Famous Women: George Sand Part 10

When, after the publication of _Indiana_, _Valentine_, _Lelia_ and _Jacques_, the moral tendency of her works was so sharply attacked, it was contended on her behalf by some friendly critics that art and social morality have no necessary connection--a line of defense she would have been the last to take up for herself. In the present day her judges complain rather of her incessant moralizing, and on the whole with more reason. She indignantly denied that her novels had the evil tendencies imputed to them. Certainly the supposition of the antagonistic spirit of her writings to Christianity and marriage vanishes in proportion to the reader's acquaintance with her works. But against certain doctrines and practices of the Roman Catholic Church which she believed to be pernicious in their influence, she from the first declared war, and by her frank audacity made bitter enemies. M.

Renan relates that when he was a boy of fifteen his ecclesiastical superiors showed him George Sand, emblematically portrayed for the admonition of the youth under their care, as a woman in black trampling on a cross! Now, it is not merely that her own faith was eminently Christian in character, and that the Christian ideal seemed to her the most perfect that has yet presented itself to the mind of man; but if unable to accept for herself the doctrine of revelation as commonly interpreted, she is utterly without the aggressiveness of spirit, the petty flippancy, that often betray the intellectual bigot under the banner of free thought. She was too large-minded to incline to ridicule the serious convictions of earnest seekers for truth, and she respected all sincerity of belief--all faith that produced beneficence in action.

The alleged hostility of her romances to marriage resumes itself into a declared hostility to the conventional French system of match-making.

Much that she was condemned for venturing to put forward we should simply take for granted in England, where--whichever system work the best in practice--to the strictest Philistine's ideas of propriety there is nothing unbecoming in a love-match. The aim and end of true love in her stories is always marriage, whether it be the simple attachment of Germain, the field-laborer, for the rustic maiden of his choice, the romantic predilection of the rich young widow in _Pierre qui roule_ for the handsome actor Laurence, or the worship of Count Albert for the _cantatrice_ Consuelo. Her ideal of marriage was, no doubt, a high one, "the indissoluble attachment of two hearts fired with a like love;" a love "great, n.o.ble, beautiful, voluntary, eternal." Among French novelists she should rather be noted for the extremely small proportion of her numerous romances that have domestic infelicity for a theme.

Her remark that their real offense was that they were a great deal too moral for some of their critics, hit home, inasmuch as in her attack on the ordinary marriage system of France she struck directly at the fashionable immorality which is its direct result, and which she saw, both in life and in literature, pa.s.s free of censure. It is the selfish intriguer who meets with least mercy in her pages, and who is there held up, not only to dislike, but to ridicule.

Persons perplexed by the fact that particular novels of hers which, judged by certain theories, ought to be morally hurtful, do yet produce a very different effect, have accounted for it in different ways. One explains it by saying that if there is poison on one page there is always the antidote on the next. Another observes that a certain morality of misfortune is never absent from her fictions. In other words, she nowhere presents us with the spectacle of real happiness reaped at the expense of a violation of conscience. And in the rare cases where the purpose of the novel seems questionable, she defeats her own end. For truth always preponderates over error in her conceptions, and the result is a moral effect.

The want of delicacy that not unfrequently disfigures her pages and offends us, offends also as an artistic fault. As a fact it is taste rather than conscience that she is thus apt to shock. For the almost pa.s.sing coa.r.s.eness of expression or thought is nothing more than the overflow, the negligent frankness of a rich and active but healthy nature, not the deliberate obliquity of a corrupt fancy or perverted mind. Such unreserve, unfortunately, has too commonly been the transgression of writers of superabundant energy. But her sins are against outward decorum rather than against the principles upon which the rules of decorum are based. No one was better capable of appreciating and indicating with fine touches, delicacy and niceties of taste and feeling in others. Her sympathy with such sensitiveness is a corrective that should render harmless what might vitiate taste if that qualification were absent. And her stories, though including a very few instances where the subject chosen seems to most English minds too repulsive to admit of possible redemption, and the frequent incidental introduction of situations and frank discussion of topics inadmissible in English fiction of that period--an honorable distinction it seems in some danger of losing in the present--can hardly be censured from the French standpoint, as fair critics now admit. It is inconceivable that a public could be demoralized by _Indiana_ and _Valentine_, at a time when no subject seemed wicked and morbid enough to satisfy popular taste.

The art of George Sand in the main was sound and healthy, and in flat opposition to the excesses both of the ultra-romantic and ultra-realist schools.

Clear-sighted critics, perceiving that the impression produced by her works is not one to induce men and women to defy the laws of their country, nor likely to undermine their religious faith, have gone more to the heart of the matter. The dangerous tendency is more insidious, they say, and more general. Virtue, and not vice, is made attractive in her books; but it is an easy virtue, attained without self-conquest. All her characters, good and bad, act alike from impulse. Those who seek virtue seek pleasure in so doing, and her philosophy of life seems to be that people should do as they like. The morality she commends to our sympathy and admiration is a morality of instinct and emotion, not of reason and principle. Self-renunciation, immolation of desire in obedience to accepted precept, is ignored. Sentiment is supreme. Duty, as a motive power, is set aside.

George Sand, who as a writer from first to last appeared as a crusader against the evil, injustice and vice that darken the world, did undoubtedly choose rather to speak out of her heart to our hearts, than out of her head to our heads, and considered moreover that such was the more effectual way. Her idea of virtue lay not in the curbing of evil instincts, but in their conversion or modification by the evoking of good impulses, that "guiding and intensifying of our emotions by a new ideal" which has been called the great work of Christianity.

It is not--or not in the first place--that people should do as they like, but that they should like to do right; and further, that human nature in that ideal life the sentiment of which pervades her works, and in which she saw "no other than the normal life as we are called to know it," does not desire what is hurtful to it.

The goodness that consists in doing right or refraining from doing wrong reluctantly, or in obedience to prescribed rules, or from mechanical habit, had for her no life or charm. The object to be striven for should be nothing less than the "perfect harmony of inward desire and outward obligation."

Virtue should be chosen, though we seem to sacrifice happiness; but that the two are in the beginning identical, that, as expressed by Mr.

Herbert Spencer, "whether perfection of nature, virtuousness of action, or rect.i.tude of motive, be a.s.signed as the proper aim, the definition of perfection, virtue, rect.i.tude, brings us down to happiness experienced in some form, at some time, by some person as the fundamental idea," is a philosophic truth of which a large _apercu_ is observable in the works of George Sand. Self-sacrifice should spring from direct desire, altruism be spontaneous--a need--becoming a second and better nature; not won by painful effort, but through the larger development of the principle of sympathy. Strong in her own immense power of sympathy, she applied herself to the task of awakening and extending such sympathies in others. This she does by the creation of agreeable, interesting and n.o.ble types, such as may put us out of conceit with what is mean and base. Goodness, as understood and portrayed by her, must recommend itself not only to the judgment but to the heart. She worked to popularize high sentiments, and to give shape and reality to vague ideas of human excellence. Her idea of virtue as a motive, not a restraint, not the controlling of low and evil desires, but the precluding of all temptations to yield to these, by the calling out of stronger, higher desires, so far from being a low one, is indeed the very n.o.blest; yet not on that account a chimera to those who hold, like her, to the conviction that "what now characterizes the exceptionally high may be expected eventually to characterize all. For that which the highest human nature is capable of is within the reach of human nature at large." "We gravitate towards the ideal," she writes, "and this gravitation is infinite, as is the ideal itself." And her place remains among those few great intelligences who can be said to have given humanity an appreciable impulse in the direction of progress.

CHAPTER XII

LATER YEARS.

When, in 1869, Madame Sand was applied to by M. Louis Ulbach--a literary friend who proposed to write her biography--for some account of her life from that time onwards where her memoirs break off, she replied, in a letter now appended to those memoirs, as follows:--

For the last five-and-twenty years there is nothing more that is of interest. It is old age, very quiet and very happy, _en famille_, crossed by sorrows entirely personal in their nature--deaths, defections, and then the general state of affairs in which we have suffered, you and I, from the same causes. My time is spent in amusing the children, doing a little botany, long walks in summer--I am still a first-rate pedestrian--and writing novels, when I can secure two hours in the daytime and two in the evening.

I write easily and with pleasure. This is my recreation, for my correspondence is numerous, and there lies work indeed! If one had none but one's friends to write to! But how many requests, some touching, some impertinent! Whenever there is anything I can do, I reply. Those for whom I can do nothing I do not answer. Some deserve that one should try, even with small hope of succeeding.

Then one must answer that one will try. All this, with private affairs to which one must really give attention now and then, makes some ten letters a day.

The old age of George Sand, brighter, fuller and more active than the youth of most men and women, was in itself a most signal proof of the stability and worth of her mental organization. Life, which deteriorates a frail character, told with a perfecting and elevating power upon hers.

Of her earlier personal beauty few traces remained after middle age except a depth of expression in her eyes, the features having become thickened by age. Some among those who, like d.i.c.kens, first saw her in her later years and still looked for the semblance of a heroine of romance, failed to find the muse Lelia of their imaginations under the guise of a middle-aged _bourgeoise_. But such impressions were superficial. Her portrait in black and white by Couture, engraved by Manceau, seems to reconcile these apparent discrepancies. Beauty is not here, but the face is so powerful and comprehensive that we perceive there at once the mirror of a mind capable of embracing both the prose and the poetry of life; and by many this portrait is preferred to the earlier likenesses.

Nor is there anything more remarkable in her correspondence than the extremely interesting series of letters, extending from February, 1863, to within three months of her death in 1876, and addressed to Gustave Flaubert, at this period her familiar friend. The intercourse of two minds of so different an intellectual and moral order as those of the authors of _Consuelo_ and of _Madame Bovary_ offers to all a curious study. To the admirers of George Sand these letters are invaluable, both from a literary point of view and as a record of her inner life from that time onwards, when, as expressed by herself, she resolutely buried youth, and owned herself the gainer by an increasing calm within. The secret of her future happiness she found in living for her children and her friends. That she retained her zest for intellectual pleasures she ascribed to the very fact that she never allowed herself to be absorbed for long in these and in herself.

"Artists are spoilt children," she writes to Flaubert, "and the best of them are great egoists. You tell me I love them too well; I love them as I love woods and fields, all things, all beings that I know a little and make my constant study. In the midst of it all I pursue my calling; and how I love that calling of mine, and all that nourishes and renovates it!"

We must now take up the thread of outward events again, which we have slightly antic.i.p.ated.

In the autumn of 1860 Madame Sand had a severe attack of typhoid fever.

She was then on the point of beginning her little tale, _La Famille de Germandre_; "_le roman de ma fievre_," she playfully terms it afterwards, when retracing the circ.u.mstances in a letter to her old friend Francois Rollinat:--

The day before that upon which I was suddenly taken very seriously ill, I had felt quite well. I had scribbled the beginning of a novel; I had placed all my personages; I knew them thoroughly; I knew their situations in the world, their characters, tendencies, ideas, relations to each other. I saw their faces. All that remained to be known was what they were going to do, and I did not trouble my head about that, having time to think it over to-morrow.

Struck down on the morrow, she was for many days in a precarious condition; and in the confused fancies of fever found herself wandering with _La Famille de Germandre_ about the country, alighting in ruined castles, and encountering the most whimsical adventures in flood and field.

It would have been an easy death, she remarked afterwards, had she died then, as she might, in her dream; but she came to herself to find her son and friends in such anxiety on her account, so overjoyed at her convalescence, that she could not but be glad of the life that was given back to her. Early in 1861 we find her recruiting her forces by a stay at Tamaris, near Toulon, completing the novel interrupted by illness; resuming her long walks and botanic studies, and thoroughly enjoying the sense of returning vital powers.

She stood always in great dread of the idea of possibly losing her activity as she advanced in years. The infirmities of old age, however, she was happily to be spared, preserving her energy and mental faculties, as will be seen, till just before her death. But though she was restored to health and strength, this illness seems to have left its traces on her const.i.tution.

Her son's marriage to Mdlle. Calamatta, spoken of by Madame Sand as a heart's desire of hers at length fulfilled, took place in 1862, not many months after his return from half a year of travel in Africa and America, in the company of Prince Napoleon. The event proved a fresh source of the purest happiness to her, and was not to separate her from her son. The young people settled at Nohant, which remained her head-quarters. There a few years later we find her residing almost exclusively, except when called by matters of business to her _pied-a-terre_ in Paris, where she never lingered long. To the two little grand-daughters, Aurore and Gabrielle, whom she saw spring up in her home, she became pa.s.sionately devoted. Most of her compositions henceforward are dated from Nohant, where, indeed, more than fifty years of her life were spent.

As regards decorum of expression and temperance of sentiments, the later novels of George Sand have earned more praise than censure; but some readers may feel that in fundamental questions of taste the comparison between them and their forerunners is not always entirely to their advantage. The fervor of youth has a certain purifying power to redeem from offense matter, even though over-frankly treated, which becomes disagreeable in cold a.n.a.lysis, however sober the wording, and clear and admirable the moral pointed.

_Mademoiselle La Quintinie_, which appeared in 1863, was suggested by M.

Octave Feuillet's _Sibille_. The point of M. Feuillet's novel is, that Sibille, an ardent Catholic, stifles her love, and renounces her lover on account of his heterodox opinions. Madame Sand gives us the reverse--a heroine who is reflectively rather than mystically inclined, and whose lover by degrees succeeds in effecting her conversion to his more liberal views. Here, as elsewhere, the author's mind shows a sympathetic comprehension of the standpoint of enlightened Protestantism curiously rare among those who, like herself, have renounced Romanism for the pursuit of free thought and speculation. But even those who prefer the _denoument_ of George Sand's novel to that of M. Feuillet's will not rank _Mademoiselle La Quintinie_ very high among the author's productions. It is colorless, and artistically weak, however controversially strong.

Madame Sand, according to her own reckoning in 1869, had made at least 40,000 by her writings. Out of this she had saved no fortune. She had always preferred to live from day to day on the proceeds of her work, regulating her expenses accordingly, trusting her brain to answer to any emergency and bring her out of the periodical financial crises in which the uncertainty of literary gains and the liberality of her expenditure involved her. She continued fond of travelling, especially of exploring the nooks and corners of France, felt by her to be less well known than they deserve, and fully as picturesque as the spots tourists go far to visit. Here she sought fresh frames for her novels. "If I have only three words to say about a place," she tells us, "I like to be able to refer to it in my memory so as to make as few mistakes as possible."

In January, 1869, we find her writing of herself in a playful strain to her friend Flaubert:--

The individual called George Sand is quite well, enjoying the marvelous winter now reigning in Berry, gathering flowers, taking note of interesting botanic anomalies, st.i.tching at dresses and mantles for her daughter-in-law, costumes for the marionettes, dressing dolls, reading music, but, above all, spending hours with little Aurore, who is a wonderful child. There is not a being on earth more tranquil and happier in his home than this old troubadour retired from business, now and then singing his little song to the moon, singing well or ill he does not particularly care, so long as he gives the _motif_ that is running in his head.... He is happy, for he is at peace, and can find amus.e.m.e.nt in everything.

M. Plauchut, another literary friend and a visitor at Nohant during this last decade of her lifetime, gives a picture of the order of her day; it is simplicity itself.

Nine o'clock, in summer and in winter alike, was her hour of waking.

Letters and newspapers would then occupy her until noon, when she came down to join the family _dejeuner_. Afterwards she would stroll for an hour in the garden and the wood, visiting and tending her favorite plants and flowers. At two o'clock she would come indoors to give a lesson to her grandchildren in the library, or work there on her own account, undistracted by the romps around her. Dinner at six was followed by a short evening walk, after which she played with the children, or set them dancing indoors. She liked to sit at the piano, playing over to herself bits of music by her favorite Mozart, or old Spanish and Berrichon airs. After a game of dominoes or cards she would still sit up so late, occupying herself with water-color painting or otherwise, that sometimes her son was obliged to take away the lights.

These long evenings, the same writer bears witness, sometimes afforded rare opportunities of hearing Madam Sand talk of the events and the men of her time. In the absolute quiet of the country, among a small circle of responsive minds, she, so silent otherwise, became expansive. "Those who have never heard George Sand at such hours," he concludes, "have never known her. She spoke well, with great elevation of ideas, charming eloquence, and a spirit of infinite indulgence." When at length she retired, it was to write on until the morning hours according to her old habit, only relinquished when her health made this imperative.

She had allowed her son and her daughter-in-law to take the cares of household management off her hands. This left her free, as she expressed it, to be a child again, to hold aloof from things immediate and transitory, reserving her thoughts and contemplations for what is general and eternal. She found a poet's pleasure in abstracting herself from human life, saying: "There are hours when I escape from myself, when I live in a plant, when I feel myself gra.s.s, a bird, a tree-top, a cloud, a running stream." Shaking off, as it were, the sense of personality, she felt more freely and fully the sense of kinship with the life and soul of the universe.

It was her habit every evening to sum up in a few lines the impressions of the day, and this journal, for the conspicuous absence of incident in its pages, she compares to the log-book of a ship lying at anchor. But one terrible and little antic.i.p.ated break in its tranquil monotony was yet to come.

George Sand lived to see her country pa.s.s through every imaginable political experience. Born before the First Republic had expired, she had witnessed the First Empire, the restored Monarchy, the Revolution of 1830, the reign of Louis Philippe, the convulsions of 1848, the presidency of Louis Bonaparte, and the Second Empire. She was still to see and outlive its fall, the Franco-German War, the Commune, and to die, as she was born, under a republic.

To some of her friends who had reproached her with showing too much indulgence for the state of things under Imperial rule, she replied that the only change in her was that she had acquired more patience in proportion as more was required. The _regime_ she condemned--and amid apparent prosperity had foretold the corrupting influence on the nation of the established ideal of frivolity, and that a crash of some kind must ensue. Her judgment on the Emperor, after his fall, is worth noting, if only because it is dispa.s.sionate. Since his elevation to the Imperial dignity she had lost all old illusions as to his public intentions. With regard to these, on the occasion of her interviews with him at the Elysee, he had completely deceived her, and designedly, she had at first thought. Nor had she concealed her disgust.

I left Paris, and did not come to an appointment he had offered me.

They did not tell me "The King might have had to wait!" but they wrote "The Emperor waited." However, I continued to write to him, whenever I saw hopes of saving some victim, to ponder his answers and watch his actions; and I became convinced that he did not intentionally impose upon any one. He imposed on himself and on everybody else.... In private life he had genuine qualities. I happened to see in him a side that was really generous and sincere.

His dream of grandeur for France was not that of a sound mind, but neither of an ordinary mind. Really France would have sunk too low if she had submitted for twenty years to the supremacy of a _cretin_, working only for himself. One would then have to give her up in despair for ever and ever. The truth is that she mistook a meteor for a star, a silent dreamer for a man of depth. Then seeing him sink under disasters he ought to have foreseen, she took him for a coward.

George Sand's _Journal d'un Voyageur pendant la guerre_ has a peculiar and painful interest. It is merely a note-book of pa.s.sing impressions from September, 1870, to January, 1871; but its pages give a most striking picture of those effects of war which have no place in military annals.

The army disasters of the autumn were preceded by natural calamities of great severity. The heat of the summer in Berry had been tremendous, and Madame Sand describes the havoc as unprecedented in her experience--the flowers and gra.s.s killed, the leaves scorched and yellowed, the baked earth under foot literally cracking in many places; no water, no hay, no harvest, but destructive cattle-plague, forest-fires driving scared wolves to seek refuge in the courtyard of Nohant itself--the remnant of corn spared by the sun, ruined by hail-storms. She and all her family had suffered from the unhealthiness of the season. Thus the political catastrophe found her already weakened by anxiety and fatigue, and feeling greatly the effort to set to work again. Finally, an outbreak of malignant small-pox in the village forced her to take her little grandchildren and their mother from Nohant out of reach of the infection. September and October were pa.s.sed at or in the neighborhood of Boussac, a small town some thirty miles off. Sedan was over, and the worst had begun; the protracted suspense, the long agony of hope.

Those suffered most perhaps who, like herself, had to wait in enforced inaction, amid the awful dead calm that reigned in the provinces, yet forbidden to forget their affliction for a moment. The peasant was gone from the land--only the old and infirm were left to look after the flocks, to till and sow the field. Madame Sand notes, and with a kind of envy, the stolid patience and industry, the inextinguishable confidence, of poor old Jacques Bonhomme when things are at the worst. "He knows that in one way or another it is he who will have to pay the expenses of the war; he knows next winter will be a season of misery and want, but he believes in the spring"--in the bounty of nature to repair war's ravages.

During this time of unimaginable trouble some of the strongest minds were unhinged. It is no small honor to George Sand that hers should have preserved its balance. The pages of this journal are distinguished throughout by a wonderful calm of judgment and an equitable tone--not the calm of indifference, but of a broad and penetrating intelligence, no longer to be blinded by the wild excitement and pa.s.sions of the moment, or exalted by childish hopes one hour to be thrust into the madness of despair the next.

Although tempted now and then to regret that she had recovered from her illness ten years ago, surviving but to witness the abas.e.m.e.nt of France, she was not, like others, panic-struck at the prospect of invasion, as though this meant the end of their country. "It will pa.s.s like a squall over a lake," she said.