be, need not be disputed. It must be remembered, however, that De Musset on his side had not refrained during his lifetime from denouncing in eloquent verse the friend he had quarrelled with, and satirizing her in pungent prose. Making every possible allowance for poetical figures of speech, he had said enough to provoke her to retaliate. It is impossible to suppose that there was not another side to such a question. But Madame Sand could not defend herself without accusing her lost lover. She often proved herself a generous adversary—too generous, indeed, for her own advantage—and in this instance it was clearly not for her own sake that she deferred her apology.
It is even conceivable that the poet, when in a just frame of mind, and not seeking inspiration for his Nuit de Mai, or Histoire d'un Merle blanc, would not have seen in Elle et Lui a falsification of the spirit of their history. The theorising of the outside world in such matters is of little worth; but the novel bears, conspicuously among Madame Sand's productions, the stamp of a study from real life, true in its leading features. And the conduct of the heroine, Therèse, though accounted for and eloquently defended, is by no means, as related, ideally blameless. After an attachment so strong as to induce a seriously-minded person, such as she is represented, to throw aside for it all other considerations, the hastiness with which, on discovering her mistake, she entertains the idea of bestowing
