But whoever can this Sweetmeat-Beethoven of Strauss's be? He is said to have composed nine symphonies, of which the Pastoral is "the least remarkable"; we are told that "each time in composing the third, he seemed impelled to exceed his bounds, and depart on an adventurous quest," from which we might infer that we are here concerned with a sort of double monster, half horse and half cavalier. With regard to a certain Eroica, this Centaur is very hard pressed, because he did not succeed in making it clear "whether it is a question of a conflict on the open field or in the deep heart of man." In the Pastoral there is said to be "a furiously raging storm," for which it is "almost too insignificant" to interrupt a dance of country-folk, and which, owing to "its arbitrary connection with a trivial motive," as Strauss so adroitly and correctly puts it, renders this symphony "the least remarkable." A more drastic expression appears to have occurred to the Master; but he prefers to speak here, as he says, "with becoming modesty." But no, for once our Master is wrong; in this case he is really a little too modest. Who, indeed, will enlighten us concerning this Sweetmeat-Beethoven, if not Strauss himself--the only person who seems to know anything about him? But, immediately below, a strong judgment is uttered with becoming non-modesty, and precisely in regard to the Ninth Symphony. It is said, for instance, that this symphony "is naturally the favourite of a prevalent taste, which in art, and music especially, mistakes the grotesque for the genial, and the formless for the sublime" (p. 428). It is true that a critic as severe as Gervinus was gave this work a hearty welcome, because it happened to confirm one of his doctrines; but Strauss is "far from going to these problematic productions" in search of the merits of his Beethoven. "It is a pity," cries our Master, with a convulsive sigh, "that one is compelled, by such reservations, to mar one's enjoyment of Beethoven, as well as the admiration gladly accorded to him." For our Master is a favourite of the Graces, and these have informed him that they only accompanied Beethoven part of the way, and that he then lost sight of them. "This is a defect," he cries, "but can you believe that it may also appear as an advantage?" "He who is painfully and breathlessly rolling the musical idea along will seem to be moving the weightier one, and thus appear to be the stronger" (pp. 423-24). This is a confession, and not necessarily one concerning Beethoven alone, but concerning "the classical prose-writer" himself. He, the celebrated author, is not abandoned by the Graces. From the play of airy jests--that is to say, Straussian jests-- to the heights of solemn earnestness--that is to say, Straussian earnestness--they remain stolidly at his elbow. He, the classical prose-writer, slides his burden along playfully and with a light heart, whereas Beethoven rolls his painfully and breathlessly.