In throwing overboard the Grub Street Sandeau for Franz Liszt, Madame Dudevant certainly showed discrimination; but in retaining the name of "Sand," she paid a delicate compliment to the man who first introduced her to the world of art. Liszt was too strong a man to remain long captive--he refused to supply the doglike and abject devotion which Aurore always demanded. Then came Michael de Bourges the learned counsel, Calmatto the mezzotinter, Delacroix the artist, De Musset the poet, and Chopin the musician. It was in the year Eighteen Hundred Thirty-nine, that Chopin and Sand first met at a parlor musicale, where Chopin was taken by Liszt, half against his will, simply because George Sand was to be there. Chopin did not want to meet her. All Paris had rung with the story of how she and De Musset had gone together to Venice, and then in less than a year had quarreled and separated. Both made good copy of the "poetic interval," as George Sand called it. Chopin was not a stickler for conventionalities, but George Sand's history, for him, proved her to be coarse and devoid of all the finer feeling that we prize in women. Chopin had no fear of her--not he--only he did not care to add to his circle of acquaintances one so lacking in inward grace and delicacy. He played at the musicale--it was all very informal--and George Sand pushed her way up through the throng that stood about the piano and looked at the handsome boy as he played--she looked at him with her big, hazel, cow eyes, steadfastly, yearningly, and he glancing up, saw the eyes were filled with tears. When the playing ceased, she still stood looking at the great musician, and then she leaned over the piano and whispered, "Your playing makes me live over again every pain that has ever wrung my heart; and every joy, too, that I have ever known is mine again." * * * * * After their first meeting, when Chopin played at a musicale, George Sand was apt to be there too--they often came together. She was five years older than he, and looked fifteen, for his slight figure and delicate, boyish face gave him the appearance of youth unto the very last. In letters to Madame Mariana, George Sand often refers to Chopin as "My Little One," and when some one spoke of him as "The Chopinetto," the name seemed to stick. That she was the man in the partnership is very evident. He really needed some one to look after him, provide mustard-plasters and run for the camphor and hot-water bottle. He was the one who did the weeping and pouting, and had the "nerves" and made the scenes; while she, on such occasions, would viciously roll a cigarette, swear under her breath, console and pooh-pooh.