g up with _Le Compagnon du Tour de France_
the trio of "socialist" novels, the _Tendenz_ does not interfere to the
detriment of the artistic plan of the book. In it the romantic elements
of the remote country nook she inhabited are cleverly brought together,
without departing too widely from probability. The dilapidated castle,
the picturesque mill, the traditions of brigandage two generations ago,
all these were realities familiar to her notice. The painting of the
country and country people is masterly; and there is not a passage in
the book to offend the taste of the most scrupulous reader. Nor can it
be justly impugned on the ground of inculcating disturbing political
principles. The personages, in their preference of poverty and obscurity
to rank and wealth, may, in the judgment of some, think and conduct
themselves like chimerical dreamers, but their actions, however
quixotic, concern themselves alone.

But, previous to either of the two novels last named, she had presented
the world with a more ambitious work, whose merit was to compel
universal acknowledgment--the most important, in fact, she had produced
for eight years.

CHAPTER VII.

CONSUELO--HOME LIFE AT NOHANT.

CONSUELO first appeared in the _Revue Independante_, 1842-43. This noble
book might not be inaptly described as,

--a whole which, irregular in parts,
Yet left a grand impression on the mind.

Its reckless proportions naturally "shocked the connoisseurs" among
literary critics, especially in her own land; but nevertheless it
became, and deservedly, one of her most popular productions, and did
more than any other single novel she ever wrote to spread her popularity
abroad. If _Indiana_, _Valentine_, and _Lelia_ had never been written to
create the fame of George Sand, _Consuelo_ would have done so, and may
be said to have established it over again, on a better and more lasting
basis. Upon so well-known a work lengthened comment here would be
superfluous. Originally intended for a novelette,--the opening chapters
appear in the _Revue_ under the modest heading, _Consuelo_,
_conte_,--the beginning was so successful that the author was urged to
extend her plan beyond its first proposed limits. The novel is an
ephemeral form of art, no doubt, but it is difficult to conceive of a
stage of social and intellectual progress when the first part of
_Consuelo_ will cease to be read with interest and delight.

The heroine once transporte