George Sand, some aspects of her life and writings Part 2

In the _Histoire de ma vie_ there is an enigmatical page in which George Sand has intentionally measured and veiled every expression. She speaks of her moral solitude, which, at that time, was profound and absolute, and she adds: "It would have been mortal to a tender mind and to a girl in the flower of her youth, if it had not been filled with a dream which had taken the importance of a great pa.s.sion, not in my life, as I had sacrificed my life to duty, but in my thoughts. I was in continual correspondence with an absent person to whom I told all my thoughts, all my dreams, who knew all my humble virtues, and who heard all my platonic enthusiasm. This person was excellent in reality, but I attributed to him more than all the perfections possible to human nature. I only saw this man for a few days, and sometimes only for a few hours, in the course of a year. He was as romantic, in his intercourse with me, as I was. Consequently he did not cause me any scruples, either of religion or of conscience. This man was the stay and consolation of my exile, as regards the world of reality." It was this dream, as intense as any pa.s.sion, that we must study here. We must make the acquaintance of this excellent and romantic man.

Aurelien de Seze was a young magistrate, a few years older than Aurore.

He was twenty-six years of age and she was twenty-one. He was the great-nephew of the counsel who pleaded for Louis XVI. There was, therefore, in his family a tradition of moral n.o.bility, and the young man had inherited this. He had met Aurore at Bordeaux and again at Cauterets. They had visited the grottoes of Lourdes together. Aurelien had appreciated the young wife's charm, although she had not attempted to attract his attention, as she was not coquettish. She appreciated in him--all that was so lacking in Casimir--culture of mind, seriousness of character, discreet manners which people took at first for coldness, and a somewhat dignified elegance. He was scrupulously honest, a magistrate of the old school, sure of his principles and master of himself. It was, probably, just that which appealed to the young wife, who was a true woman and who had always wished to be dominated. When they met again at Breda, they had an explanation. This was the "violent grief" of which George Sand speaks. She was consoled by a friend, Zoe Leroy, who found a way of calming this stormy soul. She came through this crisis crushed with emotion and fatigue, but calm and joyful. They had vowed to love each other, but to remain without reproach, and their vow was faithfully kept.

Aurore, therefore, had nothing with which to reproach herself, but with her innate need of being frank, she considered it her duty to write a letter to her husband, informing him of everything. This was the famous letter of November 8, 1825. Later on, in 1836, when her case for separation from her husband was being heard, a few fragments of it were read by her husband's advocate with the idea of incriminating her. By way of reply to this, George Sand's advocate read the entire letter in all its eloquence and generosity. It was greeted by bursts of applause from the audience.

All this is very satisfactory. It is exactly the situation of the Princess of Cleves in Madame de Lafayette's novel. The Princess of Cleves acknowledges to her husband the love she cannot help feeling for Monsieur de Nemours, and asks for his help and advice as her natural protector. This fine proceeding is usually admired, although it cost the life of the Prince of Cleves, who died broken-hearted. Personally, I admire it too, although at times I wonder whether we ought not rather to see in it an unconscious suggestion of perversity. This confession of love to the person who is being, as it were, robbed of that love, is in itself a kind of secret pleasure. By speaking of the love, it becomes more real, we bring it out to light instead of letting it die away in those hidden depths within us, in which so many of the vague sentiments which we have not cared to define, even to ourselves, die away. Many women have preferred this more silent way, in which they alone have been the sufferers. But such women are not the heroines of novels. No one has appreciated their sacrifice, and they themselves could scarcely tell all that it has cost them.

Aurelien de Seze had taken upon himself the _role_ of confidant to this soul that he had allotted to himself. He took his _role_ very seriously, as was his custom in all things. He became the young wife's director in all matters of conscience. The letters which he wrote to her have been preserved, and we know them by the extracts and the a.n.a.lysis that Monsieur Rocheblave has given us and by his incisive commentaries of them.(4) They are letters of guidance, spiritual letters. The laic confessor endeavours, before all things, to calm the impatience of this soul which is more and more ardent and more and more troubled every day.

He battles with her about her mania of philosophizing, her wish to sift everything and to get to the bottom of everything. Strong in his own calmness, he kept repeating to her in a hundred different ways the words: "Be calm!" The advice was good; the only difficulty was the following of the advice.

(4) "George Sand avant George Sand," by S. Rocheblave (_Revue de Paris_, December 15, 1894).

Gradually the professor lost his hold on his pupil, for it seems as though Aurore were the first to tire. Aurelien finally began to doubt the efficacy of his preaching. The usual fate of sentiments outside the common order of things is that they last the length of time that a crisis of enthusiasm lasts. The best thing that can happen then is that their nature should not change, that they should not deteriorate, as is so often the case. When they remain intact to the end, they leave behind them, in the soul, a trail of light, a trail of cold, pure light.

The decline of this platonic _liaison_ with Aurelien de Seze dates from 1828. Some grave events were taking place at Nohant about this time. For the last few years Casimir had fallen into the vices of certain country squires, or so-called gentlemen farmers. He had taken to drink, in company with Hippolyte Chatiron, and it seems that the intoxication peculiar to the natives of Berry takes a heavy and not a gay form. He had also taken to other bad habits, away from home at first, and later on under the conjugal roof. He was particularly partial to the maid-servants, and, the day following the birth of her daughter, Solange, Aurore had an unpleasant surprise with regard to her husband.

From that day forth, what had hitherto been only a vague wish on her part became a fixed idea with her, and she began to form plans. A certain incident served as a pretext. When putting some papers in order, Aurore came upon her husband's will. It was a mere diatribe, in which the future "deceased" gave utterance to all his past grievances against his _idiotic_ wife. Her mind was made up irrevocably from this moment.

She would have her freedom again; she would go to Paris and spend three months out of six there. She had a young tutor from the south of France, named Boucoiran, educating her children. This Boucoiran needed to be taken to task constantly, and Baronne Dudevant did not spare him.(5)

(5) An instance of her disposition for lecturing will be seen in the following curious letter sent by George Sand to her friend and neighbour, Adolphe Duplomb. This letter has never been published before, and we owe our thanks for it to Monsieur Charles Duplomb.

_Nohant, July_ 23,1830.

"Are you so very much afraid of me, my poor Hydrogene? You expect a good lecture and you will not expect in vain. Have patience, though. Before giving you the dressing you deserve, I want to tell you that I have not forgotten you, and that I was very vexed on returning from Paris, to find my great simpleton of a son gone. I am so used to seeing your solemn face that I quite miss it. You have a great many faults, but after all, you are a good sort, and in time you will get reasonable. Try to remember occasionally, my dear Plombeus, that you have friends. If I were your only friend, that would be a great deal, as I am to be depended on, and am always at my post as a friend, although I may not be very tender. I am not very polite either, as I speak the truth plainly. That is my characteristic, though. I am a firm friend nevertheless, and to be depended on. Do not forget what I have said now, as I shall not often repeat this. Remember, too, that happiness in this world depends on the interest and esteem that we inspire. I do not say this to every one, as it would be impossible, but just to a certain number of friends. It is impossible to find one's happiness entirely in one's self, without being an egoist, and I do not think so badly of you that I imagine you to be one. A man whom no one cares for is wretched, and the man who has friends is afraid of grieving them by behaving badly. As Polyte says, all this is for the sake of letting you know that you must do your best to behave well, if you want to prove to me that you are not ungrateful for my interest in you. You ought to get rid of the bad habit of boasting that you have adopted through frequenting young men as foolish as yourself. Do whatever your position and your health allow you to do, provided that you do not compromise the honour or the reputation of any one else. I do not see that a young man is called upon to be as chaste as a nun.

But keep your good or bad luck in your love affairs to yourself. Silly talk is always repeated, and it may chance to get to the ears of sensible people who will disapprove.

Try, too, not to make so many plans, but to carry out just one or two of them. You know that is why I quarrel with you always. I should like to see more constancy in you. You tell Hippolyte that you are very willing and courageous. As to physical courage, of the kind that consists in enduring illness and in not fearing death, I dare say you have that, but I doubt very much whether you have the courage necessary for sustained work, unless you have very much altered.

Everything fresh delights you, but after a little time you only see the inconveniences of your position. You will scarcely find anything without something that is annoying and troublesome, but if you cannot learn to put up with things you will never be a man.

"This is the end of my sermon. I expect you have had enough of it, especially as you are not accustomed to reading my bad handwriting. I shall be glad to hear from you, but do not consider your letter as a State affair, and do not torment yourself to arrange well-turned phrases. I do not care for such phrases at all. A letter is always good enough when the writer expresses himself naturally, and says what he thinks. Fine pages are all very well for the schoolmaster, but I do not appreciate them at all. Promise me to be reasonable, and to think of my sermons now and then. That is all I ask. You may be very sure that if it were not for my friendship for you I should not take the trouble to lecture you. I should be afraid of annoying you if it were not for that. As it is, I am sure that you are not displeased to have my lectures, and that you understand the feeling which dictates them.

"Adieu, my dear Adolphe. Write to me often and tell me always about your affairs. Take care of yourself, and try to keep well; but if you should feel ill come back to your native place. There will always be milk and syrup for you, and you know that I am not a bad nurse. Every one wishes to be remembered to you, and I send you my holy blessing.

"AURORE D----"

She considered him idle, and reproached him with his lack of dignity and with making himself too familiar with his inferiors. She could not admit this familiarity, although she was certainly a friend of the people and of the peasants. Between sympathy and familiarity there was a distinction, and Aurore took care not to forget this. There was always something of the _grande dame_ in her. Boucoiran was devoted, though, and she counted on him for looking after her children, for keeping her strictly _au courant_, and letting her know in case of illness.

Perfectly easy on this score, she could live in Paris on an income of sixty pounds by adding to it what she could earn.

Casimir made no objections. All that happened later on in this existence, which was from henceforth so stormy, happened with his knowledge and with his consent. He was a poor sort of man.

Let us consider now, for a moment, Baronne Dudevant's impressions after such a marriage. We will not speak of her sadness nor of her disgust. In a union of this kind, how could the sacred and beneficial character of marriage have appeared to her? A husband should be a companion.

She never knew the charm of true intimacy, nor the delight of thoughts shared with another. A husband is the counsellor, the friend. When she needed counsel, she was obliged to go elsewhere for it, and it was from another man that guidance and encouragement came. A husband should be the head and, I do not hesitate to say, the master. Life is a ceaseless struggle, and the man who has taken upon himself the task of defending a family from all the dangers which threaten its dissolution, from all the enemies which prowl around it, can only succeed in his task of protector if he be invested with just authority. Aurore had been treated brutally: that is not the same thing as being dominated. The sensation which never left her was that of an immense moral solitude. She could no longer dream in the Nohant avenues, for the old trees had been lopped, and the mystery chased away. She shut herself up in her grandmother's little boudoir, adjoining her children's room, so that she could hear them breathing, and whilst Casimir and Hippolyte were getting abominably intoxicated, she sat there thinking things over, and gradually becoming so irritated that she felt the rebellion within her gathering force. The matrimonial bond was a heavy yoke to her. A Christian wife would have submitted to it and accepted it, but the Christianity of Baronne Dudevant was nothing but religiosity. The trials of life show up the insufficiency of religious sentiment which is not accompanied by faith.

Marriage, without love, friendship, confidence and respect, was for Aurore merely a prison. She endeavoured to escape from it, and when she succeeded she uttered a sigh of relief at her deliverance.

Such, then, is the chapter of marriage in Baronne Dudevant's psychology.

It is a fine example of failure. The woman who had married badly now remained an individual, instead of harmonizing and blending in a general whole. This ill-a.s.sorted union merely accentuated and strengthened George Sand's individualism.

Aurore Dudevant arrived in Paris the first week of the year 1831. The woman who was rebellious to marriage was now in a city which had just had a revolution.

The extraordinary effervescence of Paris in 1831 can readily be imagined. There was tempest in the air, and this tempest was bound to break out here or there, either immediately or in the near future, in an insurrection. Every one was feverishly anxious to destroy everything, in order to create all things anew. In everything, in art, ideas and even in costume, there was the same explosion of indiscipline, the same triumph of capriciousness. Every day some fresh system of government was born, some new method of philosophy, an infallible receipt for bringing about universal happiness, an unheard-of idea for manufacturing masterpieces, some invention for dressing up and having a perpetual carnival in the streets. The insurrection was permanent and masquerade a normal state. Besides all this, there was a magnificent burst of youth and genius. Victor Hugo, proud of having fought the battle of _Hernani_, was then thinking of _Notre-Dame_ and climbing up to it. Musset had just given his _Contes d'Espagne el d'Italie_. Stendhal had published _Le Rouge et le Noir_, and Balzac _La Peau de Chagrin_. The painters of the day were Delacroix and Delaroche. Paganini was about to give his first concert at the Opera. Such was Paris in all its impatience and impertinence, in its confusion and its splendour immediately after the Revolution.

The young wife, who had snapped her bonds asunder, breathed voluptuously in this atmosphere. She was like a provincial woman enjoying Paris to the full. She belonged to the romantic school, and was imbued with the principle that an artist must see everything, know everything, and have experienced himself all that he puts into his books. She found a little group of her friends from Berry in Paris, among others Felix Pyat, Charles Duvernet, Alphonse Fleury, Sandeau and de Latouche. This was the band she frequented, young men apprenticed either to literature, the law, or medicine. With them she lived a student's life. In order to facilitate her various evolutions, she adopted masculine dress. In her _Histoite de ma vie_ she says: "Fashion helped me in my disguise, for men were wearing long, square frock-coats styled a _la proprietaire_.

They came down to the heels, and fitted the figure so little that my brother, when putting his on, said to me one day at Nohant: 'It is a nice cut, isn't it? The tailor takes his measures from a sentry-box, and the coat then fits a whole regiment.' I had 'a sentry-box coat' made, of rough grey cloth, with trousers and waistcoat to match. With a grey hat and a huge cravat of woollen material, I looked exactly like a first-year student. . . ."

Dressed in this style, she explored the streets, museums, cathedrals, libraries, painters' studios, clubs and theatres. She heard Frederick Lemaitre one day, and the next day Malibran. One evening it was one of Dumas' pieces, and the next night _Moise_ at the Opera. She took her meals at a little restaurant, and she lived in an attic. She was not even sure of being able to pay her tailor, so she had all the joys possible. "Ah, how delightful, to live an artist's life! Our device is liberty!" she wrote.(6) She lived in a perpetual state of delight, and, in February, wrote to her son Maurice as follows: "Every one is at loggerheads, we are crushed to death in the streets, the churches are being destroyed, and we hear the drum being beaten all night."(7) In March she wrote to Charles Duvernet: "Do you know that fine things are happening here? It really is amusing to see. We are living just as gaily among bayonets and riots as if everything were at peace. All this amuses me."(8)

(6) _Correspondance_: To Boucoiran, March 4, 1831.

(7) _Ibid_. To Maurice Dudevant, February 15, 1831.

(8) _Ibid_. To Charles Duvernet, March 6, 1831.

She was amused at everything and she enjoyed everything. With her keen sensitiveness, she revelled in the charm of Paris, and she thoroughly appreciated its scenery.

"Paris," she wrote, "with its vaporous evenings, its pink clouds above the roofs, and the beautiful willows of such a delicate green around the bronze statue of our old Henry, and then, too, the dear little slate-coloured pigeons that make their nests in the old masks of the Pont Neuf . . ."(9)

(9) Unpublished letters of Dr. Emile Regnault.

She loved the Paris sky, so strange-looking, so rich in colouring, so variable.(10)

(10) _Ibid_.

She became unjust with regard to Berry. "As for that part of the world which I used to love so dearly and where I used to dream my dreams," she wrote, "I was there at the age of fifteen, when I was very foolish, and at the age of seventeen, when I was dreamy and disturbed in my mind. It has lost its charm for me now."(11)

(11) _Ibid_.

She loved it again later on, certainly, but just at this time she was over-excited with the joy of her newly-found liberty. It was that really which made her so joyful and which intoxicated her. "I do not want society, excitement, theatres, or dress; what I want is freedom,"

she wrote to her mother. In another letter she says: "I am absolutely independent. I go to La Chatre, to Rome. I start out at ten o'clock or at midnight. I please myself entirely in all this."(12)

(12) _Correspondance_: To her mother, May 31, 1831.

She was free, and she fancied she was happy. Her happiness at that epoch meant Jules Sandeau.

In a letter, written in the humoristic style in which she delighted, she gives us portraits of some of her comrades of that time. She tells us of Duvernet, of Alphonse Fleury, surnamed "the Gaulois," and of Sandeau.

"Oh, fair-haired Charles!" she writes, "young man of melancholy thoughts, with a character as gloomy as a stormy day. . . . And you, gigantic Fleury, with your immense hands and your alarming beard. . . .

And you, dear Sandeau, agreeable and light, like the humming bird of fragrant savannahs!"(13)

(13) _Correspondance_: December 1, 1830.

The "dear Sandeau, agreeable and light, like the humming bird of fragrant savannahs," was to be Baronne Dudevant's Latin Quarter _liaison_. Her biographers usually pa.s.s over this _liaison_ quickly, as information about it was not forthcoming. Important doc.u.ments exist, though, in the form of fifty letters written by George Sand to Dr. Emile Regnault, then a medical student and the intimate friend and confidant of Jules Sandeau, who kept nothing back from him. His son, Dr. Paul Regnault, has kindly allowed me to see this correspondence and to reproduce some fragments of it. It is extremely curious, by turn lyrical and playful, full of effusions, ideas, plans of work, impressions of nature, and confidences about her love affairs. Taken altogether it reflects, as nearly as possible, the state of the young woman's mind at this time.

The first letter is dated April, 1831. George Sand had left Paris for Nohant, and is anxiously wondering how her poor Jules has pa.s.sed this wretched day, and how he will go back to the room from which she had torn herself with such difficulty that morning. In her letter she gives utterance to the grat.i.tude she owes to the young man who has reconciled her once more to life. "My soul," she says, "eager itself for affection, needed to inspire this in a heart capable of understanding me thoroughly, with all my faults and qualities. A fervent soul was necessary for loving me in the way that I could love, and for consoling me after all the ingrat.i.tude which had made my earlier life so desolate.

And although I am now old, I have found a heart as young as my own, a lifelong affection which nothing can discourage and which grows stronger every day. Jules has taught me to care once more for this existence, of which I was so weary, and which I only endured for the sake of my children. I was disgusted beforehand with the future, but it now seems more beautiful to me, full as it appears to me of him, of his work, his success, and of his upright, modest conduct. . . . Oh, if you only knew how I love him! . . . ."(14)

(14) This quotation and those that follow are borrowed from the unpublished correspondence with Emile Regnault.

"When I first knew him I was disillusioned about everything, and I no longer believed in those things which make us happy. He has warmed my frozen heart and restored the life that was dying within me." She then recalls their first meeting. It was in the country, at Coudray, near Nohant. She fell in love with her dear Sandeau, thanks to his youthfulness, his timidity and his awkwardness. He was just twenty, in 1831. On approaching the bench where she was awaiting him, "he concealed himself in a neighbouring avenue--and I could see his hat and stick on the bench," she writes. "Everything, even to the little red ribbon threaded in the lining of his grey hat, thrilled me with joy. . . ."

It is difficult to say why, but everything connected with this young Jules seems absurd. Later on we get the following statement: "Until the day when I told him that I loved him, I had never acknowledged as much to myself. I felt that I did, but I would not own it even to my own heart. Jules therefore learnt it at the same time as I did myself."