spent less profitably, she considered, in acquiring a smattering of Latin with Deschartres. She took to some studies with avidity, while others remained wholly distasteful to her. For mere head-work she cared little. Arithmetic she detested; versification, no less. Her imagination rebelled against the restrictions of form. Nowhere, perhaps, except in the free-fantasia style of the novel, could this great prose-poet have found the right field in which to do justice to her powers. The dry technique in music was a stumbling-block of which she was impatient. History and literature she enjoyed in whatever they offered that was romantic, heroic, or poetically suggestive. In her Nohant surroundings there was nothing to check, and much to stimulate, this dominant imaginative faculty. Her youthful attempts at original composition she quickly discarded in disgust; but it seemed almost a law of her mind that whatever was possessing it she must instinctively weave into a romance. Thus in writing her history-epitome she must improve on the original, when too dry, by exercising her fancy in the descriptions of places and personages. The actual political events of that period were of the most exciting character; Napoleon's Russian campaign, abdication, retreat to Elba, the Hundred Days, Waterloo, the Restoration, following each other in swift succession. Old Madame Dupin was an anti-Bonapartist, but Aurore had caught from her mother some
