was the highest in her genre; let the world decide which genre is the highest.
When, after the publication of Indiana, Valentine, Lélia, and Jacques, the moral tendency of her works was so sharply attacked, it was contended on her behalf by some friendly critics that art and social morality have no necessary connection, a line of defence she would have been the last to take up for herself. In the present day her judges complain rather of her incessant moralising, and on the whole with more reason. She indignantly denied that her novels had the evil tendencies imputed to them. Certainly the supposition of the antagonistic spirit of her writings to Christianity and marriage vanishes in proportion to the reader's acquaintance with her works. But against certain doctrines and practices of the Roman Catholic Church which she believed to be pernicious in their influence she from the first declared war, and by her frank audacity made bitter enemies. M. Renan relates that when he was a boy of fifteen his ecclesiastical superiors showed him George Sand, emblematically portrayed for the admonition of the youth under their care, as a woman in black trampling on a cross! Now it is not merely that her own faith was eminently Christian in character, and that the Christian ideal seemed to her the most perfect that has yet presented itself to the mind of man; but if unable to accept for herself the doctrine of revelation as commonly inter-
