Already Madame Sand had outlived the period of which she was so brilliant a representative. After the Romantic movement had spent its force, a reaction had set in that was influencing the younger school of writers, and that has continued to give the direction to successful talent until the present day. Of the so-called "realism," Madame Sand said that it was nothing new. She saw there merely another form of the same revolt of nature against affectation and convention which had prompted the Romantic movement, whose disciples had now become guilty of affectation in their turn. _Madame Bovary_ she pronounced with truth to be but concentrated Balzac. She was ready to perceive and do justice to the great ability of the author, as to original genius in any school; thus of Tourguenief she speaks with enthusiasm: "Realist to see all, poet to beautify all, great heart to pity and understand all." But she deplored the increasing tendency among artists to give the preference among realities to the ugliest and the most painful. Her personal leanings avowedly were towards the other extreme; but she was too large-minded not to recognize that truth in one form or another must always be the prime object of the artist's search. The manner of its presentation will vary with the age. Let the realists, if they like, go on proclaiming that all is prose, and the idealists that all is poesy. The last will have their rainy days, the first their days of sunshine. In all arts the victory remains with a privileged few, who go their own ways; and the discussions of the "schools" will pass away like old fashions. On the generation of writers that George Sand saw growing up, any opinion pronounced must be premature. But with regard to herself, it should now be possible to regard her work in a true perspective. As with Byron, Dickens, and other popular celebrities, a phase of infinite enthusiasm for her writings was duly succeeded by a phase of determined depreciation. The public opinion that survives when blind friendship and blind enmity have done their worst is likely to be the judgment of posterity. CHAPTER XI. ARTIST AND MORALIST. On what, in the future, will the fame of George Sand mainly rest? According to some critics, on her gifts of fertile invention and fluent narration alone, which make her novels attractive in spite of the chimerical theories, social, political and religious, everywhere interwoven. According to other judges again, her fictions transcend and are likely to outlive other fictions by virtue of certain eternal philosophic verities which they persistently set forth, and which give them a serious interest the changes in novel-fashions cannot effect.