history, and it is just that which is so difficult. . . ."

This declaration is rather surprising to any one who reads it to-day.
We might ask whether what was natural in 1832 would be natural in 1910?
That is not the question which concerns us, though. The important fact
to note is that George Sand was no longer attempting to manufacture
monstrosities. She was endeavouring to be true, and she wanted above
everything else to present a character of woman who would be the typical
modern woman.

"Noemi (this name was afterwards left to Sandeau, who had used it in
_Marianna_. George Sand changed it to that of _Indiana_) is a typical
woman, strong and weak, tired even by the weight of the air, but capable
of holding up the sky; timid in everyday life, but daring in days of
battle; shrewd and clever in seizing the loose threads of ordinary life,
but silly and stupid in distinguishing her own interests when it is a
question of her happiness; caring little for the world at large, but
allowing herself to be duped by one man; not troubling much about
her own dignity, but watching over that of the object of her choice;
despising the vanities of the times as far as she is concerned, but
allowing herself to be fascinated by the man who is full of these
vanities. This, I believe," she says, "is the usual woman, an
extraordinary mixture of weakness and energy, of grandeur and of
littleness, a being ever composed of two opposite natures, at times
sublime and at times despicable, clever in deceiving and easily deceived
herself."

This novel, intended to present to us the modern woman, ought to be
styled a "feminist novel." It was also, as regards other points of view.
_Indiana_ appeared in May, 1832, _Valentine_ in 1833, and _Jacques_ in