The Revolution of 1848 appeared to George Sand a realization of her Utopian dreams, and plunged her thoughts into a painful disorder. She soon, however, became dissatisfied with the result of her republican theories, and she turned to two new sources of success, the country story and the stage. Her delicious romance of “Francois le Champi” (1850) attracted a new and enthusiastic audience to her, and her entire emancipation from “problems” was marked in the pages of “La Petite Fadette” and of “La Mare au Diable.” To the same period belong “Les Visions de la Nuit des les Campagnes,” “Les Maitres Sonneurs,” and “Cosina.” From 1850 to 1864 she gave a great deal of attention to the theatre, and of her numerous pieces several enjoyed a wide and considerable success, although it cannot be said that any of her plays have possessed the vitality of her best novels. The most solid of the former was her dramatization of her story, “Le Marquis de Villemer” (1864), which was one of the latest, and next to it “Le Mariage de Victorine” (1851), which was one of the earliest. Her successes on the stage, such as they are, appear mainly due to collaboration with others. In her latest period, from 1860 to 1876, George Sand returned to her first lyrical manner, although with more reticence and a wider experience of life. Of the very abundant fruitage of these last years, not many rank with the masterpieces of her earlier periods, although such novels as “Tamaris” (1862), “La Confession d’une Jeune Fille” (1865), and “Cadio,” seemed to her admirers to show no decline of force or fire. Still finer, perhaps, were “Le Marquis de Villemer” (1861) and “Jean de la Roche” (1860). Her latest production, which appeared after her death, was the “Contes d’une Grand’mere,” a collection full of humanity and beauty. George Sand died at Nohant on the 8th of June, 1876. She had great qualities of soul, and in spite of the naive irregularities of her conduct in early middle life, she cannot be regarded otherwise than as an excellent woman. She was brave, courageous, heroically industrious, a loyal friend, a tender and wise mother. Her principle fault has been wittily defined by Mr. Henry James, who has remarked that in affairs of the heart George Sand never “behaved like a gentleman.” E. G. PREFACE When I wrote my novel _Mauprat_ at Nohant--in 1846, if I remember rightly--I had just been suing for a separation. Hitherto I had written much against the abuses of marriage, and perhaps, though insufficiently explaining my views, had induced a belief that I failed to appreciate its essence; but it was at this time that marriage itself stood before me in all the moral beauty of its principle.