myself to rise above all these misfortunes. But how is this going to be possible?[1]. . . ." And to Wegeler: ". . . . I lead a miserable life indeed. For the last two years I have completely avoided all society, for I cannot talk with my fellow-men. I am deaf. Had my profession been any other, things might still be bearable; but as it is, my situation is terrible. What will my enemies say? And they are not few! . . . . At the theatre I always have to be quite near the orchestra in order to understand the actor. I cannot hear the high notes of the instruments or the voices, if I am but a little distance off. . . . . When anyone speaks quietly I only hear with difficulty, . . . . On the other hand, I find it unbearable when people shout to me. . . . . Often I have cursed my very existence. Plutarch has guided me to a spirit of resignation. If it be possible at all, I will courageously bear with my fate; but there are moments in my life when I feel the most miserable of all God's creatures. . . . Resignation! What a sorry refuge! And yet it is the only one left to me!"
This tragic sadness is expressed in some of the works of this period, in the Sonate pathétique Op. 13 (1799), and especially in the Largo of the Piano Sonata in D, Opus ro, No. 3 (1798). It is a
- ↑ I have translated these extracts from M. Rolland's text. Мг. Shedlock's translation from the original German may be seen on pages 65 et seq.—B.C.H.
