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 dom. For Flaubert, too, though he was seventeen years her junior, the flamboyance of youth was long since past; in 1863, when the correspondence begins, he was firmly settled, a shy, proud, grumpy, toiling hermit of forty, in his family seat at Croisset, beginning his seven years' labor at L'Education Sentimentale, master of his art, hardening in his convictions, and conscious of increasing estrangement from the spirit of his age. He, with his craving for sympathy, and she, with her inexhaustible supply of it, meet; he pours out his bitterness, she her consolation; and so with equal candor of self-revelation they beautifully draw out and strengthen each the other's characteristics, and help one another grow old.

But there is more in these letters than a satisfaction for the biographical appetite, which, indeed, finds its account rather in the earlier chapters of the correspondents' history. What impresses us here is the banquet spread for the reflective and critical faculties in this intercourse of natural antagonists. As M. Faguet observes in a striking paragraph of his study of Flaubert:

"It is a curious thing, which does honor to them both, that Flaubert and George Sand should have become loving friends towards the end of their lives. At the beginning, Flaubert might have been looked upon by George Sand as a furious enemy. Emma (Madame Bovary) is George Sand's heroine with all the poetry turned into ridicule. Flaubert seems to say in every page of his work: 'Do you want to know what is the real Valentine, the real