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She has revealed something of this
time--naturally from her own point of view--in "Lucrezia
Floriana" (1847). For it is, of course, one of the most
notorious characteristics of George Sand that she invariably
turned her loves into "copy." The mixture of passion and
printer's ink in this lady's composition is surely one of the
most curious blends ever offered to the palate of the epicure.
But it was a blend which gave the lady an unfair advantage for
posterity. We hear too much of her side of the matter. This
one feels especially as regards her affair with Chopin. With
Musset she had to reckon a writer like herself; and against
her "Elle et Lui" we can set his "Confession d'un enfant du
siecle." But poor Chopin, being a musician, was not good at
"copy." The emotions she gave him he had to pour out in music,
which, delightful as sound, is unfortunately vague as a
literary "document." How one longs to have his full, true, and
particular account of the six months he spent with George Sand
in Majorca! M.


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