Now say, how such a being would look out upon the world from so close-barred a dwelling I-Assuredly the inner promptings (Willensaffekte) of such a man could never, or but impalpably, affect his conception of the outer world; they were at once too ardent and too delicate, to cleave to any of the semblances his eye but grazed in timid haste, and finally with that suspicion of the ever-unappeased. Here nothing drew him with those fleeting fetters of illusion which still could tempt Mozart to sally from his inner world in quest of outer enjoyment. A childlike pleasure in the distractions of a lively capital could scarce so much as appeal to Beethoven, for the promptings of his will were far too strong to find the smallest satisfaction in such superficial pastimes. Whilst this encouraged his bent towards solitude, the latter coincided with his destiny to independence. A marvellously certain instinct led him here, and became the mainspring of each utterance of his character. No reasoning could have directed him more plainly, than this peremptory dictate of his instinct. What induced Spinoza to support himself by glass-cutting; what filled our Schopenhauer with that care to keep his little heritage intact - determining his whole outer life, and accounting for otherwise inexplicable traits in his character-namely the recognition that the sincerity of philosophic research is always seriously imperilled by a dependence on the necessity of earning money by scientific labours: that selfsame thing determined Beethoven in his defiance of the world, his love of solitude, the wellnigh boorish tastes displayed in his choice of a mode of living.
Beethoven too, to be sure, had to earn his living by his musical labours. But, as smiling comfort had no charms for him, he had the less need either to engage in rapid, superficial work, or to make concessions to a taste that naught but sweets could capture. The more he thus lost touch with the outer world, the clearer-sighted did he turn his gaze upon his world within. And the more familiar he becomes with the administration of his inner riches, the more consciously does he propound his outward requirements, actually requesting his patrons no longer to pay him for his works, but to ensure his being able to work entirely for himself without one thought for all the world. And so it happened, for the first time in the life of any musician, that a few benevolent persons of high station pledged themselves to maintain Beethoven in the desired state of independence. Arrived at a similar crisis in his life, Mozart, too soon worn out, had gone to ground. This great boon conferred on Beethoven, albeit not continued without break and undiminished, yet formed the base of that peculiar harmony which shewed itself henceforward in the master's still so strangely-fashioned life. He felt himself victor, and knew that he belonged to the world but as a freeman. As for it, it must take him as it found him. To his high-born patrons he behaved as a despot, and nothing could be got from him save what and when he pleased.
But never and in nothing had he pleasure, save in what henceforth engrossed him: the play of the magician with the figures of his inner world. For the outer now had faded out completely, not because its sight was reft from him by blindness, but since deafness held it finally far off his ear. The ear had been the only organ through which the outer world could still disturb him: to his eye it was long since dead. What saw the spellbound dreamer when he wandered through Vienna's bustling streets, with open eyes fixed hard on distance, and animated solely by the waking of his inner tone-world ?-The advent and exacerbation of his aural malady distressed him terribly, and moved him to deep melancholy: about his total deafness, and especially the loss of all ability to listen to performances of music, we hear no serious complaint from him; merely the intercourse of life was rendered difficult, an intercourse that in itself had never any charm for him, and which he now avoided more and more emphatically.
A musician sans ears!-Can one conceive an eyeless painter?
But the blinded Seer we know. Tiresias to whom the world of Appearance has closed itself, and whose inner eye beholds instead the ground of all appearances: his fellow is the deaf musician who now, untroubled by life's uproar, but listens to his inner harmonies, now from his depths but speaks to that world-for it has nothing more to tell him. So is genius freed from all outside it, at home forever with and in itself. Whoso could then have seen Beethoven with the vision of Tiresias, what a wonder must have opened to him: a world walking among men,-the In-itself of the world as a living, moving man!-
And now the musician's eye grew bright within. Now did he gaze upon Appearance, and, illumined by his inner light, it cast a wondrous reflex back upon his inner soul. Now speaks but the essence of things to him, and shews them in the tranquil light of Beauty. Now does he understand the woods, the brook, the fields, the clear blue sky, the merry throng, the loving pair, the song of birds, the flocking clouds, the raging of the storm, the happiness of rhythmic rest. And all his seeing and his fashioning is steeped in that marvellous serenity (Heiterkeit) which Music first acquired through him. Even the cry, so immanent in every sound of Nature, is lulled to smiling: the world regains its childhood's innocence. (18)
"To-day shalt thou be with me in Paradise"-who has not heard these words of the Redeemer, when listening to the "Pastoral Symphony"?
Now thrives apace that power of shaping the unfathomable, the never-seen, the ne'er experienced, which yet becomes a most immediate experience, of most transparent comprehensibility. The joy of wielding this new power turns next to humour: all grief of Being breaks before this vast enjoyment of the play therewith; the world-creator Brahma is laughing at himself, (19) as he sees how hugely he had duped himself; guiltlessness re-won disports it with the sting of guilt atoned; freed conscience banters with its torment overpassed.
Never has any art in the world created aught so radiant (etwas so Heiteres) as these Symphonies in A and F, with all their so closely allied tone-works from this godlike period of the master's total deafness. The effect upon the hearer is precisely that deliverance from all earthly guilt, as the after-effect is the feeling of a forfeited paradise wherewith we return to the world of semblances. Thus do these glorious works preach penitence and a contrite heart with all the depth of a divine revelation.
Here the only aesthetic term to use, is the Sublime: for here the operation of the Radiant at once transcends all pleasure in the Beautiful, and leaves it far behind. Each challenge of self-vaunting Reason is hushed forthwith by the Magic mastering our whole nature; knowledge pleads confession of its error, (20) and the transport of that avowal bids our deepest soul to shout for joy, however earnestly the spellbound features of the listener betray his marvel at the impotence of all our seeing and our thinking to plumb this truest of all worlds.-
What of the human being of this world-rapt genius could there be left for observation of the world? What could the eye of earthly man behold in him when now it faced him? Nothing, surely, but the misunderstandable, just as he himself had no communion with our world save that of misunderstanding: our world as to which the naïve greatness of his heart set him in constant contradiction with himself, only to be harmonised again upon the loftiest footing of his art. Whenever his reason tried to comprehend the world, his mind was set at rest by the teachings of Optimism, such as the maudlin (schwärmerisch) Humanistic tenets of last century had raised into a commonplace of the bourgeoisely religious world. Each mental doubt his own experiences of Life advanced against the correctness of this doctrine, he combated with hard-and-fast religious maxims. His Inmost told him: Love is god; and so he wrote down: God is love. In the works of our poets, only what laid emphatic stress upon this dogma could meet with his approval; though "Faust" had a powerful and lasting fascination for him, his special reverence was paid to Klopstock and many a shallower preacher of Humanity. His moral principles were of the strictest bourgeois stripe; a frivolous tone would make him foam. Certainly he thus offered to the most observant company no single sign of breadth of intellect, and, for all Bettina's gushings over Beethoven, Goethe may well have had a heart-ache in his conversations with him. But just as, caring naught for luxury, he frugally kept watch on his finances, nay, often wit
h a miser's parsimony, so in his rigorously religious morals is expressed that surest instinct in power whereof he guarded his noblest of possessions, the freedom of his genius, against the subjugating influence of the world around him.
He lived in Vienna, knew no place but Vienna: that says enough.
The Austrian, brought up in the school of the Roman Jesuits after the uprooting of every vestige of German Protestantism, had even lost the proper accent for his speech; like the classic names of the antique world, it was taught him now in nothing but an un-German latinisation. German spirit, German character and customs, were explained to him from class-books of Spanish and Italian origin; on the soil of a falsified history, a falsified science, a falsified religion, a populace by nature prone to mirth and gaiety had been nursed into a scepticism which-as every fibre of the true, the free, the sterling, was to be plucked out with all despatch-could only take the form of rank frivolity.
'Twas the same spirit that had imposed on the only art still practised in Austria, on Music, that development and truly humbling tendence which we have already passed in review. We have seen how Beethoven warded off this tendence by the strength of his own nature, and now we see an equal force at work in him to vehemently ward off a frivolous tendency of life and mind. A catholic baptised and bred, the whole spirit of German protestantism breathed in this bent of his. And as artist, again, it led him to the path whereon he was to meet the only comrade in his art to whom he could pay obeisance, the only musician he could take to his heart as revealer of the deepest secret of his nature. If Haydn passed as teacher of the youth, for the mightily unfolding art-life of the man our great Sebastian Back became his leader.
Bach's wonder-work became his bible; in it he read, and clean forgot that world of clangour, heard no longer. There stood inscribed the answer to the riddle of his deepest dream, that answer the poor Leipzig Cantor erst had penned as everlasting symbol of the new, the other world. The same mysteriously inwoven lines and wondrous scrolls wherein the secret of the world of light and all its shapes had dawned upon great Albrecht Dürer, the spell-book of the necromantist who bids the macrocosmic light to shine upon the microcosm. What none save the eye of the German spirit could look on, none but its ear perceive; what drove that spirit's inmost conscience to irresistibly protest against all bonds imposed upon it from without: that Beethoven deciphered in his holiest of books, and- himself became a holy one.-
But how could this "holy one" (gerade dieser Heilige) conform his life to his hallowedness? For it was given him indeed "to speak the deepest wisdom," but "in a tongue his reason did not understand." Must not his commune with the world resemble nothing but that state of the awakened out of deepest sleep, the toilsome effort to recall the blissful vision of his inner soul? A similar state may be imagined in the case of the religious saint when, driven by the most inevitable life-need, he turns to some measure of rapprochement with the practices of common life: saving that in that Want itself this saint distinctly recognises the penance for a mortal's life of sin, and in his patient bearing of it he makes his very burden the inspired means of his redemption; whereas that hallowed seer simply grasps the penance' meaning as a torture, and drags his portion of all Being's guilt as nothing but a sufferer. (21) And so the optimist's error avenges itself by heightening both that suffering and his resentment. Each sign of callousness that meets him, every trace of rigour or self-seeking that he ever and again observes, revolts him as an incomprehensible perversion of that original Goodness of man to which he cleaves with a religious faith. Thus he is perpetually hurled from the paradise of his inner harmony to the hell of an existence filled with fearful discords, and only as artist can he finally resolve them into harmony.
If we would set before ourselves the picture of a day from our "holy one's" life, we scarce could gain a better than from one of those marvellous tone-pieces themselves; though, not to deceive ourselves, we must follow the course we adopted when referring the genesis of Music as an art to the phenomenon of the Dream, that is to say, employ ing it as a mere analogy, and not identifying one thing with the other. In illustration of such a veritable day from Beethoven's inmost life I will choose the great C-sharp minor Quartet (22): and what we scarce could do while listening to it, as we then are forced to leave behind all cut-and-dry comparisons and give ourselves entirely to the direct revelation from another world, we may find attainable in a measure when conjuring up this tone-poem in our memory. Even thus, however, I must leave the reader's phantasy to supply the living details of the picture, and therefore simply offer the assistance of a skeleton outline.
The lengthy opening Adagio, surely the saddest thing ever said in notes, I would term the awaking on the dawn of a day "that in its whole long course shall ne'er fulfil one wish, not one wish!" (23) Yet it is alike a penitential prayer, a communing with God in firm belief of the Eternal Goodness.-The inward eye then traces the consoling vision (Allegro 6/8), perceptible by it alone, in which that longing becomes a sweet but plaintive playing with itself: the image of the inmost dream takes waking form as a loveliest remembrance. And now (with the short transitional Allegro moderato) 'tis as if the master, grown conscious of his art, were settling to work at his magic; its re-summoned force he practises (Andante 2/4) on the raising of one graceful figure, the blessed witness of inherent innocence, to find a ceaseless rapture in that figure's never-ending, never-heard-of transformation by the prismatic changes of the everlasting light he casts thereon.-Then we seem to see him, profoundly gladdened by himself, direct his radiant glances to the outer world (Presto 2/2): once more it stands before him as in the Pastoral Symphony, all shining with his inner joy; 'tis as though he heard the native accents of the appearances that move before him in a rhythmic dance, now blithe now blunt (derb). He looks on Life, and seems to ponder (short Adagio 3/4) how to set about the tune for Life itself to dance to: a brief but gloomy brooding, as if the master were plunged in his soul's profoundest dream. One glance has shewn him the inner essence of the world again: he wakes, and strikes the strings into a dance the like whereof the world had never heard (Allegro finale). 'Tis the dance of the whole world itself: wild joy, the wail of pain, love's transport, utmost bliss, grief, frenzy, riot, suffering; the lightning flickers, thunders growl: and above it the stupendous fiddler who bans and bends it all, who leads it haughtily from whirlwind into whirlpool, to the brink of the abyss (24) ;-he smiles at himself, for to him this sorcery was the merest play.-And night beckons him. His day is done.-
It is impossible to keep Beethoven the man before us for an instant, without at once re-calling Beethoven the wonderful musician to explain him.
We have seen how the instinctive tendence of his life ran parallel with the tendence to emancipate his art; as he himself could be no lackey in the pay of Luxury, so should his music, too, be freed from every token of subjection to a frivolous taste. And of how his optimistic creed went hand-in-hand with an instinctive tendence to enlarge the province of his art we have evidence, of the sublimest naïvety, in his Ninth Symphony with Choruses; into whose genesis we now must look, to make clear the marvellous connexion of these two root-tendencies in the nature of our " saint."-
The same bent that led Beethoven's reasoning faculty to frame for itself the good human being, guided him in the construction of this "good man's" melody. Melody having lost its innocence at the hand of our art-musicians, he wished to restore to it this purest innocence. One has only to recall the Italian Opera-melody of last century, to recognise in that singular scarecrow the abject servant of the Mode and its ends: through Fashion and its uses Music had been brought so low that wanton taste demanded of it only something new, and new again, because the melody of yesterday was past all listening-to to-day. But Melody was also the sheet-anchor of our Instrumental-music, whose employment for the ends of a by no means noble social life we have already mooted above.
Here Haydn had soon laid hands on the blunt but cheery folk-dance, whose strains he often quite recognisably borrowed
from the dances of Hungarian peasants in his immediate neighbourhood; but he thus remained in a lower sphere with a strong impress of narrow provincialism. From what sphere, then, was this Nature-melody to be derived, to bear a nobler, an eternal character? For even that peasant-dance-tune of Haydn's had its chief attraction as a piquant curiosity, in nowise as a purely-human type of art for every age. Yet it was impossible to find that type in the higher spheres of our society, for that was just where reigned the patched and powdered melody of the opera-singer and ballet-dancer, a nest of every vice. So Beethoven went Haydn's way; only, he no longer served up the folk-dance tune at a prince's banquet, but, in an ideal sense, he played it for the Folk itself to dance to. Now it is a Scotch, now a Russian, now an old-French folk-tune, in which he recognised the dreamt nobility, of innocence, and at whose feet he laid his whole art in homage. But one Hungarian peasant-dance (in the final movement of his Symphony in A) he played for the whole of Nature, so played that who could see her dancing to it in orbital gyrations must deem he saw a planet brought to birth before his very eyes.
But his aim was to find the archetype of innocence, the ideal "good man" of his belief, (25) to wed him with his "God is love." One might almost think the master had already seized the clue in his "Sinfonia eroica": the unusually simple theme of its last movement, a theme he worked again elsewhere, seems meant as a scaffold for this purpose; but the wealth of exquisite melos he built upon it still pertains too much to the sentimental Mozartian cantabile, so characteristically developed and expanded by himself, to rank as attainment of the aforesaid aim.- The clue is plainer in the jubilant closing section of the C - minor Symphony, where the naïvety of the simple march-tune, moving almost exclusively on tonic and dominant in the nature - scale of horns and trumpets, appeals to us the more as the whole symphony now seems to have been nothing but a straining of our attention for it; like the bank of clouds, now torn by storm, now stirred by gentlest breezes, from whence the sun at last breaks forth in splendour.
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