the improbabilities become grotesque, and the whole is distorted and tedious. Madame Sand's personages are never weary of analysing their sentiments. Her flowing style, so pleasant to read, carries us swiftly and easily through her dissertations in print, before we have time to tire of them. On the stage such colloquies soon appear lengthy and unnatural. The climax of absurdity is reached in Flaminio, where we find the adventurer expatiating to the man of the world on "the divinity of his essence."
There is scarcely a department of theatrical literature in which Madame Sand does not appear as an aspirant. She was a worshipper of Shakespeare, acknowledging him as the king of dramatic writers. For her attempt to adapt "As You Like It" to suit the tastes of a Parisian audience, she disarms criticism by a preface in the form of a letter to M. Régnier, of the Comédie Française, prefixed to the printed play. Here she says plainly that to resolve to alter Shakspeare is to resolve to murder, and that she aims at nothing more than at giving the French public some idea of the original. In "As You Like It," the license of fancy taken is too wide for the piece to be safely represented to her countrymen, since it must jar terribly on "that French reason which," remarks Madame Sand, "we are so vain of, and which deprives us of so many originalities quite as precious as itself." The fantastic, which had so much attraction for her
