It helped to draw to her pastoral tales the attention they deserved, but had not instantly won in all quarters. Théophile Gautier writes playfully of this piece: "The success of François le Champi has given all our vaudeville writers an appetite for rusticity. Only let this go on a little, and we shall be inundated by what has humorously been called the 'ruro-drama.' Morvan hats and Berrichon head-dresses will invade the scenes, and no language be spoken but in dialect."
Madame Sand was naturally encouraged to repeat the experiment. This was done in Claudie (1851) and Le Pressoir (1853), ruro-dramas both, and most favourably received. The first-named has a simple and pathetic story, and, as usual with Madame Sand's plays, it was strengthened at its first production by the support of some of the best acting talent in Paris—Fechter, then a rising jeune premier and the veteran Bocage ably representing, respectively, youth and age. Old Berrichon airs were introduced with effect, as also such picturesque rustic festival customs as the ancient harvest-home ceremony, in which the last sheaf is brought on in a waggon, gaily decked out with poppies, cornflowers, and ribbons, and receives a libation of wine poured by the hand of the oldest or the youngest person present.
"But what the theatre can never reproduce," laments Madame Sand, "is the majesty of the frame—the mountain of sheaves solemnly approaching, drawn by
