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"Le Meunier d'Angibault," she tells us, was the result of a walk, a meeting, a day of leisure, an hour of far niente, followed by Reverie, that play of the imagination which, clothes with beauty and perfects, and interprets, the isolated and small events and facts of life. There are books of hers in early life that are simply self-revelations outpourings of her indignations.
And so she wrote a "sweet song" in prose, one of the most delightful of her Bergeries, "La Petite Fadette." It was her contribution to the hatreds and agitations of the time she gave a refuge to the souls that could accept it an "Ideal of calmness and innocence and reverie." "La Petite Fadette" and "Le Meunier d'Angibault" reveal her fascinating intelligence and her idyllic imagination.
Such are our grand pranks. Sometimes these little outings would originate a novel, as with the Meunier d'Angibault, which she ascribes to "a walk, a discovery, a day of leisure, an hour of idleness."
"It would be difficult not to speak of La Mare au Diable and the Meunier d'Angibault when recalling the fields where Rosa Bonheur speeds the plow or places the oxen lowering their patient heads under the yoke." In the evening, at home, while other members of the family were at work, one member read aloud to the rest; and George Sand was a favorite author with the Bonheur group of artists.
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