Indiana, the real Lelia? Here she is, it is Emma Roualt.' 'And do you want to know what becomes of a woman whose education has consisted in George Sand's books? Here she is, Emma Roualt.' So that the terrible mocker of the bourgeois has written a book which is directly inspired by the spirit of the 1840 bourgeois. Their recriminations against romanticism 'which rehabilitates and poetises the courtesan,' against George Sand, the Muse of Adultery, are to be found in acts and facts in Madame Bovary."
Now, the largest interest of this correspondence depends precisely upon the continuance, beneath an affectionate personal relationship, of a fundamental antagonism of interests and beliefs, resolutely maintained on both sides. George Sand, with her lifelong passion for propaganda and reformation, labors earnestly to bring Flaubert to her point of view, to remold him nearer to her heart's desire. He, with a playful deference to the sex and years of his friend, addresses her in his letters as "Dear Master." Yet in the essentials of the conflict, though she never gives over her effort, he never budges a jot; he has taken his ground, and in his last unfinished work, Bouvard and Pécuchet, he dies stubbornly fortifying his position. To the last she speaks from a temperament lyrical, sanguine, imaginative, optimistic, and sympathetic; he from a temperament dramatic, melancholy, observing, cynical, and satirical. She insists upon natural goodness; he, upon innate depravity. She urges her faith in social regeneration; he vents his splenetic contempt
