More lasting success has attended Madame Sand in two of the lightest of society comedies, _Le Mariage de Victorine_ and _Le Marquis de Villemer_, which seem likely to take a permanent place in the _repertoire_ of the French stage. The first, a continuation that had suggested itself to her of Sedaine's century-old comedy, _Le Philosophe sans le savoir_, escapes the ill fate that seems to attend sequels in general. It is of the slightest materials, but holds together, and is gracefully conceived and executed. First produced at the Gymnase in 1851, it was revived during the last year of Madame Sand's life in a manner very gratifying to her, being brought out with great applause at the Comedie Francaise, preceded on each occasion by Sedaine's play, and the same artists appearing in both. The excellent dramatic version of her popular novel _Le Marquis de Villemer_, first acted in 1864, is free from the defects that weaken most of her stage compositions. It is said that in preparing it she accepted some hints from Alexander Dumas the younger. Whatever the cause, the result is a play where characters, composition and dialogue leave little to be desired. _L'autre_, her latest notable stage success, brings us down to 1870, when it was acted at the Gymnase, Madame Sarah Bernhardt impersonating the heroine. This not very agreeable play is derived, with material alterations, from Madame Sand's agreeable novel _La Confession d'une jeune Fille_, published in 1864. If, however, her works for the stage, which fill four volumes, added but little, in proportion to their quantity, to her permanent fame, her dramatic studies added fresh interest and variety to her experience, which brought forth excellent fruit in her novels. Actors, their art and way of life have fared notoriously badly in fiction. Such pictures have almost invariably fallen into the extreme of unreality or that of caricature, whether for want of information or want of sympathy in those who have drawn them.