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Updated: May 3, 2025
'No! not always, she said, significantly; and that was the only allusion she made to the offending article. I lent her some of Balzac's and George Sand's novels to take with her into the country; and the following letter was written when they were returned:" "I am sure you will have thought me very dilatory in returning the books you so kindly lent me.
The result was that Porpora softened and consented to give his young admirer lessons no great hardship, for young Haydn proved a most apt and gifted pupil. And it was not long either before the young musician's compositions attracted public attention and found a sale. The very curious relations between Haydn and Porpora are brilliantly sketched in George Sand's "Consuelo."
But before Senor Gomez had done with his tenants, he made them pay for the whitewashing and the replastering of the whole house, which he held to have been infected by Chopin. And now let us turn once more from George Sand's poetical inventions, distortions, and exaggerations, to the comparative sobriety and trustworthiness of letters. Chopin to Fontana; Palma, December 3, 1838:
He said that it ought to have a porch 'but porches tumble in. He was too young an artist to accept quite meekly the limits imposed by his material. He pointed along the lower edge of the roof: 'It ought to stick out, he said, meaning that it wanted eaves. I told him not to worry about that: it was the sand's fault, not his.
CHARLOTTE CUSHMAN, with Miss Hayes, the translator of George Sand's best works, was at the last dates on a visit to the popular poetess of the milliner and chambermaid classes, Eliza Cook, who was very ill. Miss Cushman is really quite as good a poet as Miss Cook, though by no means so fluent a versifier. She will return to the United States in a few weeks to fulfill some professional engagements.
This publication made a great stir, not only at Jena, but throughout all Germany. Here is the trace of this event that we find in Sand's journal: 24th November "To-day, after working with much ease and assiduity, I went out about four with E. As we crossed the market-place we heard Kotzebue's new and venomous insult read.
This thought was one of those which returned most persistently to Dick Sand's mind. What misfortunes the death, the just death of Harris and Negoro might have prevented! What misery, at least, for those whom these brokers in human flesh were now treating as slaves! All the horror of Mrs. Weldon's and little Jack's situation now represented itself to Dick Sand.
Perhaps the keynote to the charm of George Sand's art is given in her preface to her exquisite novel "La Derniere Aldini." Here is none of the accuracy and patience of the scientific enquirer into the "mysterious mixture" man, which we find in George Eliot's preface to "Middlemarch." Indeed these prefaces sum up the remarkably differing characteristics of the two writers. George Eliot is occupied with "the function of knowledge" in regard to the "ardently willing soul." She explains in her preface that the aim of her book is to trace the fate of the Saint. Theresas of a past age, in the ordinary environment and circumstances of our time. The problem was, how were detachment of mind and spiritual longing and love to find their developments in a modern prosaic setting. George Eliot brought to bear on this enquiry all her great powers of observation, discrimination and thought. Each page of the novel reveals the conscious endeavour of the born thinker to express in artistic form some conception that would help to clear the outlook on which the answer to the problem depended. George Sand, who had also her philosophising, and her analysing moods, was yet capable of feeling that novels may be romances. She could write under the sway of pure emotion and apart from theory. George Eliot never regarded her novels as mere romances. "Romances," said George Sand in her preface, "are always 'fantasies, and these fantasies of the imagination are like the clouds which pass. Whence come the clouds and whither do they go? In wandering about the Forest of Fontainebleau tête
Tom was naturally the boatswain, and it was he, indeed, whom his companions would have chosen for that office. He commanded the watch while the novice rested, and he had with him his son Bat and Austin. Acteon and Hercules formed the other watch, under Dick Sand's direction. By this means, while one steered, the others watched at the prow.
During the hot summer months it was in great part occupied by small burghers from Palma who came in quest of fresh air. The only permanent inhabitants of the monastery, and the only fellow-tenants of George Sand's party, were two men and one woman, called by the novelist respectively the Apothecary, the Sacristan, and Maria Antonia.
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