XXXIV
BEETHOVEN
Romain Rolland's "Beethoven," one of the cornerstones of his celebrity as a critic, is based upon a thesis that is of almost inconceivable inaccuracy, to wit, the thesis that old Ludwig was an apostle of joy, and that his music reveals his determination to experience and utter it in spite of all the slings and arrows of outrageous fortune. Nothing could be more absurd. Joy, in truth, was precisely the emotion that Beethoven could never conjure up; it simply was not in him. Turn to the scherzo of any of his trios, quartets, sonatas or symphonies. A sardonic waggishness is there, and sometimes even a wistful sort of merriment, but joy in the real sense—a kicking up of legs, a light-heartedness, a complete freedom from care—is not to be found. It is in Haydn, it is in Schubert and it is often in Mozart, but it is no more in Beethoven than it is in Tschaikovsky. Even the hymn to joy at the end of the Ninth symphony narrowly escapes being a gruesome parody on the thing itself; a conscious effort is in every note of it; it is almost as lacking in spontaneity as (if it were imaginable at all) a piece of vers libre by Augustus Montague Toplady.
Nay; Ludwig was no leaping buck. Nor was it his deafness, nor poverty, nor the crimes of his rascally nephew that pumped joy out of him. The truth is that he lacked it from birth; he
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