Frederic Chopin as a Man and Musician | Page 5

that I "abstained from pronouncing judgment because the complete evidence did not warrant my doing so." The former (in vol. i.) had to do with George Sand's character; the latter (in vol. ii.) with the moral aspect of her connection with Chopin.
An enumeration of the more notable books dealing with Chopin, published after the issue of the earlier editions of the present book will form an appropriate coda to this preface--"Frederic Francois Chopin," by Charles Willeby; "Chopin, and Other Musical Essays," by Henry T. Finck; "Studies in Modern Music" (containing an essay on Chopin), by W. H. Hadow; "Chopin's Greater Works," by Jean Kleczynski, translated by Natalie Janotha; and "Chopin: the Man and his Music," by James Huneker.
Edinburgh, February, 1902.

PROEM.

POLAND AND THE POLES.

THE works of no composer of equal importance bear so striking a national impress as those of Chopin. It would, however, be an error to attribute this simply and solely to the superior force of the Polish musician's patriotism. The same force of patriotism in an Italian, Frenchman, German, or Englishman would not have produced a similar result. Characteristics such as distinguish Chopin's music presuppose a nation as peculiarly endowed, constituted, situated, and conditioned, as the Polish--a nation with a history as brilliant and dark, as fair and hideous, as romantic and tragic. The peculiarities of the peoples of western Europe have been considerably modified, if not entirely levelled, by centuries of international intercourse; the peoples of the eastern part of the Continent, on the other hand, have, until recent times, kept theirs almost intact, foreign influences penetrating to no depth, affecting indeed no more than the aristocratic few, and them only superficially. At any rate, the Slavonic races have not been moulded by the Germanic and Romanic races as these latter have moulded each other: east and west remain still apart--strangers, if not enemies. Seeing how deeply rooted Chopin's music is in the national soil, and considering how little is generally known about Poland and the Poles, the necessity of paying in this case more attention to the land of the artist's birth and the people to which he belongs than is usually done in biographies of artists, will be admitted by all who wish to understand fully and appreciate rightly the poet- musician and his works. But while taking note of what is of national origin in Chopin's music, we must be careful not to ascribe to this origin too much. Indeed, the fact that the personal individuality of Chopin is as markedly differentiated, as exclusively self-contained, as the national individuality of Poland, is oftener overlooked than the master's national descent and its significance with regard to his artistic production. And now, having made the reader acquainted with the raison d'etre of this proem, I shall plunge without further preliminaries in medias res.
The palmy days of Poland came to an end soon after the extinction of the dynasty of the Jagellons in 1572. So early as 1661 King John Casimir warned the nobles, whose insubordination and want of solidity, whose love of outside glitter and tumult, he deplored, that, unless they remedied the existing evils, reformed their pretended free elections, and renounced their personal privileges, the noble kingdom would become the prey of other nations. Nor was this the first warning. The Jesuit Peter Skarga (1536--1612), an indefatigable denunciator of the vices of the ruling classes, told them in 1605 that their dissensions would bring them under the yoke of those who hated them, deprive them of king and country, drive them into exile, and make them despised by those who formerly feared and respected them. But these warnings remained unheeded, and the prophecies were fulfilled to the letter. Elective kingship, pacta conventa, [Footnote: Terms which a candidate for the throne had to subscribe on his election. They were of course dictated by the electors--i.e., by the selfish interest of one class, the szlachta (nobility), or rather the most powerful of them.] liberum veto, [Footnote: The right of any member to stop the proceedings of the Diet by pronouncing the words "Nie pozwalam" (I do not permit), or others of the same import.] degradation of the burgher class, enslavement of the peasantry, and other devices of an ever-encroaching nobility, transformed the once powerful and flourishing commonwealth into one "lying as if broken-backed on the public highway; a nation anarchic every fibre of it, and under the feet and hoofs of travelling neighbours." [Footnote: Thomas Carlyle, Frederick the Great, vol. viii., p. 105.] In the rottenness of the social organism, venality, unprincipled ambition, and religious intolerance found a congenial soil; and favoured by and favouring foreign intrigues and interferences, they bore deadly fruit--confederations, civil wars, Russian occupation of the country and dominion over king, council, and diet, and the beginning of the end, the first partition (1772)