sting things of the most recent times with the least delay? I do
not know; but I do feel, simply, that she has the spirit that compels
admiration."

The great poets, too, gave her their tributes of praise. "They
recognized in this inspiring vision," says Liszt, "a true daughter of
their fatherland. They strewed their pearls of song before her, and
glorified this Benjamin of their race, who, gazing about with inspired
glances and wondrous smiles, seemed like a silent Naiad, who felt
herself a stranger in the land of prose."

Meanwhile the love that had been growing in silence between her and
Schumann began to take tangible form. His unspoken passion found
expression in the written rhapsodies addressed to "Chiarina" in his new
music journal, the _Neue Zeitschrift fuer Musik_. In a more purely
musical manner, his feelings took shape in such works as his
"Daidsbuendler" Dances, the "Chiarina" of the Carnival, the F-Sharp Minor
Sonata, the Kreisleriana, the Humoreske, the Novelettes, and the
Nocturnes,--truly an offering of rare beauty, and well worthy to express
the feelings of the inspired lover. They bore witness of his adoration
to all who knew him, and all who were able to listen with understanding
ears. And Clara, too, in spite of high honours and higher friendships,
had already given her heart to the silent man endowed with the deep
spirit of romance and poetry. She was his, in spite of the opposition of
her father, who guarded his treasure with a jealous eye, and would hear
of no marriage unless in the distant future.

It was in 1836 that the two lovers came to an understanding. In the next
summer Schumann made formal mention of his suit to her father. Wieck's
refusal may have been due to his entertaining higher hopes for his now
famous daughter, but at any rate the father found an adequate reason in
the vague and unsubstantial prospects of the young composer. This was a
sad blow, but Schumann tacitly acknowledged its justice, for he soon
began making efforts to better his condition, instead of working only
for the glory of art. Although he tried to resign himself to give Clara
up, he could not do so, and with her consent he left for Vienna in hopes
of giving his music journal a broader field. The effort was not a
success; Schumann found Vienna no less trivial in its tastes than many
other places, and wrote home that people could "gabble and gossip quite
as much as in Zwickau." His sojourn there had one important r