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+The Project Gutenberg EBook of Beethoven: the Man and the Artist, by 
+Ludwig van Beethoven
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Beethoven: the Man and the Artist
+       As Revealed in his own Words
+
+Author: Ludwig van Beethoven
+
+Editor: Friedrich Kerst and Henry Edward Krehbiel
+
+Posting Date: February 9, 2009 [EBook #3528]
+Release Date: November, 2002
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK BEETHOVEN: THE MAN AND THE ARTIST ***
+
+
+
+
+Produced by John Mamoun, Charles Franks, S. Morrison, R.
+Zimmerman, Andrew Sly, and the Distributed Proofreaders Team
+
+
+
+
+
+
+BEETHOVEN: THE MAN AND THE ARTIST,
+
+AS REVEALED IN HIS OWN WORDS
+
+
+By Ludwig van Beethoven
+
+
+Edited by Friedrich Kerst and Henry Edward Krehbiel
+
+
+
+This edition of "Beethoven: the Man and the Artist, as Revealed in his
+own Words," was translated into English and published in 1905 by B.W.
+Huebsch. It was also republished unabridged by Dover Publications, Inc.,
+in a 1964 edition, ISBN 0-486-21261-0.
+
+
+
+
+TABLE OF CONTENTS:
+
+     BRIEF BIOGRAPHICAL SKETCH
+     PREFACE
+     CONCERNING ART
+     LOVE OF NATURE
+     CONCERNING TEXTS
+     ON COMPOSING
+     ON PERFORMING MUSIC
+     ON HIS OWN WORKS
+     ON ART AND ARTISTS
+     BEETHOVEN AS CRITIC
+     ON EDUCATION
+     ON HIS OWN DISPOSITION AND CHARACTER
+     THE SUFFERER
+     WORLDLY WISDOM
+     GOD
+     APPENDIX
+
+
+
+
+BRIEF BIOGRAPHICAL SKETCH
+
+
+Ludwig van Beethoven (1770-1827) is widely considered to be one of the
+pre-eminent classical music figures of the Western world. This German
+musical genius created numerous works that are firmly entrenched in the
+repertoire. Except for a weakness in composing vocal and operatic music
+(to which he himself admitted, notwithstanding a few vocal works like
+the opera "Fidelio" and the song "Adelaide,"), Beethoven had complete
+mastery of the artform. He left his stamp in 9 symphonies, 5 piano
+concertos, 10 violin sonatas, 32 piano sonatas, numerous string quartets
+and dozens of other key works. Many of his works are ingeniously
+imaginative and innovative, such as his 3rd symphony (the "Eroica"), his
+9th Violin Sonata (the "Kreutzer"), his "Waldstein" piano sonata, his
+4th and 5th piano concertos, or his "Grosse Fugue" for string quartet.
+(Of course, each of Beethoven's works adds its own unique detail to
+Beethoven's grand musical paradigm.)
+
+It is difficult to sum up briefly what his musical works represent or
+symbolize, since taken together they encompass a vast system of thought.
+Generally, however, those who apprehend his music sense that it reflects
+their own personal yearnings and sufferings. It egoistically, and always
+intelligently, "discusses" with its listener his or her feelings in the
+wake of personal failure and personal triumph, from the lowest depths
+of despair to the highest heights of happy or triumphant fulfillment.
+In his music, he represents the feelings felt by those attempting to
+achieve their goals within their societies, whether they are competing
+for love, status, money, power, mates and/or any other things
+individuals feel naturally inclined to attempt to acquire.
+
+In a thematic sense, Beethoven does not promote anarchist ideas. The
+listener cannot, in listening to Beethoven's music, apprehend ideas
+which, if applied, would compromise the welfare of his society. The
+music is thus "civically responsible," as is the music of Bach or
+Mozart. For Beethoven, the society exists as a bulwark with which the
+individual must function in harmony, or at least not function such as
+to harm or destroy it. And, should the society marginalize or hurt
+the individual, as it often does, the individual must, according to
+Beethoven, humbly accept this, never considering the alternative act
+of attempting to harm or destroy the society in the wake of his or her
+personal frustrations. But, thanks to Beethoven, such an individual
+is provided with the means to sooth his or her misery in the wake of
+feeling "hurt" at the hands of society. The means is this music and
+the euphoric pleasure that it can provide to minds possessing the
+psycho-intellectual "wiring" needed to apprehend it.
+
+Some post-World-War-II composers, such as the late, LSD-using John Cage,
+reject the music of Beethoven because of its predominant reliance on
+"beauty" as way of communicating idealized concepts. Also, since the
+music intimately reflects the cravings and thought-processes of
+the natural human mind, which in numerous ways is emotionally and
+intellectually irrational, the music may itself be consequently
+irrational.
+
+The following book consists of brief biographical commentaries about
+Beethoven, each followed by sections of quotations attributed to the
+muse. In these quotes, Beethoven demonstrates his intense preoccupation
+(or obsession) with thinking artistically and intelligently, and with
+helping to alleviate man's suffering by providing man with musical
+artworks that could enlighten him, so as to become educated enough to
+pull himself out of his misery. He felt immediate, strong disdain at any
+artistic statement that was not truly intelligent and artistic, such
+as, in his view, the music of Rossini. Although not prudish, he had
+high standards when it came to marriage, and was morally against
+"reproductory pleasure" for its own sake, or any form of adultery. He
+never married. Interestingly, experimental psychologists have discovered
+that people who have an intense love of humanity or are preoccupied with
+working to serve humanity tend to have difficulty forming intimate bonds
+with people on a personal level.
+
+
+
+           *****
+
+
+
+
+PREFACE
+
+
+This little book came into existence as if it were by chance. The
+author had devoted himself for a long time to the study of Beethoven and
+carefully scrutinized all manner of books, publications, manuscripts,
+etc., in order to derive the greatest possible information about the
+hero. He can say confidently that he conned every existing publication
+of value. His notes made during his readings grew voluminous, and also
+his amazement at the wealth of Beethoven's observations comparatively
+unknown to his admirers because hidden away, like concealed violets, in
+books which have been long out of print and for whose reproduction there
+is no urgent call. These observations are of the utmost importance for
+the understanding of Beethoven, in whom man and artist are inseparably
+united. Within the pages of this little book are included all of them
+which seemed to possess value, either as expressions of universal
+truths or as evidence of the character of Beethoven or his compositions.
+Beethoven is brought more directly before our knowledge by these his own
+words than by the diffuse books which have been written about him. For
+this reason the compiler has added only the necessary explanatory notes,
+and (on the advice of professional friends) the remarks introductory to
+the various subdivisions of the book. He dispensed with a biographical
+introduction; there are plenty of succinct biographies, which set forth
+the circumstances of the master's life easily to be had. Those who wish
+to penetrate farther into the subject would do well to read the great
+work by Thayer, the foundation of all Beethoven biography (in the new
+revision now making by Deiters), or the critical biography by Marx, as
+revised by Behncke. In sifting the material it was found that it fell
+naturally into thirteen subdivisions. In arranging the succession
+of utterances care was had to group related subjects. By this means
+unnecessary interruptions in the train of thought were avoided and
+interesting comparisons made possible. To this end it was important that
+time, place and circumstances of every word should be conscientiously
+set down.
+
+Concerning the selection of material let it be said that in all cases
+of doubt the authenticity of every utterance was proved; Beethoven is
+easily recognizable in the form and contents of his sayings. Attention
+must be directed to two matters in particular: after considerable
+reflection the compiler decided to include in the collection a few
+quotations which Beethoven copied from books which he read. From the
+fact that he took the trouble to write them down, we may assume that
+they had a fascination for him, and were greeted with lively emotion as
+being admirable expressions of thoughts which had moved him. They are
+very few, and the fact that they are quotations is plainly indicated. By
+copying them into his note-books Beethoven as much as stored them away
+in the thesaurus of his thoughts, and so they may well have a place
+here. A word touching the use of the three famous letters to Bettina
+von Arnim, the peculiarities of which differentiate them from the entire
+mass of Beethoven's correspondence and compel an inquiry into their
+genuineness: As a correspondent Bettina von Arnim has a poor reputation
+since the discovery of her pretty forgery, "Goethes Briefwechsel mit
+einem Kinde" (Goethe's Correspondence with a Child). In this alleged
+"Correspondence" she made use of fragmentary material which was genuine,
+pieced it out with her own inventions, and even went so far as to
+turn into letters poems written by Goethe to her and other women. The
+genuineness of a poem by Beethoven to Bettina is indubitable; it will
+be found in the chapter entitled "Concerning Texts." Doubt was thrown on
+the letters immediately on their appearance in 1839.
+
+Bettina could have dissipated all suspicion had she produced the
+originals and remained silent. One letter, however, that dated February
+10, 1811, afterward came to light. Bettina had given it to Philipp von
+Nathusius. It had always been thought the most likely one, of the set
+to be authentic; the compiler has therefore, used it without hesitation.
+From the other letters, in which a mixture of the genuine and the
+fictitious must be assumed so long as the originals are not produced,
+passages have been taken which might have been thus constructed by
+Beethoven. On the contrary, the voluminous communications of Bettina
+to Goethe, in which she relates her conversations with Beethoven, were
+scarcely used. It is significant, so far as these are concerned, that,
+according to Bettina's own statement, when she read the letter to him
+before sending it off, Beethoven cried out, "Did I really say that? If
+so I must have had a raptus."
+
+In conclusion the compiler directs attention to the fact that in a few
+cases utterances which have been transmitted to us only in an indirect
+form have been altered to present them in a direct form, in as much
+as their contents seemed too valuable to omit simply because their
+production involved a trifling change in form.
+
+--Elberfeld, October, 1904. Fr. K.
+
+
+
+
+CONCERNING ART
+
+
+Beethoven's relation to art might almost be described as personal. Art
+was his goddess to whom he made petition, to whom he rendered thanks,
+whom he defended. He praised her as his savior in times of despair;
+by his own confession it was only the prospect of her comforts that
+prevented him from laying violent hands on himself. Read his words
+and you shall find that it was his art that was his companion in his
+wanderings through field and forest, the sharer of the solitude to which
+his deafness condemned him. The concepts Nature and Art were intimately
+bound up in his mind. His lofty and idealistic conception of art led him
+to proclaim the purity of his goddess with the hot zeal of a priestly
+fanatic. Every form of pseudo or bastard art stirred him with hatred to
+the bottom of his soul; hence his furious onslaughts on mere virtuosity
+and all efforts from influential sources to utilize art for other than
+purely artistic purposes. And his art rewarded his devotion richly; she
+made his sorrowful life worth living with gifts of purest joy:
+
+"To Beethoven music was not only a manifestation of the beautiful, an
+art, it was akin to religion. He felt himself to be a prophet, a seer.
+All the misanthropy engendered by his unhappy relations with mankind,
+could not shake his devotion to this ideal which had sprung in to
+Beethoven from truest artistic apprehension and been nurtured by
+enforced introspection and philosophic reflection."
+
+
+     ("Music and Manners," page 237. H. E. K.)
+
+
+1. "'Tis said, that art is long, and life but fleeting:--Nay; life is
+long, and brief the span of art; If e're her breath vouchsafes with gods
+a meeting, A moment's favor 'tis of which we've had a part."
+
+
+     (Conversation-book, March, 1820. Probably a quotation.)
+
+
+2. "The world is a king, and, like a king, desires flattery in return
+for favor; but true art is selfish and perverse--it will not submit to
+the mould of flattery."
+
+
+     (Conversation-book, March, 1820. When Baron van Braun expressed the
+opinion that the opera "Fidelio" would eventually win the enthusiasm of
+the upper tiers, Beethoven said, "I do not write for the galleries!" He
+never permitted himself to be persuaded to make concessions to the taste
+of the masses.)
+
+
+3. "Continue to translate yourself to the heaven of art; there is no
+more undisturbed, unmixed, purer happiness than may thus be attained."
+
+
+     (August 19, 1817, to Xavier Schnyder, who vainly sought instruction from
+Beethoven in 1811, though he was pleasantly received.)
+
+
+4. "Go on; do not practice art alone but penetrate to her heart; she
+deserves it, for art and science only can raise man to godhood."
+
+
+     (Teplitz, July 17, 1812, to his ten years' old admirer, Emilie M. in H.)
+
+
+5. "True art is imperishable and the true artist finds profound delight
+in grand productions of genius."
+
+
+     (March 15, 1823, to Cherubini, to whom he also wrote, "I prize your
+works more than all others written for the stage." The letter asked
+Cherubini to interest himself in obtaining a subscription from King
+Louis XVIII for the Solemn Mass in D).
+
+[Cherubini declared that he had never received the letter. That it
+was not only the hope of obtaining a favor which prompted Beethoven to
+express so high an admiration for Cherubini, is plain from a remark made
+by the English musician Cipriani Potter to A. W. Thayer in 1861. I found
+it in Thayer's note-books which were placed in my hands for examination
+after his death.
+
+One day Potter asked, "Who is the greatest living composer, yourself
+excepted?" Beethoven seemed puzzled for a moment, and then exclaimed,
+"Cherubini." H. E. K.]
+
+6. "Truth exists for the wise; beauty for the susceptible heart. They
+belong together--are complementary."
+
+
+     (Written in the autograph book of his friend, Lenz von Breuning, in
+1797.)
+
+
+7. "When I open my eyes, a sigh involuntarily escapes me, for all that I
+see runs counter to my religion; perforce I despise the world which does
+not intuitively feel that music is a higher revelation than all wisdom
+and philosophy."
+
+
+     (Remark made to Bettina von Arnim, in 1810, concerning Viennese society.
+Report in a letter by Bettina to Goethe on May 28, 1810.)
+
+
+8. "Art! Who comprehends her? With whom can one consult concerning this
+great goddess?"
+
+
+     (August 11, 1810, to Bettina von Arnim.)
+
+
+9. "In the country I know no lovelier delight than quartet music."
+
+
+     (To Archduke Rudolph, in a letter addressed to Baden on July 24, 1813.)
+
+
+10. "Nothing but art, cut to form like old-fashioned hoop-skirts. I
+never feel entirely well except when I am among scenes of unspoiled
+nature."
+
+
+     (September 24, 1826, to Breuning, while promenading with Breuning's
+family in the Schonbrunner Garden, after calling attention to the alleys
+of trees "trimmed like walls, in the French manner.")
+
+
+11. "Nature knows no quiescence; and true art walks with her hand
+in hand; her sister--from whom heaven forefend us!--is called
+artificiality."
+
+
+     (From notes in the lesson book of Archduke Rudolph, following some
+remarks on the expansion of the expressive capacity of music.)
+
+
+
+
+
+LOVE OF NATURE
+
+
+Beethoven was a true son of the Rhine in his love for nature. As a boy
+he had taken extended trips, sometimes occupying days, with his father
+"through the Rhenish localities ever lastingly dear to me." In his days
+of physical health Nature was his instructress in art; "I may not come
+without my banner," he used to say when he set out upon his wanderings
+even in his latest years, and never without his note books. In the
+scenes of nature he found his marvelous motives and themes; brook, birds
+and tree sang to him. In a few special cases he has himself recorded the
+fact.
+
+But when he was excluded more and more from communion with his fellow
+men because of his increasing deafness, until, finally, he could
+communicate only by writing with others (hence the conversation-books,
+which will be cited often in this little volume), he fled for refuge to
+nature. Out in the woods he again became naively happy; to him the woods
+were a Holy of Holies, a Home of the Mysteries. Forest and mountain-vale
+heard his sighs; there he unburdened his heavy-laden heart. When his
+friends need comfort he recommends a retreat to nature. Nearly every
+summer he leaves hot and dusty Vienna and seeks a quiet spot in the
+beautiful neighborhood. To call a retired and reposeful little spot his
+own is his burning desire.
+
+
+
+12. On the Kahlenberg, 1812, end of September:
+
+          Almighty One
+          In the woods
+          I am blessed.
+          Happy every one
+          In the woods.
+          Every tree speaks
+          Through Thee.
+
+          O God!
+          What glory in the
+          Woodland.
+          On the Heights
+          is Peace,--
+          Peace to serve
+          Him--
+
+
+     (This poetic exclamation, accompanied by a few notes, is on a page of
+music paper owned by Joseph Joachim.)
+
+
+13. "How happy I am to be able to wander among bushes and herbs, under
+trees and over rocks; no man can love the country as I love it. Woods,
+trees and rocks send back the echo that man desires."
+
+
+     (To Baroness von Drossdick.)
+
+
+14. "O God! send your glance into beautiful nature and comfort your
+moody thoughts touching that which must be."
+
+
+     (To the "Immortal Beloved," July 6, in the morning.)
+
+
+[Thayer has spoiled the story so long believed, and still spooking
+in the books of careless writers, that the "Immortal Beloved" was the
+Countess Giulietta Guicciardi, to whom the C-sharp minor sonata is
+dedicated. The real person to whom the love-letters were addressed was
+the Countess Brunswick to whom Beethoven was engaged to be married when
+he composed the fourth Symphony. H. E. K.]
+
+
+15. "My miserable hearing does not trouble me here. In the country it
+seems as if every tree said to me: 'Holy! holy!' Who can give complete
+expression to the ecstasy of the woods! O, the sweet stillness of the
+woods!"
+
+
+     (July, 1814; he had gone to Baden after the benefit performance of
+"Fidelio.")
+
+
+16. "My fatherland, the beautiful locality in which I saw the light of
+the world, appears before me vividly and just as beautiful as when I
+left you; I shall count it the happiest experience of my life when I
+shall again be able to see you, and greet our Father Rhine."
+
+
+     (Vienna, June 29, to Wegeler, in Bonn.)
+
+
+[In 1825 Beethoven said to his pupil Ries, "Fare well in the Rhine
+country which is ever dear to me," and in 1826 wrote to Schott, the
+publisher in Mayence, about the "Rhine country which I so long to see
+again."]
+
+17. "Bruhl, at 'The Lamb'--how lovely to see my native country again!"
+
+
+     (Diary, 1812-1818.)
+
+
+18. "A little house here, so small as to yield one's self a little
+room,--only a few days in this divine Bruehl,--longing or desire,
+emancipation or fulfillment."
+
+
+     (Written in 1816 in Bruehl near Modling among the sketches for the
+Scherzo of the pianoforte sonata op. 10.)
+
+
+[Like many another ejaculatory remark of Beethoven's, it is difficult to
+understand. See Appendix. H. E. K.]
+
+19. "When you reach the old ruins, think that Beethoven often paused
+there; if you wander through the mysterious fir forests, think that.
+Beethoven often poetized, or, as is said, composed there."
+
+
+     (In the fall of 1817, to Mme. Streicher, who was at a cure in Baden.)
+
+
+20. "Nature is a glorious school for the heart! It is well; I shall be a
+scholar in this school and bring an eager heart to her instruction. Here
+I shall learn wisdom, the only wisdom that is free from disgust; here I
+shall learn to know God and find a foretaste of heaven in His knowledge.
+Among these occupations my earthly days shall flow peacefully along
+until I am accepted into that world where I shall no longer be a
+student, but a knower of wisdom."
+
+
+     (Copied into his diary, in 1818, from Sturm's "Betrachtungen uber die
+Werke Gottes in der Natur.")
+
+
+21. "Soon autumn will be here. Then I wish to be like unto a fruitful
+tree which pours rich stores of fruit into our laps! But in the winter
+of existence, when I shall be gray and sated with life, I desire for
+myself the good fortune that my repose be as honorable and beneficent as
+the repose of nature in the winter time."
+
+
+     (Copied from the same work of Sturm's.)
+
+
+
+
+
+CONCERNING TEXTS
+
+
+Not even a Beethoven was spared the tormenting question of texts for
+composition. It is fortunate for posterity that he did not exhaust his
+energies in setting inefficient libretti, that he did not believe that
+good music would suffice to command success in spite of bad texts. The
+majority of his works belong to the field of purely instrumental music.
+Beethoven often gave expression to the belief that words were a less
+capable medium of proclamation for feelings than music. Nevertheless
+it may be observed that he looked upon an opera, or lyric drama, as the
+crowning work of his life. He was in communication with the best poets
+of his time concerning opera texts. A letter of his on the subject was
+found in the blood-spotted pocketbook of Theodor Komer. The conclusion
+of his creative labors was to be a setting of Goethe's "Faust;" except
+"Fidelio," however, he gave us no opera. His songs are not many although
+he sought carefully for appropriate texts. Unhappily the gift of poetry
+was not vouchsafed him.
+
+
+22. "Always the same old story: the Germans can not put together a good
+libretto."
+
+
+     (To C. M. von Weber, concerning the book of "Euryanthe," at Baden, in
+October, 1823. Mozart said: "Verses are the most indispensable thing for
+music, but rhymes, for the sake of rhymes, the most injurious. Those who
+go to work so pedantically will assuredly come to grief, along with the
+music.")
+
+
+23. "It is difficult to find a good poem. Grillparzer has promised to
+write one for me,--indeed, he has already written one; but we can not
+understand each other. I want something entirely different than he."
+
+
+     (In the spring of 1825, to Ludwig Rellstab, who was intending to write
+an opera-book for Beethoven. It may not be amiss to recall the fact
+that Mozart examined over one hundred librettos, according to his own
+statement, before he decided to compose "The Marriage of Figaro.")
+
+
+24. "It is the duty of every composer to be familiar with all poets, old
+and new, and himself choose the best and most fitting for his purposes."
+
+
+     (In a recommendation of Kandler's "Anthology.")
+
+
+25. "The genre would give me little concern provided the subject were
+attractive to me. It must be such that I can go to work on it with love
+and ardor. I could not compose operas like 'Don Juan' and 'Figaro;'
+toward them I feel too great a repugnance. I could never have chosen
+such subjects; they are too frivolous."
+
+
+     (In the spring of 1825, to Ludwig Rellstab.)
+
+
+26. "I need a text which stimulates me; it must be something moral,
+uplifting. Texts such as Mozart composed I should never have been
+able to set to music. I could never have got myself into a mood for
+licentious texts. I have received many librettos, but, as I have said,
+none that met my wishes."
+
+
+     (To young Gerhard von Breuning.)
+
+
+27. "I know the text is extremely bad, but after one has conceived
+an entity out of even a bad text, it is difficult to make changes in
+details without disturbing the unity. If it is a single word, on which
+occasionally great weight is laid, it must be permitted to stand. He is
+a bad author who can not, or will not try to make something as good
+as possible; if this is not the case petty changes will certainly not
+improve the whole."
+
+
+     (Teplitz, August 23, 1811, to Hartel, the publisher, who wanted some
+changes made in the hook of "The Mount of Olives.")
+
+
+28. "Good heavens! Do they think in Saxony that the words make good
+music? If an inappropriate word can spoil the music, which is true, then
+we ought to be glad when we find that words and music are one and
+not try to improve matters even if the verbal expression is
+commonplace--dixi."
+
+
+     (January 28, to Gottfried Hartel, who had undertaken to make changes in
+the book of "The Mount of Olives" despite the prohibition of Beethoven.)
+
+
+29. "Goethe's poems exert a great power over me not only because of
+their contents but also because of their rhythms; I am stimulated to
+compose by this language, which builds itself up to higher orders as
+if through spiritual agencies, and bears in itself the secret of
+harmonies."
+
+
+     (Reported as an expression of Beethoven's by Bettina von Arnim to
+Goethe.)
+
+
+30. "Schiller's poems are difficult to set to music. The composer must
+be able to rise far above the poet. Who can do that in the case of
+Schiller? In this respect Goethe is much easier."
+
+
+     (1809, after Beethoven had made his experiences with the "Hymn to Joy"
+and "Egmont.")
+
+
+
+
+
+ON COMPOSING
+
+
+Wiseacres not infrequently accused Beethoven of want of regularity in
+his compositions. In various ways and at divers times he gave vigorous
+utterance to his opinions of such pedantry. He was not the most
+tractable of pupils, especially in Vienna, where, although he was
+highly praised as a player, he took lessons in counterpoint from
+Albrechtsberger. He did not endure long with Papa Haydn. He detested the
+study of fugue in particular; the fugue was to him a symbol of narrow
+coercion which choked all emotion. Mere formal beauty, moreover, was
+nothing to him. Over and over again he emphasizes soul, feeling,
+direct and immediate life, as the first necessity of an art work. It
+is therefore not strange that under certain circumstances he ignored
+conventional forms in sonata and symphony. An irrepressible impulse
+toward freedom is the most prominent peculiarity of the man and artist
+Beethoven; nearly all of his observations, no matter what their subject,
+radiate the word "Liberty." In his remarks about composing there is a
+complete exposition of his method of work.
+
+
+31. "As regards me, great heavens! my dominion is in the air; the tones
+whirl like the wind, and often there is a like whirl in my soul."
+
+
+     (February 13, 1814, to Count Brunswick, in Buda.)
+
+
+32. "Then the loveliest themes slipped out of your eyes into my heart,
+themes which shall only then delight the world when Beethoven conducts
+no longer."
+
+
+     (August 15, 1812, to Bettina von Arnim.)
+
+
+33. "I always have a picture in my mind when composing, and follow its
+lines."
+
+
+     (In 1815, to Neate, while promenading with him in Baden and talking
+about the "Pastoral" symphony.)
+
+
+[Ries relates: "While composing Beethoven frequently thought of an
+object, although he often laughed at musical delineation and scolded
+about petty things of the sort. In this respect 'The Creation' and 'The
+Seasons' were many times a butt, though without depreciation of Haydn's
+loftier merits. Haydn's choruses and other works were loudly praised by
+Beethoven."]
+
+34. "The texts which you sent me are least of all fitted for song. The
+description of a picture belongs to the field of painting; in this the
+poet can count himself more fortunate than my muse for his territory
+is not so restricted as mine in this respect, though mine, on the
+other hand, extends into other regions, and my dominion is not easily
+reached."
+
+
+     (Nussdorf, July 15, 1817, to Wilhelm Gerhard, who had sent him some
+Anacreontic songs for composition.)
+
+
+35. "Carried too far, all delineation in instrumental music loses in
+efficiency."
+
+
+     (A remark in the sketches for the "Pastoral" symphony, preserved in the
+Royal Library in Berlin.)
+
+
+[Mozart said: "Even in the most terrifying moments music must never
+offend the ear."]
+
+36. "Yes, yes, then they are amazed and put their heads together because
+they never found it in any book on thorough bass."
+
+
+     (To Ries when the critics accused him of making grammatical blunders in
+music.)
+
+
+37. "No devil can compel me to write only cadences of such a kind."
+
+
+     (From notes written in his years of study. Beethoven called the
+composition of fugues "the art of making musical skeletons.")
+
+
+38. "Good singing was my guide; I strove to write as flowingly as
+possible and trusted in my ability to justify myself before the
+judgment-seat of sound reason and pure taste."
+
+
+     (From notes in the instruction book of Archduke Rudolph.)
+
+
+39. "Does he believe that I think of a wretched fiddle when the spirit
+speaks to me?"
+
+
+     (To his friend, the admirable violinist Schuppanzigh, when the latter
+complained of the difficulty of a passage in one of his works.)
+
+
+[Beethoven here addresses his friend in the third person, which is the
+customary style of address for the German nobility and others towards
+inferiors in rank. H. E. K.]
+
+40. "The Scotch songs show how unconstrainedly irregular melodies can be
+treated with the help of harmony."
+
+
+     (Diary, 1812-1818. Since 1809 Beethoven had arranged Folksongs for
+Thomson of Edinburgh.)
+
+
+41. "To write true church music, look through the old monkish chorals,
+etc., also the most correct translations of the periods, and perfect
+prosody in the Catholic Psalms and hymns generally."
+
+
+     (Diary, 1818.)
+
+
+42. "Many assert that every minor piece must end in the minor. Nego! On
+the contrary I find that in the soft scales the major third at the
+close has a glorious and uncommonly quieting effect. Joy follows sorrow,
+sunshine--rain. It affects me as if I were looking up to the silvery
+glistering of the evening star."
+
+
+     (From Archduke Rudolph's book of instruction.)
+
+
+43. "Rigorists, and devotees of antiquity, relegate the perfect fourth
+to the list of dissonances. Tastes differ. To my ear it gives not the
+least offence combined with other tones."
+
+
+     (From Archduke Rudolph's book of instruction, compiled in 1809.)
+
+
+44. "When the gentlemen can think of nothing new, and can go no further,
+they quickly call in a diminished seventh chord to help them out of the
+predicament."
+
+
+     (A remark made to Schindler.)
+
+
+45. "My dear boy, the startling effects which many credit to the natural
+genius of the composer, are often achieved with the greatest ease by the
+use and resolution of the diminished seventh chords."
+
+
+     (Reported by Karl Friederich Hirsch, a pupil of Beethoven in the winter
+of 1816. He was a grandson of Albrechtsberger who had given lessons to
+Beethoven.)
+
+
+46. "In order to become a capable composer one must have already learned
+harmony and counterpoint at the age of from seven to eleven years,
+so that when the fancy and emotions awake one shall know what to do
+according to the rules."
+
+
+     (Reported by Schindler as having been put into the mouth of Beethoven by
+a newspaper of Vienna. Schindler says: "When Beethoven came to Vienna he
+knew no counterpoint, and little harmony.")
+
+
+47. "So far as mistakes are concerned it was never necessary for me to
+learn thorough-bass; my feelings were so sensitive from childhood that
+I practiced counterpoint without knowing that it must be so or could be
+otherwise."
+
+
+     (Note on a sheet containing directions for the use of fourths in
+suspensions--probably intended for the instruction of Archduke Rudolph.)
+
+
+48. "Continue, Your Royal Highness, to write down briefly your
+occasional ideas while at the pianoforte. For this a little table
+alongside the pianoforte is necessary. By this means not only is the
+fancy strengthened, but one learns to hold fast in a moment the
+most remote conceptions. It is also necessary to compose without the
+pianoforte; say often a simple chord melody, with simple harmonies, then
+figurate according to the rules of counterpoint, and beyond them; this
+will give Y. R. H. no headache, but, on the contrary, feeling yourself
+thus in the midst of art, a great pleasure."
+
+
+     (July 1, 1823, to his pupil Archduke Rudolph.)
+
+
+
+49. "The bad habit, which has clung to me from childhood, of always
+writing down a musical thought which occurs to me, good or bad, has
+often been harmful to me."
+
+
+     (July 23, 1815, to Archduke Rudolph, while excusing himself for not
+having visited H.R.H., on the ground that he had been occupied in noting
+a musical idea which had occurred to him.)
+
+
+50. "As is my habit, the pianoforte part of the concerto (op. 19) was
+not written out in the score; I have just written it, wherefore,
+in order to expedite matters, you receive it in my not too legible
+handwriting."
+
+
+     (April 22, 1801, to the publisher Hofmeister, in Leipzig.)
+
+
+51. "Correspondence, as you know, was never my forte; some of my best
+friends have not had a letter from me in years. I live only in my notes
+(compositions), and one is scarcely finished when another is begun. As I
+am working now I often compose three, even four, pieces simultaneously."
+
+
+     (Vienna, June 29, 1800, to Wegeler, in Bonn.)
+
+
+52. "I never write a work continuously, without interruption. I
+am always working on several at the same time, taking up one, then
+another."
+
+
+     (June 1, 1816, to Medical Inspector Dr. Karl von Bursy, when the latter
+asked about an opera (the book by Berge, sent to Beethoven by Amenda),
+which was never written.)
+
+
+53. "I must accustom myself to think out at once the whole, as soon as
+it shows itself, with all the voices, in my head."
+
+
+     (Note in a sketch-book of 1810, containing studies for the music to
+"Egmont" and the great Trio in B-flat, op. 97. H. E. K.)
+
+
+54. "I carry my thoughts about me for a long time, often a very long
+time, before I write them down; meanwhile my memory is so faithful that
+I am sure never to forget, not even in years, a theme that has once
+occurred to me. I change many things, discard, and try again until I
+am satisfied. Then, however, there begins in my head the development
+in every direction, and, in as much as I know exactly what I want, the
+fundamental idea never deserts me,--it arises before me, grows,--I see
+and hear the picture in all its extent and dimensions stand before my
+mind like a cast, and there remains for me nothing but the labor of
+writing it down, which is quickly accomplished when I have the time, for
+I sometimes take up other work, but never to the confusion of one with
+the other.
+
+"You will ask me where I get my ideas. That I cannot tell you with
+certainty; they come unsummoned, directly, indirectly,--I could seize
+them with my hands,--out in the open air; in the woods; while walking;
+in the silence of the nights; early in the morning; incited by moods,
+which are translated by the poet into words, by me into tones that
+sound, and roar and storm about me until I have set them down in notes."
+
+
+     (Said to Louis Schlosser, a young musician, whom Beethoven honored with
+his friendship in 1822-23.)
+
+
+55. "On the whole, the carrying out of several voices in strict
+relationship mutually hinders their progress."
+
+
+     (Fall of 1812, in the Diary of 1812-18.)
+
+
+56. "Few as are the claims which I make upon such things I shall still
+accept the dedication of your beautiful work with pleasure. You ask,
+however, that I also play the part of a critic, without thinking that
+I must myself submit to criticism! With Voltaire I believe that 'a few
+fly-bites can not stop a spirited horse.' In this respect I beg of you
+to follow my example. In order not to approach you surreptitiously, but
+openly as always, I say that in future works of the character you might
+give more heed to the individualization of the voices."
+
+
+     (Vienna, May 10, 1826. To whom the letter was sent is not known, though
+from the manner of address it is plain that he was of the nobility.)
+
+
+57. "Your variations show talent, but I must fault you for having
+changed the theme. Why? What man loves must not be taken away from
+him;--moreover to do this is to make changes before variations."
+
+
+     (Baden, July 6, 1804, to Wiedebein, a teacher of music in Brunswick.)
+
+
+58. "I am not in the habit of rewriting my compositions. I never did it
+because I am profoundly convinced that every change of detail changes
+the character of the whole."
+
+
+     (February 19, 1813, to George Thomson, who had requested some changes in
+compositions submitted to him for publication.)
+
+
+59. "One must not hold one's self so divine as to be unwilling
+occasionally to make improvements in one's creations."
+
+
+     (March 4, 1809, to Breitkopf and Hartel, when indicating a few changes
+which he wished to have made in the symphonies op. 67 and op. 68.)
+
+
+60. "The unnatural rage for transcribing pianoforte pieces for string
+instruments (instruments that are in every respect so different from
+each other) ought to end. I stoutly maintain that only Mozart could have
+transcribed his own works, and Haydn; and without putting myself on a
+level with these great men I assert the same thing about my pianoforte
+sonatas. Not only must entire passages be elided and changed, but
+additions must be made; and right here lies the rock of offence to
+overcome which one must be the master of himself or be possessed of
+the same skill and inventiveness. I transcribed but a single sonata for
+string quartet, and I am sure that no one will easily do it after me."
+
+
+     (July 13, 1809, in an announcement of several compositions, among them
+the quintet op. 29.)
+
+
+61. "Were it not that my income brings in nothing, I should compose
+nothing but grand symphonies, church music, or, at the outside, quartets
+in addition."
+
+
+     (December 20, 1822, to Peters, publisher, in Leipzig. His income had
+been reduced from 4,000 to 800 florins by the depreciation of Austrian
+currency.)
+
+
+[Here, in the original, is one of the puns which Beethoven was fond of
+making: "Ware mein Gehalt nicht ganzlich ohne Gehalt." H. E. K.]
+
+
+
+
+
+ON PERFORMING MUSIC
+
+
+While reading Beethoven's views on the subject of how music ought to be
+performed, it is but natural to inquire about his own manner of playing.
+On this point Ries, his best pupil, reports:
+
+"In general Beethoven played his own compositions very capriciously, yet
+he adhered, on the whole, strictly to the beat and only at times, but
+seldom, accelerated the tempo a trifle. Occasionally he would retard
+the tempo in a crescendo, which produced a very beautiful and striking
+effect. While playing he would give a passage, now in the right hand,
+now in the left, a beautiful expression which was simply inimitable; but
+it was rarely indeed that he added a note or an ornament."
+
+Of his playing when still a young man one of his hearers said that it
+was in the slow movements particularly that it charmed everybody. Almost
+unanimously his contemporaries give him the palm for his improvisations.
+Ries says:
+
+"His extemporizations were the most extraordinary things that one could
+hear. No artist that I ever heard came at all near the height which
+Beethoven attained. The wealth of ideas which forced themselves on him,
+the caprices to which he surrendered himself, the variety of treatment,
+the difficulties, were inexhaustible."
+
+His playing was not technically perfect. He let many a note "fall under
+the table," but without marring the effect of his playing. Concerning
+this we have a remark of his own in No. 75. Somewhat critical is
+Czerny's report:
+
+"Extraordinary as his extempore playing was it was less successful in
+the performance of printed compositions; for, since he never took the
+time or had the patience to practice anything, his success depended
+mostly on chance and mood; and since, also, his manner of playing
+as well as composing was ahead of his time, the weak and imperfect
+pianofortes of his time could not withstand his gigantic style. It was
+because of this that Hummel's purling and brilliant manner of play, well
+adapted to the period, was more intelligible and attractive to the great
+public. But Beethoven's playing in adagios and legato, in the sustained
+style, made an almost magical impression on every hearer, and, so far
+as I know, it has never been surpassed." Czerny's remark about the
+pianofortes of Beethoven's day explains Beethoven's judgment on his
+own pianoforte sonatas. He composed for the sonorous pianoforte of the
+future,--the pianoforte building today.
+
+The following anecdote, told by Czerny, will be read with pleasure.
+Pleyel, a famous musician, came to Vienna from Paris in 1805, and
+had his latest quartets performed in the palace of Prince Lobkowitz.
+Beethoven was present and was asked to play something. "As usual, he
+submitted to the interminable entreaties and finally was dragged almost
+by force to the pianoforte by the ladies. Angrily he tears the second
+violin part of one of the Pleyel quartets from the music-stand where it
+still lay open, throws it upon the rack of the pianoforte, and begins
+to improvise. We had never heard him extemporize more brilliantly, with
+more originality or more grandly than on that evening.
+
+"But throughout the entire improvisation there ran in the middle voices,
+like a thread, or cantus firmus, the insignificant notes, wholly
+insignificant in themselves, which he found on the page of the quartet,
+which by chance lay open on the music-stand; on them he built up the
+most daring melodies and harmonies, in the most brilliant concert style.
+Old Pleyel could only give expression to his amazement by kissing his
+hands. After such improvisations Beethoven was wont to break out into a
+loud and satisfied laugh."
+
+Czerny says further of his playing: "In rapidity of scale passages,
+trills, leaps, etc., no one equaled him,--not even Hummel. His attitude
+at the pianoforte was perfectly quiet and dignified, with no approach to
+grimace, except to bend down a little towards the keys as his deafness
+increased; his fingers were very powerful, not long, and broadened at
+the tips by much playing; for he told me often that in his youth he had
+practiced stupendously, mostly till past midnight. In teaching he laid
+great stress on a correct position of the fingers (according to the
+Emanuel Bach method, in which he instructed me); he himself could barely
+span a tenth. He made frequent use of the pedal, much more frequently
+than is indicated in his compositions. His reading of the scores of
+Handel and Gluck and the fugues of Bach was unique, inasmuch as he put a
+polyphony and spirit into the former which gave the works a new form."
+
+In his later years the deaf master could no longer hear his own playing
+which therefore came to have a pitifully painful effect. Concerning his
+manner of conducting, Seyfried says: "It would no wise do to make our
+master a model in conducting, and the orchestra had to take great care
+lest it be led astray by its mentor; for he had an eye only for his
+composition and strove unceasingly by means of manifold gesticulations
+to bring out the expression which he desired. Often when he reached a
+forte he gave a violent down beat even if the note were an unaccented
+one. He was in the habit of marking a diminuendo by crouching down lower
+and lower, and at a pianissimo he almost crept under the stand. With a
+crescendo he, too, grew, rising as if out of a stage trap, and with
+the entrance of a fortissimo he stood on his toes and seemed to take on
+gigantic proportions, while he waved his arms about as if trying to soar
+upwards to the clouds. Everything about him was in activity; not a
+part of his organization remained idle, and the whole man seemed like a
+perpetuum mobile. Concerning expression, the little nuances, the equable
+division of light and shade, as also an effective tempo rubato, he was
+extremely exact and gladly discussed them with the individual members of
+the orchestra without showing vexation or anger."
+
+
+62. "It has always been known that the greatest pianoforte players
+were also the greatest composers; but how did they play? Not like the
+pianists of today who prance up and down the key-board with passages
+in which they have exercised themselves,--putsch, putsch, putsch;--what
+does that mean? Nothing. When the true pianoforte virtuosi played it
+was always something homogeneous, an entity; it could be transcribed and
+then it appeared as a well thought-out work. That is pianoforte playing;
+the other is nothing!"
+
+
+     (In conversation with Tomaschek, October, 1814.)
+
+
+63. "Candidly I am not a friend of Allegri di bravura and such, since
+they do nothing but promote mechanism."
+
+
+     (Hetzendorf, July 16, 1823, to Ries in London.)
+
+
+64. "The great pianists have nothing but technique and affectation."
+
+
+     (Fall of 1817, to Marie Pachler-Koschak, a pianist whom Beethoven
+regarded very highly. "You will play the sonatas in F major and C minor,
+for me, will you not?")
+
+
+65. "As a rule, in the case of these gentlemen, all reason and feeling
+are generally lost in the nimbleness of their fingers."
+
+
+     (Reported by Schindler as a remark of Beethoven's concerning pianoforte
+virtuosi.)
+
+
+66. "Habit may depreciate the most brilliant talents."
+
+
+     (In 1812 to his pupil, Archduke Rudolph, whom he warns against too
+zealous a devotion to music.)
+
+
+67. "You will have to play a long time yet before you realize that you
+can not play at all."
+
+
+     (July, 1808. Reported by Rust as having been said to a young man who
+played for Beethoven.)
+
+
+68. "One must be something if one wishes to put on appearances."
+
+
+     (August 15, 1812, to Bettina von Arnim.)
+
+
+69. "These pianoforte players have their coteries whom they often join;
+there they are praised continually,--and there's an end of art!"
+
+
+     (Conversation with Tomaschek, October, 1814.)
+
+
+70. "We Germans have too few dramatically trained singers for the part
+of Leonore. They are too cold and unfeeling; the Italians sing and act
+with body and soul."
+
+
+     (1824, in Baden, to Freudenberg, an organist from Breslau.)
+
+
+71. "If he is a master of his instrument I rank an organist amongst
+the first of virtuosi. I too, played the organ a great deal when I
+was young, but my nerves would not stand the power of the gigantic
+instrument."
+
+
+     (To Freudenberg, in Baden.)
+
+
+72. "I never wrote noisy music. For my instrumental works I need an
+orchestra of about sixty good musicians. I am convinced that only such a
+number can bring out the quickly changing graduations in performance."
+
+
+     (Reported by Schindler.)
+
+
+73. "A Requiem ought to be quiet music,--it needs no trump of doom;
+memories of the dead require no hubbub."
+
+
+     (Reported by Holz to Fanny von Ponsing, in Baden, summer of 1858.
+According to the same authority Beethoven valued Cherubini's "Requiem"
+more highly than any other.)
+
+
+74. "No metronome at all! He who has sound feeling needs none, and he
+who has not will get no help from the metronome;--he'll run away with
+the orchestra anyway."
+
+
+     (Reported by Schindler. It had been found that Beethoven himself
+had sent different metronomic indications to the publisher and the
+Philharmonic Society of London.)
+
+
+75. "In reading rapidly a multitude of misprints may pass unnoticed
+because you are familiar with the language."
+
+
+     (To Wegeler, who had expressed wonder at Beethoven's rapid primavista
+playing, when it was impossible to see each individual note.)
+
+
+76. "The poet writes his monologue or dialogue in a certain, continuous
+rhythm, but the elocutionist in order to insure an understanding of the
+sense of the lines, must make pauses and interruptions at places where
+the poet was not permitted to indicate it by punctuation. The
+same manner of declamation can be applied to music, and admits of
+modification only according to the number of performers."
+
+
+     (Reported by Schindler, Beethoven's faithful factotum.)
+
+
+77. "With respect to his playing with you, when he has acquired the
+proper mode of fingering and plays in time and plays the notes with
+tolerable correctness, only then direct his attention to the matter
+of interpretation; and when he has gotten this far do not stop him for
+little mistakes, but point them out at the end of the piece. Although
+I have myself given very little instruction I have always followed this
+method which quickly makes musicians, and that, after all, is one of the
+first objects of art."
+
+
+     (To Czerny, who was teaching music to Beethoven's nephew Karl.)
+
+
+78. "Always place the hands at the key-board so that the fingers can not
+be raised higher than is necessary; only in this way is it possible to
+produce a singing tone."
+
+
+     (Reported by Schindler as Beethoven's view on pianoforte instruction.
+He hated a staccato style of playing and dubbed it "finger dancing" and
+"throwing the hands in the air.")
+
+
+[PG Editor's Note: #79 was skipped in the 1905 edition--error?]
+
+
+
+
+ON HIS OWN WORKS
+
+
+80. "I haven't a single friend; I must live alone. But well I know that
+God is nearer to me than to the others of my art; I associate with Him
+without fear, I have always recognized and understood Him, and I have
+no fear for my music,--it can meet no evil fate. Those who understand it
+must become free from all the miseries that the others drag with them."
+
+
+     (To Bettina von Arnim. [Bettina's letter to Goethe, May 28, 1810.])
+
+
+81. "The variations will prove a little difficult to play, particularly
+the trills in the coda; but let that not frighten you. It is so disposed
+that you need play only the trills, omitting the other notes because
+they are also in the violin part. I would never have written a thing
+of this kind had I not often noticed here and there in Vienna a man
+who after I had improvised of an evening would write down some of my
+peculiarities and make boast of them next day. Foreseeing that these
+things would soon appear in print I made up my mind to anticipate
+them. Another purpose which I had was to embarrass the local pianoforte
+masters. Many of them are my mortal enemies, and I wanted to have my
+revenge in this way, for I knew in advance that the variations would be
+put before them, and that they would make exhibitions of themselves."
+
+
+     (Vienna, November 2, 1793, to Eleonore von Breuning, in dedicating to
+her the variations in F major, "Se vuol ballare." [The pianist whom
+Beethoven accuses of stealing his thunder was Abbe Gelinek.])
+
+
+82. "The time in which I wrote my sonatas (the first ones of the second
+period) was more poetical than the present (1823); such hints were
+therefore unnecessary. Every one at that time felt in the Largo of the
+third sonata in D (op. 10) the pictured soulstate of a melancholy being,
+with all the nuances of light and shade which occur in a delineation
+of melancholy and its phases, without requiring a key in the shape of a
+superscription; and everybody then saw in the two sonatas (op. 14) the
+picture of a contest between two principles, or a dialogue between two
+persons, because it was so obvious."
+
+
+     (In answer to Schindler's question why he had not indicated the poetical
+conceits underlying his sonatas by superscriptions or titles.)
+
+
+83. "This sonata has a clean face (literally: 'has washed itself'), my
+dear brother!"
+
+
+     (January, 1801, to Hofmeister, publisher in Leipzig to whom he offers
+the sonata, op. 22, for 20 ducats.)
+
+
+84. "They are incessantly talking about the C-sharp minor sonata (op.
+27, No. 2); on my word I have written better ones. The F-sharp major
+sonata (op. 78) is a different thing!"
+
+
+     (A remark to Czerny.)
+
+
+[The C-sharp minor sonata is that popularly known as the "Moonlight
+Sonata," a title which is wholly without warrant. Its origin is due to
+Rellstab, who, in describing the first movement, drew a picture of a
+small boat in the moonlight on Lake Lucerne. In Vienna a tradition that
+Beethoven had composed it in an arbor gave rise to the title "Arbor
+sonata." Titles of this character work much mischief in the amateur mind
+by giving rise to fantastic conceptions of the contents of the music. H.
+E. K.]
+
+85. "The thing which my brother can have from me is 1, a Septett per il
+Violino, Viola, Violoncello, Contrabasso, Clarinetto, Cornto, Fagotto,
+tutti obligati; for I can not write anything that is not obligato,
+having come into the world with obligato accompaniment."
+
+
+     (December 15, 1800, to Hofmeister, publisher, in Leipzig.)
+
+
+86. "I am but little satisfied with my works thus far; from today I
+shall adopt a new course."
+
+
+     (Reported by Carl Czerny in his autobiography in 1842. Concerning the
+time at which the remark was made, Czerny says: "It was said about 1803,
+when B. had composed op. 28      (the pianoforte sonata in D) to his friend
+Krumpholz (a violinist). Shortly afterward there appeared the sonatas
+     (now op. 31) in which a partial fulfillment of his resolution may be
+observed.")
+
+
+87. "Read Shakespeare's 'Tempest.'"
+
+
+     (An answer to Schindler's question as to what poetical conceit underlay
+the sonatas in F minor. Beethoven used playfully to call the little son
+of Breuning, the friend of his youth, A&Z, because he employed him often
+as a messenger.)
+
+
+["Schindler relates that when once he asked Beethoven to tell him what
+the F minor and D minor (op. 31, No. 2) meant, he received for an answer
+only the enigmatical remark: 'Read Shakespeare's "Tempest."' Many a
+student and commentator has since read the 'Tempest' in the hope of
+finding a clew to the emotional contents which Beethoven believed to
+be in the two works, so singularly associated, only to find himself
+baffled. It is a fancy, which rests, perhaps, too much on outward
+things, but still one full of suggestion, that had Beethoven said: 'Hear
+my C minor symphony,' he would have given a better starting-point to
+the imagination of those who are seeking to know what the F minor sonata
+means. Most obviously it means music, but it means music that is an
+expression of one of those psychological struggles which Beethoven felt
+called upon more and more to delineate as he was more and more shut out
+from the companionship of the external world. Such struggles are in the
+truest sense of the word tempests. The motive, which, according to the
+story, Beethoven himself said, indicates, in the symphony, the rappings
+of Fate at the door of human existence, is common to two works which
+are also related in their spiritual contents. Singularly enough, too,
+in both cases the struggle which is begun in the first movement and
+continued in the third, is interrupted by a period of calm, reassuring,
+soul-fortifying aspiration, which, in the symphony as well as in the
+sonata, takes the form of a theme with variations."--"How to Listen to
+Music," page 29. H. E. K.]
+
+88. "Sinfonia Pastorella. He who has ever had a notion of country life
+can imagine for himself without many superscriptions what the composer
+is after. Even without a description the whole, which is more sentiment
+than tone painting, will be recognized."
+
+
+     (A note among the sketches for the "Pastoral" symphony preserved in the
+Royal Library at Berlin.)
+
+
+[There are other notes of similar import among the sketches referred to
+which can profitably be introduced here:
+
+"The hearer should be allowed to discover the situations;"
+
+"Sinfonia caracteristica, or a recollection of country life;"
+
+"Pastoral Symphony: No picture, but something in which the emotions are
+expressed which are aroused in men by the pleasure of the country (or)
+in which some feelings of country life are set forth."
+
+When, finally, the work was given to the publisher, Beethoven included
+in the title an admonitory explanation which should have everlasting
+validity: "Pastoral Symphony: more expression of feeling than painting."
+H. E. K.]
+
+
+89. "My 'Fidelio' was not understood by the public, but I know that it
+will yet be appreciated; for though I am well aware of the value of my
+'Fidelio' I know just as well that the symphony is my real element. When
+sounds ring in me I always hear the full orchestra; I can ask anything
+of instrumentalists, but when writing for the voice I must continually
+ask myself: 'Can that be sung?'
+
+
+     (A remark made in 1823 or 1824 to Griesinger.)
+
+
+90. "Thus Fate knocks at the portals!"
+
+
+     (Reported by Schindler as Beethoven's explanation of the opening of the
+symphony in C minor.)
+
+
+["Hofrath Kueffner told him (Krenn) that he once lived with Beethoven in
+Heiligenstadt, and that they were in the habit evenings of going down
+to Nussdorf to eat a fish supper in the Gasthaus 'Zur Rose.' One evening
+when B. was in a good humor, Kueffner began: `Tell me frankly which is
+your favorite among your symphonies?' B.      (in good humor) 'Eh! Eh! The
+Eroica.' K. 'I should have guessed the C minor.' B. 'No; the Eroica.'"
+From Thayer's notebook. See "Music and Manners in the Classical Period."
+H.E.K.]
+
+91. "The solo sonatas (op. 109-ll?) are perhaps the best, but also the
+last, music that I composed for the pianoforte. It is and always will be
+an unsatisfactory instrument. I shall hereafter follow the example of my
+grandmaster Handel, and every year write only an oratorio and a concerto
+for some string or wind instrument, provided I shall have finished my
+tenth symphony (C minor) and Requiem."
+
+
+     (Reported by Holz. As to the tenth symphony see note to No. 95.)
+
+
+92. "God knows why it is that my pianoforte music always makes the worst
+impression on me, especially when it is played badly."
+
+
+     (June 2, 1804. A note among the sketches for the "Leonore" overture.)
+
+
+93. "Never did my own music produce such an effect upon me; even now
+when I recall this work it still costs me a tear."
+
+
+     (Reported by Holz. The reference is to the Cavatina from the quartet
+in B-flat, op. 130, which Beethoven thought the crown of all quartet
+movements and his favorite composition. When alone and undisturbed
+he was fond of playing his favorite pianoforte Andante--that from the
+sonata op. 28.)
+
+
+94. "I do not write what I most desire to, but that which I need to
+because of money. But this is not saying that I write only for money.
+When the present period is past, I hope at last to write that which is
+the highest thing for me as well as art,--'Faust.'"
+
+
+     (From a conversation-book used in 1823. To Buhler, tutor in the house
+of a merchant, who was seeking information about an oratorio which
+Beethoven had been commissioned to write by the Handel and Haydn Society
+of Boston.)
+
+
+95. "Ha! 'Faust;' that would be a piece of work! Something might come
+out of that! But for some time I have been big with three other large
+works. Much is already sketched out, that is, in my head. I must be rid
+of them first:--two large symphonies differing from each other, and each
+differing from all the others, and an oratorio. And this will take a
+long time, you see, for a considerable time I have had trouble to get
+myself to write. I sit and think, and think I've long had the thing, but
+it will not on the paper. I dread the beginning of these large works.
+Once into the work, and it goes."
+
+
+     (In the summer of 1822, to Rochlitz, at Baden. The symphonies referred
+to are the ninth and tenth. They existed only in Beethoven's mind and a
+few sketches. In it he intended to combine antique and modern views of
+life.)
+
+
+["In the text Greek mythology, cantique ecclesiastique; in the Allegro,
+a Bacchic festival."      (Sketchbook of 1818)]
+
+[The oratorio was to have been called "The Victory of the Cross." It was
+not written. Schindler wrote to Moscheles in London about Beethoven in
+the last weeks of his life: "He said much about the plan of the tenth
+symphony. As the work had shaped itself in his imagination it might have
+become a musical monstrosity, compared with which his other symphonies
+would have been mere opuscula."]
+
+
+
+
+ON ART AND ARTISTS
+
+
+96. "How eagerly mankind withdraws from the poor artist what it has once
+given him;--and Zeus, from whom one might ask an invitation to sup on
+ambrosia, lives no longer."
+
+
+     (In the summer of 1814, to Kauka, an advocate who represented him in the
+lawsuit against the heirs of Kinsky.)
+
+
+97. "I love straightforwardness and uprightness, and believe that
+the artist ought not to be belittled; for, alas! brilliant as fame is
+externally, it is not always the privilege of the artist to be Jupiter's
+guest on Olympus all the time. Unfortunately vulgar humanity drags him
+down only too often and too rudely from the pure upper ether."
+
+
+     (June 5, 1852, to C. F. Peters, music publisher, in Leipzig when
+treating with him touching a complete edition of his works.)
+
+
+98. "The true artist has no pride; unhappily he realizes that art has
+no limitations, he feels darkly how far he is from the goal, and while,
+perhaps he is admired by others, he grieves that he has not yet reached
+the point where the better genius shall shine before him like a distant
+sun."
+
+
+     (Teplitz, July 17, to an admirer ten years old.)
+
+
+99. "You yourself know what a change is wrought by a few years in the
+case of an artist who is continually pushing forward. The greater the
+progress which one makes in art, the less is one satisfied with one's
+old works."
+
+
+     (Vienna, August 4, 1800, to Mathisson, in the dedication of his setting
+of "Adelaide." "My most ardent wish will be fulfilled if you are not
+displeased with the musical composition of your heavenly 'Adelaide.'")
+
+
+100. "Those composers are exemplars who unite nature and art in their
+works."
+
+
+     (Baden, in 1824, to Freudenberg, organist from Breslau.)
+
+
+101. "What will be the judgment a century hence concerning the lauded
+works of our favorite composers today? Inasmuch as nearly everything is
+subject to the changes of time, and, more's the pity, the fashions of
+time, only that which is good and true, will endure like a rock, and no
+wanton hand will ever venture to defile it. Then let every man do that
+which is right, strive with all his might toward the goal which can
+never be attained, develop to the last breath the gifts with which a
+gracious Creator has endowed him, and never cease to learn; for 'Life is
+short, art eternal!'"
+
+
+     (From the notes in the instruction book of Archduke Rudolph.)
+
+
+102. "Famous artists always labor under an embarrassment;--therefore
+first works are the best, though they may have sprung out of dark
+ground."
+
+
+     (Conversation-book of 1840.)
+
+
+103. "A musician is also a poet; he also can feel himself transported by
+a pair of eyes into another and more beautiful world where greater souls
+make sport of him and set him right difficult tasks."
+
+
+     (August 15, 1812, to Bettina von Arnim.)
+
+
+104. "I told Goethe my opinion as to how applause affects men like us,
+and that we want our equals to hear us understandingly! Emotion suits
+women only; music ought to strike fire from the soul of a man."
+
+
+     (August 15, 1810, to Bettina von Arnim.)
+
+
+105. "Most people are touched by anything good; but they do not partake
+of the artist's nature; artists are ardent, they do not weep."
+
+
+     (Reported to Goethe by Bettina von Arnim, May 28, 1810.)
+
+
+106. "L'art unit tout le monde,--how much more the true artist!"
+
+
+     (March 15, 1823, to Cherubini, in Paris.)
+
+
+107. "Only the artist, or the free scholar, carries his happiness within
+him."
+
+
+     (Reported by Karl von Bursy as part of a conversation in 1816.)
+
+
+108. "There ought to be only one large art warehouse in the world, to
+which the artist could carry his art-works and from which he could carry
+away whatever he needed. As it is one must be half a tradesman."
+
+
+     (January, 1801, to Hofmeister, in Leipzig.)
+
+
+
+
+
+BEETHOVEN AS CRITIC
+
+
+The opinion of artist on artists is a dubious quantity. Recall the
+startling criticisms of Bocklin on his associates in art made public
+by the memoirs of his friends after his death. Such judgments are often
+one-sided, not without prejudice, and mostly the expression of impulse.
+It is a different matter when the artist speaks about the disciples of
+another art than his own, even if the opinions which Bocklin and Wagner
+held of each other are not a favorable example. Where Beethoven speaks
+of other composers we must read with clear and open eyes; but even
+here there will be much with which we can be in accord, especially
+his judgment on Rossini, whom he hated so intensely, and whose airy,
+sense-bewitching art seduced the Viennese from Beethoven. Interesting
+and also characteristic of the man is the attitude which he
+adopted towards the poets of his time. In general he estimated his
+contemporaries as highly as they deserved.
+
+109. "Do not tear the laurel wreaths from the heads of Handel, Haydn and
+Mozart; they belong to them,--not yet to me."
+
+
+     (Teplitz, July 17, 1852, to his ten-year-old admirer, Emilie M., who had
+given him a portfolio made by herself.)
+
+
+110. "Pure church music ought to be performed by voices only, except a
+'Gloria,' or some similar text. For this reason I prefer Palestrina;
+but it is folly to imitate him without having his genius and religious
+views; it would be difficult, if not impossible, too, for the singers of
+today to sing his long notes in a sustained and pure manner."
+
+
+     (To Freudenberg, in 1824.)
+
+
+111. "Handel is the unattained master of all masters. Go and learn from
+him how to achieve vast effects with simple means."
+
+
+     (Reported by Seyfried. On his death-bed, about the middle of February,
+1827, he said to young Gerhard von Breuning, on receiving Handel's
+works: "Handel is the greatest and ablest of all composers; from him I
+can still learn. Bring me the books!")
+
+
+112. "Handel is the greatest composer that ever lived. I would uncover
+my head and kneel on his grave."
+
+
+     (Fall of 1823, to J. A. Stumpff, harp maker of London, who acted very
+nobly toward Beethoven in his last days. It was he who rejoiced the
+dying composer by sending him the forty volumes of Handel's works (see
+111).)
+
+
+["Cipriani Potter, to A. W. T., February 27, 1861. Beethoven used to
+walk across the fields to Vienna very often. B. would stop, look about
+and express his love for nature. One day Potter asked: 'Who is the
+greatest living composer, yourself excepted?' Beethoven seemed puzzled
+for a moment, and then exclaimed: 'Cherubini!' Potter went on: 'And of
+dead authors?' B.--He had always considered Mozart as such, but since he
+had been made acquainted with Handel he put him at the head." From A.
+W. Thayer's notebook, reprinted in "Music and Manners in the Classical
+Period," page 208. H.E.K.]
+
+
+113. "Heaven forbid that I should take a journal in which sport is made
+of the manes of such a revered one."
+
+
+     (Conversation-book of 1825, in reference to a criticism of Handel.)
+
+
+114. "That you are going to publish Sebastian Bach's works is something
+which does good to my heart, which beats in love of the great and lofty
+art of this ancestral father of harmony; I want to see them soon."
+
+
+     (January, 1801, to Hofmeister, in Leipzig.)
+
+
+115. "Of Emanuel Bach's clavier works I have only a few, yet they must
+be not only a real delight to every true artist, but also serve him for
+study purposes; and it is for me a great pleasure to play works that I
+have never seen, or seldom see, for real art lovers."
+
+
+     (July 26, 1809, to Gottfried Hartel, of Leipzig in ordering all the
+scores of Haydn, Mozart and the two Bachs.)
+
+
+116. "See, my dear Hummel, the birthplace of Haydn. I received it as a
+gift today, and it gives me great pleasure. A mean peasant hut, in which
+so great a man was born!"
+
+
+     (Remarked on his death-bed to his friend Hummel.)
+
+
+117. "I have always reckoned myself among the greatest admirers of
+Mozart, and shall do so till the day of my death."
+
+
+     (February 6, 1886, to Abbe Maximilian Stadler, who had sent him his
+essay on Mozart's "Requiem.")
+
+
+118. "Cramer, Cramer! We shall never be able to compose anything like
+that!"
+
+
+     (To Cramer, after the two had heard Mozart's concerto in C-minor at a
+concert in the Augarten.)
+
+
+119. "'Die Zauberflote' will always remain Mozart's greatest work, for
+in it he for the first time showed himself to be a German musician. 'Don
+Juan' still has the complete Italian cut; besides our sacred art
+ought never permit itself to be degraded to the level of a foil for so
+scandalous a subject."
+
+
+     (A remark reported by Seyfried.)
+
+
+["Hozalka says that in 1820-21, as near as he can recollect, the wife
+of a Major Baumgarten took boy boarders in the house then standing where
+the Musikverein's Saal now is, and that Beethoven's nephew was placed
+with her. Her sister, Baronin Born, lived with her. One evening Hozalka,
+then a young man, called there and found only Baronin Born at home. Soon
+another caller came and stayed to tea. It was Beethoven. Among other
+topics Mozart came on the tapis, and the Born asked Beethoven (in
+writing, of course) which of Mozart's operas he thought most of. 'Die
+Zauberflote' said Beethoven, and, suddenly clasping his hands and
+throwing up his eyes, exclaimed: 'Oh, Mozart!'" From A. W. Thayer's
+notebooks, reprinted in "Music and Manners in the Classical Period,"
+page 198. H. E. K.]
+
+120. "Say all conceivable pretty things to Cherubini,--that there is
+nothing I so ardently desire as that we should soon get another opera
+from him, and that of all our contemporaries I have the highest regard
+for him."
+
+
+     (May 6, 1823, to Louis Schlasser, afterward chapel master in Darmstadt,
+who was about to undertake a journey to Paris. See note to No. 112.)
+
+
+121. "Among all the composers alive Cherubini is the most worthy of
+respect. I am in complete agreement, too, with his conception of the
+'Requiem,' and if ever I come to write one I shall take note of many
+things."
+
+
+     (Remark reported by Seyfried. See No. 112.)
+
+
+122. "Whoever studies Clementi thoroughly has simultaneously also
+learned Mozart and other authors; inversely, however, this is not the
+case."
+
+
+     (Reported by Schindler.)
+
+
+123. "There is much good in Spontini; he understands theatrical effect
+and martial noises admirably.
+
+"Spohr is so rich in dissonances; pleasure in his music is marred by his
+chromatic melody.
+
+"His name ought not to be Bach (brook), but Ocean, because of his
+infinite and inexhaustible wealth of tonal combinations and harmonies.
+Bach is the ideal of an organist."
+
+
+     (In Baden, 1824, to Freudenberg.)
+
+
+124. "The little man, otherwise so gentle,--I never would have credited
+him with such a thing. Now Weber must write operas in earnest, one after
+the other, without caring too much for refinement! Kaspar, the monster,
+looms up like a house; wherever the devil sticks in his claw we feel
+it."
+
+
+     (To Rochlitz, at Baden, in the summer of 1823.)
+
+
+125. "There you are, you rascal; you're a devil of a fellow, God bless
+you!... Weber, you always were a fine fellow."
+
+
+     (Beethoven's hearty greeting to Karl Maria von Weber, in October, 1823.)
+
+
+126. "K. M. Weber began too learn too late; art did not have a chance
+to develop naturally in him, and his single and obvious striving is to
+appear brilliant."
+
+
+     (A remark reported by Seyfried.)
+
+
+127. "'Euryanthe' is an accumulation of diminished seventh chords--all
+little backdoors!"
+
+
+     (Remarked to Schindler about Weber's opera.)
+
+
+128. "Truly, a divine spark dwells in Schubert!"
+
+
+     (Said to Schindler when the latter made him acquainted with the "Songs
+of Ossian," "Die Junge Nonne," "Die Burgschaft," of Schubert's "Grenzen
+der Menschheit," and other songs.)
+
+
+129. "There is nothing in Meyerbeer; he hasn't the courage to strike at
+the right time."
+
+
+     (To Tomaschek, in October, 1814, in a conversation about the "Battle of
+Victoria," at the performance of which, in 1813, Meyerbeer had played
+the big drum.)
+
+
+130. "Rossini is a talented and a melodious composer, his music suits
+the frivolous and sensuous spirit of the times, and his productivity is
+such that he needs only as many weeks as the Germans do years to write
+an opera."
+
+
+     (In 1824, at Baden, to Freudenberg.)
+
+
+131. "This rascal Rossini, who is not respected by a single master of
+his art!"
+
+
+     (Conversation-book, 1825.)
+
+
+132. "Rossini would have become a great composer if his teacher had
+frequently applied some blows ad posteriora."
+
+
+     (Reported by Schindler. Beethoven had been reading the score of "Il
+Barbiere di Siviglia.")
+
+
+133. "The Bohemians are born musicians. The Italians ought to take
+them as models. What have they to show for their famous conservatories?
+Behold! their idol, Rossini! If Dame Fortune had not given him a pretty
+talent and amiable melodies by the bushel, what he learned at school
+would have brought him nothing but potatoes for his big belly."
+
+
+     (In a conversation-book at Haslinger's music shop, where Beethoven
+frequently visited.)
+
+
+136. "Goethe has killed Klopstock for me. You wonder? Now you laugh?
+Ah, because I have read Klopstock. I carried him about with me for years
+when I walked. What besides? Well, I didn't always understand him. He
+skips about so; and he always begins so far away, above or below; always
+Maestoso! D-flat major! Isn't, it so? But he's great, nevertheless, and
+uplifts the soul. When I couldn't understand him I sort of guessed at
+him."
+
+
+     (To Rochlitz, in 1822.)
+
+
+135. "As for me I prefer to set Homer, Klopstock, Schiller, to music; if
+it is difficult to do, these immortal poets at least deserve it."
+
+
+     (To the directorate of the "Gesellschaft der Musikfreunde" of Vienna,
+January, 1824, in negotiations for an oratorio, "The Victory of the
+Cross" [which he had been commissioned to write by the Handel and Haydn
+Society of Boston. H. E. K.].)
+
+
+136. "Goethe and Schiller are my favorite poets, as also Ossian
+and Homer, the latter of whom, unfortunately, I can read only in
+translation."
+
+
+     (August 8, 1809, to Breitkopf and Hartel.)
+
+
+137. "Who can sufficiently thank a great poet,--the most valuable jewel
+of a nation!"
+
+
+     (February 10, 1811, to Bettina von Arnim. The reference was to Goethe.)
+
+
+138. "When you write to Goethe about me search out all the words which
+can express my deepest reverence and admiration. I am myself about to
+write to him about 'Egmont' for which I have composed the music, purely
+out of love for his poems which make me happy."
+
+
+     (February 10, 1811, to Bettina von Arnim.)
+
+
+139. "I would have gone to death, yes, ten times to death for Goethe.
+Then, when I was in the height of my enthusiasm, I thought out my
+'Egmont' music. Goethe,--he lives and wants us all to live with him. It
+is for that reason that he can be composed. Nobody is so easily composed
+as he. But I do not like to compose songs."
+
+
+     (To Rochlitz, in 1822, when Beethoven recalled Goethe's amiability in
+Teplitz.)
+
+
+140. "Goethe is too fond of the atmosphere of the court; fonder than
+becomes a poet. There is little room for sport over the absurdities of
+the virtuosi, when poets, who ought to be looked upon as the foremost
+teachers of the nation, can forget everything else in the enjoyment of
+court glitter."
+
+
+     (Franzensbrunn, August 9, 1812, to Gottfried Hartel of Leipzig.)
+
+
+141. "When two persons like Goethe and I meet these grand folk must be
+made to see what our sort consider great."
+
+
+     (August 15, 1812, in a description of how haughtily he, and how humbly
+Goethe, had behaved in the presence of the Imperial court.)
+
+
+142. "Since that summer in Carlsbad I read Goethe every day,--when I
+read at all."
+
+
+     (Remarked to Rochlitz.)
+
+
+143. "Goethe ought not to write more; he will meet the fate of the
+singers. Nevertheless he will remain the foremost poet of Germany."
+
+
+     (Conversationbook, 1818.)
+
+
+144. "Can you lend me the 'Theory of Colors' for a few weeks? It is an
+important work. His last things are insipid."
+
+
+     (Conversation-book, 1820.)
+
+
+145. "After all the fellow writes for money only."
+
+
+     (Reported by Schindler as having been said by Beethoven when, on his
+death-bed, he angrily threw a book of Walter Scott's aside.)
+
+
+146. "He, too, then, is nothing better than an ordinary man! Now he will
+trample on all human rights only to humor his ambition; he will place
+himself above all others,--become a tyrant!"
+
+
+     (With these words, as testified to by Ries, an eye-witness, Beethoven
+tore the title-page from the score of his "Eroica" symphony (which bore
+a dedication to Bonaparte) when the news reached him that Napoleon had
+declared himself emperor.)
+
+
+147. "I believe that so long as the Austrian has his brown beer and
+sausage he will not revolt."
+
+
+     (To Simrock, publisher, in Bonn, August 2, 1794.)
+
+
+148. "Why do you sell nothing but music? Why did you not long ago follow
+my well-meant advice? Do get wise, and find your raison. Instead of a
+hundred-weight of paper order genuine unwatered Regensburger, float
+this much-liked article of trade down the Danube, serve it in measures,
+half-measures and seidels at cheap prices, throw in at intervals
+sausages, rolls, radishes, butter and cheese, invite the hungry and
+thirsty with letters an ell long on a sign: 'Musical Beer House,' and
+you will have so many guests at all hours of the day that one will hold
+the door open for the other and your office will never be empty."
+
+
+     (To Haslinger, the music publisher, when the latter had complained about
+the indifference of the Viennese to music.)
+
+
+
+
+
+ON EDUCATION
+
+
+Beethoven's observations on this subject were called out by his
+experiences in securing an education for his nephew Karl, son of his
+like-named brother, a duty which devolved on him on the death of his
+brother in the winter of 1815. He loved his nephew almost to idolatry,
+and hoped that he would honor the name of Beethoven in the future. But
+there was a frivolous vein in Karl, inherited probably from his
+mother, who was on easy footing with morality both before and after her
+husband's death. She sought with all her might to rid her son of
+the guardianship of his uncle. Karl was sent to various educational
+institutions and to these Beethoven sent many letters containing advice
+and instructions. The nephew grew to be more and more a care, not wholly
+without fault of the master. His passionate nature led to many quarrels
+between the two, all of which were followed by periods of extravagant
+fondness. Karl neglected his studies, led a frivolous life, was fond of
+billiards and the coffee-houses which were then generally popular,
+and finally, in the summer of 1826, made an attempt at suicide in the
+Helenental near Baden, which caused his social ostracism. When he was
+found he cried out: "I went to the bad because my uncle wanted to better
+me."
+
+Beethoven succeeded in persuading Baron von Stutterheim, commander of
+an infantry regiment at Iglau, to accept him as an aspirant for military
+office. In later life he became a respected official and man. So
+Beethoven himself was vouchsafed only an ill regulated education. His
+dissolute father treated him now harshly, now gently. His mother, who
+died early, was a silent sufferer, had thoroughly understood her son,
+and to her his love was devotion itself. He labored unwearyingly at his
+own intellectual and moral advancement until his death.
+
+It seems difficult to reconcile his almost extravagant estimate of the
+greatest possible liberty in the development of man with his demands for
+strict constraint to which he frequently gives expression; but he had
+recognized that it is necessary to grow out of restraint into liberty.
+His model as a sensitive and sympathetic educator was his motherly
+friend, the wife of Court Councillor von Breuning in Bonn, of whom he
+once said: "She knew how to keep the insects off the blossoms."
+
+Beethoven's views on musical education are to be found in the chapters
+"On Composition" and "On Performing Music."
+
+
+
+149. "Like the State, each man must have his own constitution."
+
+
+     (Diary, 1815.)
+
+
+150. "Recommend virtue to your children; that, alone can bring
+happiness; not wealth,--I speak from experience. It was virtue alone
+that bore me up in my misery; to her and my art I owe that I did not end
+my life by self-murder."
+
+
+     (October 6, 1802, to his brothers Karl and Johann [the so-called
+Heiligenstadt Will].)
+
+
+151. "I know no more sacred duty than to rear and educate a child."
+
+
+     (January 7, 1820, in a communication to the Court of Appeals in the suit
+touching the guardianship of his nephew Karl.)
+
+
+152. "Nature's weaknesses are nature's endowments; reason, the guide,
+must seek to lead and lessen them."
+
+
+     (Diary, 1817.)
+
+
+153. "It is man's habit to hold his fellow man in esteem because he
+committed no greater errors."
+
+
+     (May 6, 1811, to Breitkopf and Hartel, in a letter complaining of faulty
+printing in some of his compositions.)
+
+
+154. "There is nothing more efficient in enforcing obedience upon others
+than the belief on their part that you are wiser than they...Without
+tears fathers can not inculcate virtue in their children, or teachers
+learning and wisdom in their pupils; even the laws, by compelling tears
+from the citizens, compel them also to strive for justice."
+
+
+     (Diary, 1815.)
+
+
+155. "It is only becoming in a youth to combine his duties toward
+education and advancement with those which he owes to his benefactor and
+supporter; this I did toward my parents."
+
+
+     (May 19, 1825, to his nephew Karl.)
+
+
+156. "You can not honor the memory of your father better than to
+continue your studies with the greatest zeal, and strive to become an
+honest and excellent man."
+
+
+     (To his nephew, 1816-18.)
+
+
+157. "Let your conduct always be amiable; through art and science the
+best and noblest of men are bound together and your future vocation will
+not exclude you."
+
+
+     (Baden, July 18, 1825, to his nephew, who had decided to become a
+merchant.)
+
+
+158. "It is very true that a drop will hollow a stone; a thousand
+lovely impressions are obliterated when children are placed in wooden
+institutions while they might receive from their parents the most
+soulful impressions which would continue to exert their influence till
+the latest age."
+
+
+     (Diary, spring of 1817. Beethoven was dissatisfied with Giannatasio's
+school in which he had placed his nephew. "Karl is a different child
+after he has been with me a few hours"      (Diary). In 1826, after the
+attempt at suicide, Beethoven said to Breuning: "My Karl was in an
+institute; educational institutions furnish forth only hot house
+plants.")
+
+
+159. "Drops of water wear away a stone in time, not by force but by
+continual falling. Only through tireless industry are the sciences
+achieved so that one can truthfully say: no day without its line,--nulla
+dies sine linea."
+
+
+     (1799, in a sketch for a theoretical handbook for Archduke Rudolph.)
+
+
+
+
+
+ON HIS OWN DISPOSITION AND CHARACTER
+
+
+So open-hearted and straightforward a character as Beethoven could not
+have pictured himself with less reserve or greater truthfulness than he
+did during his life. Frankness toward himself, frankness toward others
+(though sometimes it went to the extreme of rudeness and ill-breeding)
+was his motto. The joyous nature which was his as a lad, and which was
+not at all averse to a merry prank now and then, underwent a change when
+he began to lose his hearing. The dread of deafness and its consequences
+drove him nearly to despair, so that he sometimes contemplated suicide.
+Increasing hardness of hearing gradually made him reserved, morose and
+gloomy. With the progress of the malady his disposition and character
+underwent a decided change,--a fact which may be said to account for the
+contradictions in his conduct and utterances. It made him suspicious,
+distrustful; in his later years he imagined himself cheated and
+deceived in the most trifling matters by relatives, friends, publishers,
+servants.
+
+Nevertheless Beethoven's whole soul was filled with a high idealism
+which penetrated through the miseries of his daily life; it was full,
+too, of a great love toward humanity in general and his unworthy nephew
+in particular. Towards his publishers he often appeared covetous and
+grasping, seeking to rake and scrape together all the money possible;
+but this was only for the purpose of assuring the future of his nephew.
+At the same time, in a merry moment, he would load down his table with
+all that kitchen and cellar could provide, for the reflection of his
+friends. Thus he oscillated continuously between two extremes; but the
+power which swung the pendulum was always the aural malady. He grew
+peevish and capricious towards his best friends, rude, even brutal at
+times in his treatment of them; only in the next moment to overwhelm
+them most pathetically with attentions. Till the end of his life he
+remained a sufferer from his passionate disposition over which he
+gradually obtained control until, at the end, one could almost speak of
+a sunny clarification of his nature.
+
+He has heedlessly been accused of having led a dissolute life, of
+having been an intemperate drinker. There would be no necessity of
+contradicting such a charge even if there were a scintilla of evidence
+to support it; a drinker is not necessarily a dishonorable man, least of
+all a musician who drinks. But, the fact of the matter is that it is
+not true. If once Beethoven wrote a merry note about merrymaking with
+friends, let us rejoice that occasions did sometimes occur, though but
+rarely, when the heart of the sufferer was temporarily gladdened.
+
+He was a strict moralist, as is particularly evidenced by the notes in
+his journal which have not been made public. In many things which befell
+him in his daily life he was as ingenuous as a child. His personality,
+on the whole, presented itself in such a manner as to invite the
+intellectual and social Philistine to call him a fool.
+
+
+160. "I shall print a request in all the newspapers that henceforth all
+artists refrain from painting my picture without my knowledge; I never
+thought that my own face would bring me embarrassment."
+
+
+     (About 1803, to Christine Gerardi, because without his knowledge a
+portrait of him had been made somewhere--in a cafe, probably.)
+
+
+161. "Pity that I do not understand the art of war as well as I do the
+art of music; I should yet conquer Napoleon!"
+
+
+     (To Krumpholz, the violinist, when he informed Beethoven of the victory
+of Napoleon at Jena.)
+
+
+162. "If I were a general and knew as much about strategy as I, a
+composer, know about counterpoint, I'd give you fellows something to
+do."
+
+
+     (Called out behind the back of a French officer, his fist doubled,
+on May 12, 1809, when the French had occupied Vienna. Reported by a
+witness, W. Rust.)
+
+
+163. "Camillus, if I am not mistaken, was the name of the Roman who
+drove the wicked Gauls from Rome. At such a cost I would also take the
+name if I could drive them wherever I found them to where they belong."
+
+
+     (To Pleyel, publisher, in Paris, April, 1807.)
+
+
+164. "I love most the realm of mind which, to me, is the highest of all
+spiritual and temporal monarchies."
+
+
+     (To Advocate Kauka in the summer of 1814. He had been speaking about the
+monarchs represented in the Congress of Vienna.)
+
+
+165. "I shall not come in person, since that would be a sort of
+farewell, and farewells I have always avoided."
+
+
+     (January 24, 1818, to Giannatasio del Rio, on taking his nephew Karl out
+of the latter institute.)
+
+
+166. "I hope still to bring a few large works into the world, and
+then, like an old child, to end my earthly career somewhere among good
+people."
+
+
+     (October 6, 1802, to Wegeler.)
+
+
+167. "O ye men, who think or declare me to be hostile, morose or
+misanthropical, what injustice ye do me. Ye know not the secret cause of
+what thus appears to you. My heart and mind were from childhood
+disposed for the tender feelings of benevolence; I was always wishing to
+accomplish great deeds."
+
+
+     (October 6, 1802, in the so-called Heiligenstadt Will.)
+
+
+168. "Divinity, thou lookest into my heart, thou knowest it, thou
+knowest that love for mankind and a desire to do good have their abode
+there. O ye men, when one day ye read this think that ye have wronged
+me, and may the unfortunate console himself with the thought that he has
+found one of his kind who, despite all the obstacles which nature put in
+his path, yet did all in his power to be accepted in the ranks of worthy
+artists and men!"
+
+
+     (From the Heiligenstadt Will.)
+
+
+169. "I spend all my mornings with the muses;--and they bless me also in
+my walks."
+
+
+     (October 12, 1835, to his nephew Karl.)
+
+
+170. "Concerning myself nothing,--that is, from nothing nothing."
+
+
+     (October 19, 1815, to Countess Erdody.)
+
+
+[A possible allusion to the line, "Nothing can come of nothing." from
+Shakespeare's "King Lear," Act 1, scene 1]
+
+171. "Beethoven can write, thank God; but do nothing else on earth."
+
+
+     (December 22, 1822, to Ferdinand Ries, in London.)
+
+
+172. "Mentally I often frame an answer, but when I come to write it down
+I generally throw the pen aside, since I am not able to write what I
+feel."
+
+
+     (October 7, 1826, to his friend Wegeler, in Coblenz. "The better sort
+of people, I think, know me anyhow." He is excusing his laziness in
+letter-writing.)
+
+
+173. "I have the gift to conceal my sensitiveness touching a multitude
+of things; but when I am provoked at a moment when I am more sensitive
+than usual to anger, I burst out more violently than anybody else."
+
+
+     (July 24, 1804, to Ries, in reporting to him a quarrel with Stephan von
+Breuning.)
+
+
+174. "X. is completely changed since I threw half a dozen books at her
+head. Perhaps something of their contents accidentally got into her head
+or her wicked heart."
+
+
+     (To Mme. Streicher, who often had to put Beethoven's house in order.)
+
+
+175. "I can have no intercourse, and do not want to have any, with
+persons who are not willing to believe in me because I have not yet made
+a wide reputation."
+
+
+     (To Prince Lobkowitz, about 1798. A cavalier had failed to show him
+proper respect in the Prince's salon.)
+
+
+176. "Many a vigorous and unconsidered word drops from my mouth, for
+which reason I am considered mad."
+
+
+     (In the summer of 1880, to Dr. Muller, of Bremen, who was paying him a
+visit.)
+
+
+177. "I will grapple with Fate; it shall not quite bear me down. O, it
+is lovely to live life a thousand times!"
+
+
+     (November 16, 1800, or 1801, to Wegeler.)
+
+
+178. "Morality is the strength of men who distinguish themselves over
+others, and it is mine."
+
+
+     (In a communication to his friend, Baron Zmeskall.)
+
+
+179. "I, too, am a king!"
+
+
+     (Said to Holz, when the latter begged him not to sell the ring which
+King Frederick William III, of Prussia, had sent to him instead of money
+or an order in return for the dedication of the ninth symphony. "Master,
+keep the ring," Holz had said, "it is from a king." Beethoven made his
+remark "with indescribable dignity and self-consciousness.")
+
+
+[On his deathbed he said to little Gerhard von Breuning: "Know that I am
+an artist."]
+
+[At the height of the popular infatuation for Rossini (1822) he said to
+his friends: "Well, they will not be able to rob me of my place in the
+history of art."]
+
+180. "Prince, what you are you are by accident of birth; what I am, I am
+through my own efforts. There have been thousands of princes and will be
+thousands more; there is only one Beethoven!"
+
+
+     (According to tradition, from a letter which he wrote to Prince
+Lichnowsky when the latter attempted to persuade him to play for some
+French officers on his estate in Silesia. Beethoven went at night to
+Troppau, carrying the manuscript of the (so-called) "Appassionata"
+sonata, which suffered from the rain.)
+
+
+181. "My nobility is here, and here (pointing to his heart and head)."
+
+
+     (Reported by Schindler. In the lawsuit against his sister-in-law (the
+mother of nephew Karl) Beethoven had been called on to prove that the
+"van" in his name was a badge of nobility.)
+
+
+182. "You write that somebody has said that I am the natural son of the
+late King of Prussia. The same thing was said to me long ago, but I have
+made it a rule never to write anything about myself or answer anything
+that is said about me."
+
+
+     (October 7, 1826, to Wegeler.)
+
+
+["I leave it to you to give the world an account of myself and
+especially my mother." The statement had appeared in Brockhaus's
+"Lexicon."]
+
+183. "To me the highest thing, after God, is my honor."
+
+
+     (July 26, 1822, to the publisher Peters, in Leipzig.)
+
+
+184. "I have never thought of writing for reputation and honor. What I
+have in my heart must out; that is the reason why I compose."
+
+
+     (Remark to Karl Czerny, reported in his autobiography.)
+
+
+185. "I do not desire that you shall esteem me greater as an artist, but
+better and more perfect as a man; when the condition of our country
+is somewhat better, then my art shall be devoted to the welfare of the
+poor."
+
+
+     (Vienna, June 29, 1800, to Wegeler, in Bonn, writing of his return to
+his native land.)
+
+
+186. "Perhaps the only thing that looks like genius about me is that my
+affairs are not always in the best of order, and that in this respect
+nobody can be of help but myself."
+
+
+     (April 22, 1801, to Hofmeister, in Leipzig excusing himself for
+dilatoriness in sending him these compositions: the Pianoforte sonata
+op. 22, the symphony op. 21, the septet op. 20 and the concerto op. 19.)
+
+
+187. "I am free from all small vanities. Only in the divine art is the
+lever which gives me power to sacrifice the best part of my life to the
+celestial muses."
+
+
+     (September 9, 1824, to George Nigeli, in Zurich.)
+
+
+188. "Inasmuch as the purpose of the undersigned throughout his career
+has not been selfish but the promotion of the interests of art, the
+elevation of popular taste and the flight of his own genius toward
+loftier ideals and perfection, it was inevitable that he should
+frequently sacrifice his own advantages and profit to the muse."
+
+
+     (December, 1804, to the Director of the Court Theatre, applying for an
+engagement which was never effected.)
+
+
+189. "From my earliest childhood my zeal to serve suffering humanity
+with my art was never content with any kind of a subterfuge; and no
+other reward is needed than the internal satisfaction which always
+accompanies such a deed."
+
+
+     (To Procurator Varenna, who had asked him for compositions to be played
+at a charity concert in Graz.)
+
+
+190. "There is no greater pleasure for me than to practice and exhibit
+my art."
+
+
+     (November 16, 1800, or 1801, to Wegeler.)
+
+
+191. "I recognize no other accomplishments or advantages than those
+which place one amongst the better class of men; where I find them,
+there is my home."
+
+
+     (Teplitz, July 17, 1812, to his little admirer, Emile M., in H.)
+
+
+192. "From childhood I learned to love virtue, and everything beautiful
+and good."
+
+
+     (About 1808, to Frau Marie Bigot.)
+
+
+193. "It is one of my foremost principles never to occupy any other
+relations than those of friendship with the wife of another man. I
+should never want to fill my heart with distrust towards those who may
+chance some day to share my fate with me, and thus destroy the loveliest
+and purest life for myself."
+
+
+     (About 1808, to Frau Marie Bigot, after she had declined his invitation
+to drive with him.)
+
+
+194. "In my solitude here I miss my roommate, at least at evening and
+noon, when the human animal is obliged to assimilate that which is
+necessary to the production of the intellectual, and which I prefer to
+do in company with another."
+
+
+     (Teplitz, September 6, 1811, to Tiedge.)
+
+
+195. "It was not intentional and premeditated malice which led me to act
+toward you as I did; it was my unpardonable carelessness."
+
+
+     (To Wegeler.)
+
+
+196. "I am not bad; hot blood is my wickedness, my crime is
+youthfulness. I am not bad, really not bad; even though wild surges
+often accuse my heart, it still is good. To do good wherever we can, to
+love liberty above all things, and never to deny truth though it be at
+the throne itself.--Think occasionally of the friend who honors you."
+
+
+     (Written in the autograph album of a Herr Bocke.)
+
+
+197. "It is a singular sensation to see and hear one's self praised, and
+then to be conscious of one's own imperfections as I am. I always regard
+such occasions as admonitions to get nearer the unattainable goal set
+for us by art and nature, hard as it may be."
+
+
+     (To Mdlle. de Girardi, who had sung his praises in a poem.)
+
+
+198. "It is my sincere desire that whatever shall be said of me
+hereafter shall adhere strictly to the truth in every respect regardless
+of who may be hurt thereby, me not excepted."
+
+
+     (Reported by Schindler, who also relates that when Beethoven handed him
+documents to be used in the biography a week before his death, he said
+to him and Breuning: "But in all things severely the truth; for that I
+hold you to a strict accountability.")
+
+
+199. "Now you can help me to find a wife. If you find a beautiful woman
+in F. who, mayhap, endows my music with a sigh,--but she must be no
+Elise Burger--make a provisional engagement. But she must be beautiful,
+for I can love only the beautiful; otherwise I might love myself."
+
+
+     (In 1809, to Baron von Gleichenstein. As for the personal reference it
+seems likely that Beethoven referred to Elise Burger, second wife of
+the poet G. August Burger, with whom he had got acquainted after she had
+been divorced and become an elocutionist.)
+
+
+200. "Am I not a true friend? Why do you conceal your necessities from
+me? No friend of mine must suffer so long as I have anything."
+
+
+     (To Ferdinand Ries, in 1801. Ries's father had been kind to Beethoven on
+the death of his mother in 1787.)
+
+
+201. "I would rather forget what I owe to myself than what I owe to
+others."
+
+
+     (To Frau Streicher, in the summer of 1817.)
+
+
+202. "I never practice revenge. When I must antagonize others I do no
+more than is necessary to protect myself against them, or prevent them
+from doing further evil."
+
+
+     (To Frau Streicher, in reference to the troubles which his servants gave
+him, many of which, no doubt, were due to faults of his own, excusable
+in a man in his condition of health.)
+
+
+203. "Be convinced that mankind, even in your case, will always be
+sacred to me."
+
+
+     (To Czapka, Magisterial Councillor, August, 1826, in the matter of his
+nephew's attempt at suicide.)
+
+
+204. "H. is, and always will be, too weak for friendship, and I look
+upon him and Y. as mere instruments upon which I play when I feel
+like it; but they can never be witnesses of my internal and external
+activities, and just as little real participants. I value them according
+as they do me service."
+
+
+     (Summer of 1800, to the friend of his youth, Pastor Amenda. H. was
+probably the faithful Baron Zmeskall von Domanovecz.)
+
+
+205. "If it amuses them to talk and write about me in that manner, let
+them go on."
+
+
+     (Reported by Schindler as referring to critics who had declared him ripe
+for the madhouse.)
+
+
+206. "To your gentlemen critics I recommend a little more foresight and
+shrewdness, particularly in respect of the products of younger authors,
+as many a one, who might otherwise make progress, may be frightened off.
+So far as I am concerned I am far from thinking myself so perfect as not
+to be able to endure faulting; yet at the beginning the clamor of your
+critic was so debasing that I could scarcely discuss the matter when I
+compared myself with others, but had to remain quiet and think: they do
+not understand. I was the more able to remain quiet when I recalled how
+men were praised who signify little among those who know, and who have
+almost disappeared despite their good points. Well, pax vobiscum, peace
+to them and me,--I would never have mentioned a syllable had you not
+begun."
+
+
+     (April 22, 1801, to Breitkopf and Hartel, publishers of the "Allgemeine
+Musik Zeitung.")
+
+
+207. "Who was happier than I when I could still pronounce the sweet word
+'mother' and have it heard? To whom can I speak it now?"
+
+
+     (September 15, 1787, from Bonn to Dr. Schade, of Augsburg, who had aided
+him in his return journey from Vienna to Bonn. His mother had died on
+July 17, 1787.)
+
+
+208. "I seldom go anywhere since it was always impossible for me to
+associate with people where there was not a certain exchange of ideas."
+
+
+     (February 15, 1817, to Brentano of Frankfurt.)
+
+
+209. "Not a word about rest! I know of none except in sleep, and sorry
+enough am I that I am obliged to yield up more to it than formerly."
+
+
+     (November 16, 1801, or 1802, to Wegeler. In Homer's "Odyssey" Beethoven
+thickly underscored the words: "Too much sleep is injurious." XV, 393.)
+
+
+210. "Rest assured that you are dealing with a true artist who likes to
+be paid decently, it is true, but who loves his own reputation and also
+the fame of his art; who is never satisfied with himself and who strives
+continually to make even greater progress in his art."
+
+
+     (November 23, 1809, to George Thomson, of Edinburgh, for whom Beethoven
+arranged the Scotch songs.)
+
+
+211. "My motto is always: nulla die sine linea; and if I permit the muse
+to go to sleep it is only that she may awake strengthened."
+
+
+     (October 7, 1826, to Wegeler.)
+
+
+212. "There is no treatise likely to be too learned for me. Without
+laying claim to real learning it is yet true that since my childhood I
+have striven to learn the minds of the best and wisest of every period
+of time. It is a disgrace for every artist who does not try to do as
+much."
+
+
+     (November 2, 1809, to Breitkopf and Hartel, of Leipzig.)
+
+
+213. "Without wishing in the least to set myself up as an exemplar I
+assure you that I lived in a small and insignificant place, and made out
+of myself nearly all that I was there and am here;--this to your comfort
+in case you feel the need of making progress in art."
+
+
+     (Baden, July 6, 1804, to Herr Wiedebein, of Brunswick, who had asked
+if it was advisable for a music teacher and student to make his home in
+Vienna.)
+
+
+214. "There is much on earth to be done,--do it soon! I must not
+continue my present everyday life,--art asks this sacrifice also. Take
+rest in diversion in order to work more energetically."
+
+
+     (Diary, 1814.)
+
+
+215. "The daily grind exhausts me."
+
+
+     (Baden, August 23, 1823, to his nephew Karl.)
+
+
+
+
+
+THE SUFFERER
+
+
+216. "Compelled to be a philosopher as early as my 28th year;--it is not
+an easy matter,--more difficult for the artist than any other man."
+
+
+     (October 6, 1802; the Heiligenstadt Will.)
+
+
+217. "Compelled to contemplate a lasting malady, born with an ardent
+and lively temperament, susceptible to the diversions of society, I was
+obliged at an early date to isolate myself and live a life of solitude."
+
+
+     (From the same.)
+
+
+218. "It was impossible for me to say to others: speak louder; shout!
+for I am deaf. Ah! was it possible for me to proclaim a deficiency in
+that one sense which in my case ought to have been more perfect than
+in all others, which I had once possessed in greatest perfection, to
+a degree of perfection, indeed, which few of my profession have ever
+enjoyed?"
+
+
+     (From the same.)
+
+
+219. "For me there can be no recreation in human society, refined
+conversation, mutual exchange of thoughts and feelings; only so far as
+necessity compels may I give myself to society,--I must live like an
+exile."
+
+
+     (From the same.)
+
+
+220. "How great was the humiliation when one who stood beside me heard
+the distant sound of a shepherd's pipe, and I heard nothing; or heard
+the shepherd singing, and I heard nothing. Such experiences brought me
+to the verge of despair;--but little more and I should have put an end
+to my life. Art, art alone deterred me."
+
+
+     (From the same.)
+
+
+221. "I may say that I live a wretched existence. For almost two years
+I have avoided all social gatherings because it is impossible for me to
+tell the people I am deaf. If my vocation were anything else it might be
+more endurable, but under the circumstances the condition is terrible;
+besides what would my enemies say,--they are not few in number! To
+give you an idea of this singular deafness let me tell you that in the
+theatre I must lean over close to the orchestra in order to understand
+the actor; if I am a little remote from them I do not hear the high
+tones of instruments and voices; it is remarkable that there are persons
+who have not observed it, but because I am generally absent-minded my
+conduct is ascribed to that."
+
+
+     (Vienna, June 29, 1800, to Wegeler. "To you only do I confide this as a
+secret." Concerning his deafness see Appendix.)
+
+
+222. "My defective hearing appeared everywhere before me like a ghost; I
+fled from the presence of men, was obliged to appear to be a misanthrope
+although I am so little such."
+
+
+     (November 16, 1801, or 1800, to Wegeler, in writing to him about his
+happy love. "Unfortunately, she is not of my station in life.")
+
+
+223. "Truly, a hard lot has befallen me! Yet I accept the decree of
+Fate, and continually pray to God to grant that as long as I must endure
+this death in life, I may be preserved from want."
+
+
+     (March 14, 1827, to Moscheles, after Beethoven had undergone the fourth
+operation for dropsy and was confronting the fifth. He died on March 26,
+1827.)
+
+
+224. "Live alone in your art! Restricted though you be by your defective
+sense, this is still the only existence for you."
+
+
+     (Diary, 1816.)
+
+
+225. "Dissatisfied with many things, more susceptible than any other
+person and tormented by my deafness, I often find only suffering in the
+association with others."
+
+
+     (In 1815, to Brauchle, tutor in the house of Countess Erdody.)
+
+
+226. "I have emptied a cup of bitter suffering and already won martyrdom
+in art through the kindness of art's disciples and my art associates."
+
+
+     (In the summer of 1814, to Advocate Kauka. "Socrates and Jesus were my
+exemplars," he remarks in a conversation-book of 1819.)
+
+
+227. "Perfect the ear trumpets as far as possible, and then travel; this
+you owe to yourself, to mankind and to the Almighty! Only thus can you
+develop all that is still locked within you;--and a little court,--a
+little chapel,--writing the music and having it performed to the glory
+of the Almighty, the Eternal, the Infinite---"
+
+
+     (Diary, 1815. Beethoven was hoping to receive an appointment as
+chapelmaster from his former pupil, Archduke Rudolph, Archbishop of
+Olmutz.)
+
+
+228. "God help me. Thou seest me deserted by all mankind. I do not want
+to do wrong,--hear my prayer to be with my Karl in the future for which
+there seems to be no possibility now. O, harsh Fate, cruel destiny. No,
+my unhappy condition will never end. 'This I feel and recognize clearly:
+Life is not the greatest of blessings; but the greatest of evils is
+guilt.' (From Schiller's "Braut von Messina"). There is no salvation
+for you except to hasten away from here; only by this means can you lift
+yourself again to the heights of your art whereas you are here sinking
+to the commonplace,--and a symphony--and then away,--away,--meanwhile
+fund the salaries which can be done for years. Work during the summer
+preparatory to travel; only thus can you do the great work for your poor
+nephew; later travel through Italy, Sicily, with a few other artists."
+
+
+     (Diary, spring of 1817. The salaries were the annuities paid him for
+several years by Archduke Rudolph, Prince Rinsky and Prince Lobkowitz.
+Seume's "Spaziergang nach Syrakus" was a favorite book of Beethoven's
+and inspired him in a desire to make a similar tour, but nothing came of
+it.)
+
+
+229. "You must not be a man like other men: not for yourself, only for
+others; for you there is no more happiness except in yourself, in your
+art.--O God, give me strength to overcome myself, nothing must hold me
+to this life."
+
+
+     (Beginning of the Diary, 1812-18.)
+
+
+230. "Leave operas and all else alone, write only for your orphan, and
+then a cowl to close this unhappy life."
+
+
+     (Diary, 1816.)
+
+
+231. "I have often cursed my existence; Plutarch taught me resignation.
+I shall, if possible, defy Fate, though there will be hours in my life
+when I shall be the most miserable of God's creatures. Resignation! What
+a wretched resort; yet it is the only one left me!"
+
+
+     (Vienna, June 29, 1800, to Wegeler.)
+
+
+232. "Patience, they tell me, I must now choose for a guide. I have
+done so. It shall be my resolve, lastingly, I hope, to endure until
+it pleases the implacable Parca: to break the thread. There may be
+improvement,--perhaps not,--I am prepared."
+
+
+     (From the Heiligenstadt Will.)
+
+
+233. "Let all that is called life be offered to the sublime and become
+a sanctuary of art. Let me live, even through artificial means, so they
+can be found."
+
+
+     (Diary, 1814, when Beethoven was being celebrated extraordinarily by the
+royalties and dignitaries gathered at the Congress of Vienna.)
+
+
+234. "Ah! it seemed impossible for me to leave the world until I had
+produced all that I felt called upon to produce; and so I prolonged this
+wretched existence."
+
+
+     (From the Heiligenstadt Will.)
+
+
+235. "With joy shall I hasten forward to meet death; if he comes before
+I shall have had an opportunity to develop all my artistic capabilities,
+he will come too early in spite of my harsh fate, and I shall probably
+wish him to come at a later date. But even then I shall be content, for
+will he not release me from endless suffering? Come when you please, I
+shall meet you bravely."
+
+
+     (From the Heiligenstadt Will.)
+
+
+236. "Apollo and the muses will not yet permit me to be delivered
+over to the grim skeleton, for I owe them so much, and I must, on any
+departure for the Elysian Fields, leave behind me all that the spirit
+has inspired and commanded to be finished."
+
+
+     (September 17, 1824, to Schott, music publisher in Mayence.)
+
+
+237. "Had I not read somewhere that it is not pending man to part
+voluntarily from his life so long as there is a good deed which he can
+perform, I should long since have been no more, and by my own hand. O,
+how beautiful life is, but in my case it is poisoned."
+
+
+     (May 2, 1810, to his friend Wegeler, to whom he is lamenting over "the
+demon that has set up his habitat in my ears.")
+
+
+238. "I must abandon wholly the fond hope, which I brought hither, to be
+cured at least in a degree. As the fallen autumn leaves have withered,
+so are now my hopes blighted. I depart in almost the same condition
+in which I came; even the lofty courage which often animated me in the
+beautiful days of summer has disappeared."
+
+
+     (From the Will. Beethoven had tried the cure at Heiligenstadt.)
+
+
+239. "All week long I had to suffer and endure like a saint. Away with
+this rabble! What a reproach to our civilization that we need what we
+despise and must always know it near!"
+
+
+     (In 1825, complaining of the misery caused by his domestics.)
+
+
+240. "The best thing to do not to think of your malady is to keep
+occupied."
+
+
+     (Diary, 1812-18.)
+
+
+241. "It is no comfort for men of the better sort to say to them that
+others also suffer; but, alas! comparisons must always be made, though
+they only teach that we all suffer, that is err, only in different
+ways."
+
+
+     (In 1816, to Countess Erdody, on the death of her son.)
+
+
+242. "The portraits of Handel, Bach, Gluck, Mozart and Haydn in my
+room,--they may help me to make claim on toleration."
+
+
+     (Diary, 1815-16.)
+
+
+243. "God, who knows my innermost soul, and knows how sacredly I have
+fulfilled all the duties but upon me as man by humanity, God and nature
+will surely some day relieve me from these afflictions."
+
+
+     (July 18, 1821, to Archduke Rudolph, from Unterubling.)
+
+
+244. "Friendship and similar sentiments bring only wounds to me. Well,
+so be it; for you, poor Beethoven, there is no outward happiness; you
+must create it within you,--only in the world of ideality shall you find
+friends."
+
+
+     (About 1808, to Baron von Gleichenstein, by whom he thought himself
+slighted.)
+
+
+245. "You are living on a quiet sea, or already in the safe harbor; you
+do not feel the distress of a friend out in the raging storm,--or you
+must not feel it."
+
+
+     (In 1811, to his friend Gleichenstein, when Beethoven was in love with
+the Baron's sister-in-law, Therese Malfatti.)
+
+
+246. "I must have a confidant at my side lest life become a burden."
+
+
+     (July 4, 1812, to Count Brunswick, whom he is urging to make a tour with
+him, probably to Teplitz.)
+
+
+247. "Your love makes me at once the happiest and the unhappiest of men.
+At my age I need a certain uniformity and equableness of life; can such
+exist in our relationship?"
+
+
+     (June 7, 1800      (?), to the "Immortal Beloved.")
+
+
+248. "O Providence! vouchsafe me one day of pure joy! Long has the echo
+of perfect felicity been absent from my heart. When O, when, O Thou
+Divine One, shall I feel it again in nature's temple and man's? Never?
+Ah! that would be too hard!"
+
+
+     (Conclusion of the Heiligenstadt Will.)
+
+
+
+
+
+WORLDLY WISDOM
+
+
+249. "Freedom,--progress, is purpose in the art-world as in universal
+creation, and if we moderns have not the hardihood of our ancestors,
+refinement of manners has surely accomplished something."
+
+
+     (Middling, July 29, 1819, to Archduke Rudolph.)
+
+
+250. "The boundaries are not yet fixed which shall call out to talent
+and industry: thus far and no further!"
+
+
+     (Reported by Schindler.)
+
+
+251. "You know that the sensitive spirit must not be bound to miserable
+necessities."
+
+
+     (In the summer of 1814, to Johann Kauka, the advocate who represented
+him in the prosecution of his claims against the heirs of Prince
+Kinsky.)
+
+
+252. "Art, the persecuted one, always finds an asylum. Did not Daedalus,
+shut up in the labyrinth, invent the wings which carried him out into
+the open air? O, I shall find them, too, these wings!"
+
+
+     (February 19, 1812, to Zmeskall, when, in 1811, by decree of the
+Treasury, the value of the Austrian currency was depreciated one-fifth,
+and the annuity which Beethoven received from Archduke Rudolph and the
+Princes Lobkowitz and Kinsky reduced to 800 florins.)
+
+
+253. "Show me the course where at the goal there stands the palm of
+victory! Lend sublimity to my loftiest thoughts, bring to them truths
+that shall live forever!"
+
+
+     (Diary, 1814, while working on "Fidelio.")
+
+
+254. "Every day is lost in which we do not learn something useful. Man
+has no nobler or more valuable possession than time; therefore never put
+off till tomorrow what you can do today."
+
+
+     (From the notes in Archduke Rudolph's instruction book.)
+
+
+255. "This is the mark of distinction of a truly admirable man:
+steadfastness in times of trouble."
+
+
+     (Diary, 1816.)
+
+
+256. "Courage, so it be righteous, will gain all things."
+
+
+     (April, 1815, to Countess Erdody.)
+
+
+257. "Force, which is a unit, will always prevail against the majority
+which is divided."
+
+
+     (Conversation-book, 1819.)
+
+
+258. "Kings and Princes can create professors and councillors, and
+confer orders and decorations; but they can not create great men,
+spirits that rise above the earthly rabble; these they can not create,
+and therefore they are to be respected."
+
+
+     (August 15, 1812, to Bettina von Arnim.)
+
+
+259. "Man, help yourself!"
+
+
+     (Written under the words: "Fine, with the help of God," which Moscheles
+had written at the end of a pianoforte arrangement of a portion of
+"Fidelio.")
+
+
+260. "If I could give as definite expression to my thoughts about my
+illness as to my thoughts in music, I would soon help myself."
+
+
+     (September, 1812, to Amalie Sebald, a patient at the cure in Teplitz.)
+
+
+261. "Follow the advice of others only in the rarest cases."
+
+
+     (Diary, 1816.)
+
+
+262. "The moral law in us, and the starry sky above us."--Kant.
+
+
+     (Conversation-book, February, 1820.)
+
+
+[Literally the passage in Kant's "Critique of Practical Reason" reads as
+follows: "Two things fill the soul with ever new and increasing wonder
+and reverence the oftener the mind dwells upon them:--the starry sky
+above me and the moral law in me."]
+
+263. "Blessed is he who has overcome all passions and then proceeds
+energetically to perform his duties under all circumstances careless of
+success! Let the motive lie in the deed, not in the outcome. Be not one
+of those whose spring of action is the hope of reward. Do not let
+your life pass in inactivity. Be industrious, do your duty, banish all
+thoughts as to the results, be they good or evil; for such equanimity is
+attention to intellectual things. Seek an asylum only in Wisdom; for
+he who is wretched and unhappy is so only in consequence of things. The
+truly wise man does not concern himself with the good and evil of
+this world. Therefore endeavor diligently to preserve this use of your
+reason--for in the affairs of this world, such a use is a precious art."
+
+
+     (Diary. Though essentially in the language of Beethoven there is
+evidence that the passage was inspired by something that he had read.)
+
+
+264. "The just man must be able also to suffer injustice without
+deviating in the least from the right course."
+
+
+     (To the Viennese magistrate in the matter of Karl's education.)
+
+
+265. "Man's humility towards man pains me; and yet when I consider
+myself in connection with the universe, what am I and what is he whom we
+call the greatest? And yet here, again, lies the divine element in man."
+
+
+     (To the "Immortal Beloved," July 6      (1800?).)
+
+
+266. "Only the praise of one who has enjoyed praise can give pleasure."
+
+
+     (Conversation-book, 1825.)
+
+
+267. "Nothing is more intolerable than to be compelled to accuse one's
+self of one's own errors."
+
+
+     (Teplitz, September 6, 1811, to Tiedge. Beethoven regrets that through
+his own fault he had not made Tiedge's acquaintance on an earlier
+opportunity.)
+
+
+268. "What greater gift can man receive than fame, praise and
+immortality?"
+
+
+     (Diary, 1816-17. After Pliny, Epist. III.)
+
+
+269. "Frequently it seems as if I should almost go mad over my
+undeserved fame; fortune seeks me out and I almost fear new misfortune
+on that account."
+
+
+     (July, 1810, to his friend Zmeskall. "Every day there come new inquiries
+from strangers, new acquaintances new relationships.")
+
+
+270. "The world must give one recognition,--it is not always unjust. I
+care nothing for it because I have a higher goal."
+
+
+     (August 15, 1812, to Bettina von Arnim.)
+
+
+271. "I have the more turned my gaze upwards; but for our own sakes
+and for others we are obliged to turn our attention sometimes to lower
+things; this, too, is a part of human destiny."
+
+
+     (February 8, 1823, to Zelter, with whom he is negotiating the sale of a
+copy of the Mass in D.)
+
+
+272. "Why so many dishes? Man is certainly very little higher than the
+other animals if his chief delights are those of the table."
+
+
+     (Reported by J. A. Stumpff, in the "Harmonicon" of 1824. He dined with
+Beethoven in Baden.)
+
+
+273. "Whoever tells a lie is not pure of heart, and such a person can
+not cook a clean soup."
+
+
+     (To Mme. Streicher, in 1817, or 1818, after having dismissed an
+otherwise good housekeeper because she had told a falsehood to spare his
+feelings.)
+
+
+274. "Vice walks through paths full of present lusts and persuades
+many to follow it. Virtue pursues a steep path and is less seductive to
+mankind, especially if at another place there are persons who call them
+to a gently declining road."
+
+
+     (Diary, 1815.)
+
+
+275. "Sensual enjoyment without a union of soul is bestial and will
+always remain bestial."
+
+
+     (Diary, 1812-18.)
+
+
+276. "Men are not only together when they are with each other; even the
+distant and the dead live with us."
+
+
+     (To Therese Malfatti, later Baroness von Drossdick, to whom in the
+country he sent Goethe's "Wilhelm Meister" and Schlegel's translation of
+Shakespeare.)
+
+
+277. "There is no goodness except the possession of a good soul, which
+may be seen in all things, from which one need not seek to hide."
+
+
+     (August 15, 1812, to Bettina von Arnim.)
+
+
+278. "The foundation of friendship demands the greatest likeness of
+human souls and hearts."
+
+
+     (Baden, July 24, 1804, to Ries, describing his quarrel with Breuning.)
+
+
+279. "True friendship can rest only on the union of like natures."
+
+
+     (Diary, 1812-18.)
+
+
+280. "The people say nothing; they are merely people. As a rule they
+only see themselves in others, and what they see is nothing; away with
+them! The good and the beautiful needs no people,--it exists without
+outward help, and this seems to be the reason of our enduring
+friendship."
+
+
+     (September 16, 1812, to Amalie Sebald, in Teplitz, who had playfully
+called him a tyrant.)
+
+
+281. "Look, my dear Ries; these are the great connoisseurs who affect
+to be able to judge of any piece of music so correctly and keenly. Give
+them but the name of their favorite,--they need no more!"
+
+
+     (To his pupil Ries, who had, as a joke, played a mediocre march at a
+gathering at Count Browne's and announced it to be a composition by
+Beethoven. When the march was praised beyond measure Beethoven broke out
+into a grim laugh.)
+
+
+282. "Do not let all men see the contempt which they deserve; we do not
+know when we may need them."
+
+
+     (Note in the Diary of 1814, after having had an unpleasant experience
+with his "friend" Bertolini. "Henceforth never step inside his house;
+shame on you to ask anything from such an one.")
+
+
+283. "Our Time stands in need of powerful minds who will scourge these
+petty, malicious and miserable scoundrels,--much as my heart resents
+doing injury to a fellow man."
+
+
+     (In 1825, to his nephew, in reference to the publication of a satirical
+canon on the Viennese publisher, Haslinger, by Schott, of Mayence.)
+
+
+284. "Today is Sunday. Shall I read something for you from the Gospels?
+'Love ye one another!'"
+
+
+     (To Frau Streicher.)
+
+
+285. "Hate reacts on those who nourish it."
+
+
+     (Diary, 1812-18.)
+
+
+286. "When friends get into a quarrel it is always best not to call in
+an intermediary, but to have friend turn to friend direct."
+
+
+     (Vienna, November 2, 1793, to Eleonore von Breuning, of Bonn.)
+
+
+287. "There are reasons for the conduct of men which one is not always
+willing to explain, but which, nevertheless, are based on ineradicable
+necessity."
+
+
+     (In 1815, to Brauchle.)
+
+
+288. "I was formerly inconsiderate and hasty in the expression of my
+opinions, and thereby I made enemies. Now I pass judgment on no one,
+and, indeed, for the reason that I do not wish to do any one harm.
+Moreover, in the last instance I always think: if it is something decent
+it will maintain itself in spite of all attack and envy; if there is
+nothing good and sound at the bottom of it, it will fall to pieces of
+itself, bolster it up as one may."
+
+
+     (In a conversation with Tomaschek, in October, 1814.)
+
+
+289. "Even the most sacred friendship may harbor secrets, but you ought
+not to misinterpret the secret of a friend because you can not guess
+it."
+
+
+     (About 1808, to Frau Marie Bigot.)
+
+
+290. "You are happy; it is my wish that you remain so, for every man is
+best placed in his sphere."
+
+
+     (Bonn, July 13, 1825, to his brother Johann, landowner in Gneisendorf.)
+
+
+291. "One must not measure the cost of the useful."
+
+
+     (To his nephew Karl in a discussion touching the purchase of an
+expensive book.)
+
+
+292. "It is not my custom to prattle away my purposes, since every
+intention once betrayed is no longer one's own."
+
+
+     (To Frau Streicher.)
+
+
+293. "How stupidity and wretchedness always go in pairs!"
+
+
+     (Diary, 1817.)
+
+
+[Beethoven was greatly vexed by his servants.]
+
+294. "Hope nourishes me; it nourishes half the world, and has been my
+neighbor all my life, else what had become of me!"
+
+
+     (August 11, 1810, to Bettina von Arnim.)
+
+
+295. "Fortune is round like a globe, hence, naturally, does not always
+fall on the noblest and best."
+
+
+     (Vienna, July 29, 1800, to Wegeler.)
+
+
+296. "Show your power, Fate! We are not our own masters; what is decided
+must be,--and so be it!"
+
+
+     (Diary, 1818.)
+
+
+297. "Eternal Providence omnisciently directs the good and evil fortunes
+of mortal men."
+
+
+     (Diary, 1818.)
+
+
+298. "With tranquility, O God, will I submit myself to changes, and
+place all my trust in Thy unalterable mercy and goodness."
+
+
+     (Diary, 1818.)
+
+
+299. "All misfortune is mysterious and greatest when viewed alone;
+discussed with others it seems more endurable because one becomes
+entirely familiar with the things one dreads, and feels as if one had
+overcome it."
+
+
+     (Diary, 1816.)
+
+
+300. "One must not flee for protection to poverty against the loss of
+riches, nor to a lack of friendship against the loss of friends, nor by
+abstention from procreation against the death of children, but to reason
+against everything."
+
+
+     (Diary, 1816.)
+
+
+301. "I share deeply with you the righteous sorrow over the death of
+your wife. It seems to me that such a parting, which confronts nearly
+every married man, ought to keep one in the ranks of the unmarried."
+
+
+     (May 20, 1811, to Gottfried Hartel, of Leipzig.)
+
+
+302. "He who is afflicted with a malady which he can not alter, but
+which gradually brings him nearer and nearer to death, without which he
+would have lived longer, ought to reflect that murder or another cause
+might have killed him even more quickly."
+
+
+     (Diary, 1812-18.)
+
+
+303. "We finite ones with infinite souls are born only for sorrows and
+joy and it might almost be said that the best of us receive joy through
+sorrow."
+
+
+     (October 19, 1815, to Countess Erdody.)
+
+
+304. "He is a base man who does not know how to die; I knew it as a boy
+of fifteen."
+
+
+     (In the spring of 1816, to Miss Fanny Giannatasio del Rio, when
+Beethoven felt ill and spoke of dying. It is not known that he was ever
+near death in his youth.)
+
+
+305. "A second and third generation recompenses me three and fourfold
+for the ill-will which I had to endure from my former contemporaries."
+
+
+     (Copied into his Diary from Goethe's "West-ostlicher Divan.")
+
+
+306.
+
+    "My hour at last is come;
+     Yet not ingloriously or passively
+     I die, but first will do some valiant deed,
+     Of which mankind shall hear in after
+        time."--Homer.
+
+
+     ("The Iliad" [Bryant's translation], Book XXII, 375-378.)
+
+
+
+     (Copied into his Diary, 1815.)
+
+
+307. "Fate gave man the courage of endurance."
+
+
+     (Diary, 1814.)
+
+
+308.
+
+     "Portia--How far that little candle throws his beams!
+      So shines a good deed in a naughty world."
+
+
+     (Marked in his copy of Shakespeare's "Merchant of Venice.")
+
+
+309.
+
+     "And on the day that one becomes a
+         slave,
+     The Thunderer, Jove, takes half his
+         worth away."--Homer.
+
+
+     ("The Odyssey" [Bryant's translation], Book XVII, 392-393. Marked by
+Beethoven.)
+
+
+310.
+
+    "Short is the life of man, and whoso
+        bears
+     A cruel heart, devising cruel things,
+     On him men call down evil from the
+        gods
+     While living, and pursue him, when he
+        dies,
+     With scoffs. But whoso is of generous
+        heart
+     And harbors generous aims, his guests
+        proclaim
+     His praises far and wide to all
+        mankind,
+     And numberless are they who call him
+        good."--Homer.
+
+
+     ("The Odyssey" [Bryant's translation], Book XIX, 408-415. Copied into
+his diary, 1818.)
+
+
+
+
+
+GOD
+
+
+Beethoven was through and through a religious man, though not in the
+confessional sense. Reared in the Catholic faith he early attained to an
+independent opinion on religious things. It must be borne in mind that
+his youth fell in the period of enlightenment and rationalism. When at
+a later date he composed the grand Mass in honor of his esteemed pupil
+Archduke Rudolph,--he hoped to obtain from him a chapelmastership when
+the Archduke became Archbishop of Olmutz, but in vain,--he gave it forms
+and dimensions which deviated from the ritual.
+
+In all things liberty was the fundamental principle of Beethoven's life.
+His favorite book was Sturm's "Observations Concerning God's Works in
+Nature"      (Betrachtungen uber die Werke Gottes in der Natur), which he
+recommended to the priests for wide distribution among the people. He
+saw the hand of God in even the most insignificant natural phenomenon.
+God was to him the Supreme Being whom he had jubilantly hymned in
+the choral portion of the Ninth Symphony in the words of Schiller:
+"Brothers, beyond you starry canopy there must dwell a loving Father!"
+Beethoven's relationship to God was that of a child toward his loving
+father to whom he confides all his joys as well as sorrows.
+
+It is said that once he narrowly escaped excommunication for having said
+that Jesus was only a poor human being and a Jew. Haydn, ingenuously
+pious, is reported to have called Beethoven an atheist.
+
+He consented to the calling in of a priest on his death-bed.
+Eye-witnesses testify that the customary function was performed most
+impressively and edifyingly and that Beethoven expressed his thanks
+to the officiating priest with heartiness. After he had left the room
+Beethoven said to his friends: "Plaudite, amici, comoedia finita est,"
+the phrase with which antique dramas were concluded. From this fact
+the statement has been made that Beethoven wished to characterize the
+sacrament of extreme unction as a comedy. This is contradicted, however,
+by his conduct during its administration. It is more probable that he
+wished to designate his life as a drama; in this sense, at any rate, the
+words were accepted by his friends. Schindler says emphatically: "The
+last days were in all respects remarkable, and he looked forward to
+death with truly Socratic wisdom and peace of mind."
+
+[I append a description of the death scene as I found it in the
+notebooks of A. W. Thayer which were placed in my hands for examination
+after the death of Beethoven's greatest biographer in 1897:
+
+"June 5, 1860, I was in Graz and saw Huttenbrenner (Anselm) who gave me
+the following particulars: ...In the winter of 1826-27 his friends wrote
+him from Vienna, that if he wished to see Beethoven again alive he must
+hurry thither from Graz. He hastened to Vienna, arriving a few
+days before Beethoven's death. Early in the afternoon of March 26,
+Huttenbrenner went into the dying man's room. He mentioned as persons
+whom he saw there, Stephen v. Breuning and Gerhard, Schindler, Telscher
+and Carl's mother (this seems to be a mistake, i.e. if Mrs. v. Beethoven
+is right). Beethoven had then long been senseless. Telscher began
+drawing the dying face of Beethoven. This grated on Breuning's feelings,
+and he remonstrated with him, and he put up his papers and left (?).
+
+"Then Breuning and Schindler left to go out to Wohring to select a grave.
+(Just after the five--I got this from Breuning himself--when it grew
+dark with the sudden storm Gerhard, who had been standing at the window,
+ran home to his teacher.)
+
+"Afterward Gerhard v. B. went home, and there remained in the room only
+Huttenbrenner and Mrs. van Beethoven. The storm passed over, covering
+the Glacis with snow and sleet. As it passed away a flash of lightning
+lighted up everything. This was followed by an awful clap of thunder.
+Huttenbrenner had been sitting on the side of the bed sustaining
+Beethoven's head--holding it up with his right arm His breathing was
+already very much impeded, and he had been for hours dying. At this
+startling, awful peal of thunder, the dying man suddenly raised his
+head from Huttenbrenner's arm, stretched out his own right arm
+majestically--like a general giving orders to an army. This was but for
+an instant; the arm sunk back; he fell back. Beethoven was dead.
+
+"Another talk with Huttenbrenner. It seems that Beethoven was at his
+last gasp, one eye already closed. At the stroke of lightning and the
+thunder peal he raised his arm with a doubled-up fist; the expression of
+his eyes and face was that of one defying death,--a look of defiance and
+power of resistance.
+
+"He must have had his arm under the pillow. I must ask him.
+
+"I did ask him; he had his arm around B.'s neck." H. E. K.]
+
+
+311. "I am that which is. I am all that was, that is, and that shall be.
+No mortal man has ever lifted the veil of me. He is solely of himself,
+and to this Only One all things owe their existence."
+
+
+     (Beethoven's creed. He had found it in Champollion's "The Paintings
+of Egypt," where it is set down as an inscription on a temple to the
+goddess Neith. Beethoven had his copy framed and kept it constantly
+before him on his writing desk. "The relic was a great treasure in his
+eyes"--Schindler.)
+
+
+312. "Wrapped in the shadows of eternal solitude, in the impenetrable
+darkness of the thicket, impenetrable, immeasurable, unapproachable,
+formlessly extended. Before spirit was breathed (into things) his
+spirit was, and his only. As mortal eyes (to compare finite and infinite
+things) look into a shining mirror."
+
+
+     (Copied, evidently, from an unidentified work, by Beethoven; though
+possibly original with him.)
+
+
+313. "It was not the fortuitous meeting of the chordal atoms that made
+the world; if order and beauty are reflected in the constitution of the
+universe, then there is a God."
+
+
+     (Diary, 1816.)
+
+
+314. "He who is above,--O, He is, and without Him there is nothing."
+
+
+     (Diary.)
+
+
+315. "Go to the devil with your 'gracious Sir!' There is only one who
+can be called gracious, and that is God."
+
+
+     (About 1824 or 1825, to Rampel, a copyist, who, apparently, had been
+a little too obsequious in his address to Beethoven. [As is customary
+among the Viennese to this day. H. E. K.])
+
+
+316. "What is all this compared with the great Tonemaster above!
+above! above! and righteously the Most High, whereas here below all is
+mockery,--dwarfs,--and yet Most High!!"
+
+
+     (To Schott, publisher in Mayence, in 1822--the same year in which
+Beethoven copied the Egyptian inscription.)
+
+
+317. "There is no loftier mission than to approach the Divinity nearer
+than other men, and to disseminate the divine rays among mankind."
+
+
+     (August, 1823, to Archduke Rudolph.)
+
+
+318. "Heaven rules over the destiny of men and monsters (literally,
+human and inhuman beings), and so it will guide me, too, to the better
+things of life."
+
+
+     (September 11, 1811, to the poet Elsie von der Recke.)
+
+
+319. "It's the same with humanity; here, too (in suffering), he must
+show his strength, i.e. endure without knowing or feeling his nullity,
+and reach his perfection again for which the Most High wishes to make us
+worthy."
+
+
+     (May 13, 1816, to Countess Erdody, who was suffering from incurable
+lameness.)
+
+
+320. "Religion and thorough-bass are settled things concerning which
+there should be no disputing."
+
+
+     (Reported by Schindler.)
+
+
+331. "All things flowed clear and pure out of God. Though often darkly
+led to evil by passion, I returned, through penance and purification
+to the pure fountain,--to God,--and to your art. In this I was never
+impelled by selfishness; may it always be so. The trees bend low under
+the weight of fruit, the clouds descend when they are filled with
+salutary rains, and the benefactors of humanity are not puffed up by
+their wealth."
+
+
+     (Diary, 1815. The first portion seems to be a quotation, but Beethoven
+continues after the dash most characteristically in his own words and a
+change of person.)
+
+
+322. "God is immaterial, and for this reason transcends every
+conception. Since He is invisible He can have no form. But from what
+we observe in His work we may conclude that He is eternal, omnipotent,
+omniscient and omnipresent."
+
+
+     (Copied, with the remark: "From Indian literature" from an unidentified
+work, into the Diary of 1816.)
+
+
+323. "In praise of Thy goodness I must confess that Thou didst try with
+all Thy means to draw me to Thee. Sometimes it pleased Thee to let me
+feel the heavy hand of Thy displeasure and to humiliate my proud heart
+by manifold castigations. Sickness and misfortune didst Thou send upon
+me to turn my thoughts to my errantries.--One thing, only, O Father, do
+I ask: cease not to labor for my betterment. In whatsoever manner it be,
+let me turn to Thee and become fruitful in good works."
+
+
+     (Copied into the Diary from Sturm's book, "Observations Concerning the
+Works of God in Nature.")
+
+
+
+
+
+APPENDIX
+
+
+Some observations may finally be acceptable touching Beethoven's general
+culture to which the thoughts of the reader must naturally have been
+directed by the excerpts from his writings set forth in the preceding
+pages. His own words betray the fact that he was not privileged to enjoy
+a thorough school-training and was thus compelled to the end of his days
+to make good the deficiencies in his learning. As a lad at Bonn he had
+attended the so-called Tirocinium, a sort of preparatory school for the
+Gymnasium, and acquired a small knowledge of Latin. Later he made great
+efforts to acquire French, a language essential to intercourse in the
+upper circles of society. He never established intimate relations
+with the rules of German. He used small initials for substantives, or
+capitalized verbs and adjectives according as they appeared important
+to him. His punctuation was arbitrary; generally he drew a perpendicular
+line between his words, letting it suffice for a comma or period as
+the case might be (a proceeding which adds not a little to the
+embarrassments of him who seeks to translate his sometimes mystical
+utterances).
+
+It is said that a man's bookcase bears evidence of his education and
+intellectual interests. Beethoven also had books,--not many, but a
+characteristic collection. From his faithful friend and voluntary
+servant Schindler we have a report on this subject. Of the books
+of which he was possessed at the time of his death there have been
+preserved four volumes of translations of Shakespeare's works, Homer's
+"Odyssey" in the translation of J. H. Voss, Sturm's "Observations"
+     (several times referred to in the preceding pages), and Goethe's
+"West-ostlicher Divan." These books are frequently marked and annotated
+in lead pencil, thus bearing witness to the subjects which interested
+Beethoven. From them, and volumes which he had borrowed, many passages
+were copied by him into his daily journal. Besides these books Schindler
+mentions Homer's "Iliad," Goethe's poems, "Wilhelm Melster" and "Faust,"
+Schiller's dramas and poems, Tiedge's "Urania," volumes of poems by
+Matthisson and Seume, and Nina d'Aubigny's "Letters to Natalia on
+Singing,"--a book to which Beethoven attached great value. These books
+have disappeared, as well as others which Beethoven valued. We do
+not know what became of the volumes of Plato, Aristotle, Plutarch and
+Xenophon, or the writings of Pliny, Euripides, Quintilian, Ovid, Horace,
+Ossian, Milton and Thomson, traces of which are found in Beethoven's
+utterances.
+
+The catalogue made for the auction sale of his posthumous effects on
+September 7, 1827, included forty-four works of which the censorship
+seized five as prohibited writings, namely, Seume's "Foot Journey to
+Syracuse," the Apocrypha, Kotzebue's "On the Nobility," W.E.
+Muller's "Paris in its Zenith"      (1816), and "Views on Religion and
+Ecclesiasticism." Burney's "General History of Music" was also in his
+library, the gift, probably of an English admirer.
+
+In his later years Beethoven was obliged to use the oft-quoted
+"conversation-books" in his intercourse with friends and strangers
+alike who wrote down their questions. Of these little books Schindler
+preserved no less than 134, which are now in the Royal Library in
+Berlin. Naturally Beethoven answered the written questions orally as a
+rule. An idea of Beethoven's opinions can occasionally be gathered from
+the context of the questions, but frequently we are left in the dark.
+
+Beethoven's own characterization of his deafness as "singular" is
+significant. Often, even in his later years, he was able to hear a
+little and for a time. One might almost speak of a periodical visitation
+of the "demon." In his biography Marx gives the following description
+of the malady: "As early as 1816 it is found that he is incapable
+of conducting his own works; in 1824 he could not hear the storm
+of applause from a great audience; but in 1822 he still improvises
+marvelously in social circles; in 1826 he studies their parts in the
+Ninth Symphony and Solemn Mass with Sontag and Ungher, and in 1825 he
+listens critically to a performance of the quartet in A-minor, op. 132."
+
+It is to be assumed that in such urgent cases his willpower temporarily
+gave new tension to the gradually atrophying aural nerves (it is said
+that he was still able to hear single or a few voices with his left
+ear but could not apprehend masses), but this was not the case in less
+important moments, as the conversation-books prove. In these books a few
+answers are also written down, naturally enough in cases not intended
+for the ears of strangers. At various times Beethoven kept a diary in
+which he entered his most intimate thoughts, especially those designed
+for his own encouragement. Many of these appear in the preceding pages.
+In these instances more than in any others his expressions are obscure,
+detached and, through indifference, faulty in construction. For the
+greater part they are remarks thrown upon the paper in great haste.
+
+
+                END OF THIS EDITION
+
+
+
+
+
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