Beethoven exclaimed, "Thus Fate knocks at the gate!" And being requested by Schindler to supply him with the key to the Sonatas in D minor, Op. 31, and in F minor, Op. 57, Beethoven's answer was: "Read Shakespeare's 'Tempest!'" Beethoven probably resorted to such replies merely to satisfy troublesome inquirers somewhat resembling the inquisitive gentleman in Washington Irving's 'Tales of a Traveller,' who "never could enjoy the kernel of the nut, but pestered himself to get more out of the shell." Several of the titles of Beethoven's instrumental compositions ('Pastoral Sonata,' 'Moonlight Sonata,' 'Sonata appassionata,' etc.) did not originate with the composer, but were given to the pieces by the publishers to render them more attractive to the public. The title of his sonata Op. 81, 'Les Adieux, l'Absence et le Retour,' emanates however from Beethoven himself. This is noteworthy inasmuch as it has brought the advocates of descriptive music into an awkward dilemma. They found in this sonata an unmistakable representation of the parting and ultimate reunion of two ardent lovers,--when, unhappily for them, Beethoven's autograph manuscript of the sonata was discovered, in the library of Archduke Rudolph, bearing the inscription (in German), "The Farewell, Absence, and Return of His Imperial Highness the Venerated Archduke Rudolph." A similar subject is treated by J. S. Bach, in a capriccio for the harpsichord, entitled, 'On the Departure of a very dear Brother,' in which the different movements are headed as follows:--"No. 1. Entreaty of friends to put off the journey.--No. 2. Representation of the various accidents which might befall him.--No. 3. General lament of friends.--No. 4. Entreaty being of no avail, the friends here bid farewell.--No. 5. Air of the postillion.--No. 6. Fuga in imitation of the post-horn."