Sandian heroines swirl around men in their sororal and sartorial disguises like moths around candle flames. However as Disguise in George Sands Novels illustrates the disguise is not an instrument to seduce men but rather to assert the heroines true selves. The portrayal of female and androgynous protagonists in Rose et Blanche 1831 Indiana 1832 Llia 183339 Gabriel 1839 Consuelo 1842 and La Comtesse de Rudolstadt 1844 is a metaphor to demonstrate the continuity of identities before and after the disguise as George Sand stipulates in her theory of the mnechme. Disguise in George Sands Novels explores the maturation process of Romantic and artistically inclined heroines and highlights the spiritual meaning of the disguise as a rite of passage for the birth of a new type of protagonist spiritual selfassertive and dedicated to erasing gender inequality and helping the poor.