I love also absolute, profound silence, and, in short, I love everything that is around me, no matter where I am."
The last passage gives a glimpse of the seventeenth of January, 1869, a typical day in Nohant:
"The individual named George Sand is well: he is enjoying the marvellous winter which reigns in Berry, gathering flowers, noting interesting botanical anomalies, making dresses and mantles for his daughter-in-law, costumes for the marionettes, cutting out scenery, dressing dolls, reading music, but above all spending hours with the little Aurore, who is a marvellous child. There is not a more tranquil or a happier individual in his domestic life than this old troubadour retired from business, who sings from time to time his little song to the moon, without caring much whether he sings well or ill, provided he sings the motif that runs in his head, and who, the rest of the time, idles deliciously. . . . This pale character has the great pleasure of loving you with all his heart, and of not passing a day without thinking of the other old troubadour, confined in his solitude of a frenzied artist, disdainful of all the pleasures of the world."
Flaubert did "exercise" a little—once or twice—in compliance with the injunctions of his "dear master"; but he rather resented the implication that his pessimism was personal, that it had any particular connection with his peculiar temperament or habits. He wished to think of himself as a stoic, quite indifferent about his "carcase." His briefer black moods he might acknowledge had transitory causes. But his general and abiding conceptions of
