r part German
origin), is a growth that has hard work to flourish on French soil. The
reader will remember the fate of Weber's _Freischuetz_, outrageously
hissed when first produced at Paris in its original form. Nine days
later it was reproduced, having been taken to pieces and put together
again by M. Castil-Blaze, and thus as _Robin des Bois_ it ran for 357
nights. The reckless imagination that distinguishes the Shakespearian
comedy and does not shrink before the introduction of a lion and a
serpent into the forest of Arden, and the miraculous and instantaneous
conversion of the wretch Oliver into a worthy suitor for Celia, needed
to be toned down for acceptance by the Parisians. But Madame Sand was
less fortunate than M. Castil-Blaze. Her version, produced at the
Theatre Francais, in 1856, failed to please, although supported by such
actors as Delaunay, Arnold-Plessy, and Favart. Macready, who had made
Madame Sand's acquaintance in 1845, when he was giving Shakespearian
performances in Paris, and whom she greatly admired, dedicating to him
her little theatrical romance _Le Chateau des Desertes_, was present at
this representation and records it as a failure. But of her works for
the stage, which number over a score, few like her _Comme il vous
plaira_ missed making some mark at the time, the prestige of her name
and the exceptionally favorable circumstances under which they were
produced securing more than justice for their intrinsic merit. It was
natural that she should over-estimate their value and continue to add to
their number. These pieces would be carefully rehearsed on the little
stage in the house at Nohant, often with the aid of leading professional
actors; and there, at least, the success was unqualified.

Her ingenious novel _Les Beaux Messieurs Bois Dore_, dramatized with the
aid of Paul Meurice and acted in 1862, was a triumph for Madame Sand and
her friend Bocage. The form and spirit of this novel seem inspired by
Sir Walter Scott, and though far from perfect, it is a striking instance
of the versatility of her imaginative powers. The leading character of
the septuagenarian Marquis, with his many amiable virtues, and his one
amiable weakness, a longing to preserve intact his youthfulness of
appearance as he has really preserved his youthfulness of heart, is both
natural and original, comic and half pathetic withal. The part in the
play seemed made for Bocage, and his heart was set upon undertaking it.