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reams of Byron, Shelley and Napoleon, the awakening found those disillusioned souls, Wagner, Nietzsche and Chopin. Wagner sought in the epical rehabilitation of a vanished Valhalla a surcease from the world- pain. He consciously selected his anodyne and in "Die Meistersinger" touched a consoling earth. Chopin and Nietzsche, temperamentally finer and more sensitive than Wagner--the one musically, the other intellectually--sang themselves in music and philosophy, because they were so constituted. Their nerves rode them to their death. Neither found the serenity and repose of Wagner, for neither was as sane and both suffered mortally from hyperaesthesia, the penalty of all sick genius.
Chopin's music is the aesthetic symbol of a personality nurtured on patriotism, pride and love; that it is better expressed by the piano is because of that instrument's idiosyncrasies of evanescent tone, sensitive touch and wide range in dynamics. It was Chopin's lyre, the "orchestra of his heart," from it he extorted music the most intimate since Sappho. Among lyric moderns Heine closely resembles the Pole. Both sang because they suffered, sang ineffable and ironic melodies; both will endure because of their brave sincerity, their surpassing art. The musical, the psychical history of the nineteenth century would be incomplete without the name of Frederic Francois Chopin. Wagner externalized its dramatic soul; in Chopin the mad lyricism of the Time-spirit is made eloquent. Into his music modulated the poesy of his age; he is one of its heroes, a hero of whom Swinburne might have sung:
O strong-winged soul with prophetic Lips hot with the blood-beats of song; With tremor of heart-strings magnetic, With thoughts as thunder in throng; With consonant ardor of chords That pierce men's souls as with swords And hale them hearing along.
PART II:--HIS MUSIC
VI. THE STUDIES:--TITANIC EXPERIMENTS
October 20, 1829, Frederic Chopin, aged twenty, w