Madame Sand had for some time been a regular contributor to the _Revue des Deux Mondes_, but the novel _Horace_, written for its pages, was rejected by the editor as being of subversive tendencies; it was, therefore, published in the _Revue Indépendante_, a very advanced journal founded in 1840 by Pierre Leroux and Louis Viardot, to which George Sand gave her coöperation. This work portrays in its study of the titular character a sort of moral mountebank; the analysis is very clever and interesting of the weak, selfish man who for a time imposes with his claims for distinction, but who appears in his true light at last. Next came the _Compagnon du Tour de France_, in which socialist doctrines are the animating spirit. Though the freedom of the author's fancy clothes the subject and the characters with great interest and portrays many charming situations, yet there is a strained and not seldom unwelcome contrast presented by the necessity of keeping the individuals in line with the political purpose of the novel. Speaking of her writing, about this time, George Sand says: "Happily, I do not need to seek ideas; they are clearly fixed in my brain. I have no longer to struggle with doubts; these vanished like clouds in the light of conviction. I no longer have to examine my sentiments; their voice sounds aloud from the depths of my heart, and puts to silence all hesitation, literary pride, and fear of ridicule. So much has philosophy done for me." In 1842, the beginning of _Consuelo_ appeared in the _Revue Indépendante_, and its opening was so auspicious that the scope originally planned was considerably enlarged. The author tells us that she felt she had before her a grand subject and powerful types of character, with time, place, and historic incidents of deep interest, in great profusion awaiting the explorer. The heroine of the work is a lovely portraiture: lofty in mind, noble in heart, and chaste in thought. _Consuelo_ must ever remain one of George Sand's finest creations. The work abounds in interesting situations; the exuberant fancy and poetic spirit of the author find full play in a series of marvellous and fascinating adventures; and the characters are portrayed with subtle skill and vigor. Nor can the prolixity and gloomy meditations of Comte Albert check the reader's interest. The meeting of Consuelo and Haydn and the wonderful musical performances of these wayfarers present lovely and by no means impossible pictures. The influence of George Sand's friendship with Liszt, who stayed at Nohant during the summer of 1837, and with Chopin, with whom she was on equally close terms, is seen in this work. The _Comtesse de Rudolstadt_ is perhaps less likely to arouse enthusiasm and sustained interest; Consuelo has become the Comtesse de Rudolstadt, and with the change not a little of the charm disappears in the mystifying allegory and humanitarian theories which obscure the artist's poetic fancy and brilliant description.