Not infrequently did I find in the meanest Pole that original wit (not Gemuthswitz, humour) which on every occasion bubbles forth with wonderful iridescence, and that dreamy sentimental trait, that brilliant flashing of an Ossianic feeling for nature whose sudden outbreaks on passionate occasions are as involuntary as the rising of the blood into the face.
The student of human nature and its reflex in art will not call these remarks a digression; at least, not one deserving of censure.
We may suppose that Chopin, after his return to Warsaw and during the following winter, and the spring and summer of 1828, continued his studies with undiminished and, had this been possible, with redoubled ardour.

Some of his compositions that came into existence at this time were published after his death by his friend Julius Fontana, who was a daily visitor at his parents' house.

We have a Polonaise (D minor) and a Nocturne (E minor) of 1827, and another Polonaise (B flat) and the Rondo for two pianos of 1828.

The Sonata, Op.

4, and La ci darem la mano, varie for pianoforte, with orchestral accompaniments, belong also to this time.