exceptional and a highly idealized type—as it were a sister to Joan of Arc, not the inspired warrior-maid, but the visionary shepherdess of the Vosges. Yet the creation is sufficiently real. The author had observed how favourable was the life of solitude and constant communion with nature led by many of these country children in their scattered homesteads, to the development of remarkable and tenacious individuality. So with the strange and poetical Jeanne, too innately refined to prosper in her rough human environment, yet too fixedly simple to fare much better in more cultivated circles. She is the victim of a sort of celestial stupidity we admire and pity at once. In this study of a peasant heroine resides such charm as the book possesses, and the attempt was to lead on the author to the productions above alluded to, La Mare au Diable, François le Champi, and La Petite Fadette. Of this popular trio the first had been published already two years before the Revolution, in 1846; the second was appearing in the Feuilleton of the Journal des Débats at the very moment of the breaking of the storm, which interrupted its publication awhile. When those tumultuous months were over and Madame Sand, thrown out of the hurly-burly of active politics, was brought back by the course of events to Nohant, she seems to have taken up her pen very much where she had laid it down. The break in her ordinary round of work made by the excitements of active
