ddle…class people； among whom was Sir Arthur； a wealthy Englishman； who wanted to marry her。 This mixture of peasants and _bourgeois_ is not a happy one。 Neither is the mixture of _patois_ with a more Christian way of talking； or rather with a written style。 The author was experimenting and feeling her way。
When she wrote _La Mare au Diable_ she had found it； for in this work we have unity of tone； harmony of the characters with their setting； of sentiment with the various adventures； and； above all； absolute simplicity。
In _Francois le Champi_ there is much that is graceful； and there is real feeling mingled with a touch of sentimentality。 Madeleine Blanchet is rather old for Champi； whom she had brought up like her own child。 In the country； though； where difference of age is soon less apparent； the disproportion does not seem as objectionable as it would in city life。 The novel is not a study of maternal affection in love； as it is not Madeleine's feelings that are analyzed； but those of Francois。 For a long time he had been in love without knowing it； and he is only aware of it when this love； instead of being a sort of agreeable dream and melancholy pleasure； is transformed into suffering。
The subject of _La Petite Fadette_ is another analysis of a love which has been silent for a long time。 It is difficult to say which is the best of these delightful stories； but perhaps； on the whole； this last one is generally preferred； on account of the curious and charming figure of little Fadette herself。 We can see the thin； slender girl； suddenly appearing on the road； emerging from a thicket。 She seems to be part of the scenery； and can scarcely be distinguished from the objects around her。 The little wild country girl is like the spirit of the fields； woods； rivers and precipices。 She is a being very near to Nature。 Inquisitive and mischievous； she is bold in her speech； because she is treated as a reprobate。 She jeers； because she knows that she is detested； and she scratches； because she suffers。 The day comes when she feels some of that affection which makes the atmosphere breathable for human beings。 She feels her heart beating faster in her bosom； thanks to this affection； and from that minute a transformation takes place within her。 Landry； who has been observing her； is of opinion that she must be something of a witch。 Landry is very simple…minded。 There is no witchcraft here except that of love； and it was not difficult for that to work the metamorphosis。 It has worked many others in this world。
The _Maitres Soneurs_ initiates us into forest life； so full of mysterious visions。 In opposition to the sedentary； stay…at…home life of the inhabitant of plains； with his indolent mind； we have the free…and…easy humour of the handsome and adventurous muleteer； Huriel； with his love of the road and of all that is unexpected。 He is a _cheminau_ before the days of M。 Richepin。
I do not know any stories more finished than these。 They certainly prove that George Sand had the artistic sense； a quality which has frequently been denied her。 The characters in these stories are living and active； and at the same time their psychology is not insisted upon； and they do not stand out in such relief as to turn our attention from things； which； as we know； are more important than people in the country。 We are surrounded on all sides by the country； and bathed； as it were； in its atmosphere。 And yet； in spite of all this； the country is not once described。 There is not one of those descriptions so dear to the heart of those who are considered masters in the art of word…painting。 We do riot describe those things with which we live。 We are content to have them ever present in our mind and to be in constant communion with them。 Style is； perhaps； the sovereign quality in these stories。 Words peculiar to the district are introduced just sufficiently to give an accent。 Somewhat old…fashioned expressions are employed； and these prove the survival of by…gone days； which； in the country； are respected more than elsewhere。 Without any apparent effort； the narrative takes that epic form so natural to those who； as _aedes_ of primitive epochs； or story…tellers by country firesides； give their testimony about things of the past。
I am aware that George Sand has been accused of tracing portraits of her peasants which were not like them。 This is so absurd that I do not consider it worth while to spend time in discussing it。 It would be so easy to show that in her types of peasants there is more variety； and also more reality； than in Balzac's more realistic ones。 Without being untruthful portraits； it may be that they are somewhat flattered； and that we have more honest； delicate and religious peasants in these stories than in reality。 This may be so； and George Sand warns us of this herself。 It was her intention to depict them thus。
It was not absolute reality and the everyday details of the peasants' habits and customs that she wanted to show us； but the poetry of the country； the reflection of the great sights of Nature in the soul of those who； thanks to their daily work； are the constant witnesses of them。 The peasant certainly has no exact notion of the poetry of Nature； nor is he always conscious of it。 He feels it； though； within his soul in a vague way。 At certain moments he has glimpses of it； perhaps； when love causes him emotion； or perhaps when he is absent from the part of the world； where he has always lived。 His homesickness then gives him a keener perception。 This poetry is perhaps never clearly revealed to any individual； not to the labourer who traces out his furrows tranquilly in the early morning； nor to the shepherd who spends whole weeks alone in the mountains； face to face with the stars。 It dwells； though； in the inner conscience of the race。 The generations which come and go have it within them； and they do not fall to express it。 It is this poetry which we find in certain customs and beliefs； in the various legends and songs。 When Le Champi returns to his native place； he finds the whole country murmuring with the twitter of birds which he knew so well。
〃And all this reminded him of a very old song with which his mother Zabelli used to sing him to sleep。 It was a song with words such as people used to employ in olden times。〃
In George Sand's pastoral novels we have some of these old words。 They come to us from afar； and are like a supreme blossoming of old traditions。
It is all this which characterizes these books； and assigns to them their place in our literature。 We must not compare them with the rugged studies of Balzac； nor with the insipid compositions of the bucolic writer； nor even with Bernadin de Saint…Pierre's masterpiece； as there are too many cocoanut trees in that。 They prevent us seeing the French landscapes。 Very few people know the country in France and the humble people who dwell there。 Very few writers have loved the country well enough to be able to depict its hidden charms。
La Fontaine has done it in his fables and Perrault in his tales。 George Sand has her place； in this race of writers； among the French Homers。
IX
THE ‘BONNE DAME' OF NOHANT THE THEATREALEXANDRE DUMAS FILS LIFE AT NOHANT
Novelists are given to speaking of the theatre somewhat disdainfully。 They say that there is too much convention； that an author is too much the slave of material conditions； and is obliged to consider the taste of the crowd； whilst a book appeals to the lover of literature； who can read it by his own fireside； and to the society woman； who loses herself in its pages。 As soon； though； as one of their novels has had more success than its predecessors； they do not hesitate to cut it up into slices； according to the requirements of the publishing house； so that it may go beyond the little circle of lovers of literature and society women and reach the crowd the largest crowd possible。
George Sand never pretended to have this immense disdain for the theatre which is professed by ultra…refined writers。 She had always loved the theatre； and she bore it no grudge； although her pieces had been hissed。 In those days plays that did not find favour were hissed。 At present they are not hissed； either because there are no more poor plays； or because the public has seen so many bad ones that it has become philosophical； and does not take the trouble to show its displeasure。 George Sand's first piece； _Cosima_； was a noted failure。 About the year 1850； she turned to the theatre once more； hoping to find a new form of expression for her energy and talent。 _Francois le Champi_ was a great success。 In January； 1851； she wrote as follows； after the performance of _Claudie： _ 〃A tearful success and a financial one。 The house is full every day； not a ticket given away； and not even a seat for Maurice。 The piece is played admirably； Bocage is magnificent。 The public weeps and blows its nose； as though it were in church。 I am told that never in the memory of man has there been such a first night。 I was not present myself。〃
There may be a slight exaggeration in the words 〃never in the memory of man；〃 but the success was really great。 _Claudie