but which is in the highest degree chaste in conception, and full of simplicity and truthfulness in the execution. This work is in the form of a three-act comedy, and is called "François le Champi." (For the benefit of the country gentlemen, we may as well at once explain that the word _champi_ means a foundling of the fields.) The domestic morality, the quiet nature, the _home feeling_ of this comedy may be described as something wonderful for George Sand; not that her genius was not felt to be plastic enough for such a display, but that nobody suspected she could have accomplished it with so slight an appearance of artifice or false sentiment, or with so much geniality and faith in its truth. But this is not the only wonder connected with "François le Champi." Its reception by the Paris audience was something yet more wonderful. We witnessed a few weeks ago at the Odeon its hundred and fourth or fifth representation--and it was a sight not readily forgotten. The acting, exquisite as it was through the minutest articulation of the scene, was infinitely less striking than the stillness and patience of the spectators. It was a strange and curious thing to see these mercurial people pouring in from their gay _cafés_ and _restaurants_, and sitting down to the representation of this dramatic pastoral with much the same close and motionless attention as a studious audience might be expected to give to a scientific lecture. And it was more curious still to contrast what was doing at that moment in different places with a like satisfaction to other crowds of listeners; and to consider what an odd compound that people must be who can equally enjoy the rustic virtues of the Odeon, and the grossnesses and prurient humors of the Variétés. Paris and the Parisians will, probably, forever remain an enigma to the moral philosopher. One never can see one's way through their surprising contradictions, or calculate upon what will happen next, or what turn any given state of affairs will take. In this sensuous, sentimental, volatile, and dismal Paris, any body who may think it worth while to cross the water for such a spectacle, may see reproduced together, side by side, the innocence of the golden age, and the worst vices of the last stage of a high civilization.