Nicholas Chopin, ex-soldier, teacher of French and Deportment, married this fine young girl, and they lived in one of Count Skarbek's straw-thatched cottages at the little village of Zelazowa-Wola, twenty-nine miles from Warsaw. Here it was that Frederic Chopin was born, in Eighteen Hundred Nine—that memorable year when Destiny sent a flight of great souls to the planet Earth.
The country was bleak and battle-scarred; it had been drained of its men and treasure, and served as a dueling-ground and the place of skulls for kings and such riffraff who have polluted this fair world with their boastings of a divine power.
The struggle of Poland to free herself from the grip of the imperial succubi has generated an atmosphere of ultramarine, so we view the little land of patriots (and fanatics) through a mist of melancholy. The history of Poland is written in blood and tears.
Go ask John Sobieski, who saw his father hanged by order of Ferdinand Maximilian, and child though he was, realized that banishment was the fate of himself and mother; and then ten years after, himself, stood death-guard over this same Maximilian in Mexico, and told that tyrant the story of his life, and shook hands with him, calling it quits, ere the bandage was tied over the eyes of the ex-dictator and the sunlight shut out forever.
Go ask John Sobieski!
The woes of Poland have produced strange men. Under such rule as she has known relentless hate springs up in otherwise gracious hearts from the scattered dragons' teeth; and in other natures, where there is not quite so much of the motive temperament, a deep strain of sorrow and religious melancholy finds expression. The exquisite sensibility, delicate insight, proud reserve and brooding world-sorrow of Frederic Chopin were the inheritance of mother to son. This mother's mind was saturated with the wrongs her people had endured: she herself had suffered every contumely, for where chance had caused fact to falter, imagination had filled the void.
It is easy to say that Chopin's was an abnormal nature, and of course it was, but when disease divides this world from another only by the thinnest veil, the mind has been known to see things with a clearness and vividness never before attained. With Chopin the strands of life were often taut to the breaking-point, but ere they snapped, their vibration gave forth to us some exquisite harmonies.
Curiously enough, this power to see and do is often the possession of dying men. The life flares up in a flame before it goes out forever. The passion of the consumptive Camille, as portrayed by Dumas, is typical—no healthy woman ever loved with that same intense, eager and almost vindictive desire. It was a race with Death.
Perfect health brings unconsciousness of body, and disease that almost relieves the spirit of this weight of flesh produces the same results. Again we have the Law of Antithesis.
That such a youth as Frederic Chopin should seek in music a surcease from his world-sorrow is very natural. A stricken people turns to music; it forms a necessary part of all religious observance, and the dirge of mourners, the wail of the "keener," and the songs of the banshee evolve naturally into being wherever the heart is sore oppressed. It was the slave-songs that made slavery bearable; and in the long ago, exiles in Babylon found a solemn joy by singing the songs of Zion. Chopin drank in the songs of Poland with his mother's milk, and while yet a child began to give them voice in his own way.