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Updated: June 24, 2025
But "Consuelo," "La Comtesse de Rudolstadt," "Lettres d'un voyageur," Lelia, Spiridion, Valvédre, Valentine, "History of her Life and letters," and many other books reveal her agonies and agitations, her hope and power, her love of beauty both outward and inward as represented in Consuelo herself, who is contrasted with the mere beautiful "animal" Anzoleto, the artist in his lowest form.
Yet from such arguments, pro and con, unless I greatly mistake, are to be derived corollaries equally practical and sublime, the virtue of Action, the obligations of Genius, and the philosophy that teaches us to confide in the destinies, and labour in the service, of mankind. I'LL tell you presently her very picture; Stay yes, it is so Lelia. The Captain, Act V. sc.
Characteristic as an exhibition of feeling and of mastery of language, it is not in the least typical of her fiction. Yet, but for Lélia, and its successor Jacques, it is impossible to point to a work of hers that would ever have lastingly stamped her, in the public mind, as an expounder of dangerous theories.
The author of Lélia was overwhelmed, if not all at once converted, by the tremendous rhetorical power of this singular man. She was a proselyte worth the trouble of making, and Michel was bent on drawing her more closely into active politics, with which hitherto she had occupied herself very little.
I read the history of the Revolution written by the pious, the history of France, written by philosophers; and, one fine day, I made all that agree like light proceeding from two lamps, and I had PRINCIPLES. Don't laugh, very candid, childish principles which have remained with me through all, through Lelia and the romantic epoch, through love and doubt, enthusiasm and disenchantments.
Here she takes every sort of poetical license, in a work without the restrictions of poetic form, which are the true conditions of so much latitude. "Manfred" and "Alastor" are fables not further removed from real life than is Lélia.
Into Lélia, she owns, she put more of her real self than into any other of her books of herself, that is, and her state of mind at the dawn of a period of moral disturbance and revolt. All must continue to recognize there an extraordinary exhibition of poetical power and musical style.
In 1836 Madame Sand had not only published INDIANA, VALENTINE, and JACQUES, but also LELIA, that prose poem of which she afterwards said: "If I regret having written it, it is because I could not now write it. Were I in the same state of mind now as when it was written, it would indeed be a great consolation to me to be able to commence it."
In Lélia, however, which is strongly imbued with Byronic coloring, she had chosen to pose somewhat as the proud angel in rebellion; and the immediate effect of hostile criticism was to confirm her in the position taken up.
Is it possible you should have thought so much, felt so much, without anyone having any idea of it?" Lélia was certainly the expression of a new phase in her mind's history, a moral crisis she could not escape, which was all the more severe for her having, as she remarks, reached her thirtieth year without having opened her eyes to the realities of life.
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