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Dear friend of my heart, I leave with my son and his wife the 20th of the month to stay two weeks in Paris, perhaps more if the revival of Villemer delays me longer. Therefore your dear good mother, whom I do not want to miss, has all the time she needs to go to see her daughters.
In the second piece I played Mariette, and made a great success. Those rehearsals of the Marquis de Villemer and Francois le Champi have remained in my memory as so many exquisite hours. Madame George Sand was a sweet, charming creature, extremely timid. She did not talk much, but smoked all the time.
The days passed by, carrying away with them all our little disappointed hopes, and fresh days dawned bringing fresh dreams, so that life seemed to me eternal happiness. I played in turn in Le Marquis de Villemer and Francois le Champi. In the former I took the part of the foolish baroness, an expert woman of thirty-five years of age. I was scarcely twenty-one myself, and I looked seventeen.
Brunetiere specifies the Marquis de Villemer as the one proved example of imitation. But this novel was written in 1861, eleven years after Balzac's death; and, in so far as it differs from Mauprat and the earlier books, whether La Petite Fadette or Consuelo, can be shown to be the result of a natural and independent evolution.
In fact they are to put on Villemer and Victorine at the Theatre Francais again. But there is nothing now in preparation. I do not know at what time in the autumn or winter I shall have to go to Paris.
The excellent dramatic version of her popular novel Le Marquis de Villemer, first acted in 1864, is free from the defects that weaken most of her stage compositions. It is said that in preparing it she accepted some hints from Alexander Dumas the younger. Whatever the cause, the result is a play where characters, composition and dialogue leave little to be desired.
More lasting success has attended Madame Sand in two of the lightest of society comedies, Le Mariage de Victorine and Le Marquis de Villemer, which seem likely to take a permanent place in the répertoire of the French stage.
I love you and embrace you. Think sometimes of your old troubadour. Friday G. Sand I think that I shall give you pleasure and joy when I tell you that La Conjuration d'Ambroise, thus says my porter, is announced as a real money-maker. There was a line this evening as at Villemer, and Magny which is also a barometer, shows fair weather. So be content, if that keeps up, Bouilhet is a success. Sunday
The most solid of the former was her dramatization of her story, "Le Marquis de Villemer" , which was one of the latest, and next to it "Le Mariage de Victorine" , which was one of the earliest. Her successes on the stage, such as they are, appear mainly due to collaboration with others.
To the next year, 1860, belong the pleasant tale of artisan life, La Ville Noire, and the well-known and popular Marquis de Villemer, notable as a decided success in a genre seldom adopted by her, that of the purely society novel. Already Madame Sand had outlived the period of which she was so brilliant a representative.
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