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Updated: May 7, 2025
After saying that Chopin idealised the fugitive poesy inspired by fugitive apparitions like "La Fee aux Miettes," "Le Lutin d'Argail," &c., to such an extent as to render its fibres so thin and friable that they seemed no longer to belong to our nature, but to reveal to us the indiscreet confidences of the Undines, Titanias, Ariels, Queen Mabs, and Oberons, Liszt proceeds thus:
These fugitive poems are so idealized, rendered so fragile and attenuated, that they scarcely seem to belong to human nature, but rather to a fairy world, unveiling the indiscreet confidences of Peris, of Titanias, of Ariels, of Queen Mabs, of the Genii of the air, of water, and of fire, like ourselves, subject to bitter disappointments, to invincible disgusts.
Mammy's simple "What you gwine do now, Mabs William?" thrown in whilst she assisted by her presence at my complete change of toilet lapse of time was nothing to her woke me to the momentous problem. There was no commissary sergeant to distribute even the meagre rations that so long left us ravenous after every meal. I could not camp in the Capitol Square, even if I had wished so to do.
Only the bees among the flowers filled the air with a pleasant murmur. "They are doing well your roses," said Dewes. "Yes. These Queen Mabs are good. Don't you think so? I am rather proud of them," said Sybil; and then she broke off suddenly and faced him. "Is it true?" she whispered in a low passionate voice. "Is the road stopped? Will it not go beyond Kohara?"
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