us。
The romanticism consists first in exposing one's life to the public； in publishing one's most secret joys and sorrows。 From the very beginning George Sand and Musset took the whole circle of their friends into their confidence。 These friends were literary people。 George Sand specially informs Sainte…Beuve that she wishes her sentimental life from thenceforth to be known。 They were quite aware that they were on show； as it were； subjects of an experiment that would be discussed by 〃the gallery。〃
Romanticism consists next in the writer putting his life into his books； making literature out of his emotions。 The idea of putting their adventure into a story occurred to the two lovers before the adventure had come to an end。 It was at Venice that George Sand wrote her first _Lettres d'un voyageur_； addressed to the poetand to the subscribers of the _Revue des Deux Mondes_。 Musset； to improve on this idea； decides to write a novel from the episode which was still unfinished。 〃I will not die；〃 he says； 〃until I have written my book on you and on myself； more particularly on you。 No； my beautiful； holy fiancee； you shall not return to this cold earth before it knows the woman who has walked on it。 No； I swear this by my youth and genius。〃 Musset's contributions to this literature were _Confession d'un enfant du siecle_； _Histoire d'un merle blanc_； _Elle et Lui_； and all that followed。
In an inverse order； romanticism consists in putting literature into our life； in taking the latest literary fashion for our rule of action。 This is not only a proof of want of taste； it is a most dangerous mistake。 The romanticists； who had so many wrong ideas； had none more erroneous than their idea of love； and in the correspondence between George Sand and Musset we see the paradox in all its beauty。 It consists in saying that love leads to virtue and that it leads there through change。 Whether the idea came originally from _her_ or from _him_； this was their common faith。
〃You have said it a hundred times over；〃 writes George Sand； 〃and it is all in vain that you retract； nothing will now efface that sentence： ‘Love is the only thing in the world that counts。' It may be that it is a divine faculty which we lose and then find again； that we must cultivate； or that we have to buy with cruel suffering； with painful experience。 The suffering you have endured through loving me was perhaps destined； in order that you might love another woman more easily。 Perhaps the next woman may love you less than I do； and yet she may be more happy and more beloved。 There are such mysteries in these things； and God urges us along new and untrodden paths。 Give in； do not attempt to resist。 He does not desert His privileged ones。 He takes them by the hand and places them in the midst of the sandbanks； where they are to learn to live； in order that they may sit down at the banquet at which they are to rest。 。 。 。〃 Later on she writes as follows： 〃Do you imagine that one love affair； or even two； can suffice for exhausting or taking the freshness from a strong soul？ I believed this； too； for a long time； but I know now that it is quite the contrary。 Love is a fire that endeavours to rise and to purify itself。 Perhaps the more we have failed in our endeavours to find it； the more apt we become to discover it； and the more we have been obliged to change； the more conservative we shall become。 Who knows？ It is perhaps the terrible； magnificent and courageous work of a whole lifetime。 It is a crown of thorns which will blossom and be covered with roses when our hair begins to turn white。
This was pure frenzy； and yet there were two beings ready to drink in all this pathos； two living beings to live out this monstrous chimera。 Such are the ravages that a certain conception of literature may make。 By the example we have of these two illustrious victims； we may imagine that there were others； and very many others； obscure and unknown individuals； but human beings all the same； who were equally duped。 There are unwholesome fashions in literature； which； translated into life； mean ruin。 The Venice adventure shows up the truth of this in bright daylight。 This is its interest and its lesson。
V
THE FRIEND OF MICHEL （DE BOURGES）
LISZT AND COMTESSE D'AGOULT。 _MAUPRAT_
We have given the essential features of the Venice adventure。 The love affair； into which George Sand and Musset had put so much literature； was to serve literature。 Writers of the romantic school are given to making little songs with their great sorrows。 When the correspondence between George Sand and Musset appeared； every one was surprised to find passages that were already well known。 Such passages had already appeared in the printed work of the poet or of the authoress。 An idea； a word； or an illustration used by the one was now； perhaps； to be found in the work of the other one。
〃It is I who have lived；〃 writes George Sand； 〃and not an unreal being created by my pride and my _ennui_。〃 We all know the use to which Musset put this phrase。 He wrote the famous couplet of Perdican with it： 〃All men are untruthful； inconstant； false； chatterers； hypocritical； proud； cowardly； contemptible and sensual； all women are perfidious； artful； vain； inquisitive and depraved。 。 。 。 There is； though； in this world one thing which is holy and sublime。 It is the union of these two beings； imperfect and frightful as they are。 We are often deceived in our love； we are often wounded and often unhappy； but still we love； and when we are on the brink of the tomb we shall turn round； look back； and say to ourselves： ‘I have often suffered； I have sometimes been deceived； but I have loved。 It is I who have lived； and not an unreal being created by my pride and _ennui_。'〃 Endless instances of this kind could be given。 They are simply the sign of the reciprocal influence exercised over each other by George Sand and Musset； an influence to be traced through all their work。
This influence was of a different kind and of unequal degree。 It was George Sand who first made literature of their common recollections。 Some of these recollections were very recent ones and were impregnated with tears。 The two lovers had only just separated when George Sand made the excursion described in the first _Lettre d'un voyageur_。 She goes along the Brenta。 It is the month of May； and the meadows are in flower。 In the horizon she sees the snowy peaks of the Tyrolese Alps standing out。 The remembrance of the long hours spent at the invalid's bedside comes back to her； with all the anguish of the sacred passion in which she thinks she sees God's anger。 She then pays a visit to the Oliero grottoes； and once more her wounded love makes her heart ache。 She returns through Possagno； whose beautiful women served as models for Canova。 She then goes back to Venice； and the doctor gives her a letter from the man she has given up； the man she has sent away。 These poetical descriptions； alternating with lyrical effusions； this kind of dialogue with two voices； one of which is that of nature and the other that of the heart； remind us of one of Musset's _Nuits_。
The second of these _Lettres d'un voyageur_ is entirely descriptive。 It is spring…time in Venice。 The old balconies are gay with flowers； the nightingales stop singing to listen to the serenades。 There are songs to be heard at every street corner； music in the wake of every gondola。 There are sweet perfumes and love…sighs in the air。 The delights of the Venetian nights had never been described like this。 The harmony of 〃the three elements； water； sky and marble；〃 had never been better expressed； and the charm of Venice had never been suggested in so subtle and； penetrating a manner。 The second letter treats too of the gondoliers； and of their habits and customs。
The third letter； telling us about the nobility and the women of Venice； completes the impression。 Just as the Pyrenees had moved George Sand； so Italy now moved her。 This was a fresh acquisition for her palette。 More than once from henceforth Venice was to serve her for the wonderful scenery of her stories。 This is by no means a fresh note； though； in George Sand's work。 There is no essential difference； then； in her inspiration。 She had always been impressionable； but her taste was now getting purer。 Musset； the most romantic of French poets； had an eminently classical taste。 In the _Lettres de Dupuis et Cotonet_； he defined romanticism as an abuse of adjectives。 He was of Madame de Lafayette's opinion； that a word taken out was worth twenty pennies； and a phrase taken out twenty shillings。 In a copy of _Indiana_ he crossed out all the useless epithets。 This must have made a considerable difference to the length of the book。 George Sand was too broad…minded to be hurt by such criticism； and she was intelligent enough to learn a lesson from it。
Musset's transformation was singularly deeper。 When he started for Venice； he was the youngest and most charming of poets； fanciful and full of fun。 〃Monsieur mon gamin d'Alfred；〃 George Sand called him at that time。 When he returned from there； he was the saddest of poets。 For some time he was； as