Life of Chopin | Page 9

of Tempe, a magnificent landscape flooded with summer glow and lustre, as a background for the rehearsal of some dire scene of mortal anguish. A bitter and irreparable regret seizes the wildly-throbbing human heart, even in the midst of the incomparable splendor of external nature. This contrast is sustained by a fusion of tones, a softening of gloomy hues, which prevent the intrusion of aught rude or brusque that might awaken a dissonance in the touching impression produced, which, while saddening joy, soothes and softens the bitterness of sorrow.
It would be impossible to pass in silence the Funeral March inserted in the first Sonata, which was arranged for the orchestra, and performed, for the first time, at his own obsequies. What other accents could have been found capable of expressing, with the same heart-breaking effect, the emotions, the tears, which should accompany to the last long sleep, one who had taught in a manner so sublime, how great losses should be mourned? We once heard it remarked by a native of his own country: "these pages could only have been written by a Pole." All that the funeral train of an entire nation weeping its own ruin and death can be imagined to feel of desolating woe, of majestic sorrow, wails in the musical ringing of this passing bell, mourns in the tolling of this solemn knell, as it accompanies the mighty escort on its way to the still city of the Dead. The intensity of mystic hope; the devout appeal to superhuman pity, to infinite mercy, to a dread justice, which numbers every cradle and watches every tomb; the exalted resignation which has wreathed so much grief with halos so luminous; the noble endurance of so many disasters with the inspired heroism of Christian martyrs who know not to despair;-- resound in this melancholy chant, whose voice of supplication breaks the heart. All of most pure, of most holy, of most believing, of most hopeful in the hearts of children, women, and priests, resounds, quivers and trembles there with irresistible vibrations. We feel it is not the death of a single warrior we mourn, while other heroes live to avenge him, but that a whole generation of warriors has forever fallen, leaving the death song to be chanted but by wailing women, weeping children and helpless priests. Yet this Melopee so funereal, so full of desolating woe, is of such penetrating sweetness, that we can scarcely deem it of this earth. These sounds, in which the wild passion of human anguish seems chilled by awe and softened by distance, impose a profound meditation, as if, chanted by angels, they floated already in the heavens: the cry of a nation's anguish mounting to the very throne of God! The appeal of human grief from the lyre of seraphs! Neither cries, nor hoarse groans, nor impious blasphemies, nor furious imprecations, trouble for a moment the sublime sorrow of the plaint: it breathes upon the ear like the rhythmed sighs of angels. The antique face of grief is entirely excluded. Nothing recalls the fury of Cassandra, the prostration of Priam, the frenzy of Hecuba, the despair of the Trojan captives. A sublime faith destroying in the survivors of this Christian Ilion the bitterness of anguish and the cowardice of despair, their sorrow is no longer marked by earthly weakness. Raising itself from the soil wet with blood and tears, it springs forward to implore God; and, having nothing more to hope from earth, it supplicates the Supreme Judge with prayers so poignant, that our hearts, in listening, break under the weight of an august compassion! It would be a mistake to suppose that all the compositions of Chopin are deprived of the feelings which he has deemed best to suppress in this great work. Not so. Perhaps human nature is not capable of maintaining always this mood of energetic abnegation, of courageous submission. We meet with breathings of stifled rage, of suppressed anger, in many passages of his writings: and many of his Studies, as well as his Scherzos, depict a concentrated exasperation and despair, which are sometimes manifested in bitter irony, sometimes in intolerant hauteur. These dark apostrophes of his muse have attracted less attention, have been less fully understood, than his poems of more tender coloring. The personal character of Chopin had something to do with this general misconception. Kind, courteous, and affable, of tranquil and almost joyous manners, he would not suffer the secret convulsions which agitated him to be even suspected.
His character was indeed not easily understood. A thousand subtle shades, mingling, crossing, contradicting and disguising each other, rendered it almost undecipherable at a first view. As is usually the case with the Sclaves, it was difficult to read the recesses of his mind. With them, loyalty and