[37] "Beethoven," said Goethe to Zelter, "is, unfortunately, possessed of a wild and uncouth disposition; doubtless, he is not wrong in finding the world detestable, but that is not the way to make it pleasant for himself or for others. We must excuse and pity him for he is deaf." After that he did nothing against Beethoven nor did he do anything for him, but he ignored him completely. At the bottom, however, he admired Beethoven's music and feared it also. He was afraid it would cause him to lose that mental calm which he had gained through so much trouble. A letter of young Felix Mendelssohn, who passed through Weimar in 1830, gives us a very interesting glimpse into the depths of that storm-tossed passionate soul, controlled as it was by a masterly and powerful intellect.... "At first," writes Mendelssohn, "he did not want to hear Beethoven's name mentioned, but after a time he was persuaded to listen to the First Movement of the Symphony in C minor, which moved him deeply. He would not show anything outwardly, but merely remarked to me, 'that does not touch me, it only surprises me.' After a time he said 'It is really grand, it is maddening, you would think the house was crumbling to pieces.' Afterwards, at dinner, he sat pensive and absorbed until he began to question me about Beethoven's music. I saw quite clearly that a deep impression had been made on him...." (For information on the relations between Goethe and Beethoven, see various articles by Frimmel). [38] Letter from Goethe to Zelter, 2nd September, 1812.... Zelter to Goethe, 14th September, 1812: "_Auch ich bewundere ihn mit Schrecken_" ("I, too, regard him with mingled admiration and dread"). Zelter writes to Goethe in 1819, "They say he is mad." [39] At any rate, this was a subject which Beethoven had in his mind; for we find it in his notes, especially those for the proposed Tenth Symphony. [40] There was a very tender intimacy between Amalie Sebald and him about this time, and it is possible that this may have supplied the inspiration. [41] Differing from him in this, Schubert had written in 1807 a _pièce d'occasion_, in honour of Napoleon the Great, and conducted the performance himself before the Emperor. [42] "I say nothing of our monarchs and their kingdoms," he wrote to Kauka during the Congress. "To my mind, the empire of the spirit is the dearest of all. It is the first of all kingdoms, temporal and spiritual." [43] Vienna, is that not to say everything? All trace of German Protestantism eradicated, even the national accent lost, Italianised.... German spirit, German habits and ways explained from textbooks of Italian and Spanish origin.... The country of debased history, falsified science, falsified religion.... A frivolous scepticism calculated to undermine all love of truth, honour, and independence! (Wagner, _Beethoven_, 1870).