s, they have a sort of lisping
infantile manner of speaking, which they vary by light silvery laughs,
little interjectional cries, short musical pauses upon the higher notes,
from which they descend by one knows not what chromatic scale of demi
and quarter tones to rest upon some low note; and again pursue the
varied, brusque and original modulations which astonish the ear not
accustomed to such lovely warblings, to which they sometimes give that
air of caressing irony, of cunning mockery, peculiar to the song of some
birds. They love to ZINZILYLER, and charming changes, piquant intervals,
unexpected cadences naturally find place in this fondling prattle,
making the language far more sweet and caressing when spoken by the
women, than it is in the mouths of the men. The men indeed pride
themselves upon speaking it with elegance, impressing upon it a
masculine sonorousness, which is peculiarly adapted to the energetic
movements of manly eloquence, formerly so much cultivated in Poland.
Poetry commands such a diversity of prosodies, of rhymes, of rhythms,
such an abundance of assonances from these rich and varied materials,
that it is almost possible to follow MUSICALLY the feelings and scenes
which it depicts, not only in mere expressions in which the sound
repeats the sense, but also in long declamations. The analogy between
the Polish and Russian, has been compared to that which obtains between
the Latin and Italian. The Russian language is indeed more mellifluous,
more lingering, more caressing, fuller of sighs than the Polish. Its
cadencing is peculiarly fitted for song. The finer poems, such as those
of Zukowski and Pouchkin, seem to contain a melody already designated in
the metre of the verses; for example, it would appear quite possible
to detach an ARIOSO or a sweet CANTIABLE from some of the stanzas of
LE CHALE NOIR, or the TALISMAN. The ancient Sclavonic, which is the
language of the Eastern Church, possesses great majesty. More guttural
than the idioms which have arisen from it, it is severe and monotonous
yet of great dignity, like the Byzantine paintings preserved in
the worship to which it is consecrated. It has throughout the
characteristics of a sacred language which has only been used for the
expression of one feeling and has never been modulated or fashioned by
profane wants.]

Chopin mingled a charming grace with all the intercourse which he held
with his relatives. Not satisfied with limiting his whol