More than once Beethoven shows himself to be reasonable and even patient with troublesome conditions. In regard to some corrections in the C minor symphony he writes to Breitkopf and Härtel: ‘One must not pretend to be so divine as not to make improvements here and there in one’s creations’--and surely the following is a mild protest, considering the cause: ‘How in heaven’s name did my Fantasia with orchestra come to be dedicated to the King of Bavaria?’ This was no slip of memory on Beethoven’s part, for he was very particular about dedications. Again he writes to his publishers, after citing a list of errors: ‘Make as many faults as you like, leave out as much as you like--you are still highly esteemed by me; that is the way with men, they are esteemed because they have not made still greater faults.’ His letters reveal the fact, not that he was disorderly and careless, but that, on the contrary, when he had time to give attention, he could manage his business affairs very sensibly indeed. Usually he is exact in stating his terms and conditions for any given piece of work; but occasionally he was also somewhat free in promising the same composition to more than one publisher, and in setting off one bid against another in order to get his price. But it is impossible to see, even in such acts, any very deep-seated selfish or mercenary quality. Full of ideas, pushed from within as well as from without, he knew himself capable of replacing one composition with another of even richer value. He was always in need of money, not because he lived luxuriously, but because of the many demands made upon him from his family and by reason of the fact that absorption in composition, frequent illness, and deafness rendered him incapable of ordering his affairs with any degree of economy. Whenever it was possible he gave his services generously for needy causes, such as a benefit for sick soldiers, or for the indigent daughter of Bach. Writing to Dr. Wegeler, the husband of Eleanore von Breuning, he says: ‘If in our native land there are any signs of returning prosperity, I will only use my art for the benefit of the poor.’ In respect to other musicians Beethoven was in a state of more or less open warfare. Bitterly resentful of any slight, it was not easy for him to forgive even an innocent or kindly criticism, much less the open sneers that invariably attend the progress of a new and somewhat heretical genius. If, however, he considered other musicians worthy, he was glad of their recognition. Although he did not care for the subject of _Don Giovanni_, he writes that Mozart’s success gave him as much pleasure as if it were his own work. To his publishers he addresses these wise words concerning young musicians: ‘Advise your critics to exercise more care and good sense with regard to the productions of young authors, for many a one may become thereby dispirited, who otherwise might have risen to higher things.’ III