Chopin's bodily appearance was marked by an entire absence of the robust4; his features indicated delicate and refined feeling; his tastes were fastidious; his manner smooth and faultless with the last polish. This much created an impression as of a feminine personality, but the real, virile5 man was there, well-hidden beneath his mask. ?George Sand,? as that nom de plume6 would indicate, claimed for herself almost every masculine prerogative7. With manly8 daring and physical vitality9, she overleaped convention as but the walls of a prison-pen fit only for the shutting in of little minds. And yet, before some noble and deep nature, a softest fire would mount to those dark eyes of hers, and voice and mien10 revealed the ?Eternal Womanly,? which often outlined and sometimes portrayed11 itself upon her most tender, soulful pages. From trustworthy accounts we conclude that Chopin was at first repelled13, not by any physical lack, for Madame Dudevant had just and ample claims to comeliness14, but rather from his inability to divine at once the basic affinity15 which afterwards drew and held him despite external dissimilarities. Not so with the great novelist to whose feminine insight much of the analytical16, masculine mind was added. She at once divined Chopin, and whatever was defective17 in him the glamour18 of sex made good; so she desisted not until she had made him her own.
The beauty and symmetry and fragrance19 of the flower is the complete expression of a life simple because low in the scale of evolution; but the beauty and symmetry of the masculine human form, together with every endowment of the characteristic masculine mind, only half expresses the rounded whole of the complex human soul, itself sexless because above sex. What is true of man is equally so of woman. The man and the woman of genius each recognizes in the other the riches and worth of that hemisphere of the soul adequately revealed only by that other. This perception of a mutual20 need is the prompter of love between men and women high in the scale of human evolution; it is in fact the cause of love even in the most unthinking; those whom only the wisdom of Nature enlightens.
Like Beethoven, who sighed for his ?Immortal21 Beloved,? Chopin himself had loved and more than once. That half of his being which, because a man, he failed to realize as an inward belonging, he had projected as an ideal clothed with the grace and beauty of womankind. That ideal had looked into his eyes with tender recognition, or a glance almost of scorn had wholly told his poor unworth. But, favoring or reproving, that ideal had vanished utterly22 and forever, and now his heart indeed was lone23 save in brief, exalted24 moments of genius. Then the soul in its entirety would assert itself, and amidst that fullness he needed no other company.
Chopin, now twenty-eight years of age, had reached the early maturity25 which hastens to the precocious26 genius into whose brief but brilliant years are crowded the doings of an ordinary lifetime. In subject matter, at least, he had from the first shown an originality27 almost unimpressed by any great contemporary or predecessor28. Conscious of ability to stand alone, he shunned29 rather than sought the friendship of renowned30 composers and virtuosi. A tone poet most essential to the romantic movement, he cared not for the Romanticism of Schumann. The eccentricities31 of Berlioz repelled him, and, strange in an admirer of Hummel and Field, he could not or would not condone32 what he deemed commonplace in the bulk of Mendelssohn's work. As for Liszt, to whose interpretation33 he accorded deserved praise, he had with secret disdain34 penetrated35 to the somewhat small kernel36 of original and worthy12 ideas in that author's early virtuoso37 pieces.
From this much, and more that might be added, it is evident that Chopin's glance was chiefly introspective. Moreover, it is evident that his inner world was not that of other musicians.
What then was the influence of George Sand upon our composer, now at the zenith of his powers? Evidently that of a projected ideal the image of the half of his soul life which Goethe calls the Eternal Feminine. In the searching light of our everyday world, the personality of George Sand betrays many defects. This of itself forbade a union like that of the Brownings; and to such a union other objections existed. The physical ailments38 of Chopin, which even in youth had menaced, and in a gradual approach had now seized upon him, were never wholly to loosen their grasp, so the chronic39 invalid40 became at times an exacting41 and by no means patient sufferer. On the other hand, George Sand was a woman of wide outlook and varied42 interests. Certain chimeras43 in the guise44 of political and social reform were leading the temperamental novelist far afield; but in these matters the composer shared not her enthusiasm, neither would he be indoctrinated as she herself had been. Knowing where his strength lay, he remained faithful to his muse45, his lavish46 endower. While Chopin sought the smiles of princesses, and the applause of the fashionable salon47, the Sand remained aloof48. Conscious of her superb mental equipment, she no doubt believed that the brightest of all that gay company could add not a single thought to her ever-overflowing store. No wonder that as time wore on our musician more and more failed to fulfill49 the requirements of her ideal.
The affair with De Musset should have warned Chopin, but what warning, what philosophy, what asceticism51, could offset52 the fascinations53 of one who at will swayed the hearts of her immense public? Besides, Chopin was not a philosopher save that unconscious one which an analysis of his deepest tone-poems reveals. Still less was he an ascetic50 this highly-developed emotional nature, this virile yet frail54 man of genius.
Of Chopin it must be admitted that he remained true to his attachment55, true despite indubitable proof of the other's infidelity; true even till the shutting of the door wherewith eventually she barred her heart forever from his own; true even then he remained, nursing in secret the sorrows of a bruised56 and broken life, while, from this episode in her own career, but the finale in that of her lover, the woman, like Faust and Wilhelm Meister, emerged into other and varied experiences.
But, to repeat our former question, what was the effect of George Sand on the ten years of productive effort which measured the beginning and the end of this affaire du c?ur? We hold that effect the most important of everything extraneous57 on the body of our composer's works during that rich decade. Nevertheless that effect is not local; the finger cannot be placed upon it, nor is it determinable as a fixed58 quantity. Rather it is nourishment59 assimilated, chemically changed to blood and bloom and beauty by a process whereof genius alone has the secret.
Of the work of these memorable60 years it may well be said that, beneath their various dedications61, the name of George Sand was written in the warm and ruddy life of the heart of Frederic Chopin. Had the novelist been another Clara Schumann rendering62 for the composer those great fortissimos, and those loud and brilliant passages to which his delicate physique was unequal, or even had Chopin himself been, like Liszt, a man of literary tastes and capabilities63, how much happier the outcome! How that mutual happiness, triumphing over the depressing power of a dread64 disease—as afterwards in the case of Heinrich Heine—would have infused a more luminous65 color into the prevailing66 sombreness of his tone poetry! But, thankful for our rich heritage, we grieve not over what might have been.
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1 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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2 abodes | |
住所( abode的名词复数 ); 公寓; (在某地的)暂住; 逗留 | |
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3 distinguished | |
adj.卓越的,杰出的,著名的 | |
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4 robust | |
adj.强壮的,强健的,粗野的,需要体力的,浓的 | |
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5 virile | |
adj.男性的;有男性生殖力的;有男子气概的;强有力的 | |
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6 plume | |
n.羽毛;v.整理羽毛,骚首弄姿,用羽毛装饰 | |
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7 prerogative | |
n.特权 | |
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8 manly | |
adj.有男子气概的;adv.男子般地,果断地 | |
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9 vitality | |
n.活力,生命力,效力 | |
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10 mien | |
n.风采;态度 | |
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11 portrayed | |
v.画像( portray的过去式和过去分词 );描述;描绘;描画 | |
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12 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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13 repelled | |
v.击退( repel的过去式和过去分词 );使厌恶;排斥;推开 | |
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14 comeliness | |
n. 清秀, 美丽, 合宜 | |
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15 affinity | |
n.亲和力,密切关系 | |
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16 analytical | |
adj.分析的;用分析法的 | |
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17 defective | |
adj.有毛病的,有问题的,有瑕疵的 | |
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18 glamour | |
n.魔力,魅力;vt.迷住 | |
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19 fragrance | |
n.芬芳,香味,香气 | |
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20 mutual | |
adj.相互的,彼此的;共同的,共有的 | |
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21 immortal | |
adj.不朽的;永生的,不死的;神的 | |
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22 utterly | |
adv.完全地,绝对地 | |
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23 lone | |
adj.孤寂的,单独的;唯一的 | |
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24 exalted | |
adj.(地位等)高的,崇高的;尊贵的,高尚的 | |
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25 maturity | |
n.成熟;完成;(支票、债券等)到期 | |
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26 precocious | |
adj.早熟的;较早显出的 | |
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27 originality | |
n.创造力,独创性;新颖 | |
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28 predecessor | |
n.前辈,前任 | |
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29 shunned | |
v.避开,回避,避免( shun的过去式和过去分词 ) | |
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30 renowned | |
adj.著名的,有名望的,声誉鹊起的 | |
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31 eccentricities | |
n.古怪行为( eccentricity的名词复数 );反常;怪癖 | |
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32 condone | |
v.宽恕;原谅 | |
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33 interpretation | |
n.解释,说明,描述;艺术处理 | |
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34 disdain | |
n.鄙视,轻视;v.轻视,鄙视,不屑 | |
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35 penetrated | |
adj. 击穿的,鞭辟入里的 动词penetrate的过去式和过去分词形式 | |
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36 kernel | |
n.(果实的)核,仁;(问题)的中心,核心 | |
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37 virtuoso | |
n.精于某种艺术或乐器的专家,行家里手 | |
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38 ailments | |
疾病(尤指慢性病),不适( ailment的名词复数 ) | |
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39 chronic | |
adj.(疾病)长期未愈的,慢性的;极坏的 | |
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40 invalid | |
n.病人,伤残人;adj.有病的,伤残的;无效的 | |
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41 exacting | |
adj.苛求的,要求严格的 | |
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42 varied | |
adj.多样的,多变化的 | |
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43 chimeras | |
n.(由几种动物的各部分构成的)假想的怪兽( chimera的名词复数 );不可能实现的想法;幻想;妄想 | |
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44 guise | |
n.外表,伪装的姿态 | |
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45 muse | |
n.缪斯(希腊神话中的女神),创作灵感 | |
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46 lavish | |
adj.无节制的;浪费的;vt.慷慨地给予,挥霍 | |
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47 salon | |
n.[法]沙龙;客厅;营业性的高级服务室 | |
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48 aloof | |
adj.远离的;冷淡的,漠不关心的 | |
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49 fulfill | |
vt.履行,实现,完成;满足,使满意 | |
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50 ascetic | |
adj.禁欲的;严肃的 | |
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51 asceticism | |
n.禁欲主义 | |
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52 offset | |
n.分支,补偿;v.抵消,补偿 | |
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53 fascinations | |
n.魅力( fascination的名词复数 );有魅力的东西;迷恋;陶醉 | |
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54 frail | |
adj.身体虚弱的;易损坏的 | |
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55 attachment | |
n.附属物,附件;依恋;依附 | |
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56 bruised | |
[医]青肿的,瘀紫的 | |
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57 extraneous | |
adj.体外的;外来的;外部的 | |
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58 fixed | |
adj.固定的,不变的,准备好的;(计算机)固定的 | |
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59 nourishment | |
n.食物,营养品;营养情况 | |
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60 memorable | |
adj.值得回忆的,难忘的,特别的,显著的 | |
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61 dedications | |
奉献( dedication的名词复数 ); 献身精神; 教堂的)献堂礼; (书等作品上的)题词 | |
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62 rendering | |
n.表现,描写 | |
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63 capabilities | |
n.能力( capability的名词复数 );可能;容量;[复数]潜在能力 | |
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64 dread | |
vt.担忧,忧虑;惧怕,不敢;n.担忧,畏惧 | |
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65 luminous | |
adj.发光的,发亮的;光明的;明白易懂的;有启发的 | |
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66 prevailing | |
adj.盛行的;占优势的;主要的 | |
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