Feeling better in the month of April, he thought of realizing his contemplated journey, of visiting that country to which he had intended to go when youth and life opened in bright perspective before him.  He set out for England, where his works had already found an intelligent public, and were generally known and admired.

[Footnote:  The compositions of Chopin were, even at that time, known and very much liked in England.  The most distinguished virtuosi frequently executed them.  In a pamphlet published in London by Messrs. Wessel and Stappletou, under the title of an essay on the works of F.Chopin, we find some lines marked by just criticism.  The epigraph of this little pamphlet is ingeniously chosen, and the two lines from Shelley could scarcely be better applied than to Chopin: 

        “He was a mighty poet—­and
        A subtle-souled Psychologist.”

The author of this pamphlet speaks with enthusiasm of the “originative genius untrammeled by conventionalities, unfettered by pedantry;...of the outpourings of an unworldly and tristful soul—­those musical floods of tears, and gushes of pure joyfulness—­those exquisite embodiments of fugitive thoughts—­ those infinitesimal delicacies, which give so much value to the lightest sketch of Chopin.”  The English author again says:  “One thing is certain, viz.:  to play with proper feeling and correct execution, the preludes and studies of Chopin, is to be neither more nor less than a finished pianist, and moreover to comprehend them thoroughly, to give a life and tongue to their infinite and most eloquent subtleties of expression, involves the necessity of being in no less a degree a poet than a pianist, a thinker than a musician.  Commonplace is instinctively avoided in all the works of Chopin; a stale cadence or a trite progression, a humdrum subject or a hackneyed sequence, a vulgar twist of the melody or a worn-out passage, a meagre harmony or an unskillful counterpoint, may in vain be looked for throughout the entire range of his compositions; the prevailing characteristics of which, are, a feeling as uncommon as beautiful, a treatment as original as felicitous, a melody and a harmony as new, fresh, vigorous, and striking, as they are utterly unexpected and out of the common track.  In taking up one of the works of Chopin, you are entering, as it were, a fairyland, untrodden by human footsteps, a path hitherto unfrequented but by the great composer himself; and a faith, a devotion, a desire to appreciate and a determination to understand are absolutely necessary, to do it any thing like adequate justice....  Chopin in his Polonaises and in his mazourkas has aimed at those characteristics, which distinguish the national music of his country so markedly from, that of all others, that quaint idiosyncrasy, that identical wildness and fantasticality, that delicious mingling of the sad and cheerful, which invariably and forcibly individualize the music of those Northern nations, whose language delights in combinations of consonants....”]