(possibly a result of her part German origin), is a growth that has hard work to flourish on French soil. The reader will remember the fate of Weber's Freischütz, outrageously hissed when first produced at Paris in its original form. Nine days later it was reproduced, having been taken to pieces and put together again by M. Castil-Blaze, and thus as Robin des Bois it ran for 357 nights. The reckless imagination that distinguishes the Shakespearian comedy and does not shrink before the introduction of a lion and a serpent into the forest of Arden, and the miraculous and instantaneous conversion of the wretch Oliver into a worthy suitor for Celia, needed to be toned down for acceptance by the Parisians. But Madame Sand was less fortunate than M. Castil-Blaze. Her version, produced at the Théâtre Français in 1856, failed to please, although supported by such actors as Delaunay, Arnold-Plessy, and Favart. Macready, who had made Madame Sand's acquaintance in 1845 when he was giving Shakespearian performances in Paris, and whom she greatly admired, dedicating to him her little theatrical romance Le Château des Désertes, was present at this representation and records it as a failure. But of her works for the stage, which number over a score, few like her Comme il vous plaira missed making some mark at the time, the prestige of her name and the exceptionally favourable circumstances under which they were produced securing more than
