IV. Beethoven’s Fifth Symphony, (_Part II._) Marx finds in this symphony the problem so often treated by Beethoven—the collision of freedom with fate. “Through night to day, through strife to victory!” Beethoven, in his conversation with Schindler, speaking of the first “motive” at the beginning, said, “Thus Fate knocks at the door.” This knocking of Fate comes in continually during the first movement. “We have an immense struggle portrayed. Life is a struggle—this seems to be the content of this movement.” The soul finds a solution to this and sings its pæan of joy. In the second movement (_andante_) we have an expression of the more satisfactory solution of the Problem of Life, which we alluded to when speaking of the Sonata above. It (“The storm-tossed soul”) has in that consoling thought reached the harbor of infinite rest—infinite rest in the sense of an “activity which is a true repose.” The soul has found this solution, and repeats it over to assure itself of its reality (1, 1, 1, 7, 1, 2, 1—these are the notes which express it). Then it wishes to make the experience of the universality of this solution—it desires to try its validity in all the spheres where Fate ruled previously. It sets out and ascends the scale three steps at a time (5, 1, 1, 2, 3—1, 3, 3, 4, 5) it reaches 5 of the scale, and ought to reach 8 the next time. It looks up to it as the celestial sun which Gothic Architecture points toward and aspires after. Could it only get there, it would find true rest! But its command of this guiding thought is not yet quite perfect—it cannot wield it so as to fly across the abyss and reach that place of repose without a leap—a “mortal leap.” For the ascent by threes has reached a place where another three would bring it to 7 of the scale—the point of absolute unrest; to step four, is to contradict the rhythm or method of its procedure. It pauses, therefore, upon 5—it tries the next three thoughtfully twice, and then, hearing below once more the mocking tones of Fate, it springs over the chasm and clutches the support above, while through all the spheres there rings the sound of exultation. But to reach the goal by a leap—to have no bridge across the gulf at the end of the road—is not a satisfactory solution of the difficulty. Hence we have a manifold endeavor—a striving to get at the true method, which wanders at first in the darkness, but comes at length to the light; it gets the proper form for its idea, and gives up its unwieldy method of threes (1, 2, 3—3, 4, 5), and ascends by the infinite form of 1, 3, 5—3, 5, 8—5, 8, 3, &c., which gives it a complete access to, and control over, all above and below.