Mauprat - George Sand

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a detachment which is usually considered exclusively virile. Elle et Lui, which, perhaps because it is short and associated with actual facts, is the most frequently discussed in general conversation on her work, remains probably the sanest account of a sentimental experiment which was ever written. How far it may have seemed accurate to De Musset is not to the point. Her version of her grievance is at least convincing. Without fear and without hope, she makes her statement, and it stands, therefore, unique of its kind among indictments. It has been said that her fault was an excess of emotionalism; that is to say, she attached too much importance to mere feeling and described it, in French of marvellous ease and beauty, with a good deal of something else which one can almost condemn as the high-flown. Not that the high-flown is of necessity unnatural, but it is misleading; it places the passing mood, the lyrical note, dependent on so many accidents, above the essential temperament and the dominant chord which depend on life only. Where she falls short of the very greatest masters is in this all but deliberate confusion of things which must change or can be changed with things which are unchangeable, incurable, and permanent. Shakespeare, it is true, makes all his villains talk poetry, but it is the poetry which a villain, were he a poet, would inevitably write. George Sand glorifies every mind with her own peculiar fire and tears. The fire is, fortunately, so much stronger than the tears that her passion never degenerates into the maudlin. All the same, she makes too universal a use of her own strongest gifts, and this is why she cannot be said to excel as a portrait painter. One merit, however, is certain: if her earliest writings were dangerous, it was because of her wonderful power of idealization, not because she filled her pages with the revolting and epicene sensuality of the new Italian, French, and English schools. Intellectual viciousness was not her failing, and she never made the modern mistake of confusing indecency with vigour. She loved nature, air, and light too well and too truly to go very far wrong in her imaginations. It may indeed be impossible for many of us to accept all her social and political views; they have no bearing, fortunately, on the quality of her literary art; they have to be considered under a different aspect. In politics, her judgment, as displayed in the letters to Mazzini, was profound. Her correspondence with Flaubert shows us a capacity for stanch, unblemished friendship unequalled, probably, in the biographies, whether published or unpublished, of the remarkable.

      With regard to her impiety—for such it should be called—it did not arise from arrogance, nor was it based in any way upon the higher learning of her period. Simply she did not possess the religious instinct. She understood it sympathetically—in Spiridion, for instance, she describes an ascetic nature as it has never been done in any other work of fiction. Newman himself has not written passages of deeper or purer mysticism, of more sincere spirituality. Balzac, in Seraphita, attempted something of the kind, but the result was never more than a tour de force. He could invent, he could describe, but George Sand felt; and as she felt, she composed, living with and loving with an understanding love all her creations. But it has to be remembered always that she repudiated all religious restraint, that she believed in the human heart, that she acknowledged no higher law than its own impulses, that she saw love where others see only a cruel struggle for existence, that she found beauty where ordinary visions can detect little besides a selfishness worse than brutal and a squalor more pitiful than death. Everywhere she insists upon the purifying influence of affection, no matter how degraded in its circumstances or how illegal in its manifestation. No writer—not excepting the Brontes—has shown a deeper sympathy with uncommon temperaments, misunderstood aims, consciences with flickering lights, the discontented, the abnormal, or the unhappy. The great modern specialist for nervous diseases has not improved on her analysis of the neuropathic and hysterical. There is scarcely a novel of hers in which some character does not appear who is, in the usual phrase, out of the common run. Yet, with this perfect understanding of the exceptional case, she never permits any science of cause and effect to obscure the rules and principles which in the main control life for the majority. It was, no doubt, this balance which made her a popular writer, even while she never ceased to keep in touch with the most acute minds of France.

      She possessed, in addition to creative genius of an order especially individual and charming, a capacity for the invention of ideas. There are in many of her chapters more ideas, more suggestions than one would find in a whole volume of Flaubert. It is not possible that these surprising, admirable, and usually sound thoughts were the result of long hours of reflection. They belonged to her nature and a quality of judgment which, even in her most extravagant romances, is never for a moment swayed from that sane impartiality described by the unobservant as common sense.

      Her fairness to women was not the least astounding of her gifts. She is kind to the beautiful, the yielding, above all to the very young, and in none of her stories has she introduced any violently disagreeable female characters. Her villains are mostly men, and even these she invests with a picturesque fatality which drives them to errors, crimes, and scoundrelism with a certain plaintive, if relentless, grace. The inconstant lover is invariably pursued by the furies of remorse; the brutal has always some mitigating influence in his career; the libertine retains through many vicissitudes a seraphic love for some faithful Solveig.

      Humanity meant far more to her than art: she began her literary career by describing facts as she knew them: critics drove her to examine their causes, and so she gradually changed from the chronicler with strong sympathies to the interpreter with a reasoned philosophy. She discovered that a great deal of the suffering in this world is due not so much to original sin, but to a kind of original stupidity, an unimaginative, stubborn stupidity. People were dishonest because they believed, wrongly, that dishonesty was somehow successful. They were cruel because they supposed that repulsive exhibitions of power inspired a prolonged fear. They were treacherous because they had never been taught the greater strength of candour. George Sand tried to point out the advantage of plain dealing, and the natural goodness of mankind when uncorrupted by a false education. She loved the wayward and the desolate: pretentiousness in any disguise was the one thing she suspected and could not tolerate. It may be questioned whether she ever deceived herself; but it must be said, that on the whole she flattered weakness—and excused, by enchanting eloquence, much which cannot always be justified merely on the ground that it is explicable. But to explain was something—all but everything at the time of her appearance in literature. Every novel she wrote made for charity—for a better acquaintance with our neighbour’s woes and our own egoism. Such an attitude of mind is only possible to an absolutely frank, even Arcadian, nature. She did what she wished to do: she said what she had to say, not because she wanted to provoke excitement or astonish the multitude, but because she had succeeded eminently in leading her own life according to her own lights. The terror of appearing inconsistent excited her scorn. Appearances never troubled that unashamed soul. This is the magic, the peculiar fascination of her books. We find ourselves in the presence of a freshness, a primeval vigour which produces actually the effect of seeing new scenes, of facing a fresh climate. Her love of the soil, of flowers, and the sky, for whatever was young and unspoilt, seems to animate every page—even in her passages of rhetorical sentiment we never suspect the burning pastille, the gauze tea-gown, or the depressed pink light. Rhetoric it may be, but it is the rhetoric of the sea and the wheat field. It can be spoken in the open air and read by the light of day.

      George Sand never confined herself to any especial manner in her literary work. Her spontaneity of feeling and the actual fecundity, as it were, of her imaginative gift, could not be restrained, concentrated, and formally arranged as it was in the case of the two first masters of modern French novel-writing. Her work in this respect may be compared to a gold mine, while theirs is rather the goldsmith’s craft. It must not be supposed, however, that she was a writer without very strong views with regard to the construction of a plot and the development of character. Her literary essays and reviews show a knowledge of technique which could be accepted at any time as a text-book for the critics and the criticised. She knew exactly how artistic effects were obtained, how and why certain things were done, why realism, so-called, could never be anything but caricature, and why over-elaboration of small matters can never be otherwise than disproportionate. Nothing could be more just than her saying about Balzac that he was such a logician that he invented things more truthful than the truth itself. No one knew better than she that the truth, as it is commonly understood, does not exist; that it cannot be logical because of its mystery; and that it is the knowledge of its contradictions which shows the

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