But the
majority naturally subsided into their customary vocations -
beer-drinking, pipe-smoking, music, dancing, and play-going.
The Vienna of 1848 was the Vienna described by Madame de
Stael in 1810: 'Dans ce pays, l'on traite les plaisirs comme
les devoirs. . . . Vous verrez des hommes et des femmes
executer gravement, l'un vis-a-vis de l'autre, les pas d'un
menuet dont ils sont impose l'amusement, . . . comme s'il
[the couple] dansait pour l'acquit de sa conscience.'
Every theatre and place of amusement was soon re-opened.
There was an excellent opera; Strauss - the original -
presided over weekly balls and concerts. For my part, being
extremely fond of music, I worked industriously at the
violin, also at German. My German master, Herr Mauthner by
name, was a little hump-backed Jew, who seemed to know every
man and woman (especially woman) worth knowing in Vienna.
Through him I made the acquaintance of several families of
the middle class, - amongst them that of a veteran musician
who had been Beethoven's favourite flute-player. As my
veneration for Beethoven was unbounded, I listened with awe
to every trifling incident relating to the great master. I
fear the conviction left on my mind was that my idol, though
transcendent amongst musicians, was a bear amongst men.
