literary occupations the more lucrative labour of a colourist. Encouraged by the publisher's approval, she took from a drawer a manuscript written entirely by herself; the publisher examined it, bought it, doubtless very cheap, and might have paid a much higher price without making a bad speculation, for it was the manuscript of Indiana. Soon after that, Margaret Lecomte left Watelet, took half his name, called herself George Sand, and of that half name has made herself one which shines to-day amongst the greatest and most glorious."

Somebody has hazarded the sweeping assertion that the lover is the King of George Sand's novels. George Sand herself is the queen of the class of femmes incomprises, the victim of a mariage de convenance. The death of her grandmother left her, at the very moment she quitted the convent where she had been educated, alone and almost friendless. Ignorant of the world, she allowed herself to be married to a rough old soldier, who led a prosaic existence in a lonely country-house, had no notion of romance, sentiment, or reverie, and made little allowance for them in others. The days that ought to rank amongst the brightest memories of a woman's heart, the early years of marriage, were a blank, or worse, to Aurora Dudevant, and the bitterness thus amassed not unfrequently breaks forth in her writings. It has been urged by her partisans, in extenuation of her conjugal faux pas, that her husband was ignorant and brutal. On the other hand, the idle have invented many of the delinquencies imputed to her since her separation, just as they have told absurd stories about her fantastical habits; and have made her out a sort of literary Lola Montes, swaggering and smoking in man's attire, and brandishing pistol and horsewhip with virile energy and effect. The atmosphere of Paris is famous for its magnifying powers. Seen through it, a grain of sand becomes a mountain, an eccentricity is often distended into a vice. We lay this down as a rule, which none who know and understand the French metropolis will dispute; but we do not, at the same time, in any way take up the gloves in defence of George Sand,

with whom we have not the honour of a personal acquaintance, and whose writings would certainly incline us to somewhat ready credence of her irregularities and masculine addictions. Now that she has attained the ripe age of forty-four, we may suppose her sobered down a little. Before the February revolution upset society, and drove the majority of the wealthy from Paris, we happen to know she was a welcome guest in some of the most fashionable and aristocratic drawingrooms of the Faubourg St Germain, where she was sought and cultivated for the charm of her conversation. Since the revolution, there have been reports of her presiding, or at leastassisting, at democratic orgies; but these rumours, as the newspapers say, "require confirmation.” Since we have, somehow or other, got led into this long gossip about the lady, we will make another extract from the writer already quoted, who tells an amusing story of his first introduction, obtained by means of a misdelivered note, intended by the authoress of Lelia for a man who cured smoky chimnies. A resemblance of name brought the missive (a summons to a sick funnel) into the hands of the biographer, who, puzzled at first, finally resolved to take advantage of the mistake, to ascertain whether George Sand really did wear boots and spurs, and smoke Virginian in a short pipe. He expected something masculine and alarming, but in this respect was agreeably disappointed.

"I saw before me a woman of short stature, of comfortable plumpness, and of an aspect not at all Dantesque. She wore a dressing gown, in form by no means unlike the wrapper which I, a commonplace mortal, habitually wear; her fine hair, still perfectly black, whatever evil tongues may say, was separated on a brow broad and smooth as a mirror, and fell freely adown her cheeks, in the manner of Raphael; a silk handkerchief was fastened loosely round her throat; her eyes, to which some painters persist in imparting an exaggerated power of expression, were remarkable, on the contrary, for their melancholy softness; her voice was sweet, and not very strong; her mouth, especially, was singularly graceful; and in her

whole attitude there was a striking character of simplicity, nobility, and calm. In the ample temples and rich development of brow, Gall would have discerned genius; in the frankness of her glance, in the outline of her countenance, and in the features, correct but worn, Lavater would have read, it seems to me, past suffering, a time-present somewhat barren, an extreme propensity to enthusiasm, and consequently to discouragement. Lavater might have read many other things, but he certainly could have discovered neither insincerity, nor bitterness, nor hatred, for there was not a trace of these on that sad but serene physiognomy. The Lelia of my imagination vanished before the reality; and it was simply a good, gentle, melancholy, intelligent, and handsome face that I had before my

eyes.

"Continuing my examination, I remarked with pleasure that the grande désolée had not yet completely renounced human vanities; for, beneath the floating sleeves of her gown, at the junction of the wrist with the white and delicate hand, I saw the glitter of two little gold bracelets of exquisite workmanship. These feminine trinkets, which became her much, greatly reassured me touching the sombre tint, and the politico-philosophic exaltation, of certain of George Sand's recent writings. One of the hands that thus caught my attention concealed a cigarito, and concealed it badly, for a treacherous little column of smoke ascended behind the back of the prophetess."

Whether or no the interview thus described really took place, Madame Dudevant should feel obliged to her biographer for his gentle treatment and abstinence from exaggeration. On the strength of the puff of smoke and the epicene dressing gown, many writers would have sketched her hussar fashion, and hardly have let her off the mustaches.

We are nearly at the end of our parcel, at least of such portion of it as appears worthy a few words. Here are a brace of volumes by M. de Kock, over which we are not likely long to linger. An esteemed contributor to Maga expressed, a few years ago, his and our opinion concerning

this ancient dealer in dirt namely, that he has no deliberate intention to corrupt the morals or alarm the delicacy of his readers, for that morals and delicacy are words of whose meaning he has not the slightest conception. Paul, every Frenchman tells you, is not read in France, save by milliners' girls and shopboys, or by literary porters, who solace the leisure of their lodge by a laugh over his pages, contraband amongst gens comme il faut. No man is a prophet in his own land; and yet we have certain reasons for believing that, even in France, Paul has more readers, avowed or secret, than his countrymen admit. But at any rate, we can offer the old gentleman (for M. Kock must be waxing venerable, and his son has for some years been before the public as an author,) the consolatory assurance, that in England he has numerous admirers, to judge from the thumbed condition of a set of his works, which caught our eye last summer on the shelves of a London circulating library. To these amateurs of "Kockneyisms," whether genuine cockneys, or naturalised cooks and barbers from Gaul, Taquinet le Bossu will be welcome. The hunchback, everybody knows, is a great type in France. Who is not acquainted with the glorious Mayeur, the swearing, fighting, love-making hero of a host of popular songs, anecdotes, and caricatures, and of more than one romance-especially of a four-volume one by Ricard, a deceased rival of De Kock? Well, Paul-who, we must admit, is quite original, and disdains imitation-has never meddled with the hackneyed veteran Mayeux, but now creates a hunchback of his own. Taquinet is the dwarf clerk of a notary, luxuriating in a wage of fifty pounds a-year, and a hunch of the first magnitude. Pert as a magpie, mischievous and confiding, devoted to the fair sex, and especially to its taller specimens, he is a fine subject for Monsieur de Kock, who gets him into all manner of queer scrapes, some not of the most refined description. The French hunchback, we must observe, is a genus apart-quite different from high-shouldered people of other countries. Far from being susceptible on the score of his dorsal

ex

protuberance, he views it in the light of an excellent joke, a benefaction of nature, placed upon his spine for the diversion of himself and his fellowmen. The words bosse and bossu (hunch and hunchback) have various idiomatic and proverbial applications in France. To laugh like a bossu, implies the ne plus ultra of risibility: se donner une bosse-literally, to give one's-self a hunch-is synonymous with sharing in a jovial repast where much is eaten and more drunk. An excellent caricature in the Charivari, some years ago, represented a group of half-starved soldiers sitting round a fire of sticks at the foot of Atlas, and picking a dromedary's scull-" Pas moyen de se donner une bosse! claims one of the dissatisfied conscripts. On twelve hundred francs per annum, poor Taquinet often makes the same complaint; and, in hopes of bettering his fortune, wanders into Germany on a matrimonial venture, there to be jilted by Fraulein Carottsmann, for a strolling player with one coat and three sets of buttons, who styles himself Marquis, because he has been occasionally hissed in the line of characters designated in France by that aristocratic denomination. Then there is a general of Napoleon's army who cannot write his name; anda buxom sutler and a handsome aide-decamp, sundry grisettes, and the other dramatis persona habitually to be met with in the pages of Paul-the whole set forth in indifferent French, and garnished with buffoonery and impropriety, after the usual fashion of this zany of Parisian novelists.

Is it true that M. Honoré de Balzac is married to a female millionnaire, who fell in love with him through his books and his reputation? If so, let him take our advice and abjure scribbling -at least till he is in the vein to turn out something better than his recent productions-better, at least, than the first volume of the Député d'Arcis, now lying before us. What heavy, vulgar trash, to flow from the pen of a man of his abilities! After beginning his literary career with a series of worthless books, published under various pseudonymes, and whose authorship he has since in vain endeavoured to disclaim, he rose into

fame by his Scènes de la Vie de Province, by his Peau de Chagrin, his Père Goriot, and other striking and popular works. The hour of his decline then struck, and he has since been rolling down the hill at a faster rate than he ascended it. His affectation of originality is wearisome and nauseous in the extreme. He reminds us of a nurseryman we once knew, who, despairing of equalling the splendour of a neighbour's flowers, applied himself to the production of all manner of floral monstrosities, mistaking distortion for beauty, and eccentricity for grace. He strains for new conceptions and ideas till he writes nonsense, or something very little better. And his mania for introducing the same personages in twenty different books, renders it necessary to read all in order to understand one. The question becomes, whether it is worth while going through so much to obtain so little. Our reply is a decided negative. If the system, however, be annoying to the reader, for the author it has its advantages. It is, in fact, a new species of puffery, of considerable ingenuity. Backwards and forwards, M. de Balzac refers his public; his books are a system of mutual accommodation and advertisement. Thus, in the Député &c., apropos of a lawsuit, we find in brackets and in large capitals,—“ See UNE TENEBREUSE AFFAIRE." little further on, an allusion being made to the town of Provins, we are requested to "See PIERRETTE." Similar admonitions are of constant recurrence in the same author's writings. The plan is really clever, and proves Paris a step or two ahead of London in the art of advertising. We have not yet heard of Moses and Doudney stamping on a waistcoat back an injunction to "Try our trousers," or embroidering on a new surtout a hint as to the merits of a 'poplin overcoat.' "Buy our bear's grease!" cries Mr Ross the perfumer. "Prenez mon ours!" chimes in M. Balzac the author. 0 Paris! Paris! romantic and republican, political and poetical, of all the cities of the plain thou art the queen, and humbug is the chief jewel in thy diadem!

A

On

No sooner was it known that Los Americanos had arrived, than nearly all the householders of Fernandez presented themselves to offer the use of their "salas" for the fandango which invariably celebrated their arrival. This was always a profitable event; for as the mountaineers were generally pretty well" flush" of cash when on their "spree," and as open-handed as an Indian could wish, the sale of whisky, with which they regaled all comers, produced a handsome return to the fortunate individual whose room was selected for the fandango. this occasion the sala of the Alcalde Don Cornelio Vegil was selected and put in order; a general invitation was distributed; and all the dusky beauties of Fernandez were soon engaged in arraying themselves for the fête. Off came the coats of dirt and "alegnía" which had bedaubed their faces since the last "funcion," leaving their cheeks clear and clean. Water was profusely used, and their cuerpos were doubtless astonished by the unusual lavation. Their long black hair was washed and combed, plastered behind their ears, and plaited into a long queue, which hung down their backs. Enaguas of gaudy colour (red most affected) were donned, fastened round the waist with ornamented belts, and above this a snow-white camisita of fine linen was the only covering, allowing a prodigal display of their charms. Gold and silver ornaments, of antiquated pattern, decorate their ears and necks; and massive crosses of the precious metals, wrought from the gold or silver of their own placeres, hang pendant on their breasts. The enagua or petticoat, reaching about halfway between the knee and ancle, displays their wellturned limbs, destitute of stockings, and their tiny feet, thrust into quaint

little shoes (zapatitos) of Cinderellan dimensions. Thus equipped, with the reboso drawn over their heads and faces, out of the folds of which their brilliant eyes flash like lightning, and each pretty mouth armed with its cigarito, they coquettishly enter the fandango.* Here, at one end of a long room, are seated the musicians, their instruments being generally a species of guitar, called heaca, bandolin, and an Indian drum, called tombé—one of each. Round the room groups of New Mexicans lounge, wrapped in the eternal sarape, and smoking of course, scowling with jealous eyes at the more favoured mountaineers. These, divested of their hunting-coats of buckskins, appear in their bran-new shirts of gaudy calico, and close fitting buckskin pantaloons, with long fringes down the outside seam from the hip to the ancle; with mocassins, ornamented with bright beads and porcupine quills. Each, round his waist, wears his mountain-belt and scalp-knife, ominous of the company he is in, and some have pistols sticking in their belt.

The dances-save the mark !—are without form or figure, at least those in which the white hunters sport the "fantastic toe." Seizing his partner round the waist with the gripe of a grisly bear, each mountaineer whirls and twirls, jumps and stamps; introduces Indian steps used in the "scalp" or "buffalo" dances, whooping occasionally with unearthly cry, and then subsiding into the jerking step, raising each foot alternately from the ground, so much in vogue in Indian ballets. The hunters have the floor all to themselves. The Mexicans have no chance in such physical force dancing; and if a dancing Peládo † steps into the ring, a lead-like thump from a galloping mountaineer quickly

sends him sprawling, with the considerate remark-" Quit, you darned Spaniard! you can't shine' in this crowd."

*

During a lull, guagés filled with whisky go the rounds-offered to and seldom refused by the ladies-sturdily quaffed by the mountaineers, and freely swallowed by the Peládos, who drown their jealousy and envious hate of their entertainers in potent aguardiente. Now, as the guagés are oft refilled and as often drained, and as night advances, so do the spirits of the mountaineers become more boisterous, while their attentions to their partners become warmer-the jealousy of the natives waxes hotter thereat-and they begin to show symptoms of resenting the endearments which the mountaineers bestow upon their wives and sweethearts. And now, when the room is filled to crowding, -with two hundred people, swearing, drinking, dancing, and shouting-the half-dozen Americans monopolising the fair, to the evident disadvantage of at least threescore scowling Pelados, it happens that one of these, maddened by whisky and the green-eyed monster, suddenly seizes a fair one from the waist-encircling arm of a mountaineer, and pulls her from her partner. Wagh!-La Bonté-it is he-stands erect as a pillar for a moment, then raises his hand to his mouth, and gives a ringing warwhoop-jumps upon the rash Peládo, seizes him by the body as if he were a child, lifts him over his head, and dashes him with the force of a giant against the wall.

The war, long threatened, has commenced; twenty Mexicans draw their knives and rush upon La Bonté, who stands his ground, and sweeps them down with his ponderous fist, one after another, as they throng around him. "Howgh-owgh-owgh-owgh-h!" the well-known war-whoop, bursts from the throats of his companions, and on they rush to the rescue. The women scream, and block the door in their eagerness to escape; and thus the Mexicans are compelled to stand

*

Cask-shaped gourds.

their ground and fight. Knives glitter in the light, and quick thrusts are given and parried. In the centre of the room the whites stand shoulder to shoulder-covering the floor with Mexicans by their stalwart blows; but the odds are fearful against them, and other assailants crowd up to supply the place of those who fall.

Alarm being given by the shrieking women, reinforcements of Peládos rushed to the scene of action, but could not enter the room, which was already full. The odds began to tell against the mountaineers, when Kit Carson's quick eye caught sight of a high stool or stone, supported by three long heavy legs. In a moment he had cleared his way to this, and in another the three legs were broken off and in the hands of himself, Dick Wooton, and La Bonté. Sweeping them round their heads, down came the heavy weapons amongst the Mexicans with wonderful effect each blow, dealt by the nervous arms of Wooton and La Bonté, mowing down a good half-dozen of the assailants. At this the mountaineers gave a hearty whoop, and charged the wavering enemy with such resistless vigour, that they gave way and bolted through the door, leaving the floor strewed with wounded, many most dangerously; for, as may be imagined, a thrust from the keen scalp-knife by the nervous arm of a mountaineer was no baby blow, and seldom failed to strike home-up to the "Green River" † on the blade.

The field being won, the whites, too, beat a quick retreat to the house where they were domiciled, and where they had left their rifles. Without their trusty weapons they felt, indeed, unarmed; and not knowing how the affair just over would be followed up, lost no time in making preparations for defence. However, after great blustering on the part of the prefecto, who, accompanied by a posse comitatus of "Greasers," proceeded to the house, and demanded the surrender of all concerned in the affair-which proposition was received with a yell of derision-the business was compound