-
The Solution Of This Question, Evolved From The Works Of
Beethoven Himself, Would Lead Me To Divide This Work, Not Into
Three Styles Or Periods, - The Words "Style" And "Period" Being
Here Only Corollary Subordinate Terms, Of A Vague And Equivocal
Meaning, - But Quite Logically Into Two Categories:
The first,
that in which traditional and recognized form contains and
governs the thought of the master; and the second, that in which
the thought stretches, breaks, recreates, and fashions the form
and style according to its needs and inspirations.
Doubtless in
proceeding thus we arrive in a direct line at those incessant
problems of "authority" and "liberty." But why should they alarm
us? In the region of liberal arts they do not, happily, bring in
any of the dangers and disasters which their oscillations
occasion in the political and social world; for, in the domain of
the Beautiful, Genius alone is the authority, and hence, Dualism
disappearing, the notions of authority and liberty are brought
back to their original identity. - Manzoni, in defining genius as
"a stronger imprint of Divinity," has eloquently expressed this
very truth. -
This is indeed a long letter, my dear Lenz, and as yet I am only
at the preliminaries. Let us then pass on to the Deluge, - and
come and see me at Weymar, where we can chat as long and fully as
we like of these things in the shade of our fine park. If a
thrush chances to come and sing I shall take advantage of the
circumstance to make, en passant, some groundless quarrels with
you on some inappropriate terms which one meets with here and
there in your book, - as, for example, the employment of the word
"scale" (ut, fa, la, etc.) instead of arpeggio chord; or, again,
on your inexcusable want of gallantry which leads you maliciously
to bracket the title of "Mamselle" (!) on to such and such a
Diva, a proceeding which will draw down upon you the wrath of
these divinities and of their numerous admirers.
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