This globe, vast and teeming6 with life; this total of mundane7 consciousness, is, in its imponderable aspect, subdivided8 into many and diverse worlds, each wholly sphered, each sufficing for its adapted dwellers9.
What a variety of living! Behold10 the world of the Musician, bright and beautiful as a loka of the Buddhist11 heaven! a flexible world close-touching and almost blending with that of the Artist or the Poet. Behold the world of the Philosopher which, like the world of the Astronomer12, seems to its denizen13 but an islet in the ocean of mind-baffling immensity. Quite apart from these revolves14 the solid and well-defined, but somewhat narrow, world of the man of mercantile pursuits, and more remote, under monotonous15 skies, the dull world of the unthinking, drear as a desert save here and there some little turf of almost withered16 green.
However, the world of the Musician claims our attention; let us look with his eyes; hear with his ears; understand with his intuitions. All else shut out, his world is subdivisible: within it is discovered another. Lured17 on by the shine of golden wings, and the delicate cantabile of angel voices ineffably18 sweet and pure, we enter where dwells the soul of a true tone-poet, the soul of Frederic Chopin.
In Chopin, the subject of this study, the blood of two nations met and mingled19. The France of his father, and the Poland of his mother, could each with equal justice claim him as its own. Chopin was born in the vicinity of Warsaw, on March 1, 1809, and in the capital city of the Grand Duchy, created by Napoleon, he was educated musically until the age of twelve, an age when the average musician enters upon his pupilage. Then it was deemed best by his professors that he be left to the self-development of his unique individuality.
Naturally our precocious20 child, our future composer sui generis, was now the pet of the aristocracy; the plaything of that class which, as a whole, not only in Warsaw, but also in pretty much the world over, lived, as now it lives, to be amused and served by those who, in a land of democratic opportunities, would soon be its acknowledged superiors.
For an artist wholly unique, a smoothing and polishing to the many exactions of polite society is an undertaking21 questionable23 indeed. To come into outward conformity24 with mere25 convention is to imperil the freedom of his inner individuality. The actual effect of such a course on the genius of Chopin cannot be determined26; that it survived the ordeal27 is proof enough of its virility28 and tenacity29 of purpose.
As we have hinted, the world of the Musician, unlike that of the severely30 practical man, has no fixed31 diameter; elastic32, it widens at his will; at the bidding of his sympathies it stretches until co-extensive with the globe. Thus it gathers into its circumference33 every land where live and labor34 his brethren in the art. And so we find our youthful composer looking beyond the limits of his Warsaw, looking and longing35 for physical contact with that with which his heart was already in rapport36; Dresden and Prague and Berlin, but chiefly Vienna the renowned37, the rich and glorious with the memories and bequeathings of Haydn and Mozart and Beethoven and Schubert. There could be heard, in its unfading loveliness, the ?Freischütz? of Weber in whom Romanticism first wakened like a rose at dawn. There such pianists as Czerny and Hummel would discover to Chopin his failings, or prove his merits to be all his own. And then, far off as the horizon of his daydreams38, upgrew the sumptuous39 city on the Seine, the siren city sweet of voice and fair of form; the heartless, hope-wrecking city beneath whose mocking eye the unheard Wagner in after years must chafe40 and struggle and starve and almost cease to be.
Chopin was instinctively41 and wholly a romanticist. Though deemed ultra by many a contemporary critic, to us he stands revealed the great tone-poet of the piano; the Keats, or rather the Shelley of musicians; the inimitable modern from whom the groping and straining virtuoso42-producers of to-day have much retrograded.
As a pianoforte writer, Chopin has only Beethoven as compeer, but each in his way is supreme43. The supremacy44 of Beethoven is that of the symphonist in whose brain the orchestra sounds ever a multitudinous variety of tone color. The piano was his dearest friend, the orchestra his great heart's love not to be shut out, not to be forgotten, because of friendship's closest, warmest hour; and so the orchestra would crowd and cramp45 itself in the piano. On the other hand, his chosen instrument was to Chopin his all of abiding46 friendship and passionate47, absorbing love, and every height and every deep of his being is therein contained; his every unclouded gem48, set in ornate and exquisite49 workmanship, his every matched and strung pearl, finds there a golden casket. Chopin made of his Erard, or his Pleyel, a novel instrument. No longer of uniform tint50, its tone colors were yet unlike those from the orchestral blending of wood and metal and string.
Ere long our composer-virtuoso has met and measured many of his renowned contemporaries, and, by fair comparison, he knows to a nicety his own status; already he anticipates the acclaim51 of a just future. Such seership is necessary to the man of genius. Foreknowledge is his saving rock amidst the merciless seas of ridicule52. Clinging to that stay, he awaits the spent fury of the storm, the lulling53 of winds, the leveling of waves.
For the sake of comparison let us, from the vantage ground of this present, glance at the chief musical celebrities54 contacted by Chopin in the years of his youthful activity. Thalberg, smooth and faultless executant, delight of the dilettante55 and the superficial amateur, was throwing off a series of showy but withal empty transcriptions of which his ?Mosè in Egitto? may be held the best. As a moulder56 of musicians, notably57 Liszt, and as a developer of technique, the hardworking Czerny was proving of immense value, but as a composer he was too diligent58, not waiting for that inspiration which cannot be forced. Of Hummel, much over-rated in those days, the best thing sayable is that he influenced the shaping of Chopin's concertos59, the least faulty of his larger works. Moscheles, the tutor of Mendelssohn, was a musician much esteemed60 by Chopin who deemed it a privilege to play the bass61 to the composer's treble in his chief pianoforte works. Unlike certain of our modern pianists, Kalkbrenner was no muscular virtuoso venting62 his rage upon the keyboard. He was, on the contrary, a performer of refinement63 and precision; one who could claim certain excellencies akin22 to those of Chopin. But alas64 for human vanity! his great show pieces, the cause of much self-gratulation, have vanished from every concert repertory and every musical collection save that of the antiquary. Mendelssohn, despite his eminence65, had the backward-looking eye; much in his matter had already been sung and played, but not with the grace and charm of that accomplished66 scholar. And yet is the ?Elijah? a triumph, a thing enduring, an epitome67 of all his powers. Oak-ribbed, wealth-laden voyager on the sea of Time, how bravely it breasts the waves that long have whelmed the wrecks68 of mediocre69 talent and seeming genius and empty pretence70! Schumann, discoverer of the genius of Chopin, was a musician and thinker, an ever-broadening cosmopolitan71, a radical72 in the van of ?sthetic progress and, inevitably73, the soul of the new musical romanticism.
Almost any page, almost any stanza74 of Shelley—most ethereal of word-poets—would indicate an unobstructed outpouring which the first drafts of even his wholly sustained inspirations quite disprove. Beethoven's collected sketch-books are a study in the evolution of themes afterward75 impressed with the seal of spontaneity. We are told by one who ought to know, that Chopin's every opus was born only after soul-travail both long and sore. Against these curious facts can be set this apparent contradiction: facility is the rule among the merely talented, and many such have with ease dashed off their best efforts, of which doing they are wont76 to boast because, to the popular way of thinking, facility is proof of genius. Now why should Shelley and Beethoven and Chopin wrestle77 with the idea, and Pollok and Czerny and their kind be so easily victorious78?
As we have said, our human world is subdivisible into manifold states of consciousness, each a world to its dwellers. The world of the man of talent may be, and usually is, but a step inward from the world of the multitude; hence few obstacles hinder communication between these nearly-related worlds. The ideas of the inner are with ease translated to the understanding of the outer. Evidently this is untrue of those inmost worlds where dwell the deep- and high-dreaming Poet and Musician whose respective domains79 are almost outside of time and space, those limitations wherewith the human mind divides the known from the unknown, the sensible from the super-sensible, the finite from the Infinite. Having in them little or nothing of the quantitative80, the ideas of those worlds elude81 the mental grasp of all save the finely-organized man of genius.
How to come into touch with the great, common world by giving fixed form to that which is formless and by rendering82 tangible83 the intangible, making seen the unseen, felt the unfelt, and heard the unheard, is the problem of Genius. It was the problem of Michel Angelo before the unchiselled ?David?; the problem of Raphael musing84 upon the Madonnaless canvas; the problem of the absorbed Beethoven when, in his seemingly aimless meanderings, the trees by the roadside and in the forest would prompt him to solution with their whispered ?Holy! Holy!? and it was the problem of Chopin as in the quiet of his study, apart from the roar of the great city, the empty page tormented85 him with the thought of unwritten and perhaps unwritable beauties.
That within the space of twenty-four days, Handel penned the notes of his most glorious work, proves nothing but his enormous powers of mental concentration, and the endurance of a brain supported by a vigorous body; but to the vital question: How long had ?The Messiah? been maturing in him? history affords no conclusive86 answer. Rossini was no doubt a facile composer, yet from what soul-deep his operas came is proved by his deliberate estimate of their longevity87. He believed that as an entirety nothing but ?Il Barbiere? would survive.
The well-attested fact that Beethoven and Chopin, those cautious and self-critical composers, were both extempore performers par2 excellence88, goes far toward proving the impromptu89 inferior to the finished after-product. And does not all this favor our view that from the birth-throes, and not from the painlessness of Genius, are born the masterpieces of every art?
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1 solely | |
adv.仅仅,唯一地 | |
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2 par | |
n.标准,票面价值,平均数量;adj.票面的,平常的,标准的 | |
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3 delves | |
v.深入探究,钻研( delve的第三人称单数 ) | |
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4 inadequate | |
adj.(for,to)不充足的,不适当的 | |
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5 ascends | |
v.上升,攀登( ascend的第三人称单数 ) | |
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6 teeming | |
adj.丰富的v.充满( teem的现在分词 );到处都是;(指水、雨等)暴降;倾注 | |
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7 mundane | |
adj.平凡的;尘世的;宇宙的 | |
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8 subdivided | |
再分,细分( subdivide的过去式和过去分词 ) | |
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9 dwellers | |
n.居民,居住者( dweller的名词复数 ) | |
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10 behold | |
v.看,注视,看到 | |
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11 Buddhist | |
adj./n.佛教的,佛教徒 | |
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12 astronomer | |
n.天文学家 | |
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13 denizen | |
n.居民,外籍居民 | |
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14 revolves | |
v.(使)旋转( revolve的第三人称单数 );细想 | |
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15 monotonous | |
adj.单调的,一成不变的,使人厌倦的 | |
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16 withered | |
adj. 枯萎的,干瘪的,(人身体的部分器官)因病萎缩的或未发育良好的 动词wither的过去式和过去分词形式 | |
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17 lured | |
吸引,引诱(lure的过去式与过去分词形式) | |
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18 ineffably | |
adv.难以言喻地,因神圣而不容称呼地 | |
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19 mingled | |
混合,混入( mingle的过去式和过去分词 ); 混进,与…交往[联系] | |
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20 precocious | |
adj.早熟的;较早显出的 | |
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21 undertaking | |
n.保证,许诺,事业 | |
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22 akin | |
adj.同族的,类似的 | |
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23 questionable | |
adj.可疑的,有问题的 | |
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24 conformity | |
n.一致,遵从,顺从 | |
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25 mere | |
adj.纯粹的;仅仅,只不过 | |
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26 determined | |
adj.坚定的;有决心的 | |
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27 ordeal | |
n.苦难经历,(尤指对品格、耐力的)严峻考验 | |
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28 virility | |
n.雄劲,丈夫气 | |
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29 tenacity | |
n.坚韧 | |
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30 severely | |
adv.严格地;严厉地;非常恶劣地 | |
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31 fixed | |
adj.固定的,不变的,准备好的;(计算机)固定的 | |
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32 elastic | |
n.橡皮圈,松紧带;adj.有弹性的;灵活的 | |
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33 circumference | |
n.圆周,周长,圆周线 | |
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34 labor | |
n.劳动,努力,工作,劳工;分娩;vi.劳动,努力,苦干;vt.详细分析;麻烦 | |
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35 longing | |
n.(for)渴望 | |
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36 rapport | |
n.和睦,意见一致 | |
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37 renowned | |
adj.著名的,有名望的,声誉鹊起的 | |
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38 daydreams | |
n.白日梦( daydream的名词复数 )v.想入非非,空想( daydream的第三人称单数 ) | |
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39 sumptuous | |
adj.豪华的,奢侈的,华丽的 | |
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40 chafe | |
v.擦伤;冲洗;惹怒 | |
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41 instinctively | |
adv.本能地 | |
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42 virtuoso | |
n.精于某种艺术或乐器的专家,行家里手 | |
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43 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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44 supremacy | |
n.至上;至高权力 | |
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45 cramp | |
n.痉挛;[pl.](腹)绞痛;vt.限制,束缚 | |
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46 abiding | |
adj.永久的,持久的,不变的 | |
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47 passionate | |
adj.热情的,热烈的,激昂的,易动情的,易怒的,性情暴躁的 | |
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48 gem | |
n.宝石,珠宝;受爱戴的人 [同]jewel | |
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49 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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50 tint | |
n.淡色,浅色;染发剂;vt.着以淡淡的颜色 | |
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51 acclaim | |
v.向…欢呼,公认;n.欢呼,喝彩,称赞 | |
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52 ridicule | |
v.讥讽,挖苦;n.嘲弄 | |
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53 lulling | |
vt.使镇静,使安静(lull的现在分词形式) | |
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54 celebrities | |
n.(尤指娱乐界的)名人( celebrity的名词复数 );名流;名声;名誉 | |
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55 dilettante | |
n.半瓶醋,业余爱好者 | |
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56 moulder | |
v.腐朽,崩碎 | |
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57 notably | |
adv.值得注意地,显著地,尤其地,特别地 | |
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58 diligent | |
adj.勤勉的,勤奋的 | |
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59 concertos | |
n. [音]协奏曲 | |
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60 esteemed | |
adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 );敬重;认为;以为 | |
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61 bass | |
n.男低音(歌手);低音乐器;低音大提琴 | |
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62 venting | |
消除; 泄去; 排去; 通风 | |
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63 refinement | |
n.文雅;高尚;精美;精制;精炼 | |
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64 alas | |
int.唉(表示悲伤、忧愁、恐惧等) | |
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65 eminence | |
n.卓越,显赫;高地,高处;名家 | |
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66 accomplished | |
adj.有才艺的;有造诣的;达到了的 | |
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67 epitome | |
n.典型,梗概 | |
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68 wrecks | |
n.沉船( wreck的名词复数 );(事故中)遭严重毁坏的汽车(或飞机等);(身体或精神上)受到严重损伤的人;状况非常糟糕的车辆(或建筑物等)v.毁坏[毁灭]某物( wreck的第三人称单数 );使(船舶)失事,使遇难,使下沉 | |
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69 mediocre | |
adj.平常的,普通的 | |
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70 pretence | |
n.假装,作假;借口,口实;虚伪;虚饰 | |
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71 cosmopolitan | |
adj.世界性的,全世界的,四海为家的,全球的 | |
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72 radical | |
n.激进份子,原子团,根号;adj.根本的,激进的,彻底的 | |
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73 inevitably | |
adv.不可避免地;必然发生地 | |
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74 stanza | |
n.(诗)节,段 | |
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75 afterward | |
adv.后来;以后 | |
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76 wont | |
adj.习惯于;v.习惯;n.习惯 | |
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77 wrestle | |
vi.摔跤,角力;搏斗;全力对付 | |
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78 victorious | |
adj.胜利的,得胜的 | |
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79 domains | |
n.范围( domain的名词复数 );领域;版图;地产 | |
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80 quantitative | |
adj.数量的,定量的 | |
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81 elude | |
v.躲避,困惑 | |
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82 rendering | |
n.表现,描写 | |
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83 tangible | |
adj.有形的,可触摸的,确凿的,实际的 | |
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84 musing | |
n. 沉思,冥想 adj. 沉思的, 冥想的 动词muse的现在分词形式 | |
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85 tormented | |
饱受折磨的 | |
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86 conclusive | |
adj.最后的,结论的;确凿的,消除怀疑的 | |
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87 longevity | |
n.长命;长寿 | |
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88 excellence | |
n.优秀,杰出,(pl.)优点,美德 | |
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89 impromptu | |
adj.即席的,即兴的;adv.即兴的(地),无准备的(地) | |
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