogue leave little to be desired.

_L'autre_, her latest notable stage success, brings us down to 1870, when it was acted at the Gymnase, Madame Sarah Bernhardt impersonating the heroine. This not very agreeable play is derived, with material alterations, from Madame Sand's agreeable novel _La Confession d'une jeune Fille_, published in 1864.

If, however, her works for the stage, which fill four volumes, added but little, in proportion to their quant.i.ty, to her permanent fame, her dramatic studies added fresh interest and variety to her experience, which brought forth excellent fruit in her novels. Actors, their art and way of life have fared notoriously badly in fiction. Such pictures have almost invariably fallen into the extreme of unreality or that of caricature, whether for want of information or want of sympathy in those who have drawn them.

The subject, always attractive for Madame Sand, is one in which she is always happy. Already in the first year of her literary career her keen appreciation of the art and its higher influences had prompted her clever novelette _La Marquise_. Here she ill.u.s.trates the power of the stage as a means of expression--of the truly inspired actor, though his greatness be but momentary, and his heroism a semblance, to strike a like chord in the heart of the spectator--and, in a corrupt and artificial age, to keep alive some latent faith in the ideal. Since then the stage and players had figured repeatedly in her works.

Sometimes she portrays a perfected type, such as Consuelo, or Imperia in _Pierre qui roule_, but always side by side with more earthly and faulty representatives such as Corilla and Anzoleto, or Julia and Albany, in Narcisse, incarnations of the vanity and instability that are the chief dangers of the profession, drawn with unsparing realism. In _Le Chateau des Desertes_ we find further many admirable theories and suggestive ideas on the subject of the regeneration of the theatre. But it fared with her theatrical as with her political philosophy: she failed in its application, not because her theories were false, but for want of practical apt.i.tude for the craft whose principles she understood so well.

It is impossible here to do more than cast a rapid glance over the literary work accomplished by George Sand during the first decade of the empire. It includes more than a dozen novels, of unequal merit, but of merit for the most part very high. The _Histoire de ma Vie_ was published in 1855. It is a study of chosen pa.s.sages out of her life, rather than a connected autobiography. One out of the four volumes is devoted to the story of her father's life before her birth; two more to the story of her childhood and girlhood. The fourth rather indicates than fully narrates the facts of her existence from the time of her marriage till the Revolution of 1848. It offers to her admirers invaluable glimpses into her life and mind, and is a highly interesting and characteristic composition, if a most irregular chronicle. It has given rise to two most incompatible-sounding criticisms. Some have been chiefly struck by its amazing unreserve, and denounced the over-frankness of the author in revealing herself to the public. Others complain that she keeps on a mask throughout, and never allows us to see into the recesses of her mind. Her pa.s.sion for the a.n.a.lysis of sentiment has doubtless led her here, as in her romances, to give very free expression to truths usually better left unspoken. But her silence on many points about which her readers, whether from mere curiosity or some more honorable motive, would gladly have been informed, was then inevitable. It could not have been broken without wounding the susceptibilities of living persons, which she did right in respecting, at the cost of disappointment to an inquisitive public.

In January, 1855, a terrible domestic sorrow befell her in the loss of her six-years-old grandchild, Jeanne Clesinger, to whom she was devoted.

It affected her profoundly. "Is there a more mortal grief," she exclaims, "than to outlive, yourself, those who should have bloomed upon your grave?" The blow told upon her mentally and physically; she could not rally from its effects, till persuaded to seek a restorative in change of air and scene, which happily did their work.

"I was ill," she says, when writing of these events to a lady correspondent, later in the same year; "my son took me away to Italy....

I have seen Rome, revisited Florence, Genoa, Frascati, Spezia, Ma.r.s.eilles. I have walked a great deal, been out in the sun, the rain, the wind, for whole days out of doors. This, for me, is a certain remedy, and I have come back cured."

Those who care to follow the mind of George Sand on this Italian journey may safely infer from _La Daniella_, a novel written after this tour, and the scene of which is laid in Rome and the Campagna, that the author's strongest impression of the Eternal City was one of disillusion. Her hero, a Berrichon artist on his travels, confesses to a feeling of uneasiness and regret rather than of surprise and admiration.

The ancient ruins, stupendous in themselves, seemed to her spoilt for effect by their situation in the center of a modern town. "Of the Rome of the past not enough exists to overwhelm me with its majesty; of the Rome of the present not enough to make me forget the first, and much too much to allow me to see her."

But the Baths of Caracalla, where the picture is not set in a frame of hideous houses, awakened her native enthusiasm. "A grandiose ruin," she exclaims, "of colossal proportions; it is shut away, isolated, silent and respected. There you feel the terrific power of the Caesars, and the opulence of a nation intoxicated with its royalty over the world."

So in the Appian Way, the road of tombs, the fascination of desolation--a desolation there unbroken and undisfigured by modern buildings or otherwise--she felt to the full. But whatever came under her notice she looked on with the eye of the poet and artist, not of the archaeologist, and approved or disapproved or pa.s.sed over it accordingly.

The beauties of nature, at Tivoli and Frascati, appealed much more surely to her sympathies. But of certain sites in the Campagna much vaunted by tourists and hand-books she remarks pertinently: "If you were to pa.s.s this village" (Marino) "on the railway within a hundred miles of Paris, you would not pay it the slightest attention." Such places had their individuality, but she upheld that there is not a corner in the universe, "however common-place it may appear, but has a character of its own, unique in this world, for any one who is disposed to feel or comprehend it." In one of her village tales a sagacious peasant professes his profound contempt for the man who cannot like the place he belongs to.

Neither the grottoes and cascades of Tivoli, the cypress and ilex gardens of Frascati and Albano, nor the ruins of Tusculum, were ever so pleasant to her eyes as the poplar-fringed banks of the Indre, the corn-land sand hedgerows of Berry, and the rocky borders of the Creuse at Crozant and Argenton. She had not ceased making fresh picturesque discoveries in her own neighborhood. Of these she records an instance in her pleasant _Promenades autour d'un village_, a lively sketch of a few days' walking-tour on the banks of the Creuse, undertaken by herself and some naturalist friends in June, 1857. In studying the interesting and secluded village of Gargilesse, with its tenth-century church and crypt with ancient frescoes, its simple and independent-minded population, in following the course of a river whose natural wild beauties, equal to those of the Wye, are as yet undisfigured here by railroad or the hand of man, lingering on its banks full of summer flowers and b.u.t.terflies, exploring the castles of Chateaubrun and La Prugne au Pot, George Sand is happier, more herself, more communicative than in Rome, "the museum of the universe."

The years 1858 to 1861 show her to us in the fullest conservation of her powers and in the heyday of activity. The group of novels belonging to this period, the climax of what may be called her second career, is sufficiently remarkable for a novelist who was almost a s.e.xagenarian, including _Elle et Lui_, _L'Homme de Neige_, _La Ville Noire_, _Constance Verrier_, _Le Marquis de Villemer_ and _Valvedre_. _Elle et Lui_, in which George Sand at last broke silence in her own defense on the subject of her rupture with Alfred de Musset, first appeared in the _Revue des Deux Mondes_, 1859. Though many of the details are fict.i.tious, the author here told the history of her relations with the deceased poet much too powerfully for her intention to be mistaken or to escape severe blame. That a magnanimous silence would have been the n.o.bler course on her part towards the child of genius whose good genius she had so signally failed to be, need not be disputed. It must be remembered, however, that De Musset on his side had not refrained during his lifetime from denouncing in eloquent verse the friend he had quarreled with, and satirizing her in pungent prose. Making every possible allowance for poetical figures of speech, he had said enough to provoke her to retaliate. It is impossible to suppose that there was not another side to such a question. But Madame Sand could not defend herself without accusing her lost lover. She often proved herself a generous adversary--too generous, indeed, for her own advantage--and in this instance it was clearly not for her own sake that she deferred her apology.

It is even conceivable that the poet, when in a just frame of mind, and not seeking inspiration for his _Nuit de Mai_ or _Histoire d'un Merle blanc_, would not have seen in _Elle et Lui_ a falsification of the spirit of their history. The theorizing of the outside world in such matters is of little worth; but the novel bears, conspicuously among Madame Sand's productions, the stamp of a study from real life, true in its leading features. And the conduct of the heroine, Therese, though accounted for and eloquently defended, is by no means, as related, ideally blameless. After an attachment so strong as to induce a seriously-minded person, such as she is represented, to throw aside for it all other considerations, the hastiness with which, on discovering her mistake, she entertains the idea of bestowing her hand, if not her heart, on another, is an exhibition of feminine inconsequence which no amount of previous misconduct on the part of her lover, Laurent, can justify. Further, Therese is self-deceived in supposing her pa.s.sion to have died out with her esteem. She breaks with the culprit and engages her word to a worthier man. But enough remains over of the past to prevent her from keeping the promise she ought never to have made. When she sacrifices her unselfish friend to return to the lover who has made her miserable, she is sincere, but not heroic. She is too weak to shake off the influence of the fatal infatuation and shut out Laurent from her life, nor yet can she accept her heart's choice for better or worse, even when experience has left her little to learn with regard to Laurent. Clearly both friend and lover, out of a novel, would feel wronged. Therese's excuse lies in the extremely trying character of her companion, whose vagaries may be supposed to have driven her beside herself at times, just as her airs of superiority and mute reproach may have driven him not a little mad. Those who wish to know in what spirit Madame Sand met the attacks upon her provoked by this book, will find her reply in a very few words at the conclusion of her preface to _Jean de la Roche_, published the same year.

Most readers of _Elle et Lui_ have been so preoccupied with the question of the rights and wrongs of the originals in their behavior to each other, so inclined to judge of the book according to its supposed accuracy or inaccuracy as a matter of history, that its force, as a study of the attraction that so often leads two exceptional but hopeless, irreconcilable spirits to seek in each other a refuge from the isolation in which their superiority places them, has been somewhat overlooked. Laurent, whether a true portrait or not, is only too true to nature; excessive in his admirable powers and in his despicable weakness. Therese is an equally faithful picture of a woman not quite up to the level of her own principles, which are so high that any lapse from them on her part brings down more disasters on herself and on others than the misdemeanors of avowedly unscrupulous persons.

Within a few months of _Elle et Lui_ had appeared _L'Homme de Neige_,[D]

a work of totally different but equally characteristic cast. The author's imagination had still all its old zest and activity, and readers for whom fancy has any charm will find this Scandinavian romance thoroughly enjoyable. The subject of the marionette theater, here introduced with such brilliant and ingenious effect, she had studied both historically and practically. She and her son found it so fascinating that, years before this time, a miniature stage had been constructed by the latter at Nohant, over which he presided, and which they and their friends found an endless source of amus.e.m.e.nt. Madame Sand wrote little dramas expressly for such representations, and would sit up all night, making dresses for the puppets. In an agreeable little article she has devoted to the subject, she describes how from the crudest beginnings they succeeded in elaborating their art to a high pitch; the _repertoire_ of their lilliputian theater including more than twenty plays, their "company" over a hundred marionettes.

To the next year, 1860, belong the pleasant tale of artisan life, _La Ville Noire_, and the well-known and popular _Marquis de Villemer_, notable as a decided success in a _genre_ seldom adopted by her, that of the purely society novel.

Already Madame Sand had outlived the period of which she was so brilliant a representative. After the Romantic movement had spent its force, a reaction had set in that was influencing the younger school of writers, and that has continued to give the direction to successful talent until the present day. Of the so-called "realism," Madame Sand said that it was nothing new. She saw there merely another form of the same revolt of nature against affectation and convention which had prompted the Romantic movement, whose disciples had now become guilty of affectation in their turn. _Madame Bovary_ she p.r.o.nounced with truth to be but concentrated Balzac. She was ready to perceive and do justice to the great ability of the author, as to original genius in any school; thus of Tourguenief she speaks with enthusiasm: "Realist to see all, poet to beautify all, great heart to pity and understand all." But she deplored the increasing tendency among artists to give the preference among realities to the ugliest and the most painful. Her personal leanings avowedly were towards the other extreme; but she was too large-minded not to recognize that truth in one form or another must always be the prime object of the artist's search. The manner of its presentation will vary with the age.

Let the realists, if they like, go on proclaiming that all is prose, and the idealists that all is poesy. The last will have their rainy days, the first their days of suns.h.i.+ne. In all arts the victory remains with a privileged few, who go their own ways; and the discussions of the "schools" will pa.s.s away like old fas.h.i.+ons.

On the generation of writers that George Sand saw growing up, any opinion p.r.o.nounced must be premature. But with regard to herself, it should now be possible to regard her work in a true perspective. As with Byron, d.i.c.kens, and other popular celebrities, a phase of infinite enthusiasm for her writings was duly succeeded by a phase of determined depreciation. The public opinion that survives when blind friends.h.i.+p and blind enmity have done their worst is likely to be the judgment of posterity.

CHAPTER XI.

ARTIST AND MORALIST.

On what, in the future, will the fame of George Sand mainly rest?

According to some critics, on her gifts of fertile invention and fluent narration alone, which make her novels attractive in spite of the chimerical theories, social, political and religious, everywhere interwoven. According to other judges again, her fictions transcend and are likely to outlive other fictions by virtue of certain eternal philosophic verities which they persistently set forth, and which give them a serious interest the changes in novel-fas.h.i.+ons cannot effect.

The conclusion seems inevitable that whilst the artistic strength of George Sand's writings is sufficient to command readers among those most out of harmony with her views, to minds in sympathy with her own these romances, because they express and enforce with earnestness, sincerity and fire, the sentiments of a poetic soul, a generous heart, and an immense intelligence, on subjects of consequence to humanity, have a higher value than can attach to skillful development of plot and intrigue, mere display of literary cleverness, or of the storings of minute observation.

Her opinions themselves have been widely misapprehended, perhaps because her personality--or rather that imaginary personage, the George Sand of the myths--has caused a confusion in people's minds between her ideal standard and her individual success in keeping up to it. We would not ignore the importance of personal example in one so famous as herself.

We may pa.s.s by eccentricities not inviting to imitation; for if any of her s.e.x ever thought to raise themselves any nearer to the level of George Sand by smoking or wearing men's clothes, such puerility does not call for notice. Still, the influence she strenuously exerted for good as a writer for the public would have worked more clearly had she never seemed to swerve from the high principles she expressed, or been led away by the disturbing forces of a nature calm only on the surface.

Nothing is more baffling than the incomplete revelations of a very complex order of mind, with its many-sided sympathies and its apparent contradictions. The self-justification she puts forward for her errors is sometimes sophistical, but not for that insincere. She is not trying to make us her dupes; she is the dupe herself of her dangerous eloquence. But her moral worth so infinitely outweighed the alloy as to leave but little call, or even warrant, for dwelling on the latter. "If I come back to you," said her old literary patron Delatouche, into whose disfavor she had fallen awhile, when he came years after to ask for the rest.i.tution of the friends.h.i.+p he had slighted, "it is that I cannot help myself, and your qualities surpa.s.s your defects."

To pa.s.s from herself to her books, no one has made more frank, clear and unchanging confession of their heart's faith or their head's principles.

Her creed was that which has been, and ever will be in some guise, the creed of minds of a certain order. She did not invent it. Poets, moralists, theologians, have proclaimed it before her and after her. She found for it a fresh mode of expression, one answering to the needs of the age to which she belonged.

It is in the union of rare artistic genius with an almost as rare and remarkable power of enthusiasm for moral and spiritual truth that lies her distinguis.h.i.+ng strength. Most of her novels--all her best novels--share this characteristic of seeming to be prompted by the double and equal inspiration of an artistic and a moral purpose.

Wherever one of these preponderates greatly, or is wanting altogether, the novel falls below her usual standard.

For in several qualities reckoned important her work is open to criticism. "Plan, or the want of it," she acknowledges, with a sort of complacency, "has always been my weak point." Thus whilst in many of her compositions, especially the shorter novels, the construction leaves little to be desired, _Consuelo_ is only one among many instances in which all ordinary rules of symmetry and proportion are set at naught.

Sometimes the leading idea a.s.sumed naturally and easily a perfect form; if simple, as in _Andre_ and her pastorals, it usually did so; but if complex, she troubled herself little over the task of symmetrical arrangement. M. Maxime Du Camp reports that she said to him: "When I begin a novel I have no plan; it arranges itself whilst I write, and becomes what it may." This fault shocks less in England, where genius is apt to rebel against the restrictions of form, and such irregularity has been consecrated, so to speak, by the masterpieces of the greatest among our imaginative writers. And even the more precise criticism of her countrymen has owned that this carelessness works by no means entirely to her disadvantage. In fictions more faultless as literary compositions the reader, whilst struck with admiration for the art with which the whole is put together, is apt to lose something of the illusion--the impression of nature and conviction. The faults of no writer can be more truly defined as the _defauts de ses qualites_ than those of George Sand. Shorn of her spontaneity, she would indeed be shorn of her strength. We are carried along by the pleasant, easy stream of her musical eloquence, as by an orator who knows so well how to draw our attention that we forget to find him too long. Her stories may be read rapidly, but to be enjoyed should be read through. Dipped into and their parts taken without reference to the whole, they can afford comparatively but little pleasure.

In translation no novelist loses more than George Sand,--who has so much to lose! The qualities sacrificed, though almost intangible, are essential to the force of her charm. The cement is taken away and the fabric coheres imperfectly; and whilst the beauties of her manner are blurred, its blemishes appear increased; the lengthiness, over-emphasis of expression, questionable taste of certain pa.s.sages, become more marked. Although nevertheless many of her tales remain pleasant reading, they suffer as much as translated poetry, and only a very inadequate impression of her art as a novelist can be arrived at from any rendering of it in a foreign tongue.

Her dialogue has neither brilliancy nor variety. Her characters characterize themselves by the sentiments they express; their manner of expression is somewhat uniform--it is the manner of George Sand; and although pleasant humor and good-natured fun abound in her pages, these owe none of their attractions to witty sayings, being curiously bare of a _bon mot_ or an epigram.

But we find there the rarer merits of a poetic imagination, a vast comprehension of nature, admirable insight into human character and power of clear a.n.a.lysis; a whole science of sentiment and art of narrative, and a charm of narrative style that soothes the nerves like music.

She has given us a long gallery of portraits of extraordinary variety.

It is true that her creations for the most part affect us rather as masterly portraits than as living, walking men and women. This is probably owing to the above-noted sameness of style of dialogue, and the absence generally of the dramatic quality in her novels. On the other hand they are extremely picturesque, in the highest sense, abounding in scenes and figures which, without inviting to the direct ill.u.s.tration they are too vivid to need, are full of suggestions to the artist. The description in _Teverino_ of Madeleine, the bird-charmer, kneeling at prayer in the rude mountain chapel, or outside on the rocks, exercising her natural magic over her feathered friends; in _Jeanne_, of the shepherd-girl discovered asleep on the Druidical stones; the noon-day rest of the rustic fis.h.i.+ng-party in _Valentine_--Benedict seated on the felled ash-tree that bridges the stream, Athenas gathering field-flowers on the banks, Louise flinging leaves into the current, Valentine reclining dreamily among the tall river-reeds,--are a few examples taken at random, which it would be easy to multiply _ad infinitum_.

Any cla.s.sification of her works in order of time that professes to show a progressive change of style, a period of super-excellence or of distinct decadence, seems to us somewhat fanciful. From _Indiana_ and its immediate successors, denounced by so many as fraught with peril to the morals of her nation, down to _Nanon_ (1872), which might certainly carry off the prize of virtue in a compet.i.tion in any country, George Sand can never be said to have entirely abandoned one "manner" for another, or for any length of time to have risen above or sunk below a certain level of excellence. _Andre_, extolled by her latest critics as "a delicious eclogue of the fields," was contemporary with the bombastic, false Byronism of _Jacques_; the feeble narrative of _La Mare au Diable_ with the pa.s.sion-introspection of _Lucrezia Floriani_. The ever-popular _Consuelo_ immediately succeeded the feeble _Compagnon du Tour de France_. _La Marquise_, written in the first year of her literary life, shows a power of projection out of herself, and of delicate a.n.a.lysis, hardly to be surpa.s.sed; but _Francia_, of forty years' later date, is an equally perfect study. From the time of _Indiana_ onwards she continued to produce at the rate of about two novels a year; and at intervals, rare intervals, the product was a failure. But we shall find her when approaching seventy still writing on, without a trace of the weakness of old age.

The charge of "unreality" so commonly brought against her novels it may be well briefly to examine. Such little fantasy-pieces in Hoffmann's manner as _Le Chateau des Desertes_, _Teverino_, and others, making no pretense to be exact studies of nature, cannot fairly be censured on this head. Like fairy tales they have a place of their own in art. One of the prettiest of these is _Les Dames Vertes_, in which the fable seems to lead us over the borders of the supernatural; but the secret of the mystification, well kept till the last, is itself so pleasing and original that the reader has no disappointing sense as of having had a hoax played upon his imagination.

In character drawing no one can, on occasion, be a more uncompromising realist than George Sand. Andre, Horace, Laurent in _Elle et Lui_, Pauline, Corilla, Alida in _Valvedre_, might be cited as examples. But her theory was unquestionably not the theory which guides the modern school of novel writers. She wrote, she states explicitly, for those "who desire to find in a novel a sort of ideal life." She made this her aim, but without depreciation of the widely different aims of other authors. "You paint mankind as they are," she said to Balzac; "I, as they ought to be, or might become. You write the comedy of humanity. I should like to write the eclogue, the poem, the romance of humanity."

She has been taxed with flattering nature and human nature because her love of beauty--defined by her as the highest expression of truth--dictated her choice of subjects. An artist who paints roses paints from reality as entirely as he who paints mud. Her principle was to choose among realities those which seemed best worth painting.

The amount of idealization in her peasant sketches was naturally over-estimated by those who, never having studied the cla.s.s, could not conceive of a peasant except conventionally, as a drunken boor. The very just portrait of Cecilia Boccaferri, the conscientious but obscure artist in _Le Chateau des Desertes_, might seem over-flattered to such as imagine that all opera-singers must be persons of riotous living. The types she prefers to present, if exceptional, are not impossible or non-existent. An absolutely faultless heroine, such as Consuelo, she seldom attempts to bring before us; an ideal hero; never.

Further, even when the idealism is greatest the essence is true. Her most fanciful conceptions, most improbable combinations, seem more natural than do every-day scenes and characters treated by inferior artists. This is only partly due to the inimitable little touches of nature that renew the impression of reality at every page. Her imagination modified her material, but only in order the more vividly to ill.u.s.trate truths positive and everlasting. So did Shakespeare when he drew Prospero and Miranda, Caliban and Ariel. Art, as regarded by George Sand, is a search for ideal truth rather than a study of positive reality. This principle determined the spirit of her romances. She was the highest in her _genre_; let the world decide which _genre_ is the highest.