There are two hypotheses as to the genesis of this letter to Goethe. The one: that Mme. von Arnim in preparing the “Briefwechsel” for publication wrote out her own crude and nebulous thoughts and gave them to the public in the form of a fictitious report of a conversation of Beethoven. The other: that she found Beethoven fresh from the composition of the “Egmont” music, full of enthusiasm for Goethe and vehemently desirous that his, the great composer’s, views upon music should be known and comprehended by the great poet; that he, happening to get upon this topic at their first interview, imparted those views to her with that express purpose; and that she, so far as she was able to follow and understand the speaker, and so far as her memory could recall his words a few hours after, correctly records and reports them. The first hypothesis rests now on precisely the same foundation as when Schindler wrote, namely, on the presumption that Beethoven could not have spoken thus; but a discourse uttered under such circumstances and with such a purpose, poured into the willing ear of a beautiful, highly cultivated and remarkably fascinating young woman, one who possessed the higher artistic and intellectual qualities of character in an extraordinary degree--such a discourse might well abound in thoughts and expressions which the prosaic Schindler in the most prosaic period of his master’s life never drew from him. Two significant minor points may be noted: there was a Latin word in use by the Breuning family in the old Bonn days with a meaning not given in the dictionaries. This we learn from Wegeler’s “Notizen,” and ~only~ there. Yet Mme. v. Arnim puts this word, ~raptus~, in precisely this local sense into Beethoven’s mouth several years before the publication of the “Notizen”! Again: when the discoveries of Galvani and Volta were still a novel topic of general interest, when, through them, physiologists, as Dubois-Raymond expressed it, “believed that at length they should realize their visions of a vital power”; and when the semi-scientific world was full of the theories of Mesmer and his disciples--at that time, the first years of the nineteenth century, custom gave the word ~elektrisch~ (electrical) a significance long since lost, which well conveyed the thought Beethoven is made to express. But in 1834-5, to introduce this word in that sense, retrospectively, into a fictitious conversation purporting to be of the year 1810, shows, no less than the ~raptus~, an exquisite tact so rare, that it might well be termed a most felicitous stroke of genius, one of which any writer of romance might be vain.