艺术家，在未来的日子里，先神和充分衡量瓦格纳的全面性；及时帮助谁会义不容辞，特权，援助和欢呼的政治难民在流亡抑郁年；全心爱好者的手臂会确定开放的作曲家？Lohengrin,? the close-shut door of the Temple of Fame, was the friend in whom Chopin now saw reflected his own peculiar genius. As the painter, stepping backward from his easel, scans his work as a whole, and in the most favorable light, so, from the view-point of Liszt's intuitive rendering, Chopin better estimated his own productions than could otherwise have been possible.
That consummate interpretation of a work proves not one's ability to create its like is shown by the coming together of Chopin and Liszt. While Liszt was indubitably of advantage to Chopin, the latter in turn reacted upon the former. In the nature of the fiery Hungarian, and that of the dreamy Pole, were those resemblances and differences which make high friendship a possibility and also a means of mutual growth through reciprocity of ideas.
Beneath a demeanor disguising rather than revealing his inner self, Chopin was an ardent soul, a Polish patriot from whose heart overflowed, to his every page, the sorrows of his native land. Those sorrows were a cloud shadowing the radiance of his ideal world, and at times dulling it almost to the sombre hues of this earth, begetter of many sorrows.
It is regrettable that Chopin sought to bind within the limits of conventional forms, already half outgrown, his poetical ideas amenable only to the requirements of those freer forms for which Berlioz and Schumann were striving, and to which Wagner ultimately attained.
In his Impromptus, and a few other ventures beyond self-imposed barriers, Chopin made most praiseworthy use of freedom, but quickly he returns to contemplation of his beloved Mozart, that perfect master of classical form. Naturally the polished frequenter of the Parisian drawing-room and salon, found no lasting pleasure in the wild freedom and amplitude of the forest of Romanticism. The change was too abrupt and novel. 那些深远的前景人迹罕至的阴影！从都市通衢如何不同！那些强大但极厚的树木种植自然的粗心的手！那些从不修剪和不规则的分支！那些倒下的树干和拆除！怎么不像巴黎和Versailles保存完好的公园！
While composing, Chopin never quite divorced himself from the keyboard of his piano, and yet the writer who would attain to untrammeled expression, in both matter and form, should compose beneath a roof no narrower than the dome of heaven. Let the study be his reference room, his library, and, for convenience, his place of final elaboration. Like Beethoven and Wordsworth, let him receive at first hand the impartings of Nature that needed teacher of us all.
In the homes of rank and wealth, Chopin now mingles with princes, ministers, ambassadors and literary notables. Titled ladies are his pupils and, because he would have it so, he deems his musical self best understood by the lionizing fashionables of French society who, in fact, looked not beneath the finished, but by no means robust virtuoso, and polished gentleman conforming to their every convention.
The fashionables of French society! Oh for a moment natural and true amidst the false and artificial hours! A candid, soul-sprung greeting to shame the outward suavity where envy rankles, or where hatred burns within! Oh for a laden word to prove the hollowness of empty tongues! 在布拉斯é装配纯真的平常心！哦，一个个性不受压抑；在没有密码，人群中的一个强有力的装置！
这几乎是不可思议的，在这样的环境下，萧邦由他的许多高尚的作品。他的C小调作品1 Rondo，出版于1825，当时他仅有十六岁，因此在老华沙的日子，已经宣布了一个最高军衔的作家的出现，一个权威的宣布舒曼的B小调作品2变化的外观。在巴黎1831年，姗姗来迟，两和二十人是已知的音乐家如弗朗茨·李斯特和费迪南·希勒，为这些音乐创作者为f小调协奏曲，E小调协奏曲，C小调葬礼进行曲。这最后一个后来被伟大的行进在降B小调奏鸣曲。But the bulk of Chopin's pianoforte works was written during the next seventeen years, and despite adverse conditions other than those of environment.