shocks and changes, and is to generate the religion of the future.
The compositions of Chopin above alluded to include the finest of his well-known Preludes, which may easily be conceived of as suggested by the strange mingling of contrasting impressions in the Chartreuse. "Several of these Preludes," writes Madame Sand, "represent the visions that haunted him of deceased monks, the sounds of funeral chaunts; others are soft and melancholy; these came to him in his hours of sunshine and health, at the sound of the children's laughter beneath the window, the distant thrum of guitars and the song of the birds under the damp foliage; at the sight of the pale little roses in bloom among the snow."
The loneliness and melancholy beauty of the spot, however congenial to the romance writer or inspiring to the composer, were not the right tonics for the nerves of the over-sensitive, imaginative invalid. The care and nursing of Madame Sand made amends for much, and by her good sense she saved him from being doctored to death by local practitioners. But his fortitude, which bore up heroically against his personal danger, was not proof against the dreary influences of Valdemosa in bad weather, the fogs, the sound of the hurricane sweeping through the valley, and bringing down portions of the dilapidated building, the noise of the torrents, the cries of the scared sea-birds and the roar of the sea.
