No More Learning

In her
old age, Juliette Drouet became very white and very wan; yet she never
quite lost the charm with which, as a girl, she had won the heart of
Hugo.

The story has many aspects. One may see in it a retribution, or one may
see in it only the cruelty of life. Perhaps it is best regarded simply
as a chapter in the strange life-histories of men of genius.





THE STORY OF GEORGE SAND


To the student of feminine psychology there is no more curious and
complex problem than the one that meets us in the life of the gifted
French writer best known to the world as George Sand.

To analyze this woman simply as a writer would in itself be a long,
difficult task. She wrote voluminously, with a fluid rather than a
fluent pen. She scandalized her contemporaries by her theories, and by
the way in which she applied them in her novels. Her fiction made her,
in the history of French literature, second only to Victor Hugo.
She might even challenge Hugo, because where he depicts strange and
monstrous figures, exaggerated beyond the limits of actual life, George
Sand portrays living men and women, whose instincts and desires she
understands, and whom she makes us see precisely as if we were admitted
to their intimacy.

But George Sand puzzles us most by peculiarities which it is difficult
for us to reconcile. She seemed to have no sense of chastity whatever;
yet, on the other hand, she was not grossly sensual. She possessed the
maternal instinct to a high degree, and liked better to be a mother
than a mistress to the men whose love she sought. For she did seek men's
love, frankly and shamelessly, only to tire of it. In many cases she
seems to have been swayed by vanity, and by a love of conquest, rather
than by passion. She had also a spiritual, imaginative side to her
nature, and she could be a far better comrade than anything more
intimate.

The name given to this strange genius at birth was Amantine Lucile
Aurore Dupin. The circumstances of her ancestry and birth were quite
unusual. Her father was a lieutenant in the French army. His grandmother
had been the natural daughter of Marshal Saxe, who was himself the
illegitimate son of Augustus the Strong of Poland and of the bewitching
Countess of Konigsmarck. This was a curious pedigree. It meant strength
of character, eroticism, stubbornness, imagination, courage, and
recklessness.

Her father complicated the matter by marrying suddenly a Parisian of the
lower classes, a bird-fancier named Sophie Delaborde. His daughter,
who was born in 1804, used afterward to boast that on one side she was
sprung from kings and nobles, while on the other she was a daughter
of the people, able, therefore, to understand the sentiments of the
aristocracy and of the children of the soil, or even of the gutter.

She was fond of telling, also, of the omen which attended on her birth.
Her father and mother were at a country dance in the house of a fellow
officer of Dupin's. Suddenly Mme. Dupin left the room. Nothing was
thought of this, and the dance went on. In less than an hour, Dupin was
called aside and told that his wife had just given birth to a child. It
was the child's aunt who brought the news, with the joyous comment:

"She will be lucky, for she was born among the roses and to the sound of
music. "

This was at the time of the Napoleonic wars. Lieutenant Dupin was on the
staff of Prince Murat, and little Aurore, as she was called, at the age
of three accompanied the army, as did her mother. The child was
adopted by one of those hard-fighting, veteran regiments. The rough old
sergeants nursed her and petted her. Even the prince took notice of her;
and to please him she wore the green uniform of a hussar.

But all this soon passed, and she was presently sent to live with
her grandmother at the estate now intimately associated with her
name--Nohant, in the valley of the Indre, in the midst of a rich
country, a love for which she then drank in so deeply that nothing in
her later life could lessen it. She was always the friend of the peasant
and of the country-folk in general.

At Nohant she was given over to her grand-mother, to be reared in a
strangely desultory sort of fashion, doing and reading and studying
those things which could best develop her native gifts. Her father had
great influence over her, teaching her a thousand things without seeming
to teach her anything. Of him George Sand herself has written:

Character is a matter of heredity. If any one desires to know me, he
must know my father.

Her father, however, was killed by a fall from a horse; and then the
child grew up almost without any formal education. A tutor, who also
managed the estate; believed with Rousseau that the young should be
reared according to their own preferences. Therefore, Aurore read poems
and childish stories; she gained a smattering of Latin, and she was
devoted to music and the elements of natural science. For the rest of
the time she rambled with the country children, learned their games, and
became a sort of leader in everything they did.

Her only sorrow was the fact that her mother was excluded from Nohant.
The aristocratic old grandmother would not allow under her roof her
son's low-born wife; but she was devoted to her little grandchild. The
girl showed a wonderful degree of sensibility.

This life was adapted to her nature. She fed her imagination in a
perfectly healthy fashion; and, living so much out of doors, she
acquired that sound physique which she retained all through her life.

When she was thirteen, her grandmother sent the girl to a convent school
in Paris. One might suppose that the sudden change from the open woods
and fields to the primness of a religious home would have been a great
shock to her, and that with her disposition she might have broken
out into wild ways that would have shocked the nuns. But, here, as
elsewhere, she showed her wonderful adaptability. It even seemed as
if she were likely to become what the French call a devote. She gave
herself up to mythical thoughts, and expressed a desire of taking the
veil. Her confessor, however, was a keen student of human nature, and
he perceived that she was too young to decide upon the renunciation of
earthly things. Moreover, her grandmother, who had no intention that
Aurore should become a nun, hastened to Paris and carried her back to
Nohant.

The girl was now sixteen, and her complicated nature began to
make itself apparent. There was no one to control her, because her
grandmother was confined to her own room. And so Aurore Dupin, now in
superb health, rushed into every sort of diversion with all the zest of
youth. She read voraciously--religion, poetry, philosophy. She was an
excellent musician, playing the piano and the harp. Once, in a spirit of
unconscious egotism, she wrote to her confessor:

Do you think that my philosophical studies are compatible with Christian
humility?

The shrewd ecclesiastic answered, with a touch of wholesome irony:

I doubt, my daughter, whether your philosophical studies are profound
enough to warrant intellectual pride.

This stung the girl, and led her to think a little less of her own
abilities; but perhaps it made her books distasteful to her. For a while
she seems to have almost forgotten her sex. She began to dress as a boy,
and took to smoking large quantities of tobacco. Her natural brother,
who was an officer in the army, came down to Nohant and taught her to
ride--to ride like a boy, seated astride. She went about without any
chaperon, and flirted with the young men of the neighborhood. The prim
manners of the place made her subject to a certain amount of scandal,
and the village priest chided her in language that was far from tactful.
In return she refused any longer to attend his church.

Thus she was living when her grandmother died, in 1821, leaving to
Aurore her entire fortune of five hundred thousand francs. As the girl
was still but seventeen, she was placed under the guardianship of the
nearest relative on her father's side--a gentleman of rank. When the
will was read, Aurore's mother made a violent protest, and caused a most
unpleasant scene.

"I am the natural guardian of my child," she cried. "No one can take
away my rights! "

The young girl well understood that this was really the parting of the
ways. If she turned toward her uncle, she would be forever classed
among the aristocracy. If she chose her mother, who, though married, was
essentially a grisette, then she must live with grisettes, and find her
friends among the friends who visited her mother. She could not belong
to both worlds. She must decide once for all whether she would be a
woman of rank or a woman entirely separated from the circle that had
been her father's.

One must respect the girl for making the choice she did. Understanding
the situation absolutely, she chose her mother; and perhaps one would
not have had her do otherwise. Yet in the long run it was bound to be a
mistake. Aurore was clever, refined, well read, and had had the training
of a fashionable convent school. The mother was ignorant and coarse, as
was inevitable, with one who before her marriage had been half shop-girl
and half courtesan. The two could not live long together, and hence it
was not unnatural that Aurore Dupin should marry, to enter upon a new
career.

Her fortune was a fairly large one for the times, and yet not large
enough to attract men who were quite her equals. Presently, however, it
brought to her a sort of country squire, named Casimir Dudevant. He was
the illegitimate son of the Baron Dudevant. He had been in the army,
and had studied law; but he possessed no intellectual tastes. He was
outwardly eligible; but he was of a coarse type--a man who, with passing
years, would be likely to take to drink and vicious amusements, and in
serious life cared only for his cattle, his horses, and his hunting. He
had, however, a sort of jollity about him which appealed to this girl of
eighteen; and so a marriage was arranged. Aurore Dupin became his wife
in 1822, and he secured the control of her fortune.

The first few years after her marriage were not unhappy. She had a son,
Maurice Dudevant, and a daughter, Solange, and she loved them both. But
it was impossible that she should continue vegetating mentally upon
a farm with a husband who was a fool, a drunkard, and a miser. He
deteriorated; his wife grew more and more clever. Dudevant resented
this. It made him uncomfortable. Other persons spoke of her talk as
brilliant. He bluntly told her that it was silly, and that she must stop
it. When she did not stop it, he boxed her ears. This caused a breach
between the pair which was never healed. Dudevant drank more and more
heavily, and jeered at his wife because she was "always looking for noon
at fourteen o'clock. " He had always flirted with the country girls; but
now he openly consorted with his wife's chambermaid.

Mme. Dudevant, on her side, would have nothing more to do with this
rustic rake. She formed what she called a platonic friendship--and it
was really so--with a certain M. de Seze, who was advocate-general at
Bordeaux. With him this clever woman could talk without being called
silly, and he took sincere pleasure in her company. He might, in fact,
have gone much further, had not both of them been in an impossible
situation.

Aurore Dudevant really believed that she was swayed by a pure and mystic
passion. De Seze, on the other hand, believed this mystic passion to
be genuine love. Coming to visit her at Nohant, he was revolted by the
clownish husband with whom she lived. It gave him an esthetic shock to
see that she had borne children to this boor. Therefore he shrank back
from her, and in time their relation faded into nothingness.

It happened, soon after, that she found a packet in her husband's desk,
marked "Not to be opened until after my death. " She wrote of this in her
correspondence:

I had not the patience to wait till widowhood. No one can be sure of
surviving anybody. I assumed that my husband had died, and I was very
glad to learn what he thought of me while he was alive. Since the
package was addressed to me, it was not dishonorable for me to open it.

And so she opened it. It proved to be his will, but containing, as a
preamble, his curses on her, expressions of contempt, and all the vulgar
outpouring of an evil temper and angry passion. She went to her husband
as he was opening a bottle, and flung the document upon the table.
He cowered at her glance, at her firmness, and at her cold hatred. He
grumbled and argued and entreated; but all that his wife would say in
answer was:

"I must have an allowance. I am going to Paris, and my children are to
remain here. "

At last he yielded, and she went at once to Paris, taking her daughter
with her, and having the promise of fifteen hundred francs a year out of
the half-million that was hers by right.

In Paris she developed into a thorough-paced Bohemian. She tried to make
a living in sundry hopeless ways, and at last she took to literature.
She was living in a garret, with little to eat, and sometimes without
a fire in winter. She had some friends who helped her as well as they
could, but though she was attached to the Figaro, her earnings for the
first month amounted to only fifteen francs.

Nevertheless, she would not despair. The editors and publishers might
turn the cold shoulder to her, but she would not give up her ambitions.
She went down into the Latin Quarter, and there shook off the
proprieties of life. She assumed the garb of a man, and with her quick
perception she came to know the left bank of the Seine just as she had
known the country-side at Nohant or the little world at her convent
school. She never expected again to see any woman of her own rank in
life. Her mother's influence became strong in her. She wrote:

The proprieties are the guiding principle of people without soul and
virtue. The good opinion of the world is a prostitute who gives herself
to the highest bidder.

She still pursued her trade of journalism, calling herself a "newspaper
mechanic," sitting all day in the office of the Figaro and writing
whatever was demanded, while at night she would prowl in the streets
haunting the cafes, continuing to dress like a man, drinking sour wine,
and smoking cheap cigars.

One of her companions in this sort of hand-to-mouth journalism was a
young student and writer named Jules Sandeau, a man seven years younger
than his comrade. He was at that time as indigent as she, and their
hardships, shared in common, brought them very close together. He was
clever, boyish, and sensitive, and it was not long before he had fallen
at her feet and kissed her knees, begging that she would requite the
love he felt for her. According to herself, she resisted him for six
months, and then at last she yielded. The two made their home together,
and for a while were wonderfully happy. Their work and their diversions
they enjoyed in common, and now for the first time she experienced
emotions which in all probability she had never known before.

Probably not very much importance is to be given to the earlier
flirtations of George Sand, though she herself never tried to stop the
mouth of scandal. Even before she left her husband, she was credited
with having four lovers; but all she said, when the report was brought
to her, was this: "Four lovers are none too many for one with such
lively passions as mine. "

This very frankness makes it likely that she enjoyed shocking her prim
neighbors at Nohant. But if she only played at love-making then, she now
gave herself up to it with entire abandonment, intoxicated, fascinated,
satisfied. She herself wrote:

How I wish I could impart to you this sense of the intensity and
joyousness of life that I have in my veins. To live! How sweet it
is, and how good, in spite of annoyances, husbands, debts, relations,
scandal-mongers, sufferings, and irritations! To live! It is
intoxicating! To love, and to be loved! It is happiness! It is heaven!

In collaboration with Jules Sandeau, she wrote a novel called Rose
et Blanche. The two lovers were uncertain what name to place upon the
title-page, but finally they hit upon the pseudonym of Jules Sand. The
book succeeded; but thereafter each of them wrote separately, Jules
Sandeau using his own name, and Mme. Dudevant styling herself George
Sand, a name by which she was to be illustrious ever after.

As a novelist, she had found her real vocation. She was not yet well
known, but she was on the verge of fame. As soon as she had written
Indiana and Valentine, George Sand had secured a place in the world of
letters. The magazine which still exists as the Revue des Deux Mondes
gave her a retaining fee of four thousand francs a year, and many other
publications begged her to write serial stories for them.

The vein which ran through all her stories was new and piquant. As was
said of her:

In George Sand, whenever a lady wishes to change her lover, God is
always there to make the transfer easy.

In other words, she preached free love in the name of religion. This was
not a new doctrine with her. After the first break with her husband, she
had made up her mind about certain matters, and wrote:

One is no more justified in claiming the ownership of a soul than in
claiming the ownership of a slave.

According to her, the ties between a man and a woman are sacred only
when they are sanctified by love; and she distinguished between love and
passion in this epigram:

Love seeks to give, while passion seeks to take.

At this time, George Sand was in her twenty-seventh year. She was
not beautiful, though there was something about her which attracted
observation. Of middle height, she was fairly slender. Her eyes were
somewhat projecting, and her mouth was almost sullen when in repose. Her
manners were peculiar, combining boldness with timidity. Her address was
almost as familiar as a man's, so that it was easy to be acquainted with
her; yet a certain haughtiness and a touch of aristocratic pride made it
plain that she had drawn a line which none must pass without her
wish. When she was deeply stirred, however, she burst forth into an
extraordinary vivacity, showing a nature richly endowed and eager to
yield its treasures.

The existence which she now led was a curious one. She still visited her
husband at Nohant, so that she might see her son, and sometimes, when
M. Dudevant came to town, he called upon her in the apartments which she
shared with Jules Sandeau. He had accepted the situation, and with his
crudeness and lack of feeling he seemed to think it, if not natural,
at least diverting. At any rate, so long as he could retain her
half-million francs, he was not the man to make trouble about his former
wife's arrangements.

Meanwhile, there began to be perceptible the very slightest rift within
the lute of her romance. Was her love for Sandeau really love, or was
it only passion? In his absence, at any rate, the old obsession still
continued. Here we see, first of all, intense pleasure shading off into
a sort of maternal fondness. She sends Sandeau adoring letters. She is
afraid that his delicate appetite is not properly satisfied.

Yet, again, there are times when she feels that he is irritating and
ill. Those who knew them said that her nature was too passionate and
her love was too exacting for him. One of her letters seems to make
this plain. She writes that she feels uneasy, and even frightfully
remorseful, at seeing Sandeau "pine away. " She knows, she avows, that
she is killing him, that her caresses are a poison, and her love a
consuming fire.

It is an appalling thought, and Jules will not understand it. He laughs
at it; and when, in the midst of his transports of delight, the idea
comes to me and makes my blood run cold, he tells me that here is the
death that he would like to die.
At such moments he promises whatever I
make him promise.

This letter throws a clear light upon the nature of George Sand's
temperament. It will be found all through her career, not only that
she sought to inspire passion, but that she strove to gratify it after
fashions of her own. One little passage from a description of her
written by the younger Dumas will perhaps make this phase of her
character more intelligible, without going further than is strictly
necessary:

Mme. Sand has little hands without any bones, soft and plump. She is
by destiny a woman of excessive curiosity, always disappointed, always
deceived in her incessant investigation, but she is not fundamentally
ardent. In vain would she like to be so, but she does not find it
possible. Her physical nature utterly refuses.

The reader will find in all that has now been said the true explanation
of George Sand. Abounding with life, but incapable of long stretches of
ardent love, she became a woman who sought conquests everywhere without
giving in return more than her temperament made it possible for her to
do. She loved Sandeau as much as she ever loved any man; and yet she
left him with a sense that she had never become wholly his. Perhaps
this is the reason why their romance came to an end abruptly, and not
altogether fittingly.

She had been spending a short time at Nohant, and came to Paris without
announcement. She intended to surprise her lover, and she surely did so.
She found him in the apartment that had been theirs, with his arms about
an attractive laundry-girl. Thus closed what was probably the only true
romance in the life of George Sand. Afterward she had many lovers, but
to no one did she so nearly become a true mate.

As it was, she ended her association with Sandeau, and each pursued a
separate path to fame. Sandeau afterward became a well-known novelist
and dramatist. He was, in fact, the first writer of fiction who was
admitted to the French Academy. The woman to whom he had been unfaithful
became greater still, because her fame was not only national, but
cosmopolitan.

For a time after her deception by Sandeau, she felt absolutely devoid
of all emotions. She shunned men, and sought the friendship of Marie
Dorval, a clever actress who was destined afterward to break the heart
of Alfred de Vigny. The two went down into the country; and there George
Sand wrote hour after hour, sitting by her fireside, and showing herself
a tender mother to her little daughter Solange.

This life lasted for a while, but it was not the sort of life that
would now content her. She had many visitors from Paris, among them
Sainte-Beuve, the critic, who brought with him Prosper Merimee, then
unknown, but later famous as master of revels to the third Napoleon and
as the author of Carmen. Merimee had a certain fascination of manner,
and the predatory instincts of George Sand were again aroused. One day,
when she felt bored and desperate, Merimee paid his court to her,
and she listened to him. This is one of the most remarkable of her
intimacies, since it began, continued, and ended all in the space of a
single week. When Merimee left Nohant, he was destined never again to
see George Sand, except long afterward at a dinner-party, where the two
stared at each other sharply, but did not speak. This affair, however,
made it plain that she could not long remain at Nohant, and that she
pined for Paris.

Returning thither, she is said to have set her cap at Victor Hugo,
who was, however, too much in love with himself to care for any one,
especially a woman who was his literary rival. She is said for a time to
have been allied with Gustave Planche, a dramatic critic; but she
always denied this, and her denial may be taken as quite truthful. Soon,
however, she was to begin an episode which has been more famous than any
other in her curious history, for she met Alfred de Musset, then a youth
of twenty-three, but already well known for his poems and his plays.

Musset was of noble birth. He would probably have been better for a
plebeian strain, since there was in him a touch of the degenerate.
His mother's father had published a humanitarian poem on cats. His
great-uncle had written a peculiar novel. Young Alfred was nervous,
delicate, slightly epileptic, and it is certain that he was given to
dissipation, which so far had affected his health only by making
him hysterical. He was an exceedingly handsome youth, with exquisite
manners, "dreamy rather than dazzling eyes, dilated nostrils, and
vermilion lips half opened. " Such was he when George Sand, then seven
years his senior, met him.

There is something which, to the Anglo-Saxon mind, seems far more absurd
than pathetic about the events which presently took place. A woman like
George Sand at thirty was practically twice the age of this nervous boy
of twenty-three, who had as yet seen little of the world. At first she
seemed to realize the fact herself; but her vanity led her to begin an
intrigue, which must have been almost wholly without excitement on her
part, but which to him, for a time, was everything in the world.

Experimenting, as usual, after the fashion described by Dumas, she went
with De Musset for a "honeymoon" to Fontainebleau. But they could not
stay there forever, and presently they decided upon a journey to Italy.
Before they went, however, they thought it necessary to get formal
permission from Alfred's mother!

Naturally enough, Mme. de Musset refused consent. She had read George
Sand's romances, and had asked scornfully:

"Has the woman never in her life met a gentleman? "

She accepted the relations between them, but that she should be asked
to sanction this sort of affair was rather too much, even for a French
mother who has become accustomed to many strange things. Then there was
a curious happening. At nine o'clock at night, George Sand took a cab
and drove to the house of Mme. de Musset, to whom she sent up a message
that a lady wished to see her. Mme. de Musset came down, and, finding a
woman alone in a carriage, she entered it. Then George Sand burst forth
in a torrent of sentimental eloquence. She overpowered her lover's
mother, promised to take great care of the delicate youth, and finally
drove away to meet Alfred at the coach-yard.

They started off in the mist, their coach being the thirteenth to
leave the yard; but the two lovers were in a merry mood, and enjoyed
themselves all the way from Paris to Marseilles. By steamer they went
to Leghorn; and finally, in January, 1834, they took an apartment in a
hotel at Venice. What had happened that their arrival in Venice should
be the beginning of a quarrel, no one knows. George Sand has told the
story, and Paul de Musset--Alfred's brother--has told the story, but
each of them has doubtless omitted a large part of the truth.

It is likely that on their long journey each had learned too much of
the other. Thus, Paul de Musset says that George Sand made herself
outrageous by her conversation, telling every one of her mother's
adventures in the army of Italy, including her relations with the
general-in-chief. She also declared that she herself was born within
a month of her parents' wedding-day. Very likely she did say all these
things, whether they were true or not. She had set herself to wage war
against conventional society, and she did everything to shock it.

On the other hand, Alfred de Musset fell ill after having lost ten
thousand francs in a gambling-house. George Sand was not fond of persons
who were ill. She herself was working like a horse, writing from eight
to thirteen hours a day. When Musset collapsed she sent for a handsome
young Italian doctor named Pagello, with whom she had struck up a casual
acquaintance. He finally cured Musset, but he also cured George Sand of
any love for Musset.

Before long she and Pagello were on their way back to Paris, leaving the
poor, fevered, whimpering poet to bite his nails and think unutterable
things. But he ought to have known George Sand. After that, everybody
knew her. They knew just how much she cared when she professed to care,
and when she acted as she acted with Pagello no earlier lover had any
one but himself to blame.

Only sentimentalists can take this story seriously. To them it has a
sort of morbid interest. They like to picture Musset raving and shouting
in his delirium, and then, to read how George Sand sat on Pagello's
knees, kissing him and drinking out of the same cup. But to the healthy
mind the whole story is repulsive--from George Sand's appeal to Mme.
de Musset down to the very end, when Pagello came to Paris, where his
broken French excited a polite ridicule.

There was a touch of genuine sentiment about the affair with
Jules Sandeau; but after that, one can only see in George Sand a
half-libidinous grisette, such as her mother was before her, with a
perfect willingness to experiment in every form of lawless love. As for
Musset, whose heart she was supposed to have broken, within a year he
was dangling after the famous singer, Mme. Malibran, and writing poems
to her which advertised their intrigue.

After this episode with Pagello, it cannot be said that the life of
George Sand was edifying in any respect, because no one can assume that
she was sincere. She had loved Jules Sandeau as much as she could love
any one, but all the rest of her intrigues and affinities were in the
nature of experiments. She even took back Alfred de Musset, although
they could never again regard each other without suspicion. George Sand
cut off all her hair and gave it to Musset, so eager was she to keep
him as a matter of conquest; but he was tired of her, and even this
theatrical trick was of no avail.

She proceeded to other less known and less humiliating adventures. She
tried to fascinate the artist Delacroix. She set her cap at Franz Liszt,
who rather astonished her by saying that only God was worthy to be
loved. She expressed a yearning for the affections of the elder Dumas;
but that good-natured giant laughed at her, and in fact gave her some
sound advice, and let her smoke unsentimentally in his study. She was
a good deal taken with a noisy demagogue named Michel, a lawyer at
Bourges, who on one occasion shut her up in her room and harangued her
on sociology until she was as weary of his talk as of his wooden shoes,
his shapeless greatcoat, his spectacles, and his skull-cap, Balzac felt
her fascination, but cared nothing for her, since his love was given to
Mme. Hanska.

In the meanwhile, she was paying visits to her husband at Nohant, where
she wrangled with him over money matters, and where he would once have
shot her had the guests present not interfered. She secured her dowry
by litigation, so that she was well off, even without her literary
earnings. These were by no means so large as one would think from her
popularity and from the number of books she wrote. It is estimated that
her whole gains amounted to about a million francs, extending over a
period of forty-five years. It is just half the amount that Trollope
earned in about the same period, and justifies his remark--"adequate,
but not splendid. "

One of those brief and strange intimacies that marked the career of
George Sand came about in a curious way. Octave Feuillet, a man of
aristocratic birth, had set himself to write novels which portrayed
the cynicism and hardness of the upper classes in France. One of these
novels, Sibylle, excited the anger of George Sand. She had not known
Feuillet before; yet now she sought him out, at first in order to berate
him for his book, but in the end to add him to her variegated string of
lovers.

It has been said of Feuillet that he was a sort of "domesticated
Musset. " At any rate, he was far less sensitive than Musset, and George
Sand was about seventeen years his senior. They parted after a short
time, she going her way as a writer of novels that were very different
from her earlier ones, while Feuillet grew more and more cynical and
even stern, as he lashed the abnormal, neuropathic men and women about
him.

The last great emotional crisis in George Sand's life was that which
centers around her relations with Frederic Chopin. Chopin was the
greatest genius who ever loved her. It is rather odd that he loved her.
She had known him for two years, and had not seriously thought of him,
though there is a story that when she first met him she kissed him
before he had even been presented to her. She waited two years, and in
those two years she had three lovers. Then at last she once more met
Chopin, when he was in a state of melancholy, because a Polish girl had
proved unfaithful to him.

It was the psychological moment; for this other woman, who was a
devourer of hearts, found him at a piano, improvising a lamentation.
George Sand stood beside him, listening. When he finished and looked up
at her, their eyes met. She bent down without a word and kissed him on
the lips.

What was she like when he saw her then? Grenier has described her in
these words:

She was short and stout, but her face attracted all my attention, the
eyes especially. They were wonderful eyes--a little too close together,
it may be, large, with full eyelids, and black, very black, but by no
means lustrous; they reminded me of unpolished marble, or rather of
velvet, and this gave a strange, dull, even cold expression to her
countenance. Her fine eyebrows and these great placid eyes gave her an
air of strength and dignity which was not borne out by the lower part of
her face. Her nose was rather thick and not over shapely. Her mouth was
also rather coarse, and her chin small. She spoke with great simplicity,
and her manners were very quiet.

Such as she was, she attached herself to Chopin for eight years. At
first they traveled together very quietly to Majorca; and there, just as
Musset had fallen ill at Venice, Chopin became feverish and an invalid.
"Chopin coughs most gracefully," George Sand wrote of him, and again:

Chopin is the most inconstant of men. There is nothing permanent about
him but his cough.

It is not surprising if her nerves sometimes gave way. Acting as sick
nurse, writing herself with rheumatic fingers, robbed by every one about
her, and viewed with suspicion by the peasants because she did not go
to church, she may be perhaps excused for her sharp words when, in fact,
her deeds were kind.

Afterward, with Chopin, she returned to Paris, and the two lived openly
together for seven years longer. An immense literature has grown around
the subject of their relations. To this literature George Sand herself
contributed very largely. Chopin never wrote a word; but what he failed
to do, his friends and pupils did unsparingly.

Probably the truth is somewhat as one might expect. During the first
period of fascination, George Sand was to Chopin what she had been to
Sandeau and to Musset; and with her strange and subtle ways, she had
undermined his health. But afterward that sort of love died out, and was
succeeded by something like friendship. At any rate, this woman showed,
as she had shown to others, a vast maternal kindness. She writes to him
finally as "your old woman," and she does wonders in the way of nursing
and care.

But in 1847 came a break between the two. Whatever the mystery of it may
be, it turns upon what Chopin said of Sand:

"I have never cursed any one, but now I am so weary of life that I am
near cursing her. Yet she suffers, too, and more, because she grows
older as she grows more wicked. "

In 1848, Chopin gave his last concert in Paris, and in 1849 he died.
According to some, he was the victim of a Messalina. According to
others, it was only "Messalina" that had kept him alive so long.

However, with his death came a change in the nature of George Sand.
Emotionally, she was an extinct volcano. Intellectually, she was at
her very best. She no longer tore passions into tatters, but wrote
naturally, simply, stories of country life and tales for children.
In one of her books she has given an enduring picture of the
Franco-Prussian War. There are many rather pleasant descriptions of her
then, living at Nohant, where she made a curious figure, bustling about
in ill-fitting costumes, and smoking interminable cigarettes.

She had lived much, and she had drunk deep of life, when she died in
1876. One might believe her to have been only a woman of perpetual
liaisons. Externally she was this, and yet what did Balzac, that great
master of human psychology, write of her in the intimacy of a private
correspondence?

She is a female bachelor. She is an artist. She is generous. She is
devoted. She is chaste. Her dominant characteristics are those of a man,
and therefore, she is not to be regarded as a woman. She is an excellent
mother, adored by her children. Morally, she is like a lad of twenty;
for in her heart of hearts, she is more than chaste--she is a prude. It
is only in externals that she comports herself as a Bohemian. All her
follies are titles to glory in the eyes of those whose souls are noble.

A curious verdict this! Her love-life seems almost that of neither man
nor woman, but of an animal. Yet whether she was in reality responsible
for what she did, when we consider her strange heredity, her wretched
marriage, the disillusions of her early life--who shall sit in judgment
on her, since who knows all?





THE MYSTERY OF CHARLES DICKENS


Perhaps no public man in the English-speaking world, in the last
century, was so widely and intimately known as Charles Dickens. From
his eighteenth year, when he won his first success in journalism, down
through his series of brilliant triumphs in fiction, he was more and
more a conspicuous figure, living in the blaze of an intense publicity.
He met every one and knew every one, and was the companion of every
kind of man and woman. He loved to frequent the "caves of harmony" which
Thackeray has immortalized, and he was a member of all the best Bohemian
clubs of London. Actors, authors, good fellows generally, were his
intimate friends, and his acquaintance extended far beyond into the
homes of merchants and lawyers and the mansions of the proudest nobles.
Indeed, he seemed to be almost a universal friend.

One remembers, for instance, how he was called in to arbitrate between
Thackeray and George Augustus Sala, who had quarreled. One remembers how
Lord Byron's daughter, Lady Lovelace, when upon her sick-bed, used to
send for Dickens because there was something in his genial, sympathetic
manner that soothed her. Crushing pieces of ice between her teeth in
agony, she would speak to him and he would answer her in his rich, manly
tones until she was comforted and felt able to endure more hours of pain
without complaint.

Dickens was a jovial soul. His books fairly steam with Christmas cheer
and hot punch and the savor of plum puddings, very much as do his
letters to his intimate friends. Everybody knew Dickens. He could
not dine in public without attracting attention. When he left the
dining-room, his admirers would descend upon his table and carry off
egg-shells, orange-peels, and other things that remained behind, so that
they might have memorials of this much-loved writer. Those who knew him
only by sight would often stop him in the streets and ask the
privilege of shaking hands with him; so different was he from--let us
say--Tennyson, who was as great an Englishman in his way as Dickens, but
who kept himself aloof and saw few strangers.

It is hard to associate anything like mystery with Dickens, though
he was fond of mystery as an intellectual diversion, and his last
unfinished novel was The Mystery of Edwin Drood. Moreover, no one
admired more than he those complex plots which Wilkie Collins used
to weave under the influence of laudanum. But as for his own life, it
seemed so normal, so free from anything approaching mystery, that we can
scarcely believe it to have been tinged with darker colors than those
which appeared upon the surface.

A part of this mystery is plain enough. The other part is still
obscure--or of such a character that one does not care to bring it
wholly to the light. It had to do with his various relations with women.

The world at large thinks that it knows this chapter in the life of
Dickens, and that it refers wholly to his unfortunate disagreement with
his wife. To be sure, this is a chapter that is writ large in all of his
biographies, and yet it is nowhere correctly told. His chosen biographer
was John Forster, whose Life of Charles Dickens, in three volumes,
must remain a standard work; but even Forster--we may assume through
tact--has not set down all that he could, although he gives a clue.

As is well known, Dickens married Miss Catherine Hogarth when he
was only twenty-four. He had just published his Sketches by Boz, the
copyright of which he sold for one hundred pounds, and was beginning the
Pickwick Papers. About this time his publisher brought N. P. Willis
down to Furnival's Inn to see the man whom Willis called "a young
paragraphist for the Morning Chronicle. " Willis thus sketches Dickens
and his surroundings:

In the most crowded part of Holborn, within a door or two of the Bull
and Mouth Inn, we pulled up at the entrance of a large building used
for lawyers' chambers. I followed by a long flight of stairs to an upper
story, and was ushered into an uncarpeted and bleak-looking room, with
a deal table, two or three chairs and a few books, a small boy and Mr.
Dickens for the contents.

I was only struck at first with one thing--and I made a memorandum of
it that evening as the strongest instance I had seen of English
obsequiousness to employers--the degree to which the poor author was
overpowered with the honor of his publisher's visit! I remember saying
to myself, as I sat down on a rickety chair:

"My good fellow, if you were in America with that fine face and
your ready quill, you would have no need to be condescended to by a
publisher. "

Dickens was dressed very much as he has since described Dick Swiveller,
minus the swell look.