reason than a pretext for abstention, he wishing
to avoid being again and again made the subject of debate. But it is
more difficult for one in similar circumstances not to feel as Chopin
did than for a successful virtuoso like Liszt to say:--

If Chopin suffered on account of his not being able to take
part in those public and solemn jousts where popular
acclamation salutes the victor; if he felt depressed at
seeing himself excluded from them, it was because he did not
esteem highly enough what he had, to do gaily without what he
had not.

To be sure, the admiration of the best men of his time ought to have
consoled him for the indifference of the dull crowd. But do we not all
rather yearn for what we have not than enjoy what we have? Nay, do we
not even often bewail the unattainableness of vain bubbles when it would
be more seasonable to rejoice in the solid possessions with which we
are blessed? Chopin's discontent, however, was caused by the
unattainableness not of a vain bubble, but of a precious crown. There
are artists who pretend to despise the great public, but their abuse of
it when it withholds its applause shows their real feeling. No artist
can at heart be fully satisfied with the approval of a small minority;
Chopin, at any rate, was not such a one. Nature, who had richly endowed
him with the qualities that make a virtuoso, had denied him one, perhaps
the meanest of all, certainly the least dispensable, the want of which
balked him of the fulfilment of the promise with which the others had
flattered him, of the most brilliant reward of his striving. In the
lists where men much below his worth won laurels and gold in abundance
he failed to obtain a fair share of the popular acclamation. This
was one of the disappointments which, like malignant cancers, cruelly
tortured and slowly consumed his life.

The first performance of Bellini's "I Puritani" at the Theatre-Italien
(January 24, 1835), which as well as that of Halevy's "La Juive" at the
Academic (February 23, 1835), and of Auber's "Le cheval de bronze" at
the Opera-Comique (March 23, 1835), was one of the chief musico-dramatic
events of the season 1834-1835, reminds me that I ought to say a few
words about the relation which existed between the Italian and the
Polish composer. Most readers will have heard of Chopin's touching
request to be buried by the side of Bellini. Loath though I am to
discredit so charming a story, duty compels