From this statement it is clear that Liszt had not the stuff of a biographer in him.  And, whatever value we may put on the Princess Wittgenstein’s additions and alterations, they did not touch the vital faults of the work, which, as a French critic remarked, was a symphonie funebre rather than a biography.  The next book we have to notice, M. A. Szulc’s Polish Fryderyk Chopin i Utwory jego Muzyczne (Posen, 1873), is little more than a chaotic, unsifted collection of notices, criticisms, anecdotes, &c., from Polish, German, and French books and magazines.  In 1877 Moritz Karasowski, a native of Warsaw, and since 1864 a member of the Dresden orchestra, published his Friedrich Chopin:  sein Leben, seine Werke und seine Briefe (Dresden:  F. Ries.—­Translated into English by E. Hill, under the title Frederick Chopin:  His Life, Letters, and Work,” and published by William Reeves, London, in 1879).  This was the first serious attempt at a biography of Chopin.  The author reproduced in the book what had been brought to light in Polish magazines and other publications regarding Chopin’s life by various countrymen of the composer, among whom he himself was not the least notable.  But the most valuable ingredients are, no doubt, the Chopin letters which the author obtained from the composer’s relatives, with whom he was acquainted.  While gratefully acknowledging his achievements, I must not omit to indicate his shortcomings—­his unchecked partiality for, and boundless admiration of his hero; his uncritical acceptance and fanciful embellishments of anecdotes and hearsays; and the extreme paucity of his information concerning the period of Chopin’s life which begins with his settlement in Paris.  In 1878 appeared a second edition of the work, distinguished from the first by a few additions and many judicious omissions, the original two volumes being reduced to one.  But of more importance than the second German edition is the first Polish edition, “Fryderyk Chopin:  Zycie, Listy, Dziela, two volumes (Warsaw:  Gebethner and Wolff, 1882), which contains a series of, till then, unpublished letters from Chopin to Fontana.  Of Madame A. Audley’s short and readable “Frederic Chopin, sa vie et ses oeuvres” (Paris:  E. Plon et Cie., 1880), I need only say that for the most part it follows Karasowski, and where it does not is not always correct.  Count Wodzinski’s “Les trois Romans de Frederic Chopin” (Paris:  Calmann Levy, 1886)—­according to the title treating only of the composer’s love for Constantia Gladkowska, Maria Wodzinska, and George Sand, but in reality having a wider scope—­cannot be altogether ignored, though it is more of the nature of a novel than of a biography.  Mr, Joseph Bennett, who based his “Frederic Chopin” (one of Novello’s Primers of Musical Biography) on Liszt’s and Karasowski’s works, had in the parts dealing with Great Britain the advantage of notes by Mr. A.J.  Hipkins, who inspired also, to some extent at least, Mr. Hueffer in his essay Chopin ("Fortnightly Review,”