story, but it has its tragic features and its serious import. A picturesque and uncommon setting adds materially to its charm. Every thread tells in this delicate piece of fancy work, and the weaver's art is indescribable. But one may note the ingenuity with which four or five interesting yet perfectly natural types are brought into a group and contrasted; improbable incidents so handled as not to strike a discordant note, the characteristics of the past introduced without ever losing hold of the links, the points of identity between past and present. The scene is the hamlet of Nohant itself; the time is a century ago, when the country, half covered with forest, was wilder, the customs rougher, the local colouring stronger than even Madame Sand in her childhood had known them. The personages belong to the rural proprietor class. The leading characters are all somewhat out of the common, but such exist in equal proportion in all classes of society, and there is ample evidence besides George Sand's of notable examples among the French peasantry. The plot and its interest lie in the development of character and the fine tracing of the manner in which the different characters are influenced by circumstances and by each other. If the beauty of rustic maidens, and of rustic songs and dance music, as here described, seem to transcend probability, it must be remembered it is a peasant who speaks of these wonders, and as wonders they might appear to his
