brought his daughter to the door and handed her over to her mother, threatening at the same time to take Maurice from her by legal authority.  The husband and wife then separated . . . delighted with each other, according to George Sand.  They very rarely met after this affair.  Dudevant certainly did not impress people very favourably.  After the separation, when matters were being finally settled, he put in a claim for fifteen pots of jam and an iron frying-pan.  All this seems very petty.

The first use George Sand made of the liberty granted to her by the law, in 1836, was to start off with Maurice and Solange for Switzerland to join her friends Franz Liszt and the Comtesse d’Agoult.  George Sand had made Liszt’s acquaintance through Musset.  Liszt gave music-lessons to Alfred’s sister, Herminie.  He was born in 1811, so that he was seven years younger than George Sand.  He was twenty-three at the time he first met her, and their friendship was always platonic.  They had remarkable affinities of nature.  Liszt had first thought of becoming a priest.  His religious fervour was gradually transformed into an ardent love of humanity.  His early education had been neglected, and he now read eagerly.  He once asked Monsieur Cremieux, the advocate, to teach him “the whole of French literature.”  On relating this to some one, Cremieux remarked:  “Great confusion seems to reign in this young man’s mind.”  He had been wildly excited during the movement of 1830, greatly influenced by the Saint-Simon ideas, and was roused to enthusiasm by Lamennals, who had just published the Paroles d’un Croyant.  After reading Leone Leoni, he became an admirer of George Sand.  Leone Leoni is a transposition of Manon Lescaut into the romantic style.  A young girl named Juliette has been seduced by a young seigneur, and then discovers that this man is an abominable swindler.  If we try to imagine all the infamous things of which an apache would be capable, who at the same time is devoted to the women of the pavement, we then have Leone Leoni.  Juliette, who is naturally honest and straightforward, has a horror of all the atrocities and shameful things she sees.  And yet, in spite of all, she comes back to Leone Leoni, and cannot love any one else.  Her love is stronger than she is, and her passion sweeps away all scruples and triumphs over all scruples.  The difference between the novel of the eighteenth century, which was so true to life, and this lyrical fantasy of the nineteenth century is very evident.  Manon and Des Grieux always remained united to each other, for they were of equal value.  Everything took place in the lower depths of society, and in the mire, as it were, of the heart.  You have only to make a good man of Des Grieux, or a virtuous girl of Manon, and it is all over.  The transposing of Leone Leoni is just this, and the romanticism of it delighted Liszt.

He had just given a fine example of applying romanticism to life.  Marie d’Agoult, nee de Flavigny, had decided, one fine day, to leave her husband and daughter for the sake of the passion that was everything to her.  She accordingly started for Geneva, and Liszt joined her there.