of a woman's ideal, the non-separation of the gift of her heart from that of her whole life, or whether that her masculine strength of intellect created for her serious public interests and occupations, beside which personal pleasures and pains are apt to become of secondary moment, certain it appears that with George Sand, as with many an eminent artist of the opposite sex, such affaires de cœur were but ripples on the sea of a large and active existence.
The year after her return from Majorca was marked by her first appearance before the public as a dramatic author. Although it was a line in which she afterwards obtained successes, as will be seen in a future chapter, the result of this initial effort, Cosima, a five-act drama, was not encouraging. It was acted at the Théâtre Français in the spring of 1840, and proved a failure. It betrays no insufficient sense of dramatic effect, nor lack of the means for producing it, but decided clumsiness in the adaptation of these means to that end. The plot and personages recall those of Indiana, with the important differences that the beau rôle of the piece falls to the husband, and that the scene is transported back to Florence in the Middle Ages—an undoubted error, as giving to a play essentially modern and French in its complexities of sentiment and motive a strong local colouring of a past time and another people, making the whole seem unreal. It has a psychological subject which
