The International Monthly, Volume 4, No. 2, September, 1851Various
History
The International Monthly, Volume 4, No. 2, September, 1851
Various
Art, Modern -- 19th century -- Periodicals; Literature, Modern -- 19th century -- Periodicals; Science -- History -- Periodicals
or rather disfigured, by a thick upright plume of tall white
ostrich feathers, to which were attached behind two long
ends of blonde lace, called _barbes_, which hung down the
back. On the forehead a closely-fitting jewelled diadem was
worn, and diamond ornaments on the neck and arms, according
to the usual fashion.
From such court scarecrows let us turn to keep a last corner for a
figure of more modern and genial appearance--though this, too, was
saddening, and is now, like the rest, grown a mere shadow. The lady
saw much of the musician Chopin after 1832, and speaks of him with
warm affection, and with a fine feeling of his genius:--
He was a delicate, graceful figure, in the highest degree
attractive--the whole man a mere breath--rather a spiritual
than a bodily substance,--all harmony, like his playing. His
way of speaking, too, was like the character of his
art--soft, fluctuating, murmuring. The son of a French
father and of a Polish mother, in him the Romance and
Sclavonic dialects were combined, as it were, in one perfect
harmony. He seemed, indeed, hardly to touch the piano; you
might have fancied he would do quite as well without as with
the instrument: you thought no more of the mechanism,--but
listened to flute-like murmurs, and dreamed of hearing
Æolian harps stirred by the ethereal breathings of the wind;
and with all this--in his whole wide sphere of talents given
to him alone--always obliging, modest, unexacting! He was no
pianoforte player of the modern sort: he had fashioned his
art quite alone in his own way, and it was something
indescribable. In private rooms as well as in concerts, he
would steal quietly, unaffectedly, to the piano; was content
with any kind of seat; showed at once, by his simple dress
and natural demeanor, that he abhorred every kind of grimace
and quackery; and began, without any prelude, his
performance. How feeling it was--how full of soul!... When I
first knew him, though far from strong, he still enjoyed
good health; he was very gay, even satirical, but always
with moderation and good taste. He possessed an
inconceivable comic gift of mimicry, and in private circles
of friends he diffused the utmost cheerfulness both by his
genius and his good spirits.... Hallé has now the best
tradition of his manner.
We pause, not for want of matter, but for want of room. Besides its
lively sketches, the book contains some materials of a tragic
interest--to which we may return.
FOOTNOTES:
[5] It is now, or was not long since, at Munich, in the Leuchtenburg
Gallery.
THE LAST JOSEPH IN EGYPT.
Public-domain text, read in full here on John Shaqi.
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