lady, had had the best opportunity to learn to know her
thoroughly. George Sand never says anything witty; she is
indeed one of the most unwitty Frenchwomen I know.

While admiring the clever drawing and the life-like appearance of
the portrait, we must, however, not overlook the exaggerations
and inaccuracies. The reader cannot have failed to detect the
limner tripping with regard to Musset, who occupied not many
years but less than a year the post of cavaliere servente. But
who would expect religious adherence to fact from Heine, who at
all times distinguishes himself rather by wit than
conscientiousness? What he says of George Sand's taciturnity in
company and want of wit, however, must be true; for she herself
tells us of these negative qualities in the Histoire de ma Vie.

The musical accomplishments of Chopin's beloved one have, of
course, a peculiar interest for us. Liszt, who knew her so well,
informed me that she was not musical, but possessed taste and
judgment. By "not musical" he meant no doubt that she was not in
the habit of exhibiting her practical musical acquirements, or
did not possess these latter to any appreciable extent. She
herself seems to me to make too much of her musical talents,
studies, and knowledge. Indeed, her writings show that, whatever
her talents may have been, her taste was vague and her knowledge
very limited.

When we consider the diversity of character, it is not a matter
for wonder that Chopin was at first rather repelled than
attracted by the personality of George Sand. Nor is it, on the
other hand, a matter for wonder that her beauty and power of