[43] Wegeler’s story of the meeting between Beethoven and Sterkel is confirmed in every detail by a letter from N. Simrock to Schindler, a copy of which was found among the posthumous papers of Thayer. [44] In one of the Beethoven conversation books, _anno_ 1823, may be read in Schindler’s handwriting: “Captain v. Greth’s address, Commandant in Temesvar.” [45] From the Fischoff Manuscript. The verbal play can scarcely be given in English rhymed couplets. The sentiment is: “Happiness and long life I wish you to-day, but something do I crave for myself from you--your regard, your forbearance and your patience.” [46] “J. Haydn in London,” page 53. [47] Neefe relates that on his second visit to England, Haydn had contemplated taking Beethoven with him. [48] “Friendship, with that which is good, grows like the evening shadow till the setting of the sun of life.” Chapter X Beethoven’s Creative Activity in Bonn--An Inquiry into the Genesis of Many Compositions--The Cantatas on the Death of Joseph II and the Elevation of Leopold II--Songs, the “Ritterballet,” the Octet and Other Chamber Pieces. But for the outbreak of the French Revolution, Bonn seems to have been destined to become a brilliant centre of learning and art. Owing to the Elector’s taste and love for music, that art became--what under the influence of Goethe poetry and drama were in Weimar--the artistic expression and embodiment of the intellectual character of the time. In this art, among musicians and composers, Beethoven, endowed with a genius whose originality has rarely if ever been surpassed, “lived, moved and had his being.” His official superiors, Lucchesi, Reicha, Neefe, were indefatigable in their labors for the church, the stage and the concert-room; his companions, Andreas Perner, Anton Reicha, the Rombergs, were prolific in all the forms of composition from the set of variations to even the opera and oratorios; and in the performance of their productions, as organist, pianist and viola player, he, of course, assisted. The trophies of Miltiades allowed no rest to Themistocles. Did the applause bestowed upon the scenes, duos, trios, quartets, symphonies, operas of his friends awaken no spirit of emulation in him? Was he contented to be the mere performer, leaving composition to others? And yet what a “beggarly account” is the list of compositions known to belong to this period of his life![49] Calling to mind the activity of others, particularly Mozart, developed in their boyhood, and reflecting on the incentives which were offered to Beethoven in Bonn, one may well marvel at the small number and the small significance of the compositions which preceded the Trios Op. 1, with which, at the age of 24 years, he first presented himself to the world as a finished artist. But a change has come over the picture in the progress of time. Not only are the beginnings of many works which he presented to the world at a late day as the ripe products of his