Madame Dudevant was married in 1822, her husband is represented as a plain country gentleman, very upright and literal in his way, and quite incapable, as may readily be supposed, of sympathizing with what one of her ablest critics calls her "aspirations toward the infinite, art and liberty." She bore him two children, lived with him eight years, and, shortly after the insurrection of July, 1830, fled from her dull house at Nohant, and went up to Paris. Upon this step nobody has a right, to pronounce judgment. Nor should the world penetrate the recesses of her private life from that day forward, if her life could be truly considered private, and if it were not in fact and in reality a part and parcel of her literary career. She has made so little scruple about publishing it herself, that nobody else need have any such scruple on that head. She has been interwoven in such close intimacies with a succession of the most celebrated persons, and has acted upon all occasions so openly, that there is not the slightest disguise upon the matter in the literary circles of Paris. But even all this publicity might not wholly warrant a reference to the erratic course of this extraordinary woman, if she had not made her own experiences, to some extent, the basis of her works, which are said by those most familiar with her habits and associations, to contain, in a variety of forms, the confession of the strange vicissitudes through which her heart and imagination have passed. The reflection is not limited to general types of human character and passion, but constantly descends to individualization; and her intimate friends are at no loss to trace through her numerous productions a whole gallery of portraits, beginning with poor M. Dudevant, and running through a remarkable group of contemporary celebrities. Her works then are, avowedly, transcripts of her life; and her life consequently becomes, in a grave sense, literary property, as the spring from whence has issued the turbid principles she glories in enunciating.