The German Classics of the Nineteenth and Twentieth Centuries, Volume 06

If you wish, dear Emilie, to write to me, only address straight here where I shall remain for the next four weeks, or to Vienna; it is all one. Look upon me as your friend, and as the friend of your family.

LUDWIG V. BEETHOVEN.

NO. 300

TO BETTINA VON ARNIM

Teplitz, August 15, 1812.

Dearest, good Bettina!

Kings and princes can certainly create professors, privy councilors, and titles, and hang on ribbons of various orders, but they cannot create great men, master-minds which tower above the rabble; this is beyond them. Such men must therefore be held in respect. When two such as I and Goethe meet, these grand gentlemen are forced to note what greatness, in such as we are, means. Yesterday on the way home we met the whole Imperial family. We saw them from afar approaching, and Goethe slipped away from me and stood to one side. Say what I would, I could not induce him to advance another step, so I pushed my hat on my head, buttoned up my overcoat, and went, arms folded, into the thickest of the crowd. Princes and sycophants drew up in a line; Duke Rudolph took off my hat, after the Empress had first greeted me. Persons of rank know me. To my great amusement I saw the procession defile past Goethe. Hat in hand, he stood at the side, deeply bowing. Then I mercilessly reprimanded him, cast his sins in his teeth, especially those of which he was guilty toward you, dearest Bettina, of whom we had just been speaking. Good heavens! Had I been in your company, as he has, I should have produced works of greater, far greater, importance. A musician is also a poet, and the magic of a pair of eyes can suddenly cause him to feel transported into a more beautiful world, where great spirits make sport of him and set him mighty tasks. I cannot tell what ideas came into my head when I made your acquaintance. In the little observatory during the splendid May rain—that was a fertile moment for me; the most beautiful themes then glided from your eyes into my heart, which one day will enchant the world when Beethoven has ceased to conduct. If God grant me yet a few years, then I must see you again, dear, dear Bettina; so calls the voice within me which never errs. Even minds can love each other. I shall always court yours; your approval is dearer to me than anything in the whole world. I gave my opinion to Goethe, that approval affects such men as ourselves and that we wish to be listened to with the intellect by those who are our equals. Emotion is only for women (excuse this); the flame of music must burst forth from the mind of a man. Ah! my dearest child, we have now for a long time been in perfect agreement about everything! The only good thing is a beautiful, good soul, which is recognized in everything, and in presence of which there need be no concealment. One must be somebody if one wishes to appear so. The world is bound to recognize one; it is not always unjust. To me, however, that is a matter of no importance, for I have a higher aim. I hope when I get back to Vienna to receive a letter from you. Write soon, soon, and a very long one; in 8 days from now I shall be there; the court goes tomorrow; there will be no more performance today. The Empress rehearsed her part with him. His duke and he both wished to play some of my music, but to both I made refusal. They are mad on Chinese porcelain, hence there is need for indulgence; for the intellect has lost the whip-hand. I will not play to these silly folk, who never get over that mania, nor will I write at public cost any stupid stuff for princes. Adieu, adieu, dearest; your last letter lay on my heart for a whole night, and comforted me. Everything is allowed to musicians. Great heavens, how I love you!

Your sincerest friend and deaf brother,BEETHOVEN.

NO. 615

TO HERR VON GOETHE

Vienna, April 12, 1811.

Your Excellency:

The pressing business of a friend of mine, one of your great admirers (as I also am), who is leaving here in a great hurry, gives me only a moment to offer my thanks for the long time I have known you (for I know you from the days of my childhood)—that is very little for so much. Bettina Brentano has assured me that you would receive me in a kindly—yes, indeed friendly, spirit. But how could I think of such a reception, seeing that I am only in a position to approach you with the deepest reverence, with an inexpressibly deep feeling for your noble creations? You will shortly receive from Leipzig, through Breitkopf and Haertel, the music to Egmont, this glorious Egmont, with which I, with the same warmth with which I read it, was again through you impressed by it and set it to music. I should much like to know your opinion of it; even blame will be profitable for me and for my art, and will be as willingly received as the greatest praise.

Your Excellency's great admirer,LUDWIG VON BEETHOVEN.

NO. 1017

TO B. SCHOTT & SON, MAINZ

(Summer, 1824).

Dear Sirs:

I only tell you that next week the works will certainly be sent off. You will easily understand, if you only imagine to yourself, that with uncertain copying I have to look through each part separately—for this branch has already decreased here in proportion as tuning has been taken up. Everywhere poverty of spirit—and of purse! Your Cecilia I have not yet received.

The Overture which you had from my brother was performed here a few days ago, and I received high praise for it, etc.—but what is all that in comparison with the great Tone-Master above—above—above—and with right the greatest of all, while here below everything is a mockery—we the little dwarfs are the highest!!!?? You will receive the quartet at the same time as the other works. You are so open and frank—qualities which I have never yet noticed in publishers—and this pleases me. Let us shake hands over it; who knows whether I shall not do that in person and soon! I should be glad if you would now at once forward the honorarium for the quartet to Friess, for I just now want a great deal of money; everything must come to me from abroad, and here and there a delay arises—through my own fault. My brother adds what is necessary about the works offered to, and accepted by, you. I greet you heartily. Junker, as I see from your newspaper, is still living; he was one of the first who noticed me, an innocent and nothing more. Greet him.

In greatest haste, and yet not of shortest standing,

Yours,BEETHOVEN.

NO. 1117

TO HIS NEPHEW CARL

Baden, October 5, 1825.

For God's sake, do come home again today! Who knows what danger might be threatening you! Hasten, hasten! My Dear Son!

Only nothing further—only come to my arms; you shall hear no harsh word. For Heaven's sake, do not rush to destruction! You will be received as ever with affection. As to considering what is to be done in future, we will talk this over in a friendly way—no reproaches, on my word of honor, for it would be of no use. You need expect from me only the most loving help and care.

Only come—come to the faithful heart of your father,BEETHOVEN.

Come at once on receipt of this.

Si vous ne viendrez pas vous me tuerez surement.

VOLTI SUB.

NO. 1129

TO THE COPYIST RAMPEL

(1825)

Best Rampel, come tomorrow morning, but go to hell with your calling me gracious. God alone can be called gracious. The servant I have already engaged—only impress on her to be honest and attached to me, as well as orderly and punctual in her small services.

Your devoted BEETHOVEN.* * * * *

1

Translator: Sir Theodore Martin. Permission William Blackwood & Sons, London.

2

Translator: Sir Theodore Martin. Permission William Blackwood & Sons, London.

3

Translator: Charles Wharton Stork.

4

Translator: T. Brooksbank. Permission William Heinemann, London.

5

Translator: Sir Theodore Martin. Permission William Blackwood & Sons, London.

6

Translator: J.E. Wallis. Permission The Walter Scott Publishing Co., Ltd., London.

7

Translator: Richard Garnett. Permission The Walter Scott Publishing Co., Ltd., London.

8

Translator: Alma Strettell. Permission The Walter Scott Publishing Co., Ltd., London.

9

Translator: Alma Strettell. Permission The Walter Scott Publishing Co., Ltd., London.

10

Translator: Franklin Johnson. Permission The Walter Scott Publishing Co., Ltd., London.

11

Translator: J.E. Wallis. Permission The Walter Scott Publishing Co., Ltd., London.

12

Translator: T. Brooksbank. Permission William Heinemann, London.

13

Translator: Charles G. Leland. Permission The Walter Scott Publishing Co., Ltd., London.

14

Translator: Charles Wharton Stork.

15

Translator: Charles Wharton Stork.

16

Translator: Sir Theodore Martin. Permission William Blackwood & Sons, London.

17

Translator: Sir Theodore Martin. Permission William Blackwood & Sons, London.

18

Translator: J.E. Wallis. Permission The Walter Scott Publishing Co., Ltd., London.

19

Translator: Charles Wharton Stork.

20

Translator: Sir Theodore Martin. Permission William Blackwood & Sons, London.

21

Translator: Sir Theodore Martin. Permission William Blackwood & Sons, London.

22

Translator: T. Brooksbank. Permission William Heinemann, London.

23

Translator: Edgar Alfred Bowring. Permission The Walter Scott Publishing Co., Ltd., London.

24

Translator: Alma Strettell. Permission The Walter Scott Publishing Co., Ltd., London.

25

Translator: W.H. Furness. Permission The Walter Scott Publishing Co., Ltd., London.

26

Translator: John Todhunter. Permission The Walter Scott Publishing Co., Ltd., London.

27

Translator: Sir Theodore Martin. Permission The Walter Scott Publishing Co., Ltd., London.

28

Translator: Sir Theodore Martin. Permission William Blackwood & Sons, London.

29

Translator: Kate Freiligrath-Kroeker. Permission The Walter Scott Publishing Co., Ltd., London.

30

Translator: James Thomson. Permission The Walter Scott Publishing Co., Ltd., London.

31

Translator: Elizabeth Barrett Browning. Permission The Walter Scott Publishing Co., Ltd., London.

32

Translator: Kate Freiligrath-Kroeker. Permission The Walter Scott Publishing Co., Ltd., London.

33

Translator: "Stratheir." Permission The Walter Scott Publishing Co., Ltd., London.

34

Translator: Sir Theodore Martin. Permission William Blackwood & Sons, London.

35

Translator: James Thomson. Permission The Walter Scott Publishing Co., Ltd., London.

36

Translator: Kate Freiligrath-Kroeker. Permission The Walter Scott Publishing Co., Ltd., London.

37

Translator: Kate Freiligrath-Kroeker. Permission The Walter Scott Publishing Co., Ltd., London.

38

Translator: Kate Freiligrath-Kroeker. Permission The Walter Scott Publishing Co., Ltd., London.

39

Translator: Kate Freiligrath-Kroeker. Permission The Walter Scott Publishing Co., Ltd., London.

40

Translator: Kate Freiligrath-Kroeker. Permission The Walter Scott Publishing Co., Ltd., London.

41

Translator: Charles Wharton Stork.

42

Translator: Margaret Armour. Permission William Heinemann, London.

43

Translator: Sir Theodore Martin. Permission William Blackwood & Sons, London.

44

Translator: Margaret Armour. Permission William Heinemann, London.

45

Translator: Lord Houghton. Permission The Walter Scott Publishing Co., Ltd., London.

46

Translator: Margaret Armour. Permission William Heinemann, London.

47

Translator: Margaret Armour. Permission William Heinemann, London.

48

Translator: Charles Wharton Stork.

49

Translator: T. Brooksbank. Permission William Heinemann, London.

50

Names of Student's Corps.

51

Name of the University of Göttingen.

52

Name of an Austrian periodical.

53

Translator: Charles Wharton Stork.

54

According to that dignified and erudite work, the Burschikoses Woerterbuch, or Student-Slang Dictionary, "to bind a bear" signifies to contract a debt. The definition of a "sable," as given in the dictionary above cited is, "A young lady anxious to please."

55

From Ideen: Das Buch Le Grand (Chaps. VI-IX). Permission E.P. Dutton & Co., New York, and William Heinemann, London.

56

From Pictures of Travel, permission W. Heinemann, London.

57

From French. Affairs; permission of William Heinemann, London.

58

Translator: T. Brooksbank. Permission William Heinemann, London.

59

Translator: T. Brooksbank. Permission William Heinemann, London.

60

This prototype of "The House that Jack Built" is presumed to be a hymn in Seder Hagadah, fol. 23. The historical interpretation, says Mrs. Valentine, who has reproduced it in her Nursery Rhymes, was first given by P.N. Leberecht at Leipzig in 1731, and is printed in the Christian Reformer, vol. xvii, p. 28. The original is in Chaldee. It is throughout an allegory. The kid, one of the pure animals, denotes Israel. The Father by whom it was purchased is Jehovah; the two pieces of money signify Moses and Aaron. The cat means the Assyrians, the dog the Babylonians, the staff the Persians, the fire the Grecian Empire under Alexander the Great. The water betokens the Roman or the fourth of the great monarchies to whose dominion the Jews were subjected. The ox is a symbol of the Saracens, who subdued Palestine; the butcher that killed the ox denotes the crusaders by whom the Holy Land was taken from the Saracens; the Angel of Death the Turkish power to which Palestine is still subject. The tenth stanza is designed to show that God will take signal vengeance on the Turks, and restore the Jews to their own land.

61

There is a concluding verse which Heine has omitted. "Then came the Holy One of Israel—blessed be he—and slew the Angel of Death, who," etc.—TRAN.

62

A suburb of Vienna.

63

In Lower Austria, on the railroad from Vienna to Eger.

64

From Grillparzer's Autobiography (1855).

65

: A decoration.

66

A Critical Edition by Dr. A.C. Kalischer. Permission J.M. Dent & Co., London, and E.P. Dutton & Co., New York.