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 10, No. 3 (1798). It is a marvel that we do not find it in all the works; the radiant Septet (1800), the limpid First Symphony (C Major, 1800), both breathe a spirit of youthful gaiety. There is no doubt that he is determined to accustom his soul to grief. The spirit of man has such a strong desire for happiness that when it has it not, it is forced to create it. When the present has become too painful, the soul lives on the past. Happy days are not effaced at one stroke. Their radiance persists long after they have gone. Alone and unhappy in Vienna, Beethoven took refuge in the remembrances of his native land; his thoughts were always of Bonn. The theme of the _Andante_ for the Variation in the _Septet_ is a Rhenish Song. The Symphony in C Major is also inspired by the Rhine. It is a poem of youth smiling over its own dreams. It is gay and languorous; one feels there the hope and the desire of pleasing. But in certain passages in the Introduction, in the shading of the sombre bass passages of the _Allegro_, in this young composer, in the fantastic _Scherzo_, one feels with emotion the promise of the great genius to come. The expression calls to mind the eyes of Botticelli's _Bambino_ in his _Holy Families_--those eyes of a little child in which one already divines the approaching tragedy. Troubles of another kind were soon to be added to his physical sufferings. Wegeler says that he never knew Beethoven to be free of a love passion carried to extremes. These love affairs seemed to have always been of the purest kind. With him there was no connection between passion and pleasure. The confusion established between the two things now-a-days only shows how little most men know of passion and its extreme rarity. Beethoven had something of the Puritan in his nature; licentious conversation and thoughts were abhorrent to him; he had always unchangeable ideas on the sanctity of love.... It is said that he could not forgive Mozart for having prostituted his genius by writing _Don Giovanni_. Schindler, who was his intimate friend, assures us that "he spent his life in virginal modesty without ever having to reproach himself for any weakness." Such a man was destined to be the dupe and victim of love; and so indeed it came about. He was always falling violently in love and ceaselessly dreaming of its happiness, only however to be deceived and to be plunged in the deepest suffering. In these alternating states of love and passionate grief, of youthful confidence and outraged pride, we find the most fruitful source of Beethoven's inspiration, until at length his fiery, passionate nature gradually calms down into melancholy resignation.