else too. It is the revolt of
the soul which is oppressed by the yoke of Nature. It is the expression
of that tendency within us towards a freedom which is impossible, but
of which we nevertheless dream. An iron law presides over our destiny.
Around us and within us, the series of causes and effects continues
to unwind its hard chain. Every single one of our deeds bears its
consequence, and this goes on to eternity. Every fault of ours will
bring its chastisement. Every weakness will have to be made good. There
is not a moment of oblivion, not an instant when we may cease to be on
our guard. Romantic illusion is, then, just an attempt to escape, at
least in imagination, from the tyranny of universal order.

It is impossible, in this volume, to consider all George Sand's works.
Some of her others are charming, but the whole series would perhaps
appear somewhat monotonous. There is, however, one novel of this epoch
to which we must call attention, as it is like a burst of thunder during
calm weather. It also reveals an aspect of George Sand's ideas which
should not be passed over lightly. This book was perhaps the only
one George Sand wrote under the influence of anger. We refer to
_Mademoiselle La Quintinie_. Octave Feuillet had just published his
_Histoire de Sibylle_, and this book made George Sand furiously angry.
We are at a loss to comprehend her indignation. Feuillet's novel is very
graceful and quite inoffensive. Sibylle is a fanciful young person, who
from her earliest childhood dreams of impossible things. She wants her
grandfather to get a star for her, and another time she wants to ride on
the swan's back as it swims in the pool. When she is being prepared for
her first communion, she has doubts about the truth of the Christian
religion, but one night, during a storm, the priest of the place springs
into a boat and goes to the rescue of some sailors in peril. All the
difficulties of theological interpretations are at once dispelled for
her. A young man falls in love with her, but on discovering that he is
not a believer she endeavours to convert him, and goes moonlight walks
with him. Moonlight is sometimes dangerous for young girls, and, after
one of these sentimental and theological strolls, she has a mysterious
ailment. . . .

In order to understand George Sand's anger on reading this novel, which
was both religious and social, and at the same time very harmless,
we must know what her state of mind was on