The fact remains, however, that most of her early works, including Lélia, Mauprat (1837), Spiridion (1839), and Les Sept Cordes de la lyre (1840), show the influence of one or another of the men with whom she associated.Does a writer, in changing names, change persona, assume a different personality, a disguise, whether consciously or unconsciously? When Amandine-Aurore-Lucile Dupin (or simply Aurore to her friends) married Casimir, she became a ‘Dudevant’ and acutely aware of her identity as his wife. She remained impervious to Musset’s skeptical views and Chopin’s aristocratic prejudices, while the man whose opinions she adopted wholeheartedly, the philosopher Pierre Leroux, was never her lover. Meanwhile, the list of her lovers was growing eventually it included, among others, Prosper Mérimée, Alfred de Musset, and Frédéric Chopin. Valentine is the first of many Sand novels in which the hero is a peasant or a workman.
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In Valentine (1832) and Lélia (1833) the ideal of free association is extended to the wider sphere of social and class relationships. That novel, which brought her immediate fame, is a passionate protest against the social conventions that bind a wife to her husband against her will and an apologia for a heroine who abandons an unhappy marriage and finds love. In 1832 she adopted a new pseudonym, George Sand, for Indiana, a novel in which Sandeau had had no part. In January 1831 she left Nohant for Paris, where she found a good friend in Henri de Latouche, the director of the newspaper Le Figaro, who accepted some of the articles she wrote with Jules Sandeau under the pseudonym Jules Sand. The first years of the marriage were happy enough, but Aurore soon tired of her well-intentioned but somewhat insensitive husband and sought consolation first in a platonic friendship with a young magistrate and then in a passionate liaison with a neighbour. Love literature? This quiz sorts out the truth about beloved authors and stories, old and new.
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