rity
as a critic, is based upon a thesis that is of almost inconceivable
inaccuracy, to wit, the thesis that old Ludwig was an apostle of joy,
and that his music reveals his determination to experience and utter it
in spite of all the slings and arrows of outrageous fortune. Nothing
could be more absurd. Joy, in truth, was precisely the emotion that
Beethoven could never conjure up; it simply was not in him. Turn to the
_scherzo_ of any of his trios, quartets, sonatas or symphonies. A
sardonic waggishness is there, and sometimes even a wistful sort of
merriment, but joy in the real sense--a kicking up of legs, a
light-heartedness, a complete freedom from care--is not to be found. It
is in Haydn, it is in Schubert and it is often in Mozart, but it is no
more in Beethoven than it is in Tschaikovsky. Even the hymn to joy at
the end of the Ninth symphony narrowly escapes being a gruesome parody
on the thing itself; a conscious effort is in every note of it; it is
almost as lacking in spontaneity as (if it were imaginable at all) a
piece of _vers libre_ by Augustus Montague Toplady.

Nay; Ludwig was no leaping buck. Nor was it his deafness, nor poverty,
nor the crimes of his rascally nephew that pumped joy out of him. The
truth is that he lacked it from birth; he was born a Puritan--and
though a Puritan may also become a great man (as witness Herbert Spencer
and Beelzebub), he can never throw off being a Puritan. Beethoven
stemmed from the Low Countries, and the Low Countries, in those days,
were full of Puritan refugees; the very name, in its first incarnation,
may have been Barebones. If you want to comprehend the authentic man,
don't linger over Rolland's fancies but go to his own philosophizings,
as garnered in "Beethoven, the Man and the Artist," by Friedrich Kerst,
Englished by Krehbiel. Here you will find a collection of moral
banalities that would have delighted Jonathan Edwards--a collection that
might well be emblazoned on gilt cards and hung in Sunday schools. He
begins with a naif anthropomorphism that is now almost perished from the
world; he ends with a solemn repudiation of adultery.... But a great
man, my masters, a great man! We have enough biographies of him, and
talmuds upon his works. Who will do a full-length psychological study of
him?

XXXV

THE TONE ART

The notion that the aim of art is to fix the shifting aspects of nature,
that all art is primarily representative--this notion is as uns