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66 observation, as well as in such personal emotions as come but once in a life-time, the inspiration that smaller talents can derive from the latter alone.

In both her consummate art, or rather natural gift of the art of narrative, is the mainstay of the fabric her imagination has reared. That incomparable style of hers is like some magic fairy-ring, that bears the wearer, safe and victorious, through manifold perils—perils these of prolixity, exaggeration, and disdain of careful construction. Both Indiana and Valentine, moreover, contain scenes and passages offensive to English taste, but it is impossible fairly to criticise the fiction of a land where freer expression in speech and in print than with us is habitually recognised and practised, from our own standpoint of literary decorum. It was not for this feature that French criticism had already begun to charge her books with dangerous tendencies (thus contributing largely to noise her fame abroad), as breathing rebellion against the laws of present society; charges which, so far as Indiana and Valentine are concerned, had, as is now generally admitted, but little foundation. Each is the story of an unhappy marriage, but there is no attempt whatever to throw contempt on existing institutions, or to propound any theory, unless it be the idea—no heresy or novelty in England at least—that marriage, concluded without love on either side, is fraught with special dangers to the wife, whose happiness is bound up with her affections. It was the