IN the preceding chapter I alluded to a new element that entered into the life of Chopin and influenced his artistic work. The following words, addressed by the young composer on October 3, 1829, to his friend Titus Woyciechowski, will explain what kind of element it was and when it began to make itself felt:—
Do not imagine that [when I speak of the advantages and
desirability of a stay in Vienua] I am thinking of Miss
Blahetka, of whom I have written to you; I have—perhaps to
my misfortune—already found my ideal, which I worship
faithfully and sincerely. Six months have elapsed, and I have
not yet exchanged a syllable with her of whom I dream every
night. Whilst my thoughts were with her I composed the Adagio
of my Concerto, and early this morning she inspired the Waltz
which I send along with this letter.
The influence of the tender passion on the development of heart and mind cannot be rated too highly; it is in nine out of ten, if not in ninety-nine out of a hundred cases that which transforms the rhymer into a poet, the artificer into an artist. Chopin confesses his indebtedness to Constantia, Schumann his to Clara. But who could recount all the happy and hapless loves that have made poets? Countless is the number of those recorded in histories, biographies, and anecdotes; greater still the number of those buried in literature and art, the graves whence they rise again as flowers, matchless in beauty, unfading, and of sweetest perfume. Love is indeed the sun that by its warmth unfolds the multitudinous possibilities that lie hidden, often unsuspected, in the depths of the human soul. It was, then, according to Chopin, about April, 1829, that the mighty power began to stir within him; and the correspondence of the following two years shows us most strikingly how it takes hold of him with an ever-increasing firmness of grasp, and shakes the whole fabric of his delicate organisation with fearful violence. The object of Chopin's passion, the being whom he worshipped and in whom he saw the realisation of his ideal of womanhood, was Constantia Gladkowska, a pupil at the Warsaw Conservatorium, of whom the reader will learn more in the course of this and the next chapter.
What reveals perhaps more distinctly than anything else Chopin's idiosyncrasy is his friendship for Titus Woyciechowski. At any rate, it is no exaggeration to say that a knowledge of the nature of Chopin's two passions, his love and his friendship—for this, too, was a passion with him—gives into our hands a key that unlocks all the secrets of his character, of his life, and of their outcome—his artistic work. Nay more, with a full comprehension of, and insight into, these passions we can foresee the sufferings and disappointments which he is fated to endure. Chopin's friendship was not a common one; it was truly and in the highest degree romantic. To the sturdy Briton and gay Frenchman it must be incomprehensible, and the German of four or five generations ago would have understood it better than his descendant of to-day is likely to do. If we look for examples of such friendship in literature, we find the type nowhere so perfect as in the works of Jean Paul Richter. Indeed, there are many passages in the letters of the Polish composer that read like extracts from the German author: they remind us of the sentimental and other transcendentalisms of Siebenkas, Leibgeber, Walt, Vult, and others. There was somethine in Chopin's warm, tender, effusive friendship that may be best characterised by the word "feminine." Moreover, it was so exacting, or rather so covetous and jealous, that he had often occasion to chide, gently of course, the less caressing and enthusiastic Titus. Let me give some instances.
December 27th, 1828.—If I scribble to-day again so much
nonsense, I do so only in order to remind you that you are as
much locked in my heart as ever, and that I am the same Fred
I was. You do not like to be kissed; but to-day you must
permit me to do so.
The question of kissing is frequently brought up.
September 12th, 1829.—I embrace you heartily, and kiss you
on your lips if you will permit me.
October 20th, 1829.—I embrace you heartily—many a one
writes this at the end ol his letter, but most people do so
with little thought of what they are writing. But you may
believe me, my dearest friend, that I do so sincerely, as
truly as my name is Fred.
September 4th, 1830.—Time passes, I must wash myself...do
not kiss me now...but you would not kiss me in any case—even
if I anointed myself with Byzantine oils—unless I forced you
to do so by magnetic means.
Did we not know the writer and the person addressed, one might imagine that the two next extracts were written by a lover to his mistress or vice versa.
November 14th, 1829.—You, my dearest one, do not require my
portrait. Believe me I am always with you, and shall not
forget you till the end of my life.
May 15th, 1830.—You have no idea how much I love you! If I
only could prove it to you! What would I not give if I could
once again right heartily embrace you!
One day he expresses the wish that he and his friend should travel together. But this was too commonplace a sentiment not to be refined upon. Accordingly we read in a subsequent letter as follows:—