All government, in its essence, is a conspiracy against the superior man: its one permanent object is to police him and cripple him. If it be aristocratic in organization, then it seeks to protect the man who is superior only in law against the man who is superior in fact; if it be democratic, then it seeks to protect the man who is inferior in every way against both. Thus one of its primary functions is to regiment men by force, to make them as much alike as possible and as dependent upon one another as possible, to search out and combat originality among them. All it can see in an original idea is potential change, and hence an invasion of its prerogatives. The most dangerous man, to any government, is the man who is able to think things out for himself, without regard to the prevailing superstitions and taboos. Almost inevitably he comes to the conclusion that the government he lives under is dishonest, insane and intolerable, and so, if he is romantic, he tries to change it. And even if he is not romantic personally he is very apt to spread discontent among those who are. Ludwig van Beethoven was certainly no politician. Nor was he a patriot. Nor had he any democratic illusions in him: he held the Viennese in even more contempt than he held the Hapsburgs. Nevertheless, I am convinced that the sharp criticism of the Hapsburg government that he used to loose in the cafés of Vienna had its effects—that some of his ideas of 1818, after a century of germination, got themselves translated into acts in 1918. Beethoven, like all other first-rate men, greatly disliked the government he lived under. I add the names of Goethe, Heine, Wagner and Nietzsche, to keep among Germans. That of Bismarck might follow: he admired the Hohenzollern idea, as Carlyle did, not the German people or the German administration. In his “Errinerungen,” whenever he discusses the government that he was a part of, he has difficulty keeping his contempt within the bounds of decorum.