woman. He delighted in discussing social questions with a comrade to whom he did not need to show the /galanterie d'epiderme/ necessary in conversation with ordinary women. He thought that she had great virtues which society misconstrued, and that after hours of discussion he had gained a great deal in making her recognize the necessity of marriage. In discussing with him the great questions of marriage and liberty, she said with great pride that they were preparing by their writings a revolution in manners and morals, and that she was none the less struck by the objections to the one than by those to the other.

She knew just what he thought about her; she had neither force of conception, nor the art of pathos, but--without knowing the French language--she had /style/. Like him, she took her glory in raillery, and had a profound contempt for the public, which she called /Jumento/. Defending her past life, he says: "All the follies that she has committed are titles to fame in the eyes of great and noble souls. She was duped by Madame Dorval, Bocage, Lammennais, etc., etc. Through the same sentiment she is now the dupe of Liszt and Madame d'Agoult; she has just realized it for this couple as for la Dorval, for she has one of those minds that are powerful in the study, through intellect, but extremely easy to entrap on the domain of reality."

During this week-end visit, Madame Dudevant related to Balzac the story of Liszt and Madame d'Agoult, which he reproduced in /Beatrix/, since in her position, she could not do so herself. In the same book, George Sand is portrayed as Mademoiselle des Touches, with the complexion, pale olive by day, and white under artificial light, characteristic of Italian beauty. The face, rather long than oval, resembles that of some beautiful Isis. Her hair, black and thick, falls in plaited loops over her neck, like the head-dress with rigid double locks of the statues at Memphis, accentuating very finely the general severity of her features. She has a full, broad forehead, bright with its smooth surface on which the light lingers, and molded like that of a hunting Diana; a powerful, wilful brow, calm and still. The eyebrows, strongly arched, bend over the eyes in which the fire sparkles now and again like that of fixed stars. The cheek-bones, though softly rounded, are more prominent than in most women, and confirm the impression of strength. The nose, narrow and straight, has high-cut nostrils, and the mouth is arched at the corners. Below the nose the lip is faintly shaded by a down that is wholly charming; nature would have blundered if she had not placed there that tender smoky tinge.

Balzac admitted that this was the portrait of Madame Dudevant, saying that he rarely portrayed his friends, exceptions being G. Planche in Claude Vignon, and George Sand in Camille Maupin (Mademoiselle des Touches), both with their consent.

Madame Dudevant was an excessive smoker, and during Balzac's visit to her, she had him smoke a hooka and latakia which he enjoyed so much that he wrote to Madame Hanska, asking her to get him a hooka in Moscow, as he thought she lived near there, and it was there or in Constantinople that the best could be found; he wished her also, if she could find true latakia in Moscow, to send him five or six pounds, as opportunities were rare to get it from Constantinople. Later, on his visit to Sardinia, he wrote her from Ajaccio: "As for the latakia, I have just discovered (laugh at me for a whole year) that Latakia is a village of the island of Cyprus, a stone's throw from here, where a superior tobacco is made, named from the place, and that I can get it here. So mark out that item."[*]

[*] /Lettres a l'Etrangere. This contradicts the statement of S. de Lovenjoul, /Bookman/, that Balzac had a horror of tobacco and is known to have smoked only once, when a cigar given him by Eugene Sue made him very ill. He evidently had this excerpt of a letter in mind: "I have never known what drunkenness was, except from a cigar which Eugene Sue made me smoke against my will, and it was that which enabled me to paint the drunkenness for which you blame me in the /Voyage a Java/." This visit to George Sand was made five years after this letter was written. Or S. de Lovenjoul might have had in mind the statement of Theophile Gautier that Balzac could not endure tobacco in any form; he anathematized the pipe, proscribed the cigar, did not even tolerate the Spanish /papelito/, and only the Asiatic narghile found grace in his sight. He allowed this only as a curious trinket, and on account of its local color.

George Sand and Balzac discussed their work freely and did not hesitate to condemn either plot or character of which they did not approve. Some of Balzac's women shocked her, but she liked /La premiere Demoiselle/ (afterwards L'Ecole des Manages), a play which Madame Surville found superb, but which Madame Hanska discouraged because she did not like the plot. She aided him in a financial manner by signing one of his stories, /Voyage d'un Moineau de Paris/. At that time, Balzac needed money and Stahl (Hetzel) refused to insert in his book, /Scenes de la Vie privee de Animaux/ (2 vols., 1842), this story of Balzac's, who had already furnished several articles for this collection. George Sand signed her name, and in this way, Balzac obtained the money.

Madame Dudevant not only remained a true friend to Balzac in a literary and financial sense, but was glad to defend his character, and was firm in refuting statements derogatory to him. In apologizing to him for an article that had appeared without her knowledge in the /Revue independente/, edited by her, she asked his consent to write a large work about him. He tried to dissuade her, telling her that she would create enemies for herself, but, after persistence on her part, he asked her to write a preface to the /Comedie humaine/. The plan of the work, however, was very much modified, and did not appear until after Balzac's death.

Balzac dined frequently with Madame Dudevant and political as well as social and literary questions were discussed. He enjoyed opposing her views; after his return from his prolonged visit to Madame Hanska in St. Petersburg (1843), George Sand twitted him by asking him to give his /Impressions de Voyage/.

A story told at Issoudun illustrates further the genial association of the two authors: Balzac was dining one day at the Hotel de la Cloche in company with George Sand. She had brought her physician, who was to accompany her to Nohant. The conversation turned on the subject of insane people, and the peculiar manner in which the exterior signs of insanity are manifested. The physician claimed to be an expert in recognizing an insane person at first sight. George Sand asked very seriously: "Do you see any here?" Balzac was eating, as always, ravenously, and his tangled hair followed the movement of his head and arm. "There is one!" said the Doctor; "no doubt about it!" George Sand burst out laughing, Balzac also, and, the introduction made, the confused physician was condemned to pay for the dinner.

Balzac expresses his admiration for her in the dedication of the /Memoires de deux jeunes mariees/:

"To George Sand.

"This dedication, dear George, can add nothing to the glory of your name, which will cast its magic luster on my book; but in making it there is neither modesty nor self-interest on my part. I desire to bear testimony to the true friendship between us which continues unchanged in spite of travels and absence,--in spite, too, of our mutual hard work and the maliciousness of the world. This feeling will doubtless never change. The procession of friendly names which accompany my books mingles pleasure with the pain their great number causes me, for they are not written without anxiety, to say nothing of the reproach cast upon me for my alarming fecundity,--as if the world which poses before me were not more fecund still. Would it not be a fine thing, George, if some antiquary of long past literatures should find in that procession none but great names, noble hearts, pure and sacred friendships,--the glories of this century? May I not show myself prouder of that certain happiness than of other successes which are always uncertain? To one who knows you well it must ever be a great happiness to be allowed to call himself, as I do here,

"Your friend, "DE BALZAC."

CHAPTER IV

BUSINESS AND SOCIAL FRIENDS

MADAME BECHET--MADAME WERDET

A woman with whom Balzac was to have business dealings early in his literary career was Madame Charles Bechet, of whom he said: "This publisher is a woman, a widow whom I have never seen, and whom I do not know. I shall not send off this letter until the signatures are appended on both sides, so that my missive may carry you good news about my interests; . . ."

Thus began a business relation which, like many of Balzac's financial affairs, was to end unhappily. At first he liked her very much and dined with her, meeting in her company such noted literary men as Beranger, but as usual, he delayed completing his work, meanwhile resorting, in mitigation of his offense, to tactics such as the following words will indicate: ". . . a pretty watch given at the right moment to Madame Bechet may win me a month's freedom. I am going to overwhelm her with gifts to get peace."

Balzac often caused his publishers serious annoyance by re-writing his stories frequently, but at the beginning of this business relation he agreed with Madame Bechet about the cost of corrections. He says of the fair publisher: "The widow Bechet has been sublime: she had taken upon herself the expense of more than four thousand francs of corrections, which were set down to me. Is this not still pleasanter?"

But this could not last long, for she became financially embarrassed and then had to be very strict with him. She refused to advance any money until his work was delivered to her and called upon him to pay for the corrections. This he resented greatly:

"Madame Bechet has become singularly ill-natured and will hurt my interests very much. In paying me, she charges me with corrections which amount on the twelve volumes to three thousand francs, and also for my copies, which will cost me fifteen hundred more. Thus four thousand five hundred francs and my discounts, diminish by six thousand the thirty-three thousand. She could not lose a great fortune more clumsily, for Werdet estimates at five hundred thousand francs the profits to be made out of the next edition of the /Etudes de Moeurs/. I find Werdet the active, intelligent, and devoted publisher that I want. I have still six months before I can be rid of Madame Bechet; for I have three volumes to do, and it is impossible to count on less than two months to each volume."

She evidently relented, for he wrote later that Madame Bechet had paid him the entire thirty-three thousand francs. This, however, did not end their troubles, and he longed to be free from his obligations, and