and he knew it. "It is my end," he said to her one night, "but I shall die like a soldier on the field of honour." And so he did, continuing to play the rôle up till a few days before his death.
More lasting success has attended Madame Sand in two of the lightest of society comedies, Le Mariage de Victorine and Le Marquis de Villemer, which seem likely to take a permanent place in the répertoire of the French stage. The first, a continuation that had suggested itself to her of Sedaine's century-old comedy, Le Philosophe sans le savoir, escapes the ill fate that seems to attend sequels in general. It is of the slightest materials, but holds together, and is gracefully conceived and executed. First produced at the Gymnase in 1851, it was revived during the last year of Madame Sand's life in a manner very gratifying to her, being brought out with great applause at the Comédie Française, preceded on each occasion by Sedaine's play, and the same artists appearing in both.
The excellent dramatic version of her popular novel Le Marquis de Villemer, first acted in 1864, is free from the defects that weaken most of her stage compositions. It is said that in preparing it she accepted some hints from Alexandre Dumas the younger. Whatever the cause, the result is a play where characters, composition, and dialogue leave little to be desired.
L'Autre, her latest notable stage success, brings us
