first time ventures to be herself, responsible for the inspiration and the mode of expression adopted.
The papers spoke of the new novel in high tones of praise, the public read it with avidity. The authorship, for a time, continued to perplex people. In spite of the masculine pseudonym, certain feminine qualities, niceties of perception and tenderness, were plainly recognised in the work, but the possibility that so vigorous and well-executed a composition could come from a feminine hand was one then reckoned scarcely admissible. Even among those already in the secret were sceptics who questioned the author's power to sustain her success, since nearly everybody, it is said, can produce one good novel.
"The success of Indiana has thrown me into dismay," writes Madame Dudevant, in July 1832, to M. Charles Duvernet, at La Châtre. "Till now, I thought my writing was without consequence, and would not merit the slightest attention. Fate has decreed otherwise. The unmerited admiration of which I have become the object must be justified." And Valentine was already in progress; and its publication, not many months after Indiana, to be a conclusive answer to the challenge.
The season of 1832, in which George Sand made her début in literature, was marked, in Paris, by public events of the most tragic character. In the spring, the cholera made its appearance, and struck panic into
