and nursed for eight years; her master Lamennais; her master Pierre Leroux; her father-confessor Sainte-Beuve; and Gustave Flaubert, the querulous friend of her last decade.
As we have compressed the long and complex story of her personal relationships, so we must compress the intimately related history of her works and her ideas. When under the inspiration of Rousseau, the emancipated George Sand began to write, her purposes were but vaguely defined. She conceived of life as primarily an opportunity for unlimited self-expansion, and of literature as an opportunity for unrestricted self-expression. "Nevertheless," she declares, "my instincts have formed, without my privity, the theory I am about to set down,—a theory which I have generally followed unconsciously. . . . According to this theory, the novel is as much a work of poetry as of analysis. It demands true situations, and characters not only true but real, grouped about a type intended to epitomize the sentiment or the main conceptions of the book. This type generally represents the passion of love since almost all novels are love stories. According to this theory (and it is here that it begins) the writer must idealize this love, and consequently this type,—and must not fear to attribute to it all the powers to which he inwardly aspires, or all the sorrows whose pangs he has observed or felt. This type must in no wise, however, become degraded by the vicissitude of events; it must either die or triumph."
