Amandine Aurore Lucie Dupin was born in 1804, in Paris, and educated at Nohant, her grandmother’s estate, and at a convent in Paris. In 1821, she inherited Nohant, and a year later married Casimir Dudevant. In 1831, though, she left Nohant and her husband and went, with two children, to Paris. The same year she published a first novel, Rose Et Blanche, written in collaboration with Jules Sandeau, from whom she took her early pen-name (Jules Sand), and articles in Le Figaro. Her second novel Indiana, in 1832, written under the pen-name George Sand, brought her near instant fame. It told of a naive woman abused by an older husband and deceived by a selfish seducer.
Thereafter, Sand became a celebrity of sorts, famously dressing in men’s clothes much of the time, and having many love affairs, the most famous of which was with the composer Chopin. Her novels, and there were many, were largely romantic, with the heroes often workmen or peasants, living in the countryside of her childhood near Nohant. They were also often autobiographical, coloured by whoever she was involved with at the time, and overtly romantic with love usually conquering obstacles of class and convention.
Sand’s later years were lived at Nohant, comfortably in a relatively stable relationship with a younger artist, Alexandre Manceau, though he died in 1865, ten years before she herself died on 8 June 1876. Further biographical information is available at Wikipedia, Notable Biographies and NNDB. There are also a couple of biographical works freely available online: George Sand - Some aspects of her life and writings by Rene Doumic and translated into English by Alys Hallard in 1910 (Internet Archive or Full Books); and George Sand by E. Caro in 1888 (Internet Archive).
Sand was not a committed diarist though she did leave behind some diary writing in the form of letters addressed to lovers and occasional musings on her intimate relations and on her own shortcomings. These were collected together and first published but Williams & Norgate in an English translation in 1929 as The Intimate Journal of George Sand (edited and translated by Marie Jenney Howe). It has been reissued several times since then - see Googlebooks for a 1977 version by Cassandra Editions, or Chicago Press Review for a 2000 edition.
There are also the diaries - not translated into English as far as I know - that were kept by Manceau. Evelyne Bloch-Dano, author of The Last Love of George Sand: A Literary Biography (translated by Allison Charente, Arcade Publishing, 2013) explains: ‘George Sand had kept a periodic journal during key moments of her life, more to organise her thoughts than to keep a precise record of her days. She lived too much in the present to feel the need. Alexandre [Manceau] decided to record his lady’s activities, meetings, readings, works, and promenades every day, until his death. At first the Diaries were written in the first person, as if Sand was dictating them, but they morphed into the third person after a few weeks. Marceau would also make personal notes throughout the entries, creating an entirely separate character. The Diaries were his own work, even if George added her own details from time to time or occasionally took up the pen in his place.’
The following extracts are taken from the original 1929 edition of The Intimate Journal of George Sand.
1 June 1837
‘I awakened feeling dull. Piffoël’s sleep was disturbed by elusive desires that floated in a pale mist of dreams. The weather is neither cheerful nor depressing. It makes me restless. The trees are tossed by gusty, fantastic wind. The sun is hidden. If I put on my dressing-gown I am too hot, if I take it off I am cold. Leaden day in which I shall accomplish nothing worth while. Tired and apathetic brain! I have been drinking tea in the hope that it would carry this mood to a climax and so put an end to it.
No letter from Everard to-day. He is angry again. Happy man, to find anything worth getting angry about!
Before going to bed. From midnight until one o’clock I explained to Duteil the theory of dissatisfaction with life. I was indignant because he tried to make me believe he is happy every day and almost every hour of the day. Isn’t it exasperating to be treated as a fool by people who do not suffer?’
2 June 1837
‘Late at night. Piffoël walked twelve miles to-day. As soon as life becomes bearable we stop analyzing it. A tranquil day is spoiled by being examined. Shall we always be guided by feeling which distorts our ideas and impressions? Excessive emotion is like cross-eyed vision whose errors our reason tries feebly to correct.’
12 June 1837
‘This evening, while Franz was playing fantastic melodies of Schubert, the Princess walked in the shadows that fall across the terrace. She was wearing a dress of indefinite color. Her head and tall, slender body were swathed in a long white veil. As I watched her move back and forth with a light tread which scarcely touched the ground, the circle she described was cut across by rays from my lamp around which all the moths of the garden were dancing a delirious sarabande. The moon behind the lindens threw into high relief black specters of pine trees that stood immobile in the blue-gray air.
Over the flowers and plants a profound calm reigned. At the first harmonies from the divine instrument the breeze languished, then, falling exhausted on the tall grasses, slowly died. A nightingale had drawn near in the shadows of the foliage and, like the excellent musician he is, had caught the measure and tuned his own ecstatic throat in harmony with the music. He sang on, but as though he had become conscious of rivalry his voice became timid and withdrawn.
We were seated on the steps, listening to strains of the Erlkoenig. As the prelude gave place to the heartbreaking refrain, we sank into the mood of surrounding nature and were engulfed in melancholy enjoyment. And we could not take our fascinated gaze from the magic circle traced before our eyes by the mute sibyl in white. When the music, in a series of sad modulations, merged into tender melody, her steps grew slower.
From that time onward her pace kept the rhythm of the andante and the maestoso, and her movements showed such marvelous harmony that it was as if the music flowed from her as from a living lyre. Slowly she crossed the lamp-lit space, her white veil forming delicate, distinct contours on the dark background of the picture, while the rest of her was obliterated as it floated into the mystery of night. After a moment she drew near out of the dusk, as if she meant to alight on the white lilac. But, fugitive as the shadows, she slowly disappeared. She did not seem to withdraw under the dark foliage, it was rather as though darkness laid hold of her and drew her into its depths by thickening the curtain of shadows. At the end of the terrace she was completely lost in the pines, to reappear suddenly in the rays of the lamp like some spontaneous creation of its flame. Again she withdrew and floated, vaporous and pale, against the light. Finally she became visible and seated herself on a pliant branch, which supported her weight as though she had been a phantom. Then, as if bound by some mysterious tie to this pale, beautiful woman, the music stopped.
Rising, she glided by an inscrutable mounting movement toward the top of the steps and disappeared into the shadowy hall. A moment later we saw a veritable châtelaine of the middle ages cross the adjoining hall under the light of the candles. Her blond head shone like an aureole, and her veil, thrown over her shoulders, followed cloudlike the light and rapid motion of her flying figure.
The fingers straying across the piano were silent. The lights went out. The vision receded into the night.’
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