women conduct a deadly feud, and politely tear each other's eyes out.
George Sand was famous then beyond her present-day esteem, and she was
a woman of vigour almost masculine and of a straightforwardness which
was almost an affectation. She loved to go about in boots and blouse,
and to ride bareback; she smoked cigars, and wrote at night. The
Comtesse d'Agoult was eminently feminine. She would rather have spent
one thousand francs on a gown than on anything else under heaven,
except another gown. She had in her certain literary capabilities, not
very marvellous, to be sure, but strong enough to provoke jealousy of
the overpraised Sand, who had also, incidentally, been on very intimate
terms with the present lover of the comtesse.

Unhappy is the lover who tries to play peacemaker between two of his
mistresses. This is enough to bring lava from any "extinguished
volcano." Liszt, after almost vain efforts to avoid downright
hair-pulling, decided to take the comtesse away from Nohant. He seems
to have sided with her against Sand, and said afterward: "I did not
care to expose myself to her insolence" (_sottise_). Chopin, however,
took sides with Sand, and it is said that his heart chilled toward
Liszt, who spoke bitterly of this estrangement, but on Chopin's death
wrote a biographical sketch full of affection, and of an admiration
better balanced than the over-flowery style which marks all of Liszt's
writings.

When the comtesse left Nohant, which Liszt never saw again, they went
to Lyons, where he gave a concert for the benefit of the poor and
working people. For what purposes of benevolence indeed did Liszt not
give concerts! So great and so discriminating and so self-sacrificing
was his charity, that it would almost plead atonement for a million
such unconventionalities as his. He was not content to devote the