Novelists are given to speaking of the theatre somewhat disdainfully. They say that there is too much convention, that an author is too much the slave of material conditions, and is obliged to consider the taste of the crowd, whilst a book appeals to the lover of literature, who can read it by his own fireside, and to the society woman, who loses herself in its pages. As soon, though, as one of their novels has had more success than its predecessors, they do not hesitate to cut it up into slices, according to the requirements of the publishing house, so that it may go beyond the little circle of lovers of literature and society women and reach the crowd--the largest crowd possible. George Sand never pretended to have this immense disdain for the theatre which is professed by ultra-refined writers. She had always loved the theatre, and she bore it no grudge, although her pieces had been hissed. In those days plays that did not find favour were hissed. At present they are not hissed, either because there are no more poor plays, or because the public has seen so many bad ones that it has become philosophical, and does not take the trouble to show its displeasure. George Sand's first piece, _Cosima_, was a noted failure. About the year 1850, she turned to the theatre once more, hoping to find a new form of expression for her energy and talent. _Francois le Champi_ was a great success. In January, 1851, she wrote as follows, after the performance of _Claudie:_ "A tearful success and a financial one. The house is full every day; not a ticket given away, and not even a seat for Maurice. The piece is played admirably; Bocage is magnificent. The public weeps and blows its nose, as though it were in church. I am told that never in the memory of man has there been such a first night. I was not present myself." There may be a slight exaggeration in the words "never in the memory of man," but the success was really great. _Claudie_ is still given, and I remember seeing Paul Mounet interpret the part of Remy admirably at the Odeon Theatre. As to the _Mariage de Victorine_, it figures every year on the programme of the Conservatoire competitions. It is the typical piece for would-be _ingenues._ _Francois le Champi, Claudie_ and the _Mariage de Victorine_ may be considered as the series representing George Sand's dramatic writings. These pieces were all her own, and, in her own opinion, that was their principal merit. The dramatic author is frequently obliged to accept the collaboration of persons who know nothing of literature.