the small social life of the little country town near Nohant. The women told each other just such stories as might have been told there, and indulged in just such reflections and "appreciations" as would have been there begotten. She was reminded that men and women are everywhere the same, and at the same time she felt homesick. "I recalled the dirty, dusky streets, the tumble-down houses, the poor moss-grown roofs, the shrill concerts of cocks, children, and cats, of my own little town. I dreamed too of our beautiful meadows, of our perfumed hay, of our little running streams, and of the botany beloved of old which I could follow now only on the muddy mosses and the floating weeds that adhered to the sides of the gondolas. I don't know amid what vague memories of various types I set in motion the least complex and the laziest of fictions. These types belonged quite as much to Venice as to Berry. Change dress and language, sky, landscape, and architecture, the outside aspect of people and things, and you will find that at the bottom of all this man is always about the same, and woman still more, because of the tenacity of her instincts."
George Sand says that she found she could write for an extraordinary length of time without weariness, and this is as far as she goes in the way of analysis of her inspiration. From the time she made this discovery to the day of her death her life was an extremely laborious one. She had evidently an extraordinary physical robustness. It was her constant practice to write at night, beginning after the rest of the world had gone to sleep. Alexandre Dumas the younger described her somewhere, during her latter years, as an old lady who came out into the garden at midday in a broad-brimmed hat and sat down on a bench or wandered slowly about. So she remained for hours, looking about her, musing, contemplating. She was gathering impressions, says M. Dumas, absorbing the universe, steeping herself in nature; and at night she would give all this forth as a sort of emanation. Without using the vague epithets one may accept this term "emanation" as a good account of her manner.
If it is needless to go into biographical detail, this is because George Sand's real history, the more interesting one, is the history of her mind. The history of her mind is of course closely connected with her personal history; she is indeed a writer whose personal situation, at a particular moment, is supposed to be reflected with peculiar vividness in her work. But to speak of her consistently we must regard the events of her life as intellectual events, and its landmarks as opinions, convictions, theories. The only difficulty is that such landmarks are nearly as numerous as the trees in a forest. Some, however, are more salient than others. Mme. Sand's account of herself is that her ideal of life was repose, obscurity, and idleness—long days in the country, spent in botany and entomology. She affirms that her natural indolence was extreme, and that the need of money alone induced her to take her pen into her hand. As this need was constant, her activity was constant; but it was a perversion of the genius of a kind, simple, friendly, motherly, profoundly unambitious woman, who would have been amply content to take care of her family, live in slippers, gossip with peasants, walk in the garden, and listen to the piano. All this is certainly so far true as that no person of equal celebrity ever made fewer explicit pretensions. She philosophized upon a great many things that she did not understand, and toward the close of her life, in especial, was apt to talk metaphysics, in writing, with a mingled volubility and vagueness which might have been taken to denote an undue self-confidence. But in such things as these, as they come from George Sand's pen, there is an air as of not expecting any one in particu-
