but always side by side with more earthly and faulty representatives such as Gorilla and Anzoleto, or Julia and Albany, in Narcisse, incarnations of the vanity and instability that are the chief dangers of the profession, drawn with unsparing realism. In Le Château des Désertes we find further many admirable theories and suggestive ideas on the subject of the regeneration of the theatre. But it fared with her theatrical as with her political philosophy; she failed in its application, not because her theories were false, but for want of practical aptitude for the craft whose principles she understood so well.
It is impossible here to do more than cast a rapid glance over the literary work accomplished by George Sand during the first decade of the empire. It includes more than a dozen novels, of unequal merit, but of merit for the most part very high. The Histoire de ma Vie was published in 1855. It is a study of chosen passages out of her life, rather than a connected autobiography. One out of the four volumes is devoted to the story of her father's life before her birth; two more to the story of her childhood and girlhood. The fourth rather indicates than fully narrates the facts of her existence from the time of her marriage till the Revolution of 1848. It offers to her admirers invaluable glimpses into her life and mind, and is a highly interesting and characteristic composition, if a most irregular chronicle. It has given rise to two most incompatible-sounding criticisms
