Kościuszko. Gardner Monica Mary

in which the central figure, Henryk, after wrecking his home life by his egotism, assumes the leadership of his class, aristocratic and decadent, against a communistic rising led by Pankracy, a Mephistopheles who is not sure of himself. Henryk goes down in the struggle, but his conqueror falls in the hour of triumph with the words 'Vicisti Galilaee' on his lips. The scenes from the domestic tragedy are strangely moving: the sequel, in which the influence of Faust is obvious, is chiefly noteworthy for the flashes of prescience in which the Walpurgisnacht of brutal, revolting humanity fore-shadows with a strange clairvoyance the outstanding features of the democratic upheaval in Russia. But it is a drama of hopelessness: 'the cry of despair,' as Mickiewicz called it, 'of a man of genius who recognizes the greatness and difficulty of social questions' without being able to solve them. The Undivine Comedy is 'the drama of a perishing world': it was only in his later works that Krasinski's belief in the ultimate resurrection of Poland emerged. In Iridion, another prose drama, we have his first direct appeal to his nation, though it is cast in the form of an allegorical romance, in which the men and women are rather symbols than portraits. The hero is a Greek in Rome in the time of Heliogabalus, Rome standing for Russia. Beginning with this drama, and increasingly developed in his later poems, is to be found Krasinski's abiding conviction that Poland's salvation consists in the abjuring of vengeance – that the political redemption of the world would be achieved by her sufferings, as mankind was redeemed by the sufferings of Christ. The agony of Poland was not regarded by him as merited for any crimes in the past. She was an innocent victim, and the greater the wrong inflicted on her, the greater was the chance of her ultimate victory. In what was the darkest hour of his life, in 1846, when the Galician peasantry, incited by Austrian propagandists, rose and massacred the Polish nobles and Austria annexed Cracow, he wrote: 'That last span of earth torn from us by the fourth partition has more than anything else advanced our cause. Every wound inflicted on something holy and good becomes a far deeper wound, by the reflection of the Divine Justice that rules history, on him who inflicted it.' And again: 'There was never a nation in such sublime circumstances, in such favourable conditions, who was so near, from the cross on which she hangs, to heaven whither she must ascend.' It will be readily understood that this panegyric of suffering, coming from a man who had not fought for his country or suffered forfeiture of his wealth, did not appeal to all Polish patriots. The gospel of pardon and the acceptance of pain revolted men like Kamienski and Slowacki, who resented the tone of the Psalms of the Future, in which Krasinski's distrust of democratic propaganda found impassioned utterance. His appeal to his countrymen to adopt the watchword of love and not that of terrorism was ineffective; but the catastrophe of 1846, though it shattered his health, did not shatter his belief that Poland's resurrection depended on each Pole's personal purity of heart and deed. His last national poems are prayers for goodwill. In 'Resurrecturis' his answer to the eternal mystery of undeserved pain is that the 'quiet might of sacrifice' was 'the only power in the world which could crush Poland's crushing fate,' As the late Professor Morfill well said of him, Krasinski 'always stood by the open grave of his country,' and the somewhat cloudy mysticism in which he found his chief consolation is too rarefied for robuster minds. Yet his hope never wholly failed: the saying that he quoted to encourage his friend Soltan – 'speravit contra spem: that is a great and holy word of the sacred Scriptures' – might stand for his motto; and a saying from one of his poems, as Miss Gardner not unjustly contends, might well be his epitaph: 'If you would mark him out by any sign, call him a Pole, for he loved Poland. In this love he lived and in it died.'

      "Krasinski died in Paris, where he had also been born, in 1859, only outliving his father by three months, in which he was engaged on a memoir, never completed, in vindication of the memory of the man who had dominated his earthly existence. He had many devoted friends who advised and helped him, acted as his amanuenses, and, as we have seen, shielded him by assuming authorship of his works. In turn he was the generous friend of all Polish patriots in distress, whatever were their politics. Deeply susceptible from his boyhood, he was profoundly influenced by three women: Mme. Bobrowa, to whom he dedicated his Undivine Comedy and other works; the beautiful and unhappy Countess Delphina Potocka, immortalized by her friendship with Chopin, who both before and for several years after Krasinski's marriage was his Egeria, and to whom he inscribed a series of love lyrics and the mystical poem 'Dawn,' in which two exiles on the Lake of Como dream of the resurrection of their nation. The idealistic nature of Krasinski's love for Delphina Potocka, as compared with his infatuation for Mme. Bobrowa, is emphasized by his latest biographer. She was his Beatrice, and the figure of the woman he loved constantly merges in that of his eternal mistress, Poland. The third woman was his wife, Elżbieta Branicka, whom he married reluctantly, treated coldly for years, but came in the end to respect and love for her goodness and forbearance, repairing his neglect in the beautiful poems of repentance and gratitude addressed to her in the last years of his troubled life. Miss Gardner's translations, especially those from Krasinski's prose works, are done with spirit and no little skill. The difficulties of the poems are greater, but she has given us at any rate a good idea of their mystical eloquence. She has made excellent use of the already extensive literature on the subject, culminating in the complete edition of his works published in 1912, the year of Krasinski's centenary. And she has drawn freely from the remarkable letters written in French to Henry Reeve, whom he met in Geneva in 1830 – when Reeve was a romantic, enthusiastic youth 'with the face of a beautiful girl' – and corresponded with for several years. More than sixty years later these letters were handed over by Henry Reeve to Krasinski's grandson, and published in Paris in 1902 with a Preface by Dr. Kallenbach, of Lwow University, the chief authority on Krasinski."

PREFACE

      The appearance of an English biography of the Polish patriot, Tadeusz Kościuszko, requires no justification. Kościuszko's name is prominent in the long roll-call of Polish men and women who have shed their blood, sacrificed their happiness, and dedicated their lives to gain the liberation of Poland. We are now beholding what it was not given to them to see, the fruit of the seed they sowed – the restoration of their country to her place in the commonwealth of the world. It is therefore only fitting that at this moment we should recall the struggle of one of the noblest of Polish national heroes, whose newly risen country is the ally of England and America, and whose young compatriots fought with great gallantry by the side of British and American soldiers in the war that has effected the deliverance of Kościuszko's nation.

M. M. G.

      CHAPTER I

      THE YOUTH OF KOŚCIUSZKO

      The great national uprisings of history have for the most part gone down to time identified with the figure of a people's hero: with some personality which may be said in a certain manner to epitomize and symbolize the character of a race. "I and my nation are one": thus Poland's greatest poet, Adam Mickiewicz, sums up the devotion that will not shrink before the highest tests of sacrifice for a native country. "My name is Million, because I love millions and for millions suffer torment." If to this patriotism oblivious of self may be added an unstained moral integrity, the magnetism of an extraordinary personal charm, the glamour of a romantic setting, we have the pure type of a national champion. Representative, therefore, in every sense is the man with whose name is immortally associated the struggle of the Polish nation for her life – Tadeusz Kościuszko.

      Kościuszko was born on February 12, 1746, during Poland's long stagnation under her Saxon kings. The nation was exhausted by wars forced upon her by her alien sovereigns. Her territories were the passage for Prussian, Russian, and Austrian armies, traversing them at their will. With no natural boundaries to defend her, she was surrounded by the three most powerful states in Eastern Europe who were steadily working for her destruction. In part through her own impracticable constitution, but in greater measure from the deliberate machinations of her foreign enemies, whether carried on by secret intrigues or by the armed violence of superior force, Poland's political life was at a standstill, her parliament obstructed, her army reduced. Yet at the same time the undercurrent of a strong movement to regeneration was striving to make itself felt. Far-seeing men were busying themselves with problems of reform; voices were raised in warning against the perils by which the commonwealth was beset. New ideas were pouring in from France. Efforts were being made by devoted individuals, often at the cost of great personal self-sacrifice, to ameliorate the state of the peasantry, to raise the standard of education and of culture in the country. Under these conditions, in the