dirty yellow. The observation was so false that I could not help writing on the margin of his book: 'It is you, whose eyes are dirty.'"
We have spoken of George Sand as a faithful daughter of the French Revolution; and by way of contrast we may speak of Flaubert as a disgruntled son of the Second Empire. Between his literary advent and hers there is an interval of a generation, during which the proud expansive spirit and the grandiose aspirations imparted to the nation by the first Napoleon dwindled to a spirit of mediocrity and bourgeois smugness under a Napoleon who had inherited nothing great of his predecessor but his name. This change in the timespirit may help to explain the most significant difference between Flaubert and George Sand. He inherited the tastes and imagination of the great romantic generation; but he inherited none of its social and political enthusiasm. He was disciplined by the romantic writers; yet his reaction to the literary culture of his youth is not ethical but æsthetic; he finds his inspiration less in Rousseau than in Chateaubriand. He is bred to an admiration of eloquence, the poetic phrase, the splendid picture, life in the grand style; with increasing disgust he finds himself entering a society which, he feels, neither understands nor values any of these things, and which threatens their destruction. Consequently, we find him actuated as a writer by two complementary passions: the love of splendor and the hatred of mediocrity—two passions, of which
