curious subject for analysis. Such eccentricities rarely occur in
his more generally known and admired compositions. His
Polonaises, which are less studied than they merit, on account of
the difficulties presented by their perfect execution, are to be
classed among his highest inspirations. They never remind us of
the mincing and affected "Polonaises a la Pompadour," which our
orchestras have introduced into ball-rooms, our virtuosi in
concerts, or of those to be found in our "Parlor Repertories,"
filled, as they invariably are, with hackneyed collections of
music, marked by insipidity and mannerism.

His Polonaises, characterized by an energetic rhythm, galvanize
and electrify the torpor of indifference. The most noble
traditional feelings of ancient Poland are embodied in them. The
firm resolve and calm gravity of its men of other days, breathe
through these compositions. Generally of a martial character,
courage and daring are rendered with that simplicity of
expression, said to be a distinctive trait of this warlike
people. They bring vividly before the imagination, the ancient
Poles, as we find them described in their chronicles; gifted with
powerful organizations, subtle intellects, indomitable courage
and earnest piety, mingled with high-born courtesy and a
gallantry which never deserted them, whether on the eve of
battle, during its exciting course, in the triumph of victory, or
amidst the gloom of defeat. So inherent was this gallantry and
chivalric courtesy in their nature, that in spite of the
restraint which their customs (resembling those of their
neighbours and enemies, the infidels of Stamboul) induced them to
exercise upon their women, confining them in the limits of
domestic life and always holding them under legal wardship, they