This doctrine seems to express the plan of life of many of those who have given to the world its most imperishable art and ideas; and to none does it apply better than to Beethoven.
His was a rugged, impetuous, and in some respects, careless nature; wrapped up in his inner life, he paid little attention to externals, and was careless of the opinions of others. As his deafness increased, he became more peculiar and less observant of the rights of others. He could hardly hear his piano, and yet would thump and bang it in vain attempts. As he composed he would pace his room, shouting out his melodies in an unmusical voice.
Then, to cap the climax, he would dash a pitcher of water over his hands to cool his feverish pulse. The results were that the landlord would complain of damaged ceiling and flooded rooms, and the other tenants would declare that they would not stay in the house with such a noisy fellow. So off he would go to some other place, and would frequently be paying rent on several places at once.
Then, tired of moving about he would undertake to keep up his own establishment, or would take possession of apartments in the home of some patron that he had perhaps deserted in a moment of anger. One of his admirers kept certain rooms always ready, saying to his servants, "Let them be ready, Beethoven is sure to come back again," and after some more experiences with inexorable landladies, back he would come without notice or warning. Had it been a man of lesser genius, these whims and eccentricities would have been given no quarter. But the peculiarities of genius are forgiven.
141.—HÄNDEL'S YOUTH.
Händel's father determined that his boy should devote himself to the law; but the future composer evinced a propensity for music that nothing could restrain. He
