[16] She was not afraid either of boasting of her old love for Beethoven in preference to that for her husband. Beethoven helped Gallenberg. "He was my enemy; that is the very reason why I should do all possible for him," he told Schindler on one of his conversation note-books in 1821. But he scorned to take advantage of the position. "Having arrived in Vienna," he wrote in French, "she sought me out and came weeping to me, but I rejected her." [17] 6th October, 1802 (see page 57). [18] "Bring up your children to be virtuous. That alone can make them happy; money will not. I speak from experience. It is that which sustained me in my misery. Virtue and Art alone have saved me from taking my own life." And in another letter, 2nd May, 1810, to Wegeler: "If I had not read somewhere that a man ought not to take his own life so long as he can still do a kind action, I should long ago have ended my existence, and doubtless by my own hand." [19] To Wegeler. [20] Hornemann's miniature, of 1802, represents Beethoven dressed in the fashion of the day with side whiskers, long hair, the tragic air of one of Byron's heroes, but with the firm Napoleonic look which never gives way. [21] It is a fact that the Eroica Symphony was written for and around Bonaparte, and the first MS. still bears the title, "Bonaparte." Afterwards Beethoven learnt of the Coronation of Napoleon. Breaking out into a fury, he cried: "He is only an ordinary man"; and in his indignation he tore off the dedication and wrote the avenging and touching title: _Sinfonia Eroica composta per festeggiare il souvenire di un grand Uomo_. (Heroic Symphony composed to celebrate the memory of a great man). Schindler relates that later on his scorn for Napoleon became more subdued; he saw in him rather the unfortunate victim of circumstances worthy of pity, an Icarus flung down from Heaven. When he heard of the St. Helena catastrophe in 1821, he remarked: "I composed the music suitable for this sad event some seventeen years ago." It pleased him to recognise in the Funeral March of his Symphony a presentiment of the conqueror's tragic end. There was then probably in the _Eroica Symphony_ and especially in the first movement, a kind of portrait of Bonaparte in Beethoven's mind, doubtless very different from the real man, and rather what he imagined him to be or would have liked him to be--the genius of the Revolution. Beethoven, in the Finale of the Eroica Symphony, used again one of the chief phrases of the work he had already written on the revolutionary hero par excellence, the god of liberty, Prometheus, 1801.