with it. Henceforward she prefers themes of a pleasanter nature. In Simon she paints the triumph of true and patient love over social prejudice and strong opposition. In Mauprat, written in 1837, at Nohant, she exerts all the force of her imagination and language to bring before us vividly the gradual redemption of a noble but degraded nature, through the influence of an exclusive, passionate and indestructible affection. The natural optimism of her temperament, not her incidental misfortunes, began and continued to colour her compositions.
From Switzerland she returned for part of the winter to Paris. She had given up her "poet's garret," and occupied for a while a suite of rooms in the Hôtel de France, where resided also Madame d'Agoult. The salon of the latter was a favourite rendez-vous of cosmopolitan artistic celebrities, whose general rendez-vous just then was Paris. A very Pantheon must have been an intimate circle that included, among others, George Sand, Daniel Stern, Heine, the Polish poet Mickiewicz, Eugène Delacroix, Meyerbeer, Liszt, Hiller, and Frédéric Chopin.
The delicate health of her son forced Madame Sand to leave with him shortly for Berry, where he soon became convalescent. Later in the season, some of the same party of friends that had met in Paris met again at Nohant. It was during this summer that George Sand wrote for her child the well-known
