Both these men, full fledged in their gifts, sprang from the Jovian brain and, while they both improved in the technics of their art, their individualities were at the outset as sharply defined as were their limitations. Read Poe’s To Helen, and tell me if he made more exquisite music in his later years. You remember it:
Helen, thy beauty is to me
Like those Nicéan barks of yore
That gently, o’er a perfumed sea,
The weary, way-worn wanderer bore
To his own native shore.
On desperate seas long wont to roam,
Thy hyacinth hair, thy classic face,
Thy naïad airs have brought me home
To the glory that was Greece,
And the grandeur that was Rome.
I refrain from giving the third verse; but are not these lines remarkable in beauty of imagination and diction when one considers they were penned by a youngster scarcely out of his teens!
Now glance at Chopin’s earlier effusions, his opus 1, a rondo in C minor; his opus 2 already referred to; his opus 3, the C major polonaise for ’cello and piano; his opus 5, the Rondeau à la Mazur in F; his opus 6, the first four mazourkas, perfect of their kind; opus 7, more mazourkas; opus 8, the G minor trio, the classicism of which you may dispute; nevertheless it contains lovely music. Then follow the nocturnes, the concerto in F minor, the latter begun when Chopin was only twenty, and so on through the list. Both men died at forty—the very prime of life, when the natural forces are acting freest, when the overwrought passions of youth had begun to mellow and yet there were several years before the close, a distinct period of decadence, almost deterioration. I am conscious of the critical claims of those who taste in both Poe’s and Chopin’s later music the exquisite quality of the over-ripe, the savor of morbidity.
Beautiful as it is, Chopin’s polonaise-fantaisie opus 61, with its hectic flush—in its most musical, most melancholy cadences—gives us a premonition of death. Composed three years before he died, it has the taint of the tomb about it and, like the A minor mazourka, said by Klindworth to be Chopin’s last composition, the sick brain is heard in the morbid insistence of the theme, of the weary “wherefore?” in every bar. Is not this iteration like Poe’s in his last period? Read Ulalume with its haunting, harrowing harmonies:
Then my heart it grew ashen and sober,
As the leaves that were crisped and sere—
As the leaves that were withering and sere.
In terror she spoke, letting sink her
Wings until they trailed in the dust—
In agony sobbed, letting sink her
Plumes till they trailed in the dust—
Till they sorrowfully trailed in the dust.
This poem, in which sense swoons into sound, has all the richness of color, the dangerous glow of the man whose brain is perilously near the point of unhingement.
Poe then, like Chopin, did not die too soon. Morbid, neurotic natures, they lived their lives with the intensity that Walter Pater declares is the only true life. “To burn always with this hard, gem-like flame,” he writes “to maintain this ecstasy, is success in life. Failure is to form habits.”