At Majorca with Chopin.
We were delighted to meet in an old Carthusian convent a Spanish family whom political reasons had compelled to seek a hiding-place there, and who possessed a tolerably decent suite of peasant furniture. The refugees intended to pass over to France; we, therefore, bought the furniture for three times its value, and installed ourselves in the convent of Valdemosa: a poetical name, a poetical abode—charming scenery, grand and wild, with the sea bordering on the horizon, formidable heights around us, eagles pursuing their prey even into the orange groves of our garden, a path planted with cypresses and winding its way from the top of the mountain to the bottom of the ravine; under our feet torrents, overhung by myrtles and palms.... We were unable to procure servants, because we were not Christians; and besides, nobody cared to wait upon a consumptive person.... We scarcely ever met a soul; nothing disturbed our occupations. After waiting for two months, and having to pay a duty of 300 francs, Chopin at last obtained his piano, and the vaults of the convent cells were enlivened by its melody. Maurice visibly improved every day in health and strength; as for me, I used to perform the duties of a tutor seven hours a day.... During one-half of the night I worked for myself. Chopin composed some of his masterpieces, and we were in hopes of swallowing our vexations by the aid of these compensating influences. But, owing to the elevated position of the convent, the climate eventually became unbearable. We were living in the midst of clouds, and for fifty days we were unable to descend to the valley. The roads had been changed into torrents, and we could no longer see the sun.
All that would have seemed very well to me if poor Chopin could have endured it.... While battering our rocks, the wind and the sea sang in a sublime tone. The immense and deserted cloisters were cracking overhead. Had I written there that part of Lélia which is enacted in a monastery, I could have made it better and more real. But my poor friend’s chest was daily growing worse. Fine weather did not return. A chambermaid whom I had brought with me from France, and who until then had resigned herself, thanks to a large salary, to do our cooking and keep our rooms tidy, was beginning to consider her work too fatiguing. The moment had arrived when, having wielded the broom and boiled the saucepan myself, I too must have given way to fatigue; for, besides my tutor’s work, my literary pursuits, the continuous care demanded by the state of my patient, and the mortal anxiety he caused me, I was eaten up with rheumatism. In Majorca the use of chimneys is unknown. By paying an exorbitant price we succeeded in getting somebody to build a grotesque stove for us, a sort of iron caldron which gave us the headache and parched our chests. In spite of that, the humidity of the convent was such that our clothing grew mouldy on our backs.... We at last decided to go away, at whatever cost, although Chopin had not even strength enough to drag himself along.... We were obliged to travel three leagues along outlandish paths in a birlocho, that is to say, a wheelbarrow!
George Sand: Letter to M. François Rollinat, March, 1839, in ‘Letters of George Sand.’
“Madame Sand” at Nohant.
It seems to me but the other day that I saw her, yet it was in the August of 1846, more than thirty years ago. I saw her in her own Berry, at Nohant, where her childhood and youth were passed, where she returned to live after she became famous, where she died and has now her grave.... The château of Nohant, in which Madame Sand lived, is a plain house by the roadside, with a walled garden. Down in the meadows, not far off, flows the Indre, bordered by trees....
The mid-day breakfast at Nohant was not yet over when I reached the house, and I found a large party assembled. I entered with some trepidation, ... but the simplicity of Madame Sand’s manner put me at ease in a moment. She named some of those present; amongst them were her son and daughter, the Maurice and Solange so familiar to us from her books, and Chopin with his wonderful eyes. There was at that time nothing astonishing in Madame Sand’s appearance. She was not in man’s clothes; she wore a sort of costume not impossible, I should think (although on these matters I speak with hesitation), to members of the fair sex at this hour amongst ourselves, as an out-of-door dress for the country or for Scotland. She made me sit by her and poured out for me the insipid and depressing beverage, boisson fade et mélancolique, as Balzac called it, for which English people are thought abroad to be always thirsting,—tea. She conversed of the country through which I had been wandering, of the Berry peasants and their mode of life, of Switzerland, whither I was going; she touched politely, by a few questions and remarks, upon England and things and persons English—upon Oxford and Cambridge, Byron, Bulwer. As she spoke her eyes, head, bearing, were all of them striking; but the main impression she made was an impression of what I have already mentioned,—of simplicity, frank, cordial simplicity. After breakfast she led the way into the garden, asked me a few kind questions about myself and my plans, gathered a flower or two and gave them to me, shook hands heartily at the gate, and I saw her no more.
Matthew Arnold: George Sand. ‘Mixed Essays,’ etc. New York; Macmillan & Co. 1883.