Dresden where they arrived November 10, they enjoyed themselves
with music. Chopin went to a soiree at Dr. Kreyssig's and was
overwhelmed at the sight of a circle of dames armed with knitting
needles which they used during the intervals of music-making in
the most formidable manner. He heard Auber and Rossini operas and
Rolla, the Italian violinist, and listened with delight to
Dotzauer and Kummer the violoncellists--the cello being an
instrument for which he had a consuming affection. Rubini, the
brother of the great tenor, he met, and was promised important
letters of introduction if he desired to visit Italy. He saw
Klengel again, who told the young Pole, thereby pleasing him very
much, that his playing was like John Field's. Prague was also
visited, and he arrived at Vienna in November. There he
confidently expected a repetition of his former successes, but
was disappointed. Haslinger received him coldly and refused to
print his variations or concerto unless he got them for nothing.
Chopin's first brush with the hated tribe of publishers begins
here, and he adopts as his motto the pleasing device, "Pay, thou
animal," a motto he strictly adhered to; in money matters Chopin
was very particular. The bulk of his extant correspondence is
devoted to the exposure of the ways and wiles of music
publishers. "Animal" is the mildest term he applies to them,
"Jew" the most frequent objurgation. After all Chopin was very
Polish.

He missed his friends the Blahetkas, who had gone to Stuttgart,
and altogether did not find things so promising as formerly. No
profitable engagements could be secured, and, to cap his misery,
Titus, his other self, left him to join the revolutionists in
Poland November 30. His letters reflect his mental agitation and