limited experience. As a musical novel, it has the ingenious distinction of being told from the point of view of the sturdy and honest, but unartistic and nonmusical Tiennet; a typical Berrichon. Madame Sand was of opinion that during the long occupation of Berry by the English the two races had blended extensively, and she would thus account for some of the heavier, more inexpansive qualities of our nation having become characteristic of this French province.
More than one English reader of Les Maîtres Sonneurs may have been struck by the picture there presented of peasant-folk in a state of peace and comfort, such as we do not suppose to have been common in France before the Revolution. Madame Sand has elsewhere explained how, as a fact, Nohant, and other estates in the region round about, had enjoyed some immunity from the worst abuses of the ancien régime. Several of these properties, as it happened, had fallen to women or minors—widows, elderly maiden ladies, who, and their agents, spared the holders and cultivators of the soil the exactions which, by right or by might, its lords were used to levy. "So the peasants," she writes, "were accustomed not to put themselves to any inconvenience; and when came the Revolution they were already so well relieved virtually from feudal bonds that they took revenge on nobody." A new seigneur of Nohant, coming to take possession, and thinking to levy his utmost dues, in cash and in kind,
