d, he finished his work. Then, driving or walking,
he made the rounds of his lessons, which generally took a part of the
afternoon also. "We take a great deal of trouble for our pupils, and it
is often hard not to lose patience," he wrote to one of his
patrons. "Because we are well recommended as pianists and
teachers of music we load ourselves down with pupils, and
are always willing to add another; if only the bills are
promptly paid it does not matter whether the new student be a
Hungarian mustachio from the engineer corps, whom Satan has tempted to
wade through thorough-bass and counterpoint, or the haughtiest little
countess who receives us in a fury, as she would Master Coquerel, the
hair-dresser, if we do not arrive on the stroke of the hour." So, when
weary with the occupations of his profession, school-work, and
rehearsals as well as private lessons, and in need of refreshment, he
gave his nerves a seeming restorative only in new excitement. His health
began to suffer, and ever-recurring fits of melancholy were certainly
fostered, if not actually induced, by his ill health; and the
premonition of his early death, which for a long time haunted him, was
finally fulfilled. The deepest melancholy and remorse were the bitter
fruits of every pleasure which he tasted; yet we know that even these
troubled streams emptied pure and clear in the deep spring from which
all joy and all woe flowed in marvelous melodies.

The effects of Mozart's illness showed most plainly when at home. The
temptation to spend his money foolishly and carelessly was very great.
It was due, as a matter of course, to one of his most lovely traits. If
any one in need came to him to borrow money or to ask his name as
security, he consented at once with smiling generosity and without
making arrangements to insure the return of the loan. The means which
such generosity, added to the needs of his household, required, were out
of all proportion to his actual income. The sums which he received from
theatres and concerts, from publishers and pupils, together with the
Emperor's pension, were the smaller because the public taste was far
from declaring itself in favor of Mozart's compositions. The very
beauty, depth, and fulness of his music were, in general, opposed to the
easily understood compositions then in favor. To be sure,
the Viennese public could not get enough of _Die Entfuehrung
aus dem Serail_, thanks to its popular element. But, on the
other