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134 such as the good-natured self-indulgent canon, the violent, abandoned Corilla, make us forget the wildest improbabilities of the fiction itself. The concluding portion of the book, again entirely different in frame, with its delineation of art-life in a fashionable capital, Vienna, is as true as it is brilliant. It teems with suggestive ideas on the subject of musical and dramatic art, and with excellently drawn types. The relations of professional and amateur, the contradictions and contentions to which, in a woman's nature, the rival forces of love and of an artistic vocation may give rise, have never been better portrayed in any novel. The heroine, Consuelo, is of course an ideal character; her achievements partake of the marvellous; and there are digressions in the book which are diffuse in the extreme; but nowhere is the author's imagination more attractively displayed and her style more engaging. The tone throughout is noble and pure. To look on Consuelo as an agreeable story merely is to overlook the elevation of the moral standard of the book, in which much of its power resides. It marks more strongly than Mauprat the change that had come over the spirit of George Sand's compositions.

In the continuation. La Comtesse de Rudolstadt, which followed immediately in the Revue Indépendante, 1843, the novelist strays further and further from reality—the terra firma on which her fancy improvises such charming dances. Here she only touches the