拿破仑在流放宣布了对他的王位，他又应该作出的消费点，每天两小时与妇女交谈，从他们有很多的教训。他，没有考虑疑问，几种类型的女性，但它比可能的夫人代斯特尔流放他面前的上涨，在其职业生涯中的错误多。这并不是说他只是表明了一个难得的人才缺乏判断力的迫害，但由于没有看到难得的人才是非常宝贵的真理，指出了自己的安全。这是发生在法国当乔治桑 - 最伟大的女性作家，世界已经知道或可能知道是永远 - 是由她当时的正统批评家的攻击。他们担心她的警告，他们憎恨她的诚意 - 1显示的诚意在她的作品（即伪君子的天堂地狱，正是她的想法在她的生活了），他们痛恨痛苦的精神在一个人会在独立最高程度的尊敬，这仍然存在，在每一个测试，untamable。随着一类/欢乐的气氛/哪一个只能比较菲尔丁的，与一个像蒙田的承认经验真理的巨大热情与自我意识的缺乏真正的任一性别的艺术气质惊人，她说完全一样她想，看到和感受到的。幽默是不是她的强项。她在生活欢欣喜悦，但笑声，无论是和煦的或讥讽，是不是她的工作。具有讽刺意味的她很少，甚至根本没有就业;讽刺她从未尝试。它的母亲是，她的女性表示同情的一面，因此她的创作天才，是最强烈的发展。她是男性只在她自己的生活的某些情节刻意放荡。这是一个特点 - 对一个没有帐户被忽视或否认或掩饰，但不是她的性格。这个字是属于女人，温柔，耐心和精美脾气好。拿着在她的手臂交叉的人性，从境外带入的领域阳光出来的，她不会表露出来花鸟，唱歌给它，告诉它的故事，记得它的原始之美。即使在大萧条和她的反抗情绪，一确认了强有力的疲劳。这是从来没有一个时刻的软弱乏力，一个病人和病人使用的灵魂疲惫的行踪。由于她是从个人的虚荣心自由，她也摆脱歇斯底里。婚姻 - 一个课题，开车送她到一个纪律部队的暴力行为，但一直在观察某些家庭和生活的伙伴关系 - 她清楚地感受到别人比他们自己觉得以上;和某些时候，她可能已被折磨而惶恐不反射患者不同意。无论谁是由利己愤怒或失望离开可以告诉这些作家的不满，不忠的故事，并与这些冷静的洞察力倒霉的爱。
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    Napoleon in exile declared that were he again on the throne he should make a point of spending two hours a day in conversation with women, from whom there was much to be learnt. He had, no doubt, several types of women in mind, but it is more than probable that the banishment of Madame de Stael rose before him as one of the mistakes in his career. It was not that he showed lack of judgment merely by the persecution of a rare talent, but by failing to see that the rare talent was pointing out truths very valuable to his own safety. This is what happened in France when George Sand--the greatest woman writer the world has known, or is ever likely to know--was attacked by the orthodox critics of her time. They feared her warnings; they detested her sincerity--a sincerity displayed as much in her life as in her works (the hypocrite's Paradise was precisely her idea of Hell); they resented bitterly an independence of spirit which in a man would have been in the highest degree distinguished, which remained, under every test, untamable. With a kind of /bonhomie/ which one can only compare with Fielding's, with a passion as great as Montaigne's for acknowledging the truths of experience, with an absence of self- consciousness truly amazing in the artistic temperament of either sex, she wrote exactly as she thought, saw and felt. Humour was not her strong point. She had an exultant joy in living, but laughter, whether genial or sardonic, is not in her work. Irony she seldom, if ever, employed; satire she never attempted. It was on the maternal, the sympathetic side that her femininity, and therefore her creative genius, was most strongly developed. She was masculine only in the deliberate libertinism of certain episodes in her own life. This was a characteristic--one on no account to be overlooked or denied or disguised, but it was not her character. The character was womanly, tender, exquisitely patient and good-natured. She would take cross humanity in her arms, and carry it out into the sunshine of the fields; she would show it flowers and birds, sing songs to it, tell it stories, recall its original beauty. Even in her moods of depression and revolt, one recognises the fatigue of the strong. It is never for a moment the lassitude of the feeble, the weary spite of a sick and ill-used soul. As she was free from personal vanity, she was also free from hysteria. On marriage--the one subject which drove her to a certain though always disciplined violence--she clearly felt more for others than they felt for themselves; and in observing certain households and life partnerships, she may have been afflicted with a dismay which the unreflecting sufferers did not share. No writer who was carried away by egoistic anger or disappointment could have told these stories of unhappiness, infidelity, and luckless love with such dispassionate lucidity.