Her chief anxiety in this domestic misfortune was as to her children's welfare and control. She was jealous of their affection for her. Her letters to her son at this period are full of the tender solicitude she feels; she puts before him a high standard for his life's guidance, and strives to inculcate unselfish love as a consoling virtue. She betrays her anxiety lest her children should be separated from her. Finally, in the autumn of 1835, she applied to the courts for a legal decision that should give her the definite and valid settlement which Monsieur Dudevant had previously voluntarily agreed to, but had since avoided. George Sand proposed to pay her husband a yearly income of three thousand eight hundred francs, which, in addition to the small remnant of the income from his own fortune, would make a total revenue of five thousand francs. She was to undertake the charge of her children's education, and to have possession of Nohant. Even in this crisis, the wife's respect for the father of her children is in clear evidence. She writes to her mother in October: "If my husband will be amenable to propriety and duty, neither of my children will love one of their parents at the expense of the other." This suit was delayed, and a final issue was not obtained till the middle of 1836, a decision rendered in February in her favor, by default, having been appealed against. During this period of unrest, George Sand actually contemplated, in case she failed, running away to America with her children. The months that had passed, however, were not without literary fruit. The works of the first period or style, besides those already mentioned, include _Leone Leoni_, 1835; _Simon_, _Lavinia_, and _Metella_, 1836. She also rewrote _Lélia_ (of which she says: "Lélia is not myself ... but she is my ideal."), modifying her first production of anger so that it should "harmonize with that of gentleness." _Leone Leoni_ is a tale of a woman's incurable love. The heroine is a bourgeoise, who has been ensnared by the wiles of a Venetian nobleman. She endures manifold sufferings and base indignities, yet her heart triumphs over her mind. While she rebels against the thrall in which she is held, she cannot break from it; and even when rescue is offered her by marriage with a man of heart, and all has been arranged to this end, she forsakes him in favor of the rascal who has wronged her. This morbid love, while alluring enough, does not offer us the type of woman whom we find attractive in the characters drawn by our author. In _Simon_, a new tone is dominant; there is light in the mind, hope in the heart. Herein she shows social prejudice overcome by deep and patient love.