not now speaking merely of the sentiments which George Sand does or did entertain on the subject of marriage. Divested of all startling effects and thrilling dramatic illustrations, these sentiments probably amounted to nothing more dreadful than the belief that an unwedded union between two people who love and are true to each other is less immoral than the legal marriage of two uncongenial creatures who do not love and probably are not true to each other. But the grand, revolutionary idea which George Sand announced was that of the social independence and equality of woman--the principle that woman is not made for man in any other sense than as man is made for woman. For the first time in the history of the world woman spoke out for herself with a voice as powerful as that of man. For the first time in the history of the world woman spoke out as woman, not as the servant, the satellite, the pupil, the plaything, or the goddess of man. Now I intend at present to write of George Sand rather as an individual, or an influence, than as the author of certain works of fiction. Criticism would now be superfluously bestowed on the literary merits and peculiarities of the great woman whose astonishing intellectual activity has never ceased to produce, during the last thirty years, works which take already a classical place in French literature. If any reputation of our day may be looked upon as established, we may thus regard the reputation of George Sand. She is, beyond comparison, the greatest living novelist of France. She has won this position by the most legitimate application of the gifts of an artist. With all her marvellous fecundity, she has hardly ever given to the world any work which does not seem at least to have been the subject of the most elaborate and patient care. The greatest temptation which tries a story-teller is perhaps the temptation to rely on the attractiveness of story-telling, and to pay little or no attention to style. Walter Scott's prose, for example, if regarded as mere prose, is rambling, irregular, and almost worthless. Dickens's prose is as bad a model for imitation as a musical performance which is out of tune. Of course, I need hardly say that attention to style is almost as characteristic of French authors in general, as the lack of it is characteristic of English authors; but even in France, the prose of George Sand stands out conspicuous for its wonderful expressiveness and force, its almost perfect beauty. Then of all modern French authors--I might perhaps say of all modern novelists of any country--George Sand has added to fiction, has annexed from the worlds of reality and of imagination, the greatest number of original characters--of what Emerson calls new organic creations. Moreover, George Sand is, after Rousseau, the one only great French author who has looked directly and lovingly into the face of Nature, and learned the secrets which skies and waters, fields