Thank you very much for your letter, which pleased me exceedingly. You have the happy gift of cheering and delighting one. You cannot imagine how despondent I was in the morning, and how my spirits rose when I received your letter. I embrace you warmly. Many write this at the end of their letters and scarcely think about it; but you know, dearest friend, that I do it sincerely, as truly as I am called “Fritz.” I have composed a Study in my style; when we meet again I will play it to you. Your faithful FREDERIC. * * * * * [Sidenote: VISIT TO PRINCE RADZIWILL.] _Warsaw, Sunday, November 14th, 1829._ DEAREST TITUS, I received your last letter at Radziwillʼs, at Antonin. I was there a week, and you cannot think how quickly and pleasantly the time passed. I travelled back by the last Post, and had great trouble to get away. As for myself I could have stayed there till I was driven away, but my occupations, and, above all, my concerto, which still impatiently awaits its _Finale_, forced me to quit Paradise. My dear Titus, there were three daughters of Eve there; the young princesses, extremely amiable, musical, and kind-hearted; and the Princess, their mother, who knows quite well that the value of a man does not depend on his descent, is so lady-like and amiable towards everyone that it is impossible not to honour her. You know what a lover of music the Prince is. He showed me his “Faust,” and I found much that is really beautiful in it; some parts, indeed, show considerable intellectual power. Between ourselves, I certainly should not have accredited a Stadtholder with such music. I was struck, among other things, by the scene where Mephistopheles allures Margaret to the window, by playing the guitar and singing outside her house, while a Chorale is heard at the same time in the neighbouring church. This is sure to produce a great sensation. I only mention this to give you an idea of his style. He is also a great admirer of Gluck. In the drama, he only gives importance to music in so far as it depicts the situation or the feelings, therefore the Overture has no conclusion, but leads directly to the introduction. The orchestra is always invisible, placed behind the stage,[51] so as not to distract the attention by such externals as the conducting, the movements of the musicians, &c. [Sidenote: TEACHING A PRINCESS.]