conscientious biographer help this ungraciousness and
inaccommodativeness? Is it not his duty to tell the truth, and
nothing but the truth, in order that his subject may stand out
unobstructed and shine forth unclouded?

In conclusion, two instances of careless reading. One critic,
after attributing a remark of Chopin's to me, exclaims: "The
author is fond of such violent jumps to conclusions." And an
author, most benevolently inclined towards me, enjoyed the humour
of my first "literally ratting" George Sand, and then saying that
I "abstained from pronouncing judgment because the complete
evidence did not warrant my doing so." The former (in vol. i.)
had to do with George Sand's character; the latter (in vol. ii.)
with the moral aspect of her connection with Chopin.

An enumeration of the more notable books dealing with Chopin,
published after the issue of the earlier editions of the present
book will form an appropriate coda to this preface--"Frederic
Francois Chopin," by Charles Willeby; "Chopin, and Other Musical
Essays," by Henry T. Finck; "Studies in Modern Music" (containing
an essay on Chopin), by W. H. Hadow; "Chopin's Greater Works," by
Jean Kleczynski, translated by Natalie Janotha; and "Chopin: the
Man and his Music," by James Huneker.

Edinburgh, February, 1902.



PROEM.