e Schopenhauerische Philosophie, eine Eroika
gemacht zu haben.
--Friederich Nietzshe.

The immediate fruit of this mental travail was a sudden growth or
expansion of his creative powers. This is apparent in his work, marking
the beginning of the second period. His compositions now suggest
thought. There is a fecundating power in them which generates thought,
and it is in the moral nature that this force is most apparent. His work
now begins to be a vital part of himself, the spiritual essence,
communicating to his followers somewhat of his own strength and force of
character. Once having entered on the new path, he reached, in the Third
Symphony, the pinnacle of greatness almost at a bound. He was now, at
thirty-four, at the height of his colossal powers. His titanic genius in
its swift development showed an ability almost preternatural. One
immortal work of genius succeeded another with marvelous rapidity.

The Third Symphony calls for more than passing notice. Beethoven's
altruism is well known. The brotherhood of man was a favorite theme with
him. By the aid of his mighty intellect and his intuitional powers, he
saw more clearly than others the world's great need. The inequalities in
social conditions were more clearly marked in those times than now. The
French Revolution had set people thinking. Liberty and equality was what
they were demanding. Beethoven personally had nothing to gain and
everything to risk by siding with the people. All his personal friends
were of the aristocracy. It was this class which fostered the arts,
music in particular. From the time that Beethoven came to Vienna as a
young man, up to the end of his life, he enjoyed one or more pensions
given him by members of the upper classes. But his sympathies were with
the people. By honoring Napoleon with the dedication of the Third
Symphony, he would have antagonized the Imperial family, and perhaps
many of the aristocracy, but this phase of the question may not have
occurred to him, and if it had, it would not have deterred him.

Beethoven's attitude toward Napoleon could have had no other
construction placed upon it than that of strong partisanship, since
there was no artistic bond to unite them. The arch-enemy of Imperialism,
as he was considered at this time, the mightiest efforts of the young
Corsican had hitherto been directed specially against Austria. Beethoven
did not approve of war